Carreras llena el Auditorio Nacional de Ciudad de México de Arte y emociones
Si sono lasciate atendere un pochino di più le news relative al concerto del nostro Josep presso l'Auditorio Nacional de Ciudad de México, anche se le immagini video (click on the songtitles below) sono state praticamente immediate su youtube.
Carreras si è esibito a fianco di Sabina Puértolas, e l'Orquesta Pro Arte de la Ciudad de México era guidata dal pianista Enrique Ricci.
Tutti questi articoli riportano lo stesso contenuto. Quello che ci terrei a segnalarvi è quello del mio collega blogger messicano Ramón, responsabile del blog UNA VOCE POCO FA, che mi ha contattata personalmente per raccontarmi che per la prima volta ha assistito a un concerto del nostro tenore, e questo è quanto riporta nel suo blog.
A 17 anni dall'ultima presenza nell'Auditorio, Carreras è stato accolto da un lungo applauso da crca 5.000 spettatori, dimostrazione del fatto che il pubblico messicano ha sentito la mancanza di uno dei più grandi tenori lirici (non leggeri, come ho letto in uno di questi articoli) della storia dell'opera. Un cantante unico nel suo genere, che riesce a farti scappare dal mondo, qualsiasi sia la melodia che nasca dalle sue labbra.
Il repertorio è stato lo stesso di Monterrey: opera, zarzuelas, canzoni italiane e napoletani e qualche omaggio al messico, in particolare a Augustín Lara.
L'ultima canzone e Pecché, i primi brani, e poi Silenzio Cantatore, Passione, Rosó, sono stati tra i brani che, già nella prima parte hanno dimostrato di che straordinario potere comunicativo dispone Carreras; una prima parte che ha consentito anche di apprezzare pienamente la voce sopranile di Sabina Puértolas, reduce di un gran successo anche a Monterrey, attraverso i brani di Je Veux Vivre da Romeo et Juliette di Gounod, e Les Filles do Cadix.
Dopo un intervallo di 20 minuti, si penetra nel vivo del concerto, con note più ispaniche come quelle di Lejana Tierra Mía, El día que me quieras di Gardel, Ya mis horas felices per la zarzuela, e una magistrale Granada, estremamente sentita dai messicani. La Puértolas continua sulla stessa linea con Caceleras di Las hijas del Zebedeo e Me llaman la Primorosa del Barbero de Sevilla. Insieme i due cantanti hanno offerto una brillante El dúo de la Africana, accendendo un entusiasmo tale da dover concedere ben cinque bis tra cui O mio babbino caro per la Puértolas, Core 'ngrato per Carreras, e insieme... il Brindisi dell Traviata.
Carreras stará rientrando dal Messico più che soddisfatto, per poi fare ritorno nelle Americhe ad Aprile, tra Acapulco, Valparaíso, Santiago del Chile e Buenos Aires. (chech schedule's section).
FELICITATS, JOSEP!
NATIONAL AUDITORY CONCERT - REVIEW PUBLISHED IN THE BLOG UNA VOCE POCO FA - ENGLISH TRANSLATION
ReplyDeleteLink - review and two fotos:
http://unavocepocofa915.blogspot.com/2010/03/concierto-de-jose-carreras-auditorio.html
Jose Carreras Concert - National Auditory - Mexico City
Jacques Ramon
Although José Carreras has not been seen in the opera world lately, it is impossible to forget his great contribution to the world of opera, over his prolific career, something that has converted him into a living legend of Singing. That is why his presence keeps attracting so much public to his concerts, as it hapened in the Mexico City National Auditory.
For this concert, the program formed was a very pleasing one, and not too much exaggerated, from the vocal point of view. It started with four songs from Italian composers very close to Carreras taste and temperament, such as L'ultima canzone, by Francesco Tosti, Pecchè, by Francesco Pennino, Silenzio Cantatore, by Gaetano Lama, and Pasione by Nicola Valente. And a piece more close to his spirit, the case of the Catalan Rosó, Pel teu amor, by Josep Ribas. In all the pieces he displayed fine phrasing, passion and emotion and his unmistakable and unique vocal timbre. In the second half he performed Spanish gems such as Lejana Tierra mía and El día que me quieras, by Carlos Gardel. For the zarzuela section he chose the "jota" Ya mis horas felices, from La del Soto del Parral, by Soutullo y Vert, and crowned the evening with his celebrated and passionated performance of Granada, by Lara, that provoked a mad ovation.
