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SEEN AND HEARD
INTERNATIONAL OPERA REVIEW
Verdi, Il Trovatore:
Soloists, Orchestra of Teatro Argentino.
Conductor: Carlos Vieu, Teatro Argentino, La Plata.
22.5.2009. (JSJ)
Director/sets/lighting:
Marcelo Perusso
Costumes: Stella Maris
Müller
Chorus: Miguel Fabián Martínez
Cast:
Manrico: Gustavo López Manzitti / Juan Carlos Vasallo
Leonora: Haydée Dabusti / Florencia Fabris
Count di Luna: Luis Gaeta / Luciano Garay
Azucena: Alejandra Malvino / Matilde Isnardi
Ferrando: Ricardo Ortale / Mario De Salvo
Inés: Vanesa Thomas / Sonia Schiller
Ruiz: Sergio Spina
Gypsy: Claudio Rotella / Emiliano Bulacios
Messenger: Francisco Bugallo
After the season running
for a little over two months so far at
theatres in and around Buenos Aires, some heavier and more dramatic
Verdi in the form of Il Trovatore provided a welcome
counterpoint, particularly to the most recent Jeanne D’Arc au
Bûcher and The Rake’s Progress, and
indeed to the Teatro Argentino’s earlier Salome.
The production, a revival
of a new production in 2006, is a largely
traditional one, based around a single rock-like structure with steps,
which simplifies changes of scene as well as provides a platform for
the frequent large choral presence. And large they can be with more
than eighty names listed in the programme!
I had made a point of
going to see the first cast, as I was keen to
hear Luis Gaeta – one of the most experienced singers locally – in the
role of the Count, only to discover that he was off form on that
evening – so much so that second cast member Luciano Garay stepped in
as replacement. However, I found he lacked the presence physically for
the role and also vocally was weak in parts, particularly in the lower
range of his voice.
Conversely Haydée Dabusti
was a fine Leonora physically but vocally
while warm in the lower range her voice tends towards a “brittleness”
in the upper range, which detracted from her performance. Alejandra
Malvino, although slight in stature, was a dominant presence on stage
as Azucena, her voice rich and rounded, while Gustavo López Manzitti
was in fine form as Manrico.
Special mention also must
be made of the Ferrando of Ricardo Ortale,
who was exemplary. Both the chorus and orchestra fulfilled their parts
with passion and enthusiasm, and clearly an excellent rapport with
Maestro Vieu.
Jonathan Spencer Jones
Picture © Genitti, Teatro
Argentino
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