Despite a somewhat convoluted plot, full of events, often criticized and ridiculed, the opera by G. Verdi's “Troubadour ” has become one of the most popular and frequently staged in the world, thanks to its immense musical wealth. Once again Torrevieja had the opportunity to host Opera 2001, this time presenting this famous work at the Municipal Theater of Torrevieja.
At the outset, I would like to express my approval and satisfaction with the effect produced by staging the play in the traditional manner. Special applause is due to the director of the production - Roberto Metelli y scenographer Alfredo Troisi for staging “Troubadour” without unnecessarily moving the plot and storyline to modern times, which has been practiced on a regular basis in recent decades, especially in German theaters. Verdi's masterpiece was staged with great taste, colorfully and within traditionally accepted norms. Bravo!
The greatest strength of the performance was, of course, the vocalism of the main performers, as Opera 2001, as usual, offered artists of excellent quality, from the so-called high end. And so the baritone Nicola Ziccardi in the role of Count de Luna presented extraordinary vocal conditions, both in terms of strength, projection, timbre and articulation. He demonstrated a very good-sounding and carrying baritone, exquisite musicality and fluidity of phrasing.
However, the standout in the cast was mezzo-soprano Chinara Shirin in the role of Azucena, possessing a well-set voice material. In addition to her perfect presentation, she surprised with a confident and flexible voice, demonstrating beautiful dynamic differences and pianissima during all the speeches.
With a round sounding voice, very well emitted, with an attractive timbre, we were impressed by Leonora Ilieva as Leonora, who had the opportunity to show off her extraordinary drama, as well as lyricism and delicacy. In the role of Manrico, we were able to appreciate David Baños - a tenor with a well-broadcast voice, great dynamics throughout the scale and very good projection and sound quality. The singer also proved that he is a good actor.
Also noteworthy are the other roles; Viacheslav Strelkov as Ferrando, Anastasia Egorova as Inez, Alberto Munafo as Ruiz y Gabriel Sandi as the old gypsy.
Music director Martin Mázik, despite the reduced orchestra, was able to bring out the emotionality and drama of the work in an excellent way. Thanks to his careful reading of the score, the maestro ensured that the orchestra's sound was perfect, allowing the individual instruments to be properly exposed and not allowing the voices of the vocalists to be drowned out by excessive orchestral dynamics. The orchestra and soloists were fully focused, working wonderfully with the conductor's baton. *the Sicilian Lyric Choir, prepared by maestro Francesco Costa, also scored an excellent performance, and made a particularly positive impression with its rendition of “Chorus of Soldiers” and “Chorus of Gypsies.”
A well-deserved round of applause is due to all the artists, the producers and the entire Opera 2001 team for presenting a performance that, despite being one of the last on the current Opera 2001 tour, was characterized by freshness, like a premiere performance, which once again reinforces the belief in the very high artistic level of the entire team.
