ENTRE LOS ARBOLES (Río-Pareja) Barcelona 2022 OH!PERA
Information on the Performance
- Work Title: Entre los árboles
- Composer: Río-Pareja José
- Libretto: Juan Mayorga Libretto Text, Libretto Index
- Venue & Opera Company: Foyer, Gran Tetro del Liceu, Barcelona, Spain
- Recorded: July 2022
- Type: Staged Opera Live
- Singers: Jose Manuel Guinot, Andrea Megías, Jorge Juan Morata
- Conductor: Josep Planells
- Orchestra:
- Stage Director: Nao Albet
- Stage Designer: Escola Massana
- Costume Designer:
- Lighting Designer: David Bofarull
Information about the Recording
- Published by: Liceu+
- Date Published: 2022
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, ensubs
- Video Recording from: Liceu+ FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Entre los Árboles, by José Río-Pareja , an almost impressionist piece but passed through the 20th century filter, closer to Saariaho than to Debussy; the work is constructed from repeating motifs –without being minimalist– and defines an atmosphere of Hispanic tradition with infrequent instruments (including accordion and harp). This base serves as support for a not too inspired vocal line in which treble and forti are always linked to emotional declamations of little musical interest.
The score becomes more fragmentary as the scenes progress, until reaching a final monologue for the soprano that returns a little more interest to the whole. Juan Mayorga ‘s libretto does not fascinate either –a love triangle in which two men threaten to kill each other to win the favor of a woman– and works as a reflection on the history of the lyrical genre, but unfortunately it does not seem to have found the right point. Nao Albet ‘s staging has its findings (the metatextual commentary in which the protagonists move the different types of weapons found in the Liceu’s props store on stage is interesting) but in the end it turns out to be cold. Good work by Jose Manuel Guinot, with determined treble, and the young voice of Andrea Megías . Achiever Jorge Juan Morata .
Quoted from operaactual