{"id":4225,"date":"2016-08-30T13:22:11","date_gmt":"2016-08-30T11:22:11","guid":{"rendered":"https:\/\/monitoring.patlevic.sk\/?p=4225"},"modified":"2023-01-26T13:23:00","modified_gmt":"2023-01-26T12:23:00","slug":"rossini-opera-festival-2016-vyhry-i-manka","status":"publish","type":"post","link":"https:\/\/monitoring.patlevic.sk\/?p=4225","title":{"rendered":"Rossini Opera Festival 2016 \u2013 v\u00fdhry i mank\u00e1"},"content":{"rendered":"
\n

Po tridsiaty siedmy r\u00e1z sa rodisko Gioachina Rossiniho, sympatick\u00e9 95-tis\u00edcov\u00e9 Pesaro, oblieklo do sl\u00e1vnostn\u00fdch \u0161iat. Teda sk\u00f4r symbolicky, lebo dress code na Rossini Opera Festivale je vskutku liber\u00e1lne otvoren\u00fd. Po\u010das dvoch augustov\u00fdch t\u00fd\u017ed\u0148ov sa z centra pr\u00edmorskej turistiky st\u00e1va navy\u0161e Mekka fan\u00fa\u0161ikov belcanta a \u0161peci\u00e1lne vyh\u013ead\u00e1va\u010dov raritn\u00fdch opusov ve\u013ek\u00e9ho talianskeho skladate\u013ea. Nov\u00e1 \u0161tatistika o n\u00e1v\u0161tevnosti aktu\u00e1lneho ro\u010dn\u00edka sa objav\u00ed po jeho skon\u010den\u00ed, no vzh\u013eadom na rast\u00faci z\u00e1ujem o t\u00fato opern\u00fa destin\u00e1ciu, pravdepodobne prev\u00fd\u0161i \u010d\u00edsla z lansk\u00e9ho leta. A tie hovorili o \u0161estn\u00e1stich tis\u00edckach div\u00e1kov z tridsiatich \u0161tyroch \u0161t\u00e1tov sveta. Vlani tvorili cudzinci 64% publika a recenzenti pricestovali z 26 kraj\u00edn.<\/em><\/p>\n


\nRossini Opera Festival 2016 \u2013 v\u00fdhry i mank\u00e1<\/strong><\/p>\n

V d\u0148och 8. a\u017e 20. augusta sa v troch lokalit\u00e1ch, historickom Teatro Rossini, v upravenej \u0161portovej hale Adriatic Arena a v koncertno-divadelnej s\u00e1le Auditoria Pedrotti v budove miestneho konzervat\u00f3ria, odohrali \u0161tyri opern\u00e9 tituly a sedem koncertov. Hlavn\u00fdmi inscen\u00e1ciami bola nov\u00e1\u00a0La donna del lago<\/em>\u00a0(Jazern\u00e1 pani<\/em>) a nov\u00fd\u00a0Il turco in Italia<\/em>\u00a0(Turek v Taliansku<\/em>), ktor\u00e9 dop\u013a\u0148ala repr\u00edza mlad\u00edckeho\u00a0Ciro in Babilonia<\/em>. K nim sa prira\u010fuje od roku 2001 ka\u017edoro\u010dne\u00a0Il viaggio a Reims<\/em>\u00a0(Cesta do Reme\u0161a<\/em>), parketa pre \u00fa\u010dastn\u00edkov interpreta\u010dn\u00e9ho semin\u00e1ra\u00a0Accademia Rossiniana<\/em>. N\u00e1zov dominantn\u00e9ho koncertn\u00e9ho podujatia\u00a0Fl\u00f3rez 20<\/em>\u00a0napoved\u00e1, \u017ee jeho \u00fastrednou postavou bude rossiniovsk\u00fd tenorista \u010d\u00edslo jeden Juan Diego Fl\u00f3rez, ktor\u00fd si pripom\u00edna dvadsiate v\u00fdro\u010die svojho triumf\u00e1lneho debutu na\u00a0Rossini Opera Festivale<\/em>. N\u00e1hly z\u00e1skok v postave Corradina v opere semiserii\u00a0Matilde di Shabran<\/em>\u00a0od\u0161tartoval z ve\u010dera na r\u00e1no mimoriadnu kari\u00e9ru peru\u00e1nskeho umelca, dodnes nedosti\u017en\u00e9ho \u0161pecialistu na virtu\u00f3zne tenorov\u00e9 \u00falohy v Rossiniho oper\u00e1ch. Okrem gala koncertu vytv\u00e1ra v aktu\u00e1lnom ro\u010dn\u00edku aj postavu Giacoma V \u2013 Uberta v\u00a0Jazernej panej<\/em>.<\/p>\n


