El The sound of a real nightnew production of the Teatro Real theater, es round and common result. A group of Englishmen – William Shakespeare, author of comedy, Benjamin Britten, librettist and composer, Peter Pears, solo librettist, Ivor Bolton, director of the orchestra, and Deborah Warner, theater director – gathered around one of their great national talents: comedy.
Perhaps the ace, the big ovation of the night went to bottom Clive Bayley, por su a fun and well-sung creation Bottom’s character: direct humor, anti-utility, butter farce and rebus. Once performed in Madrid, Sueño will travel to two other co-production theaters: the Royal Ballet and Opera of London and the Maggio Musicale Fiorentino.
The same team of Bolton and Warner starred in Teatro Real’s previous British successes: Peter Grimes’ maritime tragedies, The Fisherman, and Billy Budd, The Mariner. But we don’t meet black mares in Sueño, except in the fun shadows of the enchanted forest.
From the moment the screen is raised – a fantasy of young children dressed in lights with all LEDs – the viewer is captivated by what they are looking at and what they are seeing. Del foso llegan without parar great music ideas who accurately understand and feel the emotions of the plot.
Este Britten smiley, brilliant as the dark one Tour de tuerca and from the tragedies of the sea he is freed: he need not go to the deep, and can recreate himself in delicacy and lightness. What we see is actually a generous pageant of guiños and wonderful deces: Shakespeare distinguishes images interwoven with different reasons for verse, and Britten responds to each with a surprising orchestral gesture, be it melodic or timbral.
Among Maestro Bolton’s orchestras, the titular Teatro Real orchestra is of a very high standard: more than two hours of concentration and creativity, it dulls and adds life, color, and expressiveness to the grand interludes and general discussion, which is always intimate. Every phrase, down to the smallest ones, was well formulated and the soloists ―celesta, trumpet, flute, harp, contrabajo…― shined in their moments.
The vocal line is primarily concerned with prosodic efficiency and the service of the text. Iestyn Davies, a countertenor of homogeneous voice throughout the register, has the credibility of Oberon, as does Tytania, Queen of Hades, soprano Liv Redpath, of good timbre. The list of lovers and the company of actors/operators, all equipped with a comical touch, are fantastic.
Actor Daniel Albelson shares Puck’s paper with Juan Leiba, the bureau’s aptly-defined “aerial enforcer,” as he navigates the script’s vertical dimension by walking, jumping, and dancing through the air with natural paste. The stage space is evocative: a forest of one tree (as in the Noh theater) that grows in the back, the roots come. It is a unique space. No changes other than the location of the hammock for the lovers and the theater for the theater stage inside the theater.
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