Madrid, September 21 (EFE).- The 2022/2023 Madrid Lyrical season opened this Wednesday with great applause for the new production that describes the descent into hell of “Orphy”, the opera composed by Philip Glass in 1991 and directed by Jean Cocteau in 1950. movie name
Co-produced by Teatro Real and Teatros del Canal, it was at the venue’s Sala Rosa – which was full – that the work premiered in Spain, which will be performed until September 25 and which will be directed by Jordi Frances and staged by Rafael R. Villalobos is there.
Among those present, Joan Frances Marcos, Director General of the National Institute of Performing Arts and Music (INAEM); Director General of Cultural Arts and Cooperation of the Ministry of Culture and Sports, Adriana Moscoso or former Vice President of Government and Saint Elena Salgado, Patron of Real.
At the end of the nearly two-hour period, the enthusiastic public recognized the work, the voice of Basque tenor Mikeldi Atxalandabaso. and American baritone Edward Nelson.
Conceived as a chamber opera in two acts, it arrived in Madrid in a very different version from the only version published by Orange Mountain Music, primarily due to the size of the Royal Theater orchestra, which has 31 musicians instead of the 25 in the standard score.
Because of its lack of allusion, director Jordi Frances suggested it proceed with a freer and more baroque approach that contrasted and clashed with the minimalist concept of the complete work of Philip Glass (Baltimore, 1937).
The vocal section also stands out. “Nothing hits like a glass climax,” baritone Nelson remarked during rehearsals for this opera, “which is essentially a play set to music” in which the singers must find “a natural phrasing” to bring the text to life. A fluid rather than a rhythmic language such as French.
More strange can be the abstract, intimate and very dreamlike space with layers of interpretation added by the stage created by Villalobos thanks to the light and shadow work together with Irene Cantero, but the period that does not appeal to the classics either. Mythology or Paris Cocteau in the 50s.
Instead, audiences have been bombarded with television channel images since the cable first hit the US in the 1990s, the decade in which the opera was composed and the decade in which the status of the artist often became a star over his work.
At that point, Villalobos uses this “orphy” to describe the “dark side of the American dream” through a hero who dies in two ways: as a poet in his nature (seduced by trends and fashion) and as a hero. Sensitive (here his love for Eurydice is corrupt and other factors drag him down to hell).