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

A small budget, a great talent

Mozarten “Txirula magikoa” opera. Opus Lirica Orkestra . Kursaal Auditorioa, otsailak 23.
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 opera season in San Sebastian seems to be related to the Quincena Musical, as this festival does fulfill the programming of an opera in the Kursaal Auditorium. Apart from that, in the trials conducted by Opus Lirica over the year we see few people. It is a terrible and incomprehensible punishment. The effort made by the Opus Lírica partnership is truly applauding. It offers beautiful titles, also good soloists, and they put on the stage attractive staged. So what happens? Maybe not marketing? Or is there little protection for administrations? Who knows? But, yes, the last session that was offered was really fun.

Mozart’s Magic Flute is a fun and truly “magical” opera. The Austrian composer released this masterpiece at the age of 35. It is a singular work with an impressive musical imagination, with many references taken from Freemasonry. In this production of Opus Lirica, performed in collaboration with the House Opera of Navarra, we find a twist, as the action takes place in a dream. Apart from this, the original idea is followed exactly.

We find good interpretations. The most complicated role is undoubtedly that of the queen of the night, and soprano Almudena Jal-Ladi promptly performed her work. It is true that some sharp didn't have the necessary cleanliness, but, well, he performed his role in all seriousness and got the diabetic colors right. Lower Nika Guliashvili was an efficient Sarastro, well suited to his role. Still, the brightest singers were the tenor Marc Sala and the soprano Ainhoa Garmendia. Marc Sala’s voice was perfectly suited to Tamino’s thesis. The Catalan singer-songwriter has a sweet and beautiful timbre, and he knows very well the voice broadcast. On the other hand, Ainhoa Garmendia is a very safe soprano who drew with great expressiveness the lovely Pamina.

I must highlight the work of baritone César San Martín, who made a Papageno fun and well represented. On the other hand, soprano Irene Fraile performed a fresh Papagena. The other singers, the San Sebastian Opera Choir and the Opus Lírica Orchestra acted precisely. Bravo!


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