Werther's sobs

With Jules Massenet's Werther one must tread carefully, because too much sweetness can cause chronic diabetes in listeners. But too much coldness can also be counterproductive, because the passionate motives that run through the opera must have the right emotional and expressive force to convey the misfortunes of the title character, inspired by Goethe's epistolary novel. Musical director Henrik Nánási opts at the Liceu for an amorphous reading, without a clear vision of the score and with uneven results, despite the good performance of the titular orchestra and the members of the Cor Vivaldi Petits Cantors de Catalunya.Vocally, the opera is also of maximum demand for the three protagonists: Werther, Charlotte, and Sophie. There was expectation to see at the Rambla theatre the debut of Xabier Anduaga in the role that gives its name to the work, which he resolved with more than enough means: sinuous phrasing, well worked, generous emission, and impeccable pronunciation. However, the Basque tenor is still treading carefully. And it is normal for it to be so, which makes us think that after two or three more productions he will end up being a reference Werther.The German mezzo-soprano Kristina Stanek tackled the role of Charlotte with absolute command of the dramatic and musical situation. The letter aria was one of the highlights of the evening, alongside the final scene with a dying Werther. Beside her, Sofía Esparza's Sophie spread beauty in all directions, without falling into the portrayal of the sun-drenched turnip with which some sopranos resolve this very significant role and which Christoph Loy's production intelligently reinforces.Albert de David Oller was insufficient, with an impersonal timbre and color and a frayed emission. Stefano Palatchi showed ample experience in the service of the mayor, and there was good chemistry and a just sense of comedy from two seasoned Liceu singers who should have more presence on the Rambla stage, Josep Fadó (Schmidt) and Enric Martínez-Castignani (Johann).The production signed by Christoph Loy and premiered a year ago at La Scala in Milan works very well the portrayal of characters and reinforces their sharp psychology, with well-resolved scenes, such as the link between the third and fourth acts: not only does Werther die, but Albert's world also collapses, which is shown in a brilliant coup de théâtre. Johannes Leiacker's cold but efficient scenography with the wall that separates two worlds plays a fundamental role on a stage well lit by Roland Edrich and with functional costumes by Robby Duiveman. It is not Loy's best production, but good ideas are suggested and the clichés associated with opera and the background of the original novel are set aside. It is appreciated.