admire a stage where a bedrock creates the illusion of a landscape flanked by fields of wheat. The inclined platform creates dynamic and in the field of action the characters take on a more amazing than they would in a single plane horizontal. The curtain boasts a delicately crafted.
The voices of great singers abroad both the sky theater, such as stelae sometimes hilarious (it's a comedy), other threads that people like candy corner.
are frontline. Out-standing, of course, his voice and by his grace, Roy Stevens, who plays Sir John Falstaff, in addition to U.S. and German Annalisa Wimberg Birgit Beer.
The accompanying an orchestra whose sound has nothing to envy to the best of other countries, composed of musicians from the Guatemala National Symphony Orchestra, conducted by maestro Ramiro RamÃrez.
The text, humorous: a big drinker try to seduce two bourgeois. Women, however, are more clever and mock Falstaff he collapsed, and again in his traps.
All this is so beautiful that one wonders what motivated the director to break up the elements. Perhaps this is an attempt to revamp the genre, perhaps a misguided inspiration in the ideas that might be revealing remained at the level of occurrence.
course before proceeding it is fair to point out the qualities of the director Stefano Poda, has a deft handling of the mass movement, not content with making a simple adaptation and highlight shows you know very well the scenarios.
But what doing there, for example, the man with an umbrella with slow acting all the time, as if out of another work to be inserted into one that is alien to him?
The angel or bird makes sense when given a letter to Falstaff, but then and before that wanders like a sleepwalker aimlessly. Several of the characters seem zombies, are handled with an invisible rope, in the manner of pampering.
The director also creates visual noise with curtains, cutting so that wayward Taylor, the beauty of his best canvases. Long time projects a woman's eye, and, later, to video of a war to the part where they sing "He who laughs last laughs best ..."
Since the beginning of the work is seen to be a waste of creativity, where the singers act makes walking among the public, resource managers are employed by enthusiasts seeking surprising angles, even if they are already fairly well-worn practice in both plays and pop music concerts.
The second part, equally funny, too solemn renders displaying a tragic stage performance (there is even dry ice), a body slide, without a reason, even more emphasis on the surface.
When John Falstaff seduces Alice Ford, is a piece in which, according to the text, she subtly wraps with clever words, but the director chooses both wallow on the floor (¡!).
The address, in short, is like a beautiful woman who has been voraciously wearing a fashion student: uses in the neck a diamond, ruby \u200b\u200bon toes, hands white quartz, emeralds in the ears, a topaz pendant, beautiful dresses, everything is real, even the shoes encrusted with gems and veil herself brought from Samarkand, but that woman knows how to combine your clothes. Almost has a gold tooth and wiggle like walking through a market in flip-flops.
Poda, a director obsessed by the "slow motion", he failed to demonstrate in this work, again, their hobbies baroque. Is it perhaps your style? If so, we must accept that it does get very abstract, but loses text coherence.
fragments of his work may well be autonomous texts. "An innovative, misunderstood? Actually, shows a very rebellious teenager, still babbling. Create the assembly of an opera that takes place at the service of his good ideas, but it takes precisely the opposite.
But save this presentation, the excellent quality of the actors.
(My other Blog, welcome as: The Age of the Bumblebee: http://www.juancarloslemus.com/ )
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