Tenant It is the latest theatrical farce of the caloric Julia Truyol. She always chooses well, from the company with which she has become a canonical benchmark to others. Her standards are very high, and on this occasion, once again, she has surpassed them with that natural interpretive skill that is her trademark. However, Tenant It's a challenge with a few added twists and turns, requiring many elements surrounding the story for the project to succeed. First, a good script, starting from a very common situation: a tenant evicting a female tenant due to the excesses, to put it mildly, in which we live and which we've even become accustomed to, shrugging our shoulders and thinking, "What can you do?" Putting this everyday circumstance on stage risks turning it into a piece of everyday life. That's not the case here. Furthermore, a monologue needs plenty of incentives to keep the audience engaged, forcing the protagonist to perform a series of somersaults that can only be overcome with a wide range of registers at a pace that, if not frenetic, is certainly high-energy, constantly shifting her tone, going from despair to resignation, reflecting the protagonist's temperament.

It'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.