And all of that was in the version that the Quincena Musical gave. We only found a poor scenography, four woods and decent lighting. On the other hand, the good staging direction was missed, as the singers interpreted their roles correctly (without more), without much expressiveness.

Yes, we heard good voices that, no doubt, saved the representation. And as for the voices, the best part of the program was the interpretation of Miren Urbieta-Vega on Micaela's role. In the Je dis que rien ne m’ épouvante it was wonderful, with a magnificent voice and expressiveness.

Rihaba Chaieb, a mezzo from Tunisia and Canada who debuted with this representation in the Spanish State, played a good role and showed an excellent tone, but did not convince or unfortunately reach the public. Perhaps, as I said before, it was the fault of an inopportune staging. Ukrainian tenor Dmytro Popov played the unhealthy Don José. He had not distinguished himself by his great voice, let alone by his interpretative fervor that characterized him as a jealous and rabid man. Insufficient.

Bass Simon Orfila played the role of a convincing Escamillo, although he sometimes had an unpleasant voice. The rest of the soloists, Marifé Nogales, Helena Orcoyen, José Manuel Díaz, Juan Laborería, Mikel Zabala and Aitor Garitano, were good in their voices and in their roles. In general, we expected more.