\nRe\u017eis\u00e9ri \u0165ahali za krat\u0161\u00ed koniec<\/strong><\/p>\n

Rossini Opera Festival<\/em>\u00a0z h\u013eadiska vizu\u00e1lnych tvarov inscen\u00e1ci\u00ed v podstate kop\u00edruje celosvetov\u00fd trend presadzovania re\u017eis\u00e9rskych a sc\u00e9nografick\u00fdch predst\u00e1v o dielach s preva\u017ene (\u010des\u0165 v\u00fdnimk\u00e1m) bezhlav\u00fdm odmietan\u00edm \u010dasopriestorov i charakterov post\u00e1v, dan\u00fdch skladate\u013emi a libretistami. Javiskov\u00fd odkaz Gioachina Rossiniho si u\u017e aj na rodnej p\u00f4de zvykol na v\u0161akovak\u00e9 excesy. Za viac ne\u017e \u0161tvr\u0165storo\u010die pravideln\u00fdch n\u00e1v\u0161tev festivalu m\u00e1m v blahej pam\u00e4ti aj inscen\u00e1cie r\u00fddzo klasick\u00e9, ale aj tak\u00e9, kde modern\u00e9 prostriedky sl\u00fa\u017eili \u00fa\u010delu predostrie\u0165 div\u00e1kovi neskreslen\u00fd obraz o opusoch \u010dasto v\u00f4bec, alebo len raritne hran\u00fdch. K tak\u00fdm patria star\u0161ie inscen\u00e1cie Piera Luigiho Pizziho, Huga de Anu, Lucu Ronconiho \u010di Grahama Vicka z 90. rokov, hoci najm\u00e4 dvaja ostatne menovan\u00ed nesk\u00f4r svoje renom\u00e9 m\u00f3dnymi v\u00fdstrelkami pr\u00e1ve v tituloch u\u017e raz strhuj\u00faco na\u0161tudovan\u00fdch (Armida<\/em>\u00a0u Ronconiho, talianska verzia\u00a0Moj\u017ei\u0161a<\/em>\u00a0po prvej franc\u00fazskej u Vicka) na\u0161trbili. Ale ch\u00fa\u0165ky div\u00e1ckej i kritickej obce s\u00fa rozmanit\u00e9, tak\u017ee re\u0161pektujem, \u017ee proti gustu \u017eiadna di\u0161puta.<\/p>\n

V tomto ro\u010dn\u00edku dr\u017eala re\u017eis\u00e9rske \u017eezlo dvojica intendantom vyvolen\u00fdch Talianov, Ben\u00e1t\u010dan Damiano Michieletto a Tur\u00edn\u010dan Davide Livermore.<\/p>\n

\u0160tyridsa\u0165ro\u010dn\u00fd Michieletto patr\u00ed k naj\u00faspe\u0161nej\u0161\u00edm predstavite\u013eom mlad\u0161ej, alebo u\u017e pomaly strednej gener\u00e1cie talianskych re\u017eis\u00e9rov. Nie je \u017eiadnym nov\u00e1\u010dikom na\u00a0Rossini Opera Festivale<\/em>\u00a0(Straka zlodejka<\/em>,\u00a0Hodv\u00e1bny rebr\u00edk<\/em>,\u00a0Sigismondo<\/em>), kde sa mu doposia\u013e celkom darilo. V tomto roku sa v spolupr\u00e1ci so sc\u00e9nografom Paolom Fantinom a kostym\u00e9rom Klausom Brunsom dostal k\u00a0Jazernej panej<\/em>. V porad\u00ed dvadsiata deviata opera Gioachina Rossiniho patr\u00ed do skupiny tzv. neapolsk\u00fdch a v tamoj\u0161om Teatro San Carlo mala premi\u00e9ru 24. okt\u00f3bra 1819, teda v \u010dase, ke\u010f mal skladate\u013e iba dvadsa\u0165sedem rokov. Partit\u00fara\u00a0Jazernej panej<\/em>\u00a0skr\u00fdva v sebe prvky nov\u00e1torstva najm\u00e4 pod\u010diarknut\u00edm romantickej a emocion\u00e1lnej l\u00ednie, ako aj silnou reflexiou pr\u00edrody. V hudobnej \u0161trukt\u00fare, delen\u00ed charakterov a virtuozite spev\u00e1ckych partov so s\u00faperen\u00edm dvoch ved\u00facich tenorov a so z\u00e1vere\u010dnou sopr\u00e1novou \u00e1riou (p\u00f4vodne, ako v ka\u017edej \u201eneapolskej\u201c opere, pre Isabellu Colbran) je to typick\u00fd Rossini. Na rozdiel od tragick\u00fdch opier,\u00a0La donna del lago<\/em>\u00a0(libreto Andrea Leone Tottola pod\u013ea epickej po\u00e9my \u0161k\u00f3tskeho romantika Waltera Scotta) sa kon\u010d\u00ed \u0161\u0165astne a nem\u00e1 ani tradi\u010dn\u00fa predohru.<\/p>\n

Damiano Michieletto<\/strong>\u00a0s\u00a0Paolom Fantinom<\/strong>\u00a0sa nedr\u017eali striktne predp\u00edsan\u00e9ho prostredia. Prv\u00fd v\u00fdjav sa odohr\u00e1val v uzavretej izbe s man\u017eelsk\u00fdmi spormi zostarnut\u00e9ho p\u00e1ru Eleny a Malcolma, stv\u00e1rnen\u00e9ho hereck\u00fdmi dvojn\u00edkmi. V tej chv\u00edli e\u0161te nebol celkom jasn\u00fd re\u017eis\u00e9rov z\u00e1mer. Ke\u010f\u017ee pr\u00edtomnos\u0165 oboch sa vinula cel\u00fdm pr\u00edbehom \u2013 a treba poveda\u0165, \u017ee ru\u0161ivo a kontraprodukt\u00edvne \u2013 pointa pri\u0161la a\u017e v z\u00e1vere, ke\u010f sa sc\u00e9na vracia do v\u00fdchodiskov\u00e9ho bodu. Fotografia ve\u013ekorys\u00e9ho kr\u00e1\u013ea Giacoma pripom\u00edna Elene, \u017ee on mal by\u0165 t\u00fdm prav\u00fdm.<\/p>\n

