Opera. Feminine plural

PalmWe could give many examples that confirm the truth of the title, but just the last three operas I've seen these past few days immediately dispel any doubt. First was the Gotterdämerung Wagner's opera, where it becomes clear that the tragic and central protagonist is Brünhilde. And she is none other than Senta, who heads the cast of The Flying Dutchmanwhich we were able to enjoy at the Principal Theatre of Ciudad. To round off the week, at the Gran Teatre del Liceu, the one who carries the banner is the one who gives the work its title, The Mona Lisa. A composition, the only known one by Amilcare Ponchielli, yet still an indisputable masterpiece that requires six top-level voices to reach its full potential, as was the case in the production between the Liceu and the Teatro San Carlo in Naples, with stage direction by Romain Gilbert. Based on a drama by Victor Hugo, Angelo, tyrant of Padoue, to which Arrigo Boito, author of the librettos for Verdi's last and among his most highly regarded operas, under the pseudonym Tobia Gorrio, moved to Venice. An aspect that Gilbert has configured with complete and absolute fidelity, adding a few touches of the conmedia dell'arte, with the inclusion of Harlequin, Pantalone and Columbine, in addition to some narrative liberties, such as, among others, the final appearance of The Blind Woman, by Violeta Urmana, who still retains many of her qualities and, above all, the skill to accurately depict the essential characteristics of the character.

As for the rest, The Mona Lisa Saioa Hernández delivered a superb performance, showcasing a wealth of nuance and nuance to bring to life—and to death, like the other two actresses mentioned and many more—a character fraught with challenges. Her antagonist, Laura Adorno, portrayed by Kseni Dudnikova, also set the bar very high. In fact, the first heartfelt applause of the evening came when the two actresses performed their duet. And anathemaFurthermore, Michael Fabiano as Enzo Grimaldo gave a performance that was little more than adequate, or rather, I would say very uneven, to the point that where he should have redeemed his character, singing the most famous and recognized aria, Sky and sea! He pulled through as best he could, through sheer force of will and adversity. Gabriele Viviani, as Barnaba, was commanding and commanding, as was John Relyea, who finished off a solid and equally powerful Alvise Badoero. It would be remiss not to mention Roberto Covatta's harlequin-like Isepo and the famous Dance of the Hours, And the heart, also an undeniable protagonist of the complex and marble-like composition. Daniel Oren conducted the performance with great intensity and vehement gestures. It's one option. 'Venetian Excellencies' could also have been a suitable title for this role, given that it's an opera where we can find countless influences, from Verdi to the Grand Opéra, without losing grandeur or its own personality.