Palmawith Romeo and Juliet, By Charles Gounod,It concluded the opera’s thirty-eighth season and also the end of a cycle and an era. I would say it was more than just a phase. So the happy ending might seem to indicate a few years with a lot of light and a few shadows, but no. The title does not refer to this fortuitous and causal circumstance, although, since we are at it, we say that it is not easy for him who has taken charge. The bar is very high, but it is also true that everything can always be improved. I wish him well, because talent, like courage, is assumed. But that’s another story. In contrast, the happy ending, of course, as is easy to assume, also does not refer to the outcome of the story of the lovers in Verona, which was immortalized – what an irony – by William Shakespeare, although some have tried without much success or excellence.
The titular ending has a much simpler raison d’être, such as the fact that the performance didn’t get off to a very good start. On the one hand, it’s rushed by director Frank Villard, who took some time to get the reins of the job under control. This is a circumstance that the main stage choir did little to improve when it began its first and pivotal intervention, with Verona once witnessed two rival families, A piece to show excellence. They tried, but each member of the formation at his own risk. It was like announcing a tragedy beyond that which came from the factory, pointing out at the beginning the interpretive excesses of it all, with a gesture so exaggerated that it can only be described, very generously, as incomprehensible as unlucky. Not even Juan Noval Moro, who was responsible for translating Romeo, his voice was graceful, huge when he needed it, but not with much color and nuance. Clearly, these first moments of the performance heralded disaster.
It was just a harbinger. There was still plenty of time and plenty of opportunities to make amends. I would say that No no! I don’t want to listen to you anymore, For Juliet, played by Genesis Moreno, it was a redemptive balm. Suddenly everything seemed to fall into place. The moment of love par excellence arrived, which forced Moreno to perform an acrobatic show, supplemented with sound, which made attention directed to his intervention, more like the intervention of Simio Estelita than Giulietta on the balcony of his room, which did not leave any of his qualities and vocal resources to his intervention. From first to last. It was as if you had carried the feature on your back and brought it to an almost fantastic final result, not without the help of a rather interesting local group, starting with Begonia Gomez, who, like Stefano, always wants to prolong his intervention ; Jorge Tello, as Gregorio, is a surefire; José Manuel Sanchez and Pablo Lopez, as Tybalt and the Duke of Verona, respectively, also need no introduction. Jerome Varnier, L’Orfeo’s devilish Charon as Brother Laurent was wonderful, and so on. The heart, already within a more contextual plan has been fulfilled. The orchestra was at the service of the heroes and shone on them Break periods. The wardrobe, signed by Christian Lacroix, was discreet, which is common when a designer has a name and lineage. In terms of acting, it is effective and has a large presence. There was nothing preventing the story from continuing in the usual and organized way. In other words, a happy ending. Maybe an oxymoron.
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