Alegre
ABAO has returned to the quality roads of always. Thank you! We still remember the unforgettable Cenerentola that we heard in November, and not in the good sense. In this case, we have received a surprise against. It is a stiffelio gema that is rarely programmed. This is the first time that it has been represented in the entire trajectory of the ABAO. It could be a play of little interest, and that is why there would not be much desire that it could be heard, but after enjoying in the Euskalduna Palace the production between the Teatro Regio di Parma and the Opera Montecarlo, we can say that Stiffelio is a great morsel. It's not too long, it takes a couple of hours if we don't count the breaks and it offers a cocktail of very attractive feelings: love, disloyalty, internal struggles between the personal desires and the social requirements of the protagonist Stiffelio, a different concept of the love of each protagonist. Really interesting. And above all, Verdi is the best in this title. The overture is truly bright and bright as a starting point, and both the aryan of the work and some choir numbers can be placed among the most beautiful moments of Verdi.
In addition, in this production of the ABAO we have had luxury soloists to round off the performance. Both the voice of the tenor Roberto Arónica and the soprano Ángela Meade adapt perfectly to the roles of Stiffelio and Linaren, giving the interpretations the necessary brightness and texture. Yes, neither of them are expressive on the board. In other words, we heard beautiful, flexible voices full of feeling, but perhaps because of a misleading direction or a certain rigidity of the singers, they did not offer interpretative credibility.
Angela Mead surprised her listeners. Oh jealousy, dove are io? o Tosto ei disse! It hurts you, O Dio clemente were wonderful moments. Soprano sings easily, has a round and powerful voice, got great applause. On the other hand, Russian baritone Roman Burdenko made a spectacular Stankar. Her voice was extraordinarily beautiful and had performed Line's father's role. Director Francesco Ivan Ciampa spoke delicately. In fact, the truly global musical aspect compensated for the interpretive weakness or the poor/minimalist scenography. The Bilbao Symphony Orchestra and the Bilbao Opera Choir, as always, are effective.
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