The Gran Vía is the name of Zarzuela, and it was even before it was inaugurated. Madrid is always avant -garde in this to put music in front of the lyrics, or to put lyrics and music in places where, until last year, there has not been … A ranked aria. The Gran Vía was also the decoration where the most reputed cartelists led to gigantic dimensions Gregory Peck’s faces of Sofía Loren, in a joy of bulbs. The novelties, in short, and the classic, which have a place from the Plaza de España to the street of Alcalá.
The Gran Vía is today, by Ventura, the third epicenter of the musicals, after New York and London and a claim that has made an entire street the ideal place for the already sublimated work of musical theater. And it is also an opera claim for the youngest. Perhaps because the theaters of the area admit the refined acoustic of tenors, sopranos, baritones and it is only that among the Babel of cultural offers of the Madrid artery the opera is included.
That is the idea with which the operas ‘Carmen’, by Georges Bizet, and ‘La Traviata’ by Giuseppe Verdi, under the seal of the Novaria company, arrive at the Coliseum de la Gran Vía theater with the yearning to share applause with musicals this spring. If in the spring last season the company offered its Madrid premiere with ‘Madama Butterfly’ and ‘La Bohéme’, now it is the turn of ‘La Traviata’ (on April 7, 21, 28 and June 16) and ‘Carmen’ (May 19 and 26, and June 2) in the Mentate Coliseum.
The expectation was achieved on Tuesday morning in the public presentation of the ‘lyric season’ in the Gran Vía. A string quartet sang the “Libiamo Ne’lieti Calici” chords, and Andrés Sánchez Joblar and Maylin Cruz represented under the Madrid downpour one of the musical moments of ‘La Traviata’ best known by the respectable one. The musical piece in the Madrid countryman was threaded that a spontaneous, in full representation of the toast ‘Verdiano’, entered the photographic plane by throwing coins.
The presentation tried that, to bring the lyric genre closer to the street, in the words of director Adolfo Gassol Ventura, who after the triumph in the “Palau de la Música de Barcelona” knew that coming to the capital was to come to the other operatic reference of Spain. Pilot, obviously, “a different format” for another type of public, different sociologically, and which has not been offered enough pedagogy to understand the operatic genre and enjoy it to its broad measure.
All without losing the essence of the creations, although the operas do not exceed two and a half hours. Gassol guarantees the same purity from which they left their authors with decorations and costumes that, in front of other assemblies, do not denaturalize the time in which the work was written. In addition, the orchestra goes on stage, which contributes to understanding the springs and tempos that interact in that total show that is an opera, as Richard Wagner said.
Another point that the organizers detail is that of popular prices, which open the range of spectators since the age of twelve. And of course, the use of subtitles, on the screen (and in English and in original version on the mobile) for a total understanding of the piece. In addition, there are implemented devices for people with hearing impairment.
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