Obrazy sa napriek jednotn\u00e9mu z\u00e1kladn\u00e9mu p\u00f4dorysu menia dv\u00edhan\u00edm zadn\u00fdch op\u00f4n, z izby sa st\u00e1va zdevastovan\u00fd, vyhoren\u00fd pal\u00e1c a na pozad\u00ed sa objavuje mo\u010diar, zarasten\u00fd vysok\u00fdm r\u00e1kos\u00edm. V tomto labyrinte sa dar\u00ed celkom \u00fa\u010dinne rozohr\u00e1va\u0165 aj bojov\u00e9 sc\u00e9ny s politick\u00fdmi mot\u00edvmi, no v z\u00e1vere namiesto tr\u00f3nnej kr\u00e1\u013eovskej s\u00e1ly sa div\u00e1k mus\u00ed uspokoji\u0165 s lustrami spusten\u00fdmi nad mo\u010diarnym exteri\u00e9rom. E\u0161te \u0161\u0165astie, \u017ee Michielettovu v princ\u00edpe polemick\u00fa a v podstate ani nie objavn\u00fa koncepciu posil\u0148uj\u00fa dramatick\u00e9 momenty, in\u0161pirovan\u00e9 strhuj\u00facim hudobn\u00fdm na\u0161tudovan\u00edm a skvel\u00fdmi s\u00f3listami. Prosto, prima la musica\u2026<\/p>\n

Davide Livermoore mus\u00ed by\u0165 favoritom vedenia festivalu, ke\u010f k jeho repr\u00edze babylonsk\u00e9ho\u00a0Cira\u00a0<\/em>pribudla nov\u00e1 verzia komickej opery\u00a0Turek v Taliansku<\/em>. Po premr\u0161tenej a v kone\u010dnom d\u00f4sledku spackanej\u00a0Talianke v Al\u017e\u00edri<\/em>\u00a0(2013) nenadchol ani tento re\u017eijn\u00fd v\u00fdklad. Livermoreho fascinuje filmov\u00e9 umenie. To dok\u00e1zal u\u017e v prvej skladate\u013eovej opere seria\u00a0Ciro in Babilonia<\/em>\u00a0(Rossini ju skomponoval v dvadsiatich rokoch a bola nielen sk\u00fa\u0161obn\u00fdm laborat\u00f3riom v pre\u0148 novom \u017e\u00e1nri, ale aj n\u00e1ro\u010dn\u00fdm vyrovnan\u00edm sa s biblickou t\u00e9mou a s podmienkou, \u017ee po\u010das p\u00f4stneho obdobia ferrarskej premi\u00e9ry bolo zvykom preferova\u0165 oratori\u00e1lnu pred opernou formou), kde vytvoril il\u00faziu ak\u00e9hosi divadla v kine. V\u00a0Cirovi\u00a0<\/em>mu jeho met\u00f3da kombin\u00e1cie historizuj\u00facich kost\u00fdmov s dynamick\u00fd sa meniacimi videoprojekciami a prvkami \u010diernobieleho filmu z \u010dias zrodu kinematografie, celkom dobre vy\u0161li. My\u0161lienka parafr\u00e1zova\u0165 v tureckom pr\u00edbehu legend\u00e1rny Felliniho film\u00a0Osem a pol<\/em>\u00a0\u010derpala s\u00edce nie\u010do z logickej anal\u00f3gie (postavy \u00e0 la Marcello Mastroiani a Claudia Cardinale), no predsa len i\u0161lo o pr\u00edli\u0161 radik\u00e1lny posun. Navy\u0161e, javiskov\u00e9 dianie bolo op\u00e4\u0165 prebujnen\u00e9 skupinami klaunov, cirkusantov, tane\u010dn\u00edc (namiesto cig\u00e1nov), zo Zairy sa stala f\u00fazat\u00e1 Baba Turek a z Albazara transvestita. Neust\u00e1le na\u0165ahovanie bielych pl\u00e1tien a zbyto\u010dn\u00e9 zahus\u0165ovanie javiska viedli k z\u00e1veru, \u017ee menej by bolo viac.<\/p>\n


