Joined: 30 Oct 2004
|Posted: Sat Apr 07, 2018 4:27 pm Post subject: Review Barcelona
Bryn Terfel, monument and expressivity
The Welsh low-baronist hit the Palau with a repertoire that showed the best of his triumphant career
Nineteen years after his recital at Liceu, Bryn Terfel's scenic and canister charisma (Pant Glas, Wales, 1965) has returned to Barcelona to debut in the Palau. It has been an act of poetic justice for the legendary interpreter, unjustly forgotten in the musical programming of a city in which he has never sung an opera and, at the same time, a unique opportunity to enjoy an artist in the fullness of his maturity. The impressive recital, shared with the Gulbekian Orquesta de Lisboa directed by Gareth Jones and Orfeó Català and Cor Jove, was dedicated to the memory of Carmen Mateu de Suqué, an impeller of the Peralada Festival where, in 1990, the operist debut European of the Welsh low baritone next to Josep Carreras at the opera 'Sansón and Dalila'.
Terfel's performance was a monument to expressiveness, both for the use of his powerful vocal instrument and his extraordinary dramatic vis, with a gestuality always in keeping with the pieces he interprets. The theater domain of their recreations and its huge communication capacity make the apparent histrionic excesses to magnify the sense and sensitivity of their recreations. It can be evil, picarious, insidious, painful and up to one point, but it always gives the tone of its characters.
Your wavy personality helps to overcome any shortage that may appear (always more by excessive vocal than by default). He demonstrated it with the varied repertoire he offered, representing his trajectory, in which he always controlled the universe of his passages. In 'Sono lo spirito che nega', of 'Mefistofele', showed the power of his grave and bordered the role, whistling himself with the overflowing force of the 'fischios' of the score.
In 'L'onore! Ladri! 'By' Falstaff 'brought forth the picarescence of a paper that seems written for its vocal characteristics and its imposing physical. Reasonably it is one of its emblematic roles where it also shows the dominance of the average voices. But one of the strong dishes of the night was its version of the page 'La valquiria' in which, with dramatic depth and without gesturing, it transmits the anguish and emotion of the goodbye of God Wotan to his daughter Brunilda daughter.
Far from rendering the theatrical intensity, Terfel did not hesitate to cling to Boris Godunov's 'Death of Boris'. On the knees on the floor, he interpreted the hallucinations and complex of the protagonist's fault for having ordered the death of the young Zarévich Dmitri.
The singer went into the honduran of the Russian soul with his tremendous version. In one of the most popular "rush" final, the Welshman was excited at Orfeó with the nostalgic melody 'Homeward Bound' by Marta Keen and displayed his full versatility in pieces of American music as 'Some enchanted evening' of 'South Pacific' and the acclaimed 'If I were a rich man' of 'The violinist on the roof', exposed with melodic sensitivity and fun gestualization. A song of Welsh cradle closed its triumphant performance, in which Palau's corals looked at its good time with operistic pages such as 'I'll think', 'The choir of pilgrims' and 'The Chorus of Gypsies'. Roundnight