Romance in the dojo with “Adriana Lecouvreur” in Liceu

Romance in the dojo with “Adriana Lecouvreur” in Liceu

Liceu concludes the season with a restaging of the elegant and elegant co-production of Adriana Lecouvrere by Italian Francesco Celia (1866-1950), directed by David MacVicar, which Roberto Alagna triumphed in the 2011-12 season. The tenor returns to portray Maurizio, this time in the second cast, while in the first he makes his debut in the role of Freddie De Tommaso.

Alexandra Korczak, in her first appearance in the lead role of the work, will alternate with Valeria Seppi – her first performance at Gran Teatre – from Sunday. Korzak will be a tour de force, performing four roles in five days in which she will be lip-syncing with Alagna, her real-life husband, in just one. “I am very happy to return to the Liceu and to be able to make my debut in this role. After a 25-year career, singing Adriana Lecouvreur in this production is a dream. Although I have often sung Mozart’s bel canto, Handel, and… Yesterday’s press conference: “After playing characters that went from Queen of the Night to Tosca, I always dreamed of following in the footsteps of my mother, who was a singer. The main cast is completed by Daniela Barcellona, ​​Clementine Margin as the Princess of Bouillon, Ambrogio Maestri, and Luis Cansino as Michonnette.” .

Reality and fantasy intersect in this work set in 18th-century Paris and the world of theater. The film depicts the love between Adriana, a famous French actress, and Maurizio, a supposed officer who is actually the Count of Saxony, who is also in a relationship with the Princess of Bouillon for political reasons. The rivalry between the two women will end tragically.

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Set designer Charles Edwards, a frequent collaborator with McVicar, recreates an elaborate Rococo stage, life among French dolls and at the French court. She has a lavish Brigitte Revens costume. “This production is a celebration of theatrical and romantic life,” said Justin Way, who has been responsible for the restoration since this production’s premiere at London’s Covent Garden more than 10 years ago.

Adriana Lecouvreur allows us to see the private lives of great figures in eighteenth-century politics and society. “The production is very faithful to the libretto and Celia’s music,” Way noted. As production director of the Teatro Real in Madrid, where this production will open next season with another crew, he pointed out “how difficult it is to produce a production with these characteristics nowadays because of the issue of cost.” This co-production is the result of collaboration between the major opera houses of London, Paris, San Francisco, Vienna and Barcelona.

For the American conductor Patrick Summers, also artistic and musical director of the Houston Opera, in the music of this work, which premiered in Milan in 1902, the origin of Hollywood music can be perceived. “The score of this opera is full of poetry. It distills the emotions of the characters, so I try to reflect in the music all that range of color and drama that is present in the work.”

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Both Di Tomaso and Korzak feel a special affection for the Liceu Stadium, as it helped them participate in the Phineas Tenor Competition, closely linked to Barcelona’s Coliseum. “It is an honor to be here again, this theater that saw me born as a professional, with an opera of excellent music and a great cast.” Maurizio is a complex role sung by great voices such as Domingo, Argal and Carreras in the Liceo.

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For Di Tommaso, the best thing about this role is that it has a little bit of everything. “He is not a one-dimensional character, he has different layers. On the one hand, Maurizio is a heroic soldier; on the other hand, he has a seductive side as a lover. Honor and duty are as important to him as love. “He feels for Adriana,” he pointed out to the English tenor, one of the most vocal Desirable at the moment Alania is not a friend of experiments either. “For me, opera is a religion or a memorial. If I were an architect, I would not be able to change the Sagrada Familia just because we are in a different era. You can’t change everything in opera either.”

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