Artists from the Académie de l’Opéra de Paris lead the public “En Tierra de España” in a recital at the Opéra Bastille’s Messiaen Amphitheater.
Manuel de Falla, Enrique Granados, Agustín Lara, so many names and music that immediately evoke Spain and its harsh saws The Andalusian countryside or its olive groves The Muses of Andalusia by Joaquin Turina. Catalonia is not far behind, represented from the beginning by the works of Federico Mompou. It is to this beautiful journey that the Paris Opera Academy and its artists-in-residence invite the public, with overflowing enthusiasm tonight.
Ilanah Lobel-Torres opens the ball in a round, soft, and welcoming voice, as she melancholy resumes the dream fight (the dream fight) from Mompou. Her soprano is vibrant and luminous, the clear, steady line producing rimmed highs with delicate vibrato. Her voices are neat and subtle, though still restrained and played with a rather cheerful humility befitting her interpretation of the Turina muses.
Martina Russomanno, who continues the performance with Obradors and then Granados, displays a less powerful soprano, but endowed with wide and daring projection. Her timbre is also darker, her singing more uneven, perhaps less controlled but denoting a looseness that is found in laughter or in the emotion that she breathes into her pieces, among them “The Maja and the Nightingale” from the opera goyecas of pomegranates.
On the side of the male voices, the first countertenor Fernando Escalona appears, acclaimed by the public as soon as he goes on stage. His voice is supple and full of vitality, armed with lively singing and carried with overflowing enthusiasm and vibrant theatrics. He stands out especially in Grenade by Agustín Lara, where he even performs, between two notes, a small improvised dance movement, to the laughter of the audience.
Alejandro Baliñas Vieites’ bass closes the ball with de Falla and his seven spanish songs imposing from the beginning, surprising the public, a voice with a powerful bass and a singing full of confidence. The timbre is rather clear and unobstructed, the diction is perfect and it conveys the sounds of the Spanish language with color. However, a difficulty in the distribution of the breath causes some breaths to occur in the middle of the sentence. The singer’s involvement in the music is in any case undeniable and it is with unshakeable strength and conviction that an ending “Ay! » which sets the room on fire.
At the piano, the singers are accompanied by Carlos Sanchis Aguirre and Félix Ramos. The first offers a precise touch, very attentive as a companion and, only in Magic love of Fail, it is well applied until, little by little, the notes are imposed in a faster and fuller game. As for Félix Ramos, he shines above all in The Muses of Andalusiawhere he presents with an agile hand a firm, convinced and vigorous execution in the solo piano parts, as if he were accompanied by the Academy’s violin, viola and cello quartet that joins him for certain parts.
The public is filled with applause and his own involvement is impeccable, even reaching a lady to exclaim old ! how an Obradors piece begins, and it is with an overflowing energy that he thanks the artists after each piece. Finally, the concert ends in joy and smiles and it is with a light and pounding heart that the public sadly leaves the lands of Spain.