\nHudobne a spev\u00e1cky o\u010daruj\u00faca La donna del lago<\/strong><\/p>\n

Zatia\u013e \u010do inscena\u010dn\u00fd t\u00edm v\u00a0Jazernej panej<\/em>\u00a0s dejiskom a javiskov\u00fdmi akciami nar\u00e1bal vo\u013ene, partit\u00fary sa striktne pridr\u017eiavalo hudobn\u00e9 na\u0161tudovanie\u00a0Micheleho Mariottiho<\/strong>. Na \u010dele\u00a0orchestra\u00a0<\/strong>a\u00a0zboru Teatro comunale di Bologna<\/strong>\u00a0pon\u00faklo div\u00e1kom ove\u013ea viac, ako technicky a rytmicky presn\u00e9 odohranie n\u00f4t. Mariottiho prec\u00edtenie romanticky a emocion\u00e1lne silno nad\u00fdchnutej partit\u00fary (z tohto h\u013eadiska ide o dielo svoj\u00edm sp\u00f4sobom nov\u00e1torsk\u00e9, pova\u017eovan\u00e9 za ak\u00e9hosi prekurzora Viliama Tella), jeho architekt\u00fara ve\u013ek\u00fdch pl\u00f4ch (napr\u00edklad prv\u00e9 dejstvo stomin\u00fatov\u00e9 m\u00e1 len sedem \u010d\u00edsel) i detailov, doslova fascinovali. Michele Mariotti m\u00e1 dar nesmierneho in\u0161pirovania hudobn\u00edkov, jeho taktovka je presn\u00e1, schopn\u00e1 strhuj\u00facich dynamick\u00fdch a farebn\u00fdch nu\u00e1ns, popri samozrejm\u00fdch ohniv\u00fdch grad\u00e1ci\u00e1ch. Je to skr\u00e1tka rossiniovsk\u00fd znalec par excellence a to bez oh\u013eadu na to, \u017ee je synom intendanta festivalu.<\/p>\n

Nielen Mariotti a skvelo pripraven\u00fd zbor (pod veden\u00edm\u00a0Andreu Faidutiho<\/strong>), ale rovnako mimoriadne siln\u00e1 zostava s\u00f3listov zapisuje nov\u00fa\u00a0La donna del lago<\/em>\u00a0do an\u00e1lov festivalu na popredn\u00e9 miesto.<\/p>\n

Zatia\u013e \u010do najjasavej\u0161ou ozdobou obsadenia bol Juan Diego Fl\u00f3rez ako \u0161k\u00f3tsky kr\u00e1\u013e Giacomo V (v na\u0161om preklade Jakub V.), najsilnej\u0161\u00edm prekvapen\u00edm sa stala predstavite\u013eka titulnej \u00falohy, gruz\u00ednska sopranistka Salome Jicia (Elena). A to aj napriek tomu, \u017ee jej Folleville vo vla\u0148aj\u0161ej\u00a0Ceste do Reme\u0161a<\/em>\u00a0(\u00fa\u010dastn\u00ed\u010dka\u00a0Accademie Rossiniany<\/em>) predznamen\u00e1vala n\u00e1dejn\u00fa bud\u00facnos\u0165.\u00a0Salome Jicia<\/strong>\u00a0sa zhostila n\u00e1ro\u010dn\u00e9ho partu, p\u00edsan\u00e9ho pre Isabellu Colbran, s ve\u013ekou d\u00e1vkou technickej suverenity, zmyslu pre \u0161t\u00fdl, rovnako vo vl\u00e1\u010dnom legate, ako aj ozdobn\u00fdch prvkoch.<\/p>\n

Jej hlas m\u00e1 u\u017e dnes mladodramatick\u00fd n\u00e1boj, podmaniv\u00fa farbu a tie\u017e typovo zodpovedala charakteru vz\u0165ahmi zmietanej diev\u010diny.\u00a0Juan Diego Fl\u00f3rez\u00a0<\/strong>sa vr\u00e1til na festivalov\u00fa p\u00f4du v Pesare do \u00falohy Giacoma V, v prestrojen\u00ed Uberta, po p\u00e4tn\u00e1stich rokoch. Znel prosto dokonale. Hlas je kovov\u00fd aj m\u00e4kk\u00fd, plastick\u00fd vo fr\u00e1zach, sebaist\u00fd v extr\u00e9mnych v\u00fd\u0161kach, jeho v\u00fdraz m\u00e1 po\u00e9ziu (brilantn\u00e1 lyrick\u00e1, citom nabit\u00e1 \u00e1ria\u00a0Oh fiamma soave<\/em>\u00a0z 2. dejstva), ale aj drive bud\u00faceho spinto tenora.<\/p>\n

Vyrovnan\u00fdm protihr\u00e1\u010dom mu bol Ameri\u010dan\u00a0Michael Spyres<\/strong>\u00a0(Rodrigo), jeden z m\u00e1la typick\u00fdch \u201ebarytenorov\u201c, teda hlasov, pre ak\u00fdch bola t\u00e1to rola komponovan\u00e1 a na premi\u00e9re stv\u00e1rnen\u00e1 Andreom Nozzarim (Giacomom bol vtedy Giovanni David, teda dvojica st\u00e1lych ved\u00facich tenorov v neapolsk\u00fdch oper\u00e1ch). Spyres vl\u00e1dne baryt\u00f3nov\u00fdm fundamentom v stredoch a h\u013abkach, ale s preh\u013eadom sa dot\u00fdka aj ch\u00falostiv\u00fdch v\u00fd\u0161ok (aj ke\u010f s\u00fa trocha u\u017e\u0161ie) a stv\u00e1r\u0148uje r\u00e9\u017eiou pod\u010diarknut\u00fd dramatick\u00fd charakter.<\/p>\n

