'Doña Francisquita' by Amadeu Vives ★★★✩✩
Performers: Vallès Symphony Orchestra. Chorus AA.OO. from Sabadell. Musical direction: Miguel Ortega. Stage direction: Rita Cosentino. Place and date: Production of FOC. Palau de la Música Catalana (3/XII/23)
The zarzuela grande genre returned with Doña Francisquita, who filled a vibrant Palau with the music of Amadeu Vives. We must thank the Fundació Òpera a Catalunya for the initiative to recover such a characteristic and important title on the foreseeable Barcelona music billboard. Not in vain is the centenary of its premiere celebrated, at the Apolo in Madrid, in October 1923.
A score that has not lost its validity or musical quality triumphed thanks to a lively and stylish Simfònica del Vallès, with the fluid and theatrical direction of maestro Ortega. A true specialist who conducted from memory and demonstrated how important it is to know this work by Vives to the millimeter, who revived the zarzuela to take it to its maximum splendor. The choir took on its happy and festive parts inspired.
The fresh voice, easy to emit and adequate timbre of the soprano Rut Terán stood out, an impeccable protagonist who colored with elegance and singing grace a mischievous Doña Francisquita, dominator of the particella and with notable control of a sonorous and very well projected instrument. At his side, tenor Enrique Ferrer's Fernando, impeccable in style and acting, initially had a harsh tone and a vibrato that spoiled a song attentive to musical inflections, although he improved in the second part.
Steals textbook scenes for his theatrical extroversion and charisma, tenor Vicenç Esteve's Cardona. He is vocally seamless and owns some boards worthy of a veteran from an illustrious artistic family from Barcelona. The polished Don Matías by the experienced Enric Martínez-Castignani has studied comedy, with a fun José Luis López Vázquez touch in the spoken dialogues. Laura Vila was a less traditional Aurora Beltrana than usual, with a fine line and smooth color. Among the rest of the supporting cast, she highlighted the sweet tone of Marc Sala, the color of Marta Roca and the solvency of Quim Cornet.
A shame to lose part of the production, by Rita Cosentino, in this last semi-staged performance of the tour. Intelligently resolved given the characteristics of a concert hall like the Palau, the culmination was given by a group of dancers selected and coordinated by Silvia Calvo, who performed the famous fandango for the enjoyment of a dedicated and festive audience.
