SEEN AND HEARD INTERNATIONAL

Donizetti, Lucrezia Borgia : (Concert Version )Soloists, Orchestra and Chorus ofthe Gran Teatre del Liceu. Conductor: Stefan Antón Reck  Gran Teatre del Liceu de Barcelona, 26. 2.2008 (JMI)

Cast:
Lucrezia Borgia: Edita Gruberova
Gennaro: José Bros
Orsino: Ewa Podles
Duca Alfonso: Ildebrando D’Arcangelo

Edita Gruberova is one of the very few artists who raises passions in opera theaters and particularly in Barcelona’s Liceu. So it is hardly surprising that the Slovakian diva's presence has been frequent in Barcelona in  the last few years or that she has sung concert versions here of  titles later  to be recorded and commercialized. This time we had Donizetti’s Lucrezia Borgia,  a work very rarely  performed and in fact completely absent from Barcelone for 20 years: it's another example of the lack of interest by opera houses in the works of the bel canto period. This opera was a constant presence at the Liceu during the second half of XIX century, but only appeared twice during the second half of the last century. So it is little wonder that this concert was a spectacular success, the most important of this season by far. And as I have reported in another review,  exactly the same thing  happened in Bilbao a few days previously with another Donizetti opera, Poliuto. Artistic Directors really should take notice of what their customers like and avoid the all too easy belief that their personal tastes are the only relevant guide for programming. They are wrong.

Stefan Antón Reck, who lately has become a  frequent  conductor in Edita Gruberova  performances was making his debut at the Liceu.   The career of this good German conductor is slightly strange, because not many years ago he was one of the great promises in musical direction, particularly during his years as director in  Palermo.  Though he has fallen almost in the ostracism in  recent years.  I have been always convinced of his quality, after an unforgettable Freischütz in Bilbao. For this Liceu debut Mr. Reck was also very convincing, far better than many of his colleagues considered to be specialists in bel canto. It goes without saying that his tempi were at the diva's service, but he was also able to conduct with delicacy and intensity. Under him the Liceu Orchestra played a very good performance, proving yet again that the quality of  any orchestra depends to a great extent on who conducts them. The Chorus to was excellent, although we are more used to that as they are nearly always very consistent. Both the final Lucrezia  cabaleta: “Era desso il figlio mio”  and in Gennaro's aria: “T’amo qual s’ama un angelo”, also known as Ivanov aria, were included as something of an extra bonus.

The fundamental element of this opera is Lucrezia herself  and even more so in this case. Edita Gruberova made  Lucrezia something very personal, as happens with most of the other roles she adds to her repertoire. The opera could easily have been announced as Edita Borgia or Lucrezia Gruberova, not because the artist has the voice of the role, but by the personal way she approaches it. With 'Grubi'  one knows exactly what to expect – a  profusion of pianissimi, spectacular high notes, exhibition quality fiato, portamenti  “ad hoc”  jumps of scales an so on/ I have always defended emotion as the supreme value in opera and I must say that Gruberova always has astonished  me, although personally I have never been especially moved by her. But yhis concert was no exception. She sang her own version and interpretation of the role and I have to acknowledge that she had  the whole theatre at her feet. If it were not for artists like her, opera would  not exist for long and it is only  fair to acknowledge her many merits. I may not share the enthusiasm of the audience, but that could easily  mean that I have some particular problem myself. So many people cannot really be wrong.

José Bros returned to take on Gennaro, after his debut in the role three years ago in Oviedo. He is one of the best interpreters today in this type of repertoire, singing with taste and beautiful phrasing. He was at his most brilliant in the Ivanov aria, although the final high C was not too cleanly delivered, which also happened  at Oviedo.

Alfonso D'Este was deliveredby bass baritone Ildebrando D'Arcangelo, who had sang the part in Bilbao some six years ago. He was in very good shape, with an improved vocal projection, as I felt aboit  his Don Giovanni in Toulouse some months ago. He was an outstanding Duca, the focus of attention during the second act, which is not easy for anybody, considering the other members of this spectacular cast.

Maffio Orsini was interpreted by Ewa Podles, who also gave an outstanding performance, particularly in the toast that opens the third act. Although I prefer a brighter voice than hers in the part, I must say that she is the contralto that the role requires. Too many theaters cast as a lyric mezzo soprano as Orsini and it makes a huge difference.

The secondary roles were cast with great care with a few exceptions.  Turkish tenor Bülent Külekçi was a very bright Rustighello, a geuine luxury in the part and similarly  luxurious qualities came from Balint Szabo as Astolfo and Roberto Accurso. In fact the only low points in casting  were Alberto Feria (Apostolo Gazella) and Francisco Santiago (Petrucci).

There were enormous ovations throughout the concert and at the end of it and  the audience went crazy over  with 'Grubi' just as they have so often done in the past here. Much the same happened with Ewa Podles and D' Arcangelo and both José Bros and Stefan Antón Reck had their fair shares of the general success. I can't be  sure if  the cheering had stopped  before midnight.

There is a popular quote in Spain, “Los muertos que vois matáis, gozan de buena salud”, which means something like “The dead people you kill, enjoy very good health. ” Fans should say this regularly to artistic directors on the subject of  bel canto opera.

Jose M. Irurzun


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