V\u00fdborne si po\u010d\u00ednala aj festivalov\u00e1 debutantka, arm\u00e9nska mezzo kolorat\u00fara\u00a0Varduhi Abrahamyan<\/strong>\u00a0v nohavi\u010dkovej postave Malcolma. Kr\u00e1sny tmavo kovov\u00fd bas vlo\u017eil do partu Duglasa Chorv\u00e1t\u00a0Marko Mimica<\/strong>\u00a0a pr\u00edjemne znela tie\u017e\u00a0Ruth Iniesta<\/strong>\u00a0ako Albina.<\/p>\n


\nDva debuty v Turkovi v\u00a0Taliansku<\/strong><\/p>\n

V \u010fal\u0161ej novej inscen\u00e1cii\u00a0Rossiniho Pesara 2016<\/em>\u00a0vyst\u00fapili dvaja debutanti. Prvou bola talianska dirigentka\u00a0Speranza Scappucci<\/strong>, druh\u00fdm v titulnej \u00falohe Erwin Schrott. Hudobn\u00e9 na\u0161tudovanie pova\u017eujem sk\u00f4r za priemern\u00e9, hoci taktovka v temperamentn\u00fdch a v gest\u00e1ch akt\u00edvnych \u017eensk\u00fdch ruk\u00e1ch sa sna\u017eila stavi\u0165 na briskn\u00fa rytmiku partit\u00fary a jej \u0161\u0165avnat\u00fa zvukov\u00fa n\u00e1pl\u0148. \u010co mi v\u0161ak u pani dirigentky ch\u00fdbalo, bolo jemnej\u0161ie diferencovanie vrstiev dynamiky a citlivej\u0161ie prid\u00e1vanie \u201egram\u00e1\u017ee\u201c v ohniv\u00fdch grad\u00e1ci\u00e1ch.\u00a0Orchester Filarmonica Gioachino Rossini<\/strong>\u00a0vznikol len pred troma rokmi, no tvoria ho muzikanti \u201eoddoj\u010den\u00ed\u201c na talianskom belcante, ktor\u00ed u\u017e dok\u00e1zali, \u017ee vedia hra\u0165 aj brilantnej\u0161ie.<\/p>\n

\u00dastredn\u00fa \u017eensk\u00fa postavu stv\u00e1rnila na rossiniovskej parkete ostrie\u013ean\u00e1 mlad\u00e1 rusk\u00e1 sopranistka\u00a0O\u013ega Peretyatko<\/strong>. \u017dia\u013e, pretrv\u00e1vaj\u00face zdravotn\u00e9 probl\u00e9my (alergia), z d\u00f4vodov ktor\u00fdch zru\u0161ila \u00fa\u010das\u0165 na gala koncerte\u00a0Fl\u00f3rez 20<\/em>, pozna\u010dili jej interpret\u00e1ciu partu Fiorilly. Hoci mala snahu vyspieva\u0165 perliv\u00e9 kolorat\u00fary i rafinovan\u00e9 v\u00fdrazov\u00e9 nuansy svojej hrdinky, trocha im ch\u00fdbala \u201ekoncovka\u201c. Nenadchol ani popul\u00e1rny\u00a0Erwin Schrott<\/strong>\u00a0vo svojom festivalovom debute ako Selim. Jeho basbaryt\u00f3n m\u00e1 kr\u00e1snu farbu, objem, priebojnos\u0165, no pokia\u013e ide o vyspievanie pohybliv\u00fdch \u00fasekov, ostal len v medziach pribli\u017enosti. Skr\u00e1tka, Schrott nie je rossiniovsk\u00fdm spev\u00e1kom.<\/p>\n

Na rozdiel od\u00a0Nicolu Alaima<\/strong>, ktor\u00fd svojho Geronia obdaril nielen u\u0161\u013eachtilo sfarben\u00fdm, ale aj \u0161t\u00fdlovo pr\u00edkladne veden\u00fdm baryt\u00f3nom. Podobne zaujal\u00a0Pietro Spagnoli<\/strong>\u00a0(Prosdocimo), kovov\u00fd, sk\u00f4r svetl\u00fd baryt\u00f3n s ve\u013ekou d\u00e1vkou muzik\u00e1lnosti a re\u0161pektu vo\u010di ka\u017ed\u00e9mu detailu v parte.<\/p>\n

Ve\u013ek\u00fd \u00faspech zo\u017eal aj na samostatnom recit\u00e1li, kde ho publikum po brav\u00farnych rossiniovsk\u00fdch a mozartovsk\u00fdch \u00e1ri\u00e1ch, \u010di Falstaffovom monol\u00f3gu vyprovokovalo k trom pr\u00eddavkom. Tenorov\u00fd part Geronia bol v spo\u013eahliv\u00fdch ruk\u00e1ch\u00a0Ren\u00e9ho Barberu<\/strong>, n\u00e1dejn\u00fdm Albazarom bol\u00a0Pietro Ada\u00ecni<\/strong>, Zaidou mlad\u00e1\u00a0Cecilia Molinari<\/strong>.<\/p>\n


