elpais.com
Bilbao Opera Presents Most Complete Version of Donizetti's La favorite
Bilbao's ABAO Opera presented the most complete version of Donizetti's La favorite on February 15th, a three-hour performance featuring restored musical numbers and the original French text, showcasing the talents of a predominantly Spanish cast and winning critical acclaim.
- What was unique about the Bilbao Opera's recent production of Donizetti's La favorite?
- The Bilbao Opera's February 15th production of Donizetti's La favorite featured the most complete version ever performed, including restored numbers and a three-hour runtime. This production, winner of the Abbiati Prize, showcased the opera's full French score, enhancing understanding of the plot despite its integration of fragments from other works. The performance highlighted the vocal prowess of the predominantly Spanish cast, particularly Silvia Tro Santafé and Ismael Jordi.
- What broader implications for the future of opera performance can be drawn from the success of this production?
- This production of La favorite points to a future trend in opera: the revival of complete, historically informed versions of classic works. The inclusion of restored arias and the use of the original French text offer a more authentic and potentially impactful theatrical experience. This approach may lead to reinterpretations of other neglected operas, impacting the opera repertoire and our understanding of the composers.
- How did the production's use of the complete French score and restored passages impact the audience's understanding of the opera?
- The success of the Bilbao production underscores the ongoing reevaluation of Donizetti's works, with critical editions revealing their richness. The inclusion of the complete French score and restored passages allowed for