'Wedding' graduates eager to have a good time

With Le nozze di Figaro (1786), the poet Lorenzo Da Ponte began his collaboration with Wolfgang Amadeus Mozart, which would continue with two more operas: Don Giovanni (1787) and Così fan tutte (1790). And it must be said that the first of the three operas is the most perfect in terms of theatrical mechanics. It is logical, therefore, that Marta Pazos has enthusiastically embraced the proposal made by the Liceu. Three weeks before her debut at the Grec Theatre with L'òpera de tres rals (Dreigroschenoper), the Galician director has culminated a work processed with slow cooking in terms of ideas and the overall design of the show.Pazos has based the dramaturgical concept of this Nozze di Figaro on the famous article Notes on Camp, which Susan Sontag published in 1964. The American writer says, among other things: "Sensitivity camp, markedly baroque and postmodern, permeates the spectacle with good ideas, some close to the universe of Barrie Kosky, markedly neo-baroque and postmodern, crosses the spectacle with good ideas, some close to the universe of

The visual excess of the spectacle, however, is counterbalanced by the solidity of a good musical ensemble in the premiere's cast, led by the refined interpretation of Giovanni Antonini before a reduced titular orchestra, in which the woodwind instruments particularly shone. Opting for a philological reading without stridency, the Italian maestro has managed to find the balance between the folle journée of some soloists and the emotional restraint of the work's more reflective arias, with an impeccable sense of accompaniment despite some happy-to-be-resolved intonation problems. Throughout the night, he imposed very contrasting tempos and overused excessive volume, without contrasts, at the end of the second act. Antonini is not characterized by excessive theatricality, but, on the other hand, opts—as we said—for refinement. And in Mozart, this is indispensable. A Sara Blanch without flaws

On stage, Sara Blanch delivers a textbook Susanna, with all the ingredients of such a rich character and without any flaws in the Mozartian style. The soprano from the Ebro region is capable of stopping time in passages like the sensual Deh vieni, non tardar or of gliding through the lightness of the concertante numbers without losing pace. And she has a luxury partner, because Luca Pisaroni has always been a great Figaro. Incisive when necessary and with mastery of style, his voice has lost freshness and shows slight wear in the high register (which sounds muffled) but the overall performance remains convincing.

Sensational Julia Lezhneva's Cherubino, with her own harvest of ornaments in the canzonetta of the second act and with a fun stage performance of infectious vitalism. Andrè Schuen, debuting at the Liceu, is a Count whose seams of the great lieder singer he is are showing. And this detracts significantly from the authority that defines Almaviva. But the Tyrolean baritone shows promise and could be a good Count in the not too distant future. For his part, the Guatemalan Adriana González presents technical mastery in the service of the Countess, although her voice lacks the purity or transparency that Mozart always demands. The singing is impeccable and the pianissimos in the reprise of the first section of Dove sono work, but the soprano is suited to other repertoire.Mireia Pintó is a convincing Marcellina in expressiveness alongside the excellent Basilio by Roger Padullés. A pity that the arias from the fourth act are suppressed—let's admit it—they interrupt the narrative flow, but in the hands of these two home-grown and experienced singers, they could have complemented a happy musical night. work, but the soprano is suited to another repertoire.