\nN\u00e1vrat Cira v Babilonii s Ewou Podle\u015b<\/strong><\/p>\n

\u010eal\u0161\u00edm debutantom na festivale bol dirigent obnovenej inscen\u00e1cie\u00a0Cira v Babilonii<\/em>\u00a0Jader Bignamini<\/strong>. Mlad\u00fd taliansky umelec sa s rossiniovsk\u00fdm mlad\u00edckym slovn\u00edkom stoto\u017enil priam bytostne. K dispoz\u00edcii mal pravdepodobne najkvalitnej\u0161ie kolekt\u00edvne teles\u00e1 pre tento \u0161t\u00fdl,\u00a0orchester<\/strong>\u00a0a\u00a0zbor<\/strong>\u00a0bolonsk\u00e9ho\u00a0Teatro Comunale<\/strong>. Vymodeloval detaily partit\u00fary, dal im na jednej strane potrebn\u00fd oratori\u00e1lny p\u00e1tos, na druhej agogiku a v\u00fdraz stmelil do plynul\u00e9ho pr\u00fadu hudby dvadsa\u0165ro\u010dn\u00e9ho g\u00e9nia. V tejto opere s\u00edce Rossini pou\u017eil mot\u00edvy z predch\u00e1dzaj\u00facich \u0161tyroch opier, no mnoho origin\u00e1lnych n\u00e1padov sa zrodilo pr\u00e1ve tu a premietlo sa do neskor\u0161\u00edch partit\u00far.<\/p>\n

Vo veku po \u0161es\u0165desiatke zdol\u00e1va\u0165 virtu\u00f3zne, v rozsahu \u0161iroko rozp\u00e4t\u00e9 a kolorat\u00farami vy\u0161perkovan\u00e9 party u\u017e hrani\u010d\u00ed so z\u00e1zrakom. Po\u013esk\u00e1 altistka\u00a0Ewa Podle\u015b<\/strong>\u00a0(1952) k t\u00fdmto vz\u00e1cnym zjavom nesporne patr\u00ed. Ani \u0161tyri roky od prv\u00e9ho pesarsk\u00e9ho\u00a0Cira<\/em>\u00a0jej kre\u00e1cia nestratila punc mimoriadnej kvality. Hlas znie st\u00e1le bez kazov, jeho unik\u00e1tne tmav\u00e1 farba, priam baryt\u00f3nov\u00e1 hlbok\u00e1 poloha, popri tom prec\u00edzne kolorat\u00fary a ist\u00e9 v\u00fd\u0161ky, st\u00e1le zatajuj\u00fa dych div\u00e1kov. Ewa Podle\u015b je strhuj\u00faca aj v secco recitat\u00edvoch, d\u00e1va im v\u00fdrazov\u00fa expres\u00edvnos\u0165. Partnerov mala in\u00fdch ako pred \u0161tyrmi rokmi.<\/p>\n

Negat\u00edvnu postavu Baldassareho stv\u00e1rnil\u00a0Antonino Siragusa<\/strong>, ktor\u00fd za \u0161estn\u00e1s\u0165ro\u010dn\u00e9 p\u00f4sobenie na tomto festivale pre\u0161iel zrete\u013en\u00fdm hlasov\u00fdm v\u00fdvojom. P\u00f4vodne svetl\u00fd a pomerne chladn\u00fd hlas nabral na objeme, farebnosti a \u010do je podstatn\u00e9, ni\u010d nestratil na svojej hlavnej dev\u00edze, perfektn\u00fdch, kovovo leskl\u00fdch v\u00fd\u0161kach. Juhoafrickej sopranistke\u00a0Pretty Yende<\/strong>\u00a0sa dar\u00ed v belcantov\u00fdch postav\u00e1ch na svetov\u00fdch javisk\u00e1ch, predsa len ako Amira p\u00f4sobila (najm\u00e4 oproti obsadeniu Jessicou Pratt spred \u0161tyroch rokov) pr\u00edli\u0161 \u00e9tericky.<\/p>\n

Jej hlas m\u00e1 pr\u00ed\u0165a\u017elivo tmav\u00fd timbre, pomerne zdatn\u00fa kolorat\u00faru a po probl\u00e9moch v z\u00e1vere \u00e1rie z 1. dejstva jej v\u00fdkon mal st\u00fapaj\u00facu tendenciu. Pomerne nev\u00fdrazn\u00fd bol basista\u00a0Oleg Tsybulko<\/strong>\u00a0ako Zambri.<\/p>\n


