Blog Villazonista: samedi, février 26

26 févr. 2011

EL RIGOLETTO DE ROLANDO VILLAZÓN Y DIANA DAMRAU (VIENA 2006)

foto: Wiener Staatsoper/Axel Zeininger

En el post del 16 de febrero ( DIANA DAMRAU - DIVINE DIVA ) comenté que no me constaba que Diana Damrau hubiera cantado nunca junto con Rolando Villazón. Me escribieron casi inmediatamente dos lectoras habituales, Claudine y Edith (merci, danke!), informándome de que eso si que sucedió, sólo un día.

En junio de 2006 la Staatsoper de Wien programó un Rigoletto, en el que el papel del bufón era cantado por el gran Leo Nucci, y el Duca y Gilda eran: Rolando Villazón con Elena Mosuc y Stefano Secco con Diana Damrau. Pero un día se cruzaron los repartos, y el 26 de junio cantaron juntos Rolando Villazón y Diana Damrau.

De aquellas funciones, se conserva la foto que abre el post (casi inédita), y una crítica publicada en http://www.operinwien.at

El original está alemán, pero Edith ha tenido la amabilidad de traducirnóslo al inglés, y así podemos entender mucho mejor que Rolando, como Duca, estaba en plena forma, que hizo una composición muy personal del rol y que entusiasmó al público...además de que estaba guapísimo con su vestuario renacentista. También, por supuesto, se habla de las magníficas interpretaciones de Damrau y Nucci.

Leo Nucci como Rigoletto en Viena - junio 2006

RIGOLETTO
Vienna State Opera
25 June 2006

Duke - Rolando Villazón
Rigoletto - Leo Nucci
Gilda - Diana Damrau
Sparafucile - Ain Anger
Maddalena - Nadia Krasteva
Giovanna - Zsuzsanna Szabo
Monterone - Janusz Monarcha
Marullo - Eijiro Kai
Borsa - Cosim Ifrim
Count Ceprano - Clemens Unterreiner
Countess Ceprano - Asa Elmgren
Page - Laura Tatulescu
Conductor: Vjekoslav Sutej

But a Duke for Rolando!
(written by Dominik Troger)
An enthusiastic audience celebrated among "sauna temperatures" the opera "Rigoletto" with the best vocal performance. Rolando Villazón sang after the debut on Thursday his second "Duke" in the Vienna State Opera.

Rolando Villazón has the ability to slip into roles like in a second skin. Suddenly he transforms a naive, gullible Nemorino and the proud and loving Roméo, in a youthful, from the efforts of a dissolute lifestyle hardly subscribed Duke; he looks like brilliant in the Renaissance costume. He hides his Intrusiveness behind the gallantry of a prince. For most of his liaisons, he is hardly encountered any resistance. (Only the men feel cuckolded and mocked.)

Gilda's innocence is a tempting challenge for him - and the young Gilda has of course never a little bit of a chance. The promise of Love is as hot as the kisses, perfectly is the camouflage of the seducer to the novelistic longing his victim: a poor student, who looks very well, can perhaps be saved by the first, innocent love. (Perhaps thinks the Duke, in those moments even mind when he up languishing with his dark timbre, but always without exaggeration, he promises affection in insinuating phrasing.) The ambience of the tavern is a bit of a likeness of the Duke, but nothing is vulgar. If he touches Maddalena, are of a few gestures of the entire vocabulary of seductive Flirts, that his dalliance is not an embarrassing moment. How can Maddalena resist and forget their passion for this man?

Rolando Villazón was in top form, filled the house with high notes, (and you could learn from him, that a short concise end of the Aria produces far more impact, as one long sung final note, then pretty soon loses the style... -> see the Rigoletto on 18 june) (Note : 18 june „Duke“ Stefano Secco, „Gilda“ Elena Mosuc). Villazón sings not a boastful Duke; through his dark, slightly melancholy timbre, the role gets a own, perfidious way: behind the hotblooded romantic yearning lurks a playfull, impulsive, small feline predator - and the loot drops her quite easy in their mouth.

This ambiguity of character, with his timbre Rolando Villazón offers the best vocal ability, takes the audiance from the first moment caught. It appears the special and personally way by Villazóns acting ability, that he falls not one second in a plakative psychologizing. He lives on the stage the person subtle in all their versatility.

But this sentimental opera-story to telling, was not only merit Villazóns: Diana Damrau has contributed greatly to the understanding of Gildas victims. So great is their love, without reflection, that the wrath on her lover she against directs herself. Diana Damrau is a modern singing actress , exciting and in expression strongly influenced by the stages-situation - unlike Elena Mosuc, Gilda, in the first two Rigoletto performances in this series. Mosuc - you could she call as "classical" in the Italian coloratura singer. (You only take her "Elvira" as a benchmark, which she sang last season with much success at the State Opera). A short-wave vibrato, that "emerged" repeatedly by Damrau, could be disturb - depending on your taste.

Leo Nucci gave an another brilliant performance as Rigoletto - he is just at the point where his long stage experience still has the vocal resources who contribute, to be a role model.
He seeks no pity, seriousness and tragedy is dominant, he meets the audience with horror at this fate. His role in "Rigoletto"is the center of this opera, as it promises the Opera-Title. His game was well, without exaggerating to present the effect of his deformity. His revenge-feelings - he plays with elemental force.

Also Sparafucile (Ain Anger) and Maddalena (Nadja Krasteva) did their best , Monterone (Janusz Monarcha) - impressive cursed - , and the orchestra much more ambitious seemed as last Sunday, and it was the big Jubilation at the end - well over 10 minutes - very understandable.

Gracias a Christa, he recordado que existe en Youtube un video de ese Rigoletto, de Rolando con Elena Mosuc