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Sunday, August 14, 2022

After five years of absence, Javier Camarena returned to the Teatro Colón and was applauded

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Javier Camarena returned to perform at the Teatro Colón after five years, together with the pianist Ángel Rodríguez and the soprano Alyson Rosales, and he gave it his all.

His pristine voice, however, exhibited signs of fatigue. Perhaps it was something titanic to face a recital a few days after starring in the opera L’Elisir d’amore in the same theater, with rehearsals in between, and recently recovered from covid. The corollary of overexertion was the unsuccessful final treble in O soave Fanciulla (La Bohème)by Puccini, when the recital was ending.

In any case, Camarena’s reserve of resources was enough to professionally compensate for the journey of a program that had an Italian repertoire in the first part and a French repertoire in the second (except for the closing with three arias by Puccini).

Maestro Angel Rodríguez accompanies Javier Camarena's interpretation on piano together with soprano Alyson Rosales.  COLUMBUS THEATER PRESS Photo / ARNALDO COLOMBAROLI.

Maestro Angel Rodríguez accompanies Javier Camarena’s interpretation on piano together with soprano Alyson Rosales. COLUMBUS THEATER PRESS Photo / ARNALDO COLOMBAROLI.

Genuine artistic bet

È serbato a questo acciar (I Capuleti) de Bellini opened the recital, and it was not only a letter of introduction to his virtuosity, with his well-known and epic high notes, but a genuine artistic commitment that managed to avoid the vocal display over the music.

In Spirito gentil (The Favourite) of Donizetti, the vocal virtuosity was once again on a par with the dramatic interpretation, with a beautiful legato, as well as his phrasing and luminous high register.

Support for the youngest

The artistic quality of the Xalapa tenor is on a par with his generosity, as evidenced by his constant support for young singers by inviting them to participate in their recitals.

In the first part, the young and talented Alyson Rosales joined with her sweet voice in the recitative Eccomi in lieta vestafollowed by the famous aria Oh, quante volte (I Capuleti)and showed some of his musical virtues, in particular a good fiato and handling of coloratura.

The pulsing and vibrant bel canto melodies gave way to a more dramatic perspective with the music of Verdi. Both artists joined in the duo Parigi, or cara noi lasceremo (La Traviata)with beautiful phrasing and conveyed intense suppressed emotion. Rosales unreservedly delivered all the required vocal virtuosity.

the cavatin La mia letizia infondere (I Lombardi…) closed the first part of the recital, with a successful in crescendo that Camarena managed from an impassive beginning to a grandiose ending.

The second part

Less impressive was the start of the second part with the artist on stage waiting for the audience in the stalls to settle down after the interval. The tenor took it with humor and then offered an intimate and intense version of Vainement, ma bien-aimée” by Le Roy d’Ys (Lalo).

Elegant and refined, Camarena knows how to take advantage of the color of the French language and wore its beautiful velvety ring in the long lines that the world manages to maintain with all naturalness. The same ease with which it makes extreme treble sound with a softness at the limit of the audible.

The climax of the second part came with the moving dramatic intensity of Je suis seul!… Ah! fuyez, double image (Manon)by Massenet, and with the interpretive power of Rosales in Bye! Quel Frisson court dans mes veines” (Gounod)which captivated from the first note to the last.

The concert closed with three arias by Puccini (Che gélida manina, Sì, mi chiamano Mimì, O soave Fanciulla). The public that filled the room thanked the delivery of both artists with long applause. The evening concluded with the public standing, and five encores arrived: the Neapolitan song A Vucchella (Arietta Di Posillipo)Bolero Frankness, Returnin which he invited the public to sing, cute doll Y Malaga.

A separate paragraph deserves the pianist Ángel Rodríguezwith all the beauty of its line and its sound, and a subtle solo intervention with its own arrangement –also the encores– of Bizet’s Habanera (Carmen).

File

Very good

Interpreters: Javier Camarena (tenor), Angel Rodriguez (piano), Alyson Rosales (guest soprano).

Teatro Colón, Saturday July 30.

CJL

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Reference from clarin www.clarin.com

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