\nCesta do Reme\u0161a a Accademia Rossiniana<\/strong><\/p>\n

Napriek tomu, \u017ee inscen\u00e1cia\u00a0Cesty do Reme\u0161a<\/em>\u00a0v r\u00e9\u017eii\u00a0Emilia Sagiho<\/strong>\u00a0sa na javisku Teatro Rossini udom\u00e1cnila v rovnakej podobe u\u017e p\u00e4tn\u00e1stu sez\u00f3nu, st\u00e1le tvor\u00ed optim\u00e1lnu sc\u00e9nick\u00fa kulisu pre demon\u0161tr\u00e1ciu nov\u00fdch spev\u00e1ckych talentov, najlep\u0161\u00edch \u00fa\u010dastn\u00edkov kurzu\u00a0Accademia Rossiniana<\/em>. Plat\u00ed pre \u0148u do bodky, \u017ee v jednoduchosti je kr\u00e1sa, tak\u017ee \u017eiadne zlo\u017eit\u00e9 aran\u017em\u00e1ny, \u017eiadne zmenen\u00e9 charaktery, ale vypointovan\u00e9 situ\u00e1cie, zmyslupln\u00e9 aran\u017em\u00e1ny. Jedna prevlekov\u00e1 sc\u00e9na na konci prvej \u010dasti, tro\u0161i\u010dka decentnej erotiky, \u00e1ria Corinny s harfou zo zadnej l\u00f3\u017ee a nakoniec korunova\u010dn\u00fd sprievod z h\u013eadiska s detsk\u00fdm predstavite\u013eom franc\u00fazskeho kr\u00e1\u013ea Karola desiateho. Tohtoro\u010dn\u00e9mu predstaveniu (pod re\u017eijn\u00fdm doh\u013eadom\u00a0Elisabetty Courir<\/strong>) dal patri\u010dn\u00fd \u0161vih\u00a0Gabriel Bebeselea<\/strong>, hlavn\u00fd dirigent z rumunsk\u00e9ho Klu\u017ea. Viedol si ve\u013emi \u0161t\u00fdlovo,\u00a0Orchestra Sinfonica G. Rossini<\/strong>\u00a0(to u\u017e je tret\u00ed orchester, z\u00fa\u010dastnen\u00fd na festivale) reagoval na jeho koncepciu pohotovo a aj briskn\u00e9 ans\u00e1mble boli rytmicky presn\u00e9.<\/p>\n

Cesta do Reme\u0161a<\/em>\u00a0m\u00e1 sedemn\u00e1s\u0165 post\u00e1v, z nich desiatka je pre prv\u00fd fach. Ka\u017ed\u00fd rok vz\u00eddu z \u00fa\u010dastn\u00edkov\u00a0Accademie Rossiniany<\/em>\u00a0nep\u00edsan\u00ed v\u00ed\u0165azi, teda skupina s\u00f3listov, ktor\u00e1 dost\u00e1va mo\u017enos\u0165 vyst\u00fapi\u0165 v tejto inscen\u00e1cii a tento raz aj na koncertnom matin\u00e9. Riadite\u013eom\u00a0Accademie Rossiniany<\/em>\u00a0je dirigent Alberto Zedda, jeden z najre\u0161pektovanej\u0161\u00edch znalcov tvorby pesarsk\u00e9ho rod\u00e1ka. Aktu\u00e1lni \u00fa\u010dastn\u00edci dostali mo\u017enos\u0165 pracova\u0165 aj v majstrovskej triede Juana Diega Fl\u00f3reza. O akad\u00e9miu je obrovsk\u00fd z\u00e1ujem, porota vybrala osemn\u00e1stich frekventantov z 282 prihl\u00e1sen\u00fdch zo 43 kraj\u00edn a piatich kontinentov. O to v\u00e4\u010d\u0161ie prekvapenie, presnej\u0161ie sklamanie, prinieslo viacero mu\u017esk\u00fdch hlasov na predstaven\u00ed i koncerte.<\/p>\n

Za\u010dnem ale z pozit\u00edvnej strany. Zop\u00e1r mien ur\u010dite m\u00e1 pred sebou s\u013eubn\u00fa bud\u00facnos\u0165. Na prvom mieste \u0160panielka\u00a0Marina Monz\u00f3<\/strong>\u00a0(Contessa di Folleville), s\u00fdty, farebn\u00fd, pru\u017en\u00fd, dynamicky diferencovan\u00fd a v kolorat\u00fare ist\u00fd sopr\u00e1n. Jej lyrickej\u0161ia kolegy\u0148a z Talianska\u00a0Lucrezia Drei<\/strong>\u00a0(Corinna) kultivovane a \u0161t\u00fdlovo zdolala \u010fal\u0161\u00ed n\u00e1ro\u010dn\u00fd a ozdobn\u00fd part. Ako Madama Cortese sa predstavila\u00a0Larissa Alice Wissel<\/strong>, ktorej hlas je s\u00edce ve\u013ek\u00fd a prierazn\u00fd, ale aj dos\u0165 ostr\u00fd. Z dvoch tenorov vy\u0161iel v\u00ed\u0165azne \u0160paniel\u00a0Xabier Anduaga<\/strong>\u00a0(Belfiore), ktor\u00fd nad svoj\u00edm japonsk\u00fdm kolegom\u00a0Yasuhirom Yamamotom<\/strong>\u00a0(Conte di Libenskof) jasne v\u00ed\u0165azil v elegancii prejavu a suverenite v\u00fd\u0161ok. Najv\u00e4\u010d\u0161ie sklamanie sp\u00f4sobili basisti. Mal\u00fd fond, obmedzen\u00fd rozsah v hornej aj dolnej polohe u Taliana\u00a0Gianlucu Lentiniho<\/strong>\u00a0(Don Profondo) ned\u00e1vali odpove\u010f na ot\u00e1zku, ako sa tento spev\u00e1k v\u00f4bec mohol kvalifikova\u0165 v akad\u00e9mii. \u017dia\u013e, len nepatrne lep\u0161ie sa darilo Turkovi\u00a0O\u011fulcanovi Y\u0131lmazovi<\/strong>\u00a0(Lord Sidney), hoci ani tento basbarytonista na pesarsk\u00fa p\u00f4du vonkoncom nedozrel. Z hlb\u0161\u00edch hlasov najviac zaujal barytonista\u00a0Wiliam Hern\u00e1ndez<\/strong>\u00a0ako Trombonok.<\/p>\n

