Babylon at Cap Rocat

PalmIt's difficult to put into words the musical dimension of the event that took place at Cap Rocat in the final performance of the fifth edition of the Festival, which year after year continues to increase its performances exponentially. If last year it was Jonas Kaufmann and Sondra Radvanovsky who performed the long finale of Turandot, Written by Franco Alfano, who has inspired so many legends, for the occasion the organizers have multiplied the bet to the point of offering Nabucco, in its entirety, in a concert version and a cast that can only be described as impressive. Anna Netrebko, the soprano who is currently the most famous in the opera world, was in charge of heading up a truly luxurious cast, the same one who sang it three nights ago at the Verona Arena and who sang it for the first time in Berlin a few weeks ago, thirty-one years later. For many, this was the most difficult role in the long list of sopranos who have appeared in Giuseppe Verdi's repertoire. This was the first for a dramatic sopranoagile, and with which the term ' was coinedspaccavocio' ('a voice-bursting one'). Netrebko sang a lackluster Abigaille, with an assortment of resources where nothing was lacking, like a decalogue on how to reach the pedestal that has already been reserved for eternity. Ben I invented you, A spectacular and poisoned recitative could be a good example, but the canon becomes unattainable, rounded off by an interpretative grace that is also beyond the scope of the show. Unattainable pleasure.

But Netrebko did not sing alone. None other than Luca Salsi as Nabucco and Christian Van Horn as Zaccaria escorted the diva. The former offered a very careful interpretation, with many nuances that offered a whole sample of the very different moods of his character, while a majestic Van Horn was all power, perfectly controlled and full of color. Not to highlight the velvety voice of the mezzo-soprano Caterina Piva, as in Fenena, and the intensity and expressive capacity of Caterina Marchesini, despite the small size of her role as Anna, would also be an injustice.

Francesco Demuro, Moisés Marín and Manuel Fuentes more than fulfilled their roles, but the other great character of Nabucco It is the heart, for the occasion and as usual, that of Cap Rocat, directed by Joan Company, without which, the monumentality of the composition would not hold up at all. So, monumental the heart, which turned the emblematic Come on, I think. In an anecdote, compared to the rest of the multiple performances that top the opera, Verdi's third, the first that lifted him off, to a level he hasn't slowed down even a millimeter over the years. Pablo Mielgo conducted his ensemble, the Illes Balears Symphony Orchestra, and once again displayed a level that seemed to multiply, and which made the distinguished protagonists turn around to applaud both the orchestra and their hearts when the performance ended. The audience's mamballetas, of course, need no mention. You can imagine.