Soprano Sabina Puértolas, from Navarre, deserves a "Remarkable". She displayed a correct vocal line, with a crystal and clean sound, and also vocal agility in the aria Je veux vivre, from Romeo and Juliete, by Gounod. And expressiveness in Les filles de Cadix, by Delibes.And she was particularly graceful in Carceleras, from Las hijas del Zebedeo, by Chapí, and naughty enough in Me llaman la primorosa, from El Barbero de Sevilla, by Giménez y Nieto. Next to Carreras, she was very pleasant in the Dúo y Jota, from La Africana, by Manuel Fernandez Caballero.
The Pro Arte Orchestra created a satisfactory musical framework during the evening under the exalted but firm conducting by Enrique Ricci. They performed solo the Suite number 2 from L'Arlesianne by Bizet, the Intermezzo from the opera Pagliacci, and the Intermezzo from La Boda de Luis Alonso. Before a completely mad audience they offered five encores, and among them O mio bambino caro, Core'ngrato and the Brindisis from La Traviata, by Verdi.
Posted by Una Voce Poco Fa
JOSE CARRERAS CONCERT AT THE NATIONAL AUDITORY, MEXICO CITY - REVIEW PUBLISHED IN MEXICAN NEWSPAPER EL UNIVERSAL - ENGLISH TRANSLATION
ReplyDeleteLink: http://www.eluniversal.com.mx/notas/666022.html
JOSE CARRERAS THRILLS THE DF AUDIENCE
The Spanish tenor sang arias from Opera, Operetta, Italian ballads and boleros.
Some 17 years have passed since Carreras performed in the National Auditory for the last time.
Notimex
El Universal
MEXICO CITY Monday March 15, 2010
11:34
With a musical repertory consisting of opera arias, operetta, ballads and Italian and Mexican boleros, tenor Jose Carreras conquered the public of this country who gave him a enormous standing ovation, yesterday, at the National Auditorium.
After nearly 17 years without performing in this Auditory, Carreras (1946), famous for his roles in operas by Italian composers Giuseppe Verdi and Giacomo Puccini, returned to the icon of Paseo de la Reforma to demonstrate why he is one of the best operatic light tenor of the second half of the twentieth century and of this very century, so far.
Known for the lyricism and purity of his voice, the artist, who is in Mexico making a small concert tour, enraptured some five thousand people, who warmly applauded him between each piece.
Under the direction of pianist Enrique Ricci, the singer was accompanied by the Mexico City Pro Arte Orchestra, as well as by soprano Sabina Puértolas.
As soon as he appeared on stage, the tenor was greeted with a one minute ovation, something that touched him since he understood how much his return was pleasing the audience.
Wearing a black suit and tie, Carreras gave evidence that he sings not only with his throat but also with his heart and soul.
Works by composers such as Georges Bizet (1838-1875), Francesco Paolo Tosti (1846), Francesco Pennino (1876-1948), Gaetano Lama (1886-1950), Josep Ribas (1899-1962), Carlos Gardel (1890 -1935), Reveriano Soutullo (1884-1932) and Agustin Lara (1897-1970) were part of the program.
Serious, concentrated, and acknowledging the applause with slight nods . This is how we saw the tenor who offered a memorable evening, rarely seen in this hall.
The concert began with L'Ultima Canzone, by Paolo Tosti, and Pecché, by Pennino.
A few minutes later, he performed Rosó, Pel teu amor, by Josep Ribas, and with this piece the audience was taken into a voyage that led them to a large world of sensations.
During the concert, the performance of soprano Puértolas was well noticed and she surprised everybody with a rich and unique vocal timbre, which earned her constant ovations.
After a 20 minutes break, Jose Carreras returned to the stage to thrill an audience that since the beginning of the recital was mesmerized and enraptured.
The second part was a little less formal and with a heavier Latin flavor. Carreras brilliantly performed Lejana Tierra Mía and El día que me quieras, both by Carlos Gardel.
Then it was again time for the soprano, who performed Las hijas de Zebedeo, Carceleras, a piece that requires vocal speed and good phrasing, and the singer succeeded in both aspects.
In the final moments, both singers performed a duet and marveled the audience with El dúo de la africana. Dúo y Jota, by Manuel Caballero, a piece that made the audience to become completely astonished.
As a homage to the Aztec lands, Carreras ended his part by performing Granada, one of the inspirations by Mexican Agustin Lara.
After his presentation in Mexico City, Spanish tenor Jose Carreras will perform next 3rd of April in the city harbour of Acapulco, in the Forum Mundo Imperial (Imperial World Forum), accompanied by the Acapulco Philharmonic Orchestra, under the conducting of Maestro Eduardo Alvarez.