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Spain M. Weinberg, The Passenger (Die Passagierin): Teatro Actual Refrain and Orchestra / Mirga Gražinytè-Tyla (conductor). Teatro Actual, Madrid, 4.3.2024. (JMI)
Manufacturing:
Director – David Pountney
Units – Johan Engels
Costumes – Marie-Jeanne Lecca
Lighting – Fabrice Kebour
Refrain grasp – José Luis Basso
Forged:
Marta – Amanda Majeski
Lisa – Daveda Karanas
Walter – Nikolai Schukoff
Tadeusz – Gyula Orendt
Katja – Anna Gorbachyova-Ogilvie
Krzystyna – Lidia Vinyes-Curtis
Vlasta – Marta Fontanals
Hannah – Nadezhda Karyazina
Yvette – Olivia Doray
Alte – Helen Area
Bronka – Liuba Sokolova
Mieczysław Weinberg’s The Passenger has loved success since its premiere in Moscow in 2006, ten years after the composer’s loss of life. This marks the opera’s first performances at Teatro Actual, and it has been properly obtained.
The opera takes place on an ocean liner, the place two former occupants of the Auschwitz focus camp meet. One is Lisa, who was a guard within the camp and is touring to Brazil together with her husband. The opposite is Marta, a Polish Jew and a prisoner at Auschwitz when Lisa was a guard; her fiancé, Tadeusz, is together with her. The opera narrates the feelings of the protagonists on the ship within the current time and, in flashbacks, within the focus camp. It’s an intriguing opera in dramatic phrases and, though there are not any arias, there are moments of nice musical curiosity, as occurs in Marta’s necessary scenes.
Teatro Actual is providing Weinberg’s opera in a brand new co-production with the Bregenz Competition, Warsaw’s Wielki Theater and the English Nationwide Opera, and is directed by David Pountney.
The manufacturing is enticing and narrates the plot very properly, with out the ‘originalities’ to which trendy administrators are so accustomed. The higher a part of the stage is the deck of the ship on which Lisa and Marta meet, which causes an actual shock. Within the decrease half we’re proven scenes of Auschwitz in flashback, that are very properly performed, particularly these of the prisoners’ barracks. Curiously, above this decrease stage is the refrain which sings its transient elements in Spanish.
The stage path labored rather well on the entire. It’s a manufacturing worthy of being highlighted and jogged my memory lots of one by Anselm Weber that I noticed in Frankfurt six years in the past.
Conductor Mirga Gražinytè-Tyla was making her debut at Teatro Actual. Her studying was glorious: there’s a lot to conduct right here, and she or he has proven that she is aware of the work completely. She maintained the depth and emotion all through the opera and drew a effective efficiency from the Teatro Actual Orchestra.
The vocal solid has 4 main characters and a collection of secondary ones, primarily Marta’s companions in Auschwitz.
The true protagonist of the opera is Marta, performed right here by soprano Amanda Majeski who was excellent. She is a robust singer with a sexy voice, and properly in a position to categorical feelings, as occurred in her nice scene in Act II in addition to within the Epilogue. Lisa was mezzo-soprano Daveda Karanas, who was additionally excellent though her voice was much less interesting.
Walter, a German diplomat and Lisa’s husband, was performed by tenor Nikolai Schukoff, whom we’ve got seen many instances in Wagnerian roles. His voice is broad and his efficiency was enough. Baritone Gyula Orendt sang the a part of Tadeusz, Marta’s fiancé, who had additionally been in Auschwitz, and he sang properly and with gusto.
The remainder of the characters sang and acted properly.
José M. Irurzun
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