Slab\u00e9 v\u00fdkony basistov potvrdilo aj \u00e1riov\u00e9 matin\u00e9 \u00fadajne najlep\u0161\u00edch \u00fa\u010dastn\u00edkov\u00a0Accademie Rossiniany<\/em>.<\/p>\n

Gianluca Lentini<\/strong>\u00a0\u00faplne zlyhal ako Assur zo Semiramide, \u010di v duete z Popolu\u0161ky ako Don Magnifico. Podobne Don Basilio a Don Magnifico v podan\u00ed\u00a0O\u011fulcana Y\u0131lmaza<\/strong>\u00a0nezv\u00e1dol obe \u00e1rie ani fondom ani rozsahom. Trocha lep\u0161ie ne\u017e na predstaven\u00ed\u00a0Cesty do Reme\u0161a<\/em>\u00a0sa vo v\u00fd\u0161kach darilo\u00a0Yasuhirovi Yamamotovi<\/strong>\u00a0(Lindoro z\u00a0Talianky v Al\u017e\u00edri<\/em>), hoci technicky hlas e\u0161te nie je pripraven\u00fd na opern\u00fa prax.\u00a0Xabier Anduaga<\/strong>\u00a0op\u00e4\u0165 z trojice tenoristov (tret\u00edm bol Japonec\u00a0Yasuke Kobori<\/strong>) obh\u00e1jil palmu v\u00ed\u0165azstva. K dvom v\u00fdborn\u00fdm sopranistk\u00e1m,\u00a0Marine Monz\u00f3<\/strong>\u00a0a\u00a0Lucrezii Drei<\/strong>\u00a0(obe v rozdielnych \u00e1ri\u00e1ch z\u00a0Turka v Taliansku<\/em>), pribudla perspekt\u00edvna\u00a0Sara Ba\u00f1eras<\/strong>\u00a0ako Amenaide z\u00a0Tancrediho\u00a0<\/em>a\u00a0Larissa Alice Wissel<\/strong>\u00a0ako Semiramide len potvrdila, \u017ee jej mocn\u00fd hlas potrebuje z\u00edska\u0165 m\u00e4kkos\u0165 a kolorat\u00fary prec\u00edznos\u0165. Oproti predstaveniu si polep\u0161ila mezzosopranistka\u00a0Aurora Faggioli<\/strong>, preukazuj\u00faca ako Elena z\u00a0La donna del lago<\/em>\u00a0a Cenerentola znalos\u0165 fines rossiniovsk\u00e9ho slohu. Vcelku slu\u0161ne spieval barytonista\u00a0Maharram Huseynov<\/strong>, no vrcholom koncertu bola fin\u00e1lov\u00e1 \u00e1ria Armidy v podan\u00ed Rusky\u00a0Vasilisy Berzhanskej<\/strong>. To u\u017e bola prav\u00e1 \u0161\u0165avnat\u00e1, dramatick\u00fdm t\u00f3nom a perfektn\u00fdm v\u00fdrazom nabit\u00e1 rossiniovsk\u00e1 prima donna s rozsahom sopr\u00e1nov\u00fdm aj mezzosopr\u00e1nov\u00fdm. Napokon, sl\u00e1vna Colbran bola jedn\u00fdm aj druh\u00fdm. V\u0161etk\u00fdch s\u00f3listov, ktor\u00fdch vyst\u00fapenia spestrilo aran\u017eovanie pr\u00edchodov a pod\u00e1vanie si \u0161tafety v priestore javiska Auditoria Pedrotti, na klav\u00edri sprev\u00e1dzala skvel\u00e1\u00a0Anna Bigliardi<\/strong>.<\/p>\n

Rossini Opera festival, Pesaro, Taliansko
\n<\/em>37. ro\u010dn\u00edk festivalu
\n<\/em>8. \u2013 20. august 2016
\nhttp:\/\/www.rossinioperafestival.it\/?IDC=1<\/a><\/em><\/p>\n

 <\/p>\n

\u010cl\u00e1nok vznikol pre online denn\u00edk\u00a0operaplus.cz<\/a>.<\/p>\n<\/div>\n

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Z verejn\u00fdch zdrojov podporil Fond na podporu umenia<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Po tridsiaty siedmy r\u00e1z sa rodisko Gioachina Rossiniho, sympatick\u00e9 95-tis\u00edcov\u00e9 […]<\/p>\n","protected":false},"author":241,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[115],"tags":[],"class_list":["post-4225","post","type-post","status-publish","format-standard","hentry","category-zahranicne-aktivity"],"_links":{"self":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4225","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/users\/241"}],"replies":[{"embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4225"}],"version-history":[{"count":1,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4225\/revisions"}],"predecessor-version":[{"id":4226,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=\/wp\/v2\/posts\/4225\/revisions\/4226"}],"wp:attachment":[{"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4225"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4225"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/monitoring.patlevic.sk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4225"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}