What: Opera 'Rigoletto' by Verdi organized by the ABAO.
From: Bilbao Orkestra Sinfonikoa and Bilboko Opera Abesbatza. Place:
Euskalduna Palace of Bilbao. Date: 23 February.

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Spoiler: I'm going to write about a musical miracle that we heard in the Basque Country, although its staging has been forgettable. Whoever writes these lines is not scared by brave scenes, it's not a mindulin or any of that. I cannot bear in mind that under the label of
a supposedly feminist production there is an absolutely machist production, full of images that bring nothing to the fabric, and that all that indicates is contempt for women, offering an absolutely weak and empty image. This whole group of dancers, sometimes naked, did not take place in Rigoletto's story with felation movements, sex scenes. All this brought with it a bad taste and for some viewers probably a senseless interference that would take him away from true musical pleasure.

Having said all this, the truth is that from a purely musical point of view, the Rigoletto presented to us by the ABAO was wonderful. Everything was at its point and all the singers were in a situation of grace, no doubt.

The Mongol baritone Amartuvshin Enkhbat surprised listeners demonstrating excellent voice and interpretation features. In the ABAO at the debut, in this Rigoletto we heard a round voice, perfect in the phraseo, of great strength but at the same time flexible and charming. One of those voices that is rarely enjoyed.

With soprano Sabina Puertolas we can only say good things. It was brilliant in Gilda's role, with the baritone as a wonderful partner, like the spectacular kabbaletta that closes the second act, which had to be repeated in the warm welcome of the public.

I believe that the work of tenor Ismael Jordi was not as acclaimed as it deserved. He played the role of Duke di Mantova, a very elegant tenor, with a particularly beautiful timbre and excellent pronunciation and fraseo. The other soloists didn't fail.
Mezzo Carmen Topciu, in the role of Maddalena, gave a great level. Also Marifé Nogales in the role of Giovanna, Fernando Lator in the role of Count Monterone, José Manuel Díaz as Marullo and Emanuele Cordaro low in the role of Sparafucile.

Daniel Oren’s work at the head of the Bilbao Symphony Orchestra was excellent at all times, with a notable emphasis on each voice. As I said at the beginning, the stage direction of Miguel del Arco was forgotten. Less bad than music cures everything.