Mitridate, king of Ponto de Mozart en el Teatro Real: Feliz Recrate de Una Obra Juvenil

The 2006 Salzburg Festival was dedicated to representing the 22 operas of Mozart. A good idea that served to demonstrate so much that Wolfgang Amadeus was already Mozart from a very young age and that the maturation of the great operator would advance in parallel to the quality and evolution of his librettos. The co -production of Royal theater with the Barcelona Liceo and the Frankfurt Opera It makes a magnificent work known, with vigorous own entity, which makes no sense to compare with the great subsequent titles.

This is a peculiar piece, especially because The intimate dramatic impetus of music takes off from baroque statism to provide flesh and blood to beings arrested in rigidity; They follow each other, as prescribed, the recitative, accompanied or not, and the Arias, which are not limited here to the coat of the soliloquy; In addition to complaining and reiteratively describing what they feel or think pathos which makes the mere conventional figure, protected or not by a mask.

The history of this Hellenic king who in the first century before Christ tried to contain the imperialist fury of Roman Pompey to what is most like, strangely, it is a theatrical work of the American playwright Eugene ONeillor a novel by the also Americans John Steinbeck o Erskine Caldwellwith the father who becomes defeated from the war and finds his children facing the conquest of the power and favors of the Father’s fiancee.

Mithridate (Juan Francisco Gatell) is received by Aspasia (Sara Blanch), torn between sifore (Elsa) and Farnace (Franco Famboli). Ismene (Marina Moó) attend impassive, before Marzio’s impetus (Juan Sancho) and the mediation of abate (Franco Klisovic). A good very well balanced cast; If it can be thought that the contractor Fagioli stands out, perhaps because the adolescent composer has felt especially inspired by the “Castrate” situation.

The musical direction of Ivor Bolton in harmonious synthesis with the commitment achieved of Claus Guth For providing the older reality with the vitalized argument for music. He Royal theater Divide its programming between functions represented and concert titles. This infrequent title is ultimately a large collection of Fine Arias, and its presentation in the concert mode would be adequate, as already done.

But Guth’s staging is appreciated, a regular, who gives theatrical plastic, choreographic rhythm, and acting truth to the adventure of the defeated monarch that is when he returns home that is not a homeric hero but the protagonist of a melodrama of sordid betrayals that Mitridate himself manages to raise to the category of Greek tragedy immolate as a truculent repentant protagonist of Shakespeare. The real sacrifice reconciles to the figures of the folletin and wives their deafness to get together in a common repentance.

An excellent operatic evening that the public received with the appreciation he deserved.