Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Nearby beauty

Pucciniren ‘La Bohème’ Opus Lirica orkestra. Zuzendaria: José Rafael Pascual Vilaplana. Eszena-zuzendaria: Pablo Ramos. Eszenografia: Raúl Arraiza eta Koldo Tainta. Bakarlariak: Ainhoa Garmendia, Francisco Corujo, Helena Orcoyen, Andrei Bondarenko, César San Martín, Alessandro Trotta eta Jagoba Fadrique. Kursaal Auditorioa. Martxoaren 2a.
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

The Bohème de Puccini is an absolutely friendly work for operatives and not so amateurs. They represent raw and real feelings: loneliness, love, solidarity, fears… The characters that appear are not so “novelescos”, but real. That is why it is so moving. It's hard not to cry at the end of history, because in one way or another we all identify with those feelings.

The production of Opus Lirica in San Sebastian went a little further. To the virtues mentioned above, he added the freshness and closeness of the group we had on the stage. They announced that tenor Francisco Corujo had problems with his throat and therefore could not “give it all” in that session, but it doesn’t matter. Although he did not walk completely round in voice, he made a courageous and convincing interpretation, very “authentic”. And that's what came to the audience.

But among all of us, we have to recognize that soprano Ainhoa Garmendia spread her brilliance in the auditorium. It offered very fine expressiveness, tenderness and technique. In the first act he made a beautiful Si mi chiamano Mimi, who was the sweetest. He gave every word the right inflection and tone to make Mimi's presentation. He knew how to give depth to his character and melt his listeners with this aria. On the other hand, we were stunned by the Where Lieta used the third act, expressive and well sung.

Soprano Helena Orcoyen brought Musetta to life. His voice is shorter but shrinks very well and thanks to it, the famous Quando m’en vo bals came very well.

Special mention is due to the Ukrainian baritone Andrei Bondarenko, who interpreted the attractive Marcello. This singer broadcasts his voice perfectly, and is heard with purity from all over the auditorium.

The Opus Lírica Orchestra, under the direction of José Rafael Pascual Vilaplana, acted precisely but without brightness. The voices, however, were well highlighted. The stage direction of Pablo Ramos and the scenery of Raúl Arraiza and Koldo Tainta were of great help to achieve this special atmosphere of closeness. Enjoyable.


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