This is how things are done

The challenge was very risky. The liaison between the Principal Theatre of Inca and the Orquestra de Cambra de Mallorca is yielding increasingly tasty fruits. That said, it is worth praising this latest achievement, which surely will not be the last, nor by a long shot, such as the complete staging of Mozart's Così fan tutte, with only small and not at all significant plot cuts which, on the other hand, have managed to give great fluidity to the narrative and make everything flow with maximum naturalness for a story that, like almost all farcical comedies, does not aim for any semblance or credibility. The intention lies in the background of the plot, which, in this case, is well-filled with readings. So much so that Miquel Àngel Raió, the artistic director of this success, has changed the discourse as much as possible, saving a bit of what "all" do. It was not easy to win a tug-of-war against Lorenzo da Ponte. We'll leave it at that. Raió, where he has undoubtedly been fundamental has been in the staging and everything related to the setting –appropriate, simple, and efficient–, in the very careful direction of actors and all other elements that, with the scenographic and stylistic collaboration of Adema, make everything run smoothly without hitches or delays. He even derives plot benefit from the incorporation of the three dancers.

Nor is Bernat Quetglas, the orchestra's principal conductor, of the project and the performance, alien to all this, quite the contrary. A job well done, where he has not given the audience many opportunities to express, on as many occasions as might have happened, their approval with the usual applause. But it is no less true that in this way he has given a fundamental plus of continuity to the plot. At the same time, he has generated musical tension in the ensemble with optimal results and, as a great achievement, I would highlight the essential musical balance that has presided over the spectacle at all times. A measured, considered, and temperate spectacle where it is almost impossible to single out one element over another.

In the chapter of voices, almost also zero kilometer, there is no need to emphasize this great charmer and trickster Don Alfonso, played by Jorge Tello, because he is a sure value and on this occasion he was no exception. Irene Mas makes an impeccable Despina, searching and finding the right tone and texture for each register. As for the four protagonists, Natàlia Salom, Mar Esteve and Rodrigo, Sebastià Serra and Víctor Jiménez, from the outset, they physically match the characters they interpret perfectly, a circumstance that gives them a lot of credibility, which, in addition to the grace with which they do it, adds added value. An added value that would be nothing if they did not sing with the same effectiveness and skill. Agilities, colors and projection, and everything fitted with the rest as it should be, in such a way that it made the two and a half hours fly by. Work, a lot and good. This is how things are done.