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Silence in the face of tyranny

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Silence in the face of tyranny

standing Ovation for Patricia Petibon in 'Lucio Silla', opera of Mozart which opens season in Madrid.

"No, greatness is not greatest treasure. Is mor of worries, of fear, of deception, of treason. Fatally blind, it is customary to lead us away from path of piety and justice. I know now that innocence and a heart for virtuous are more pleasing to soul that false glory".

In course of almost four hours, Lucio Silla has been a tyrant like so many ors: arbitrary, capricious, vindictive and a coward. But, suddenly, at end of opera, erratic dictator of roman republic discover redemption when contemplating true love, it removes laurels of his head, said to be one more and close door to exit. That happy end was in its time of moral, also closing exultant to a score full of twists and spirals upwards, and, in a certain way, as a kind of focus that helped viewer to illuminate darker areas of this valley of tears that is life. However, it is that same thing that makes this Lucio Silla is so far removed from se times in which tyrants y persevere in ir wickedness and in ir flight forward with ir wrong decisions. I wish it were not so, and some recognize ir mistakes; we will have to keep waiting.

These and or impressions are that stirs staged reading of Claus Guth in this, one of first operas of Wolfgang Amadeus Mozart (1756-1791), that genius of Salzburg wrote and performed for 16 years. Because if it is worth to emphasize a merit to this production, which yesterday opened season 2017-2018 Royal Theatre, which celebrates 20 years of its re-opening in 1997 and bicentennial of its opening in 1818, it is achieve what y achieve good movies: that one is not aware that re is a camera, a screen, and a few actors. With this Lucio Silla, Ivor Bolton, music director of Teatro Real and in charge of orchestra in this inaugural show, (work alternated with that of harpsichordist in recitatives) get viewer to forget that se mischief instrumental and vocal were written by someone who had just entered teen years. But, above boiling sound of score, more devastating of this opera are silences. That underlines Patricia Petibon in aria Ah se il crudel periglio, at end of first part, and in his final speech. Soprano French, excelsa, is led by standing ovation after fall of curtain, more numerous rewards of applause after each one of his arias.

She is force of rebellion against oppression in an assembly that female voices are those that guide story, in front of a Lucio Silla delegating ir responsibilities in orchestra. In addition, Silvia Tro Santafé as Cecilio, Inga Kalga as Cinna and María José Moreno as Celia (se last two, with added responsibility of bringing comic part of piece) pin Kurt Streit in role of despot, who only has support of anor tenor, Kenneth Tarver as his faithful Aufidio.

it Is precisely silence and solitude, not revolution and weapons, y just convict who admits without a blush: "I Never thought that for a man adorned with glory and greatness would be a task as complicated as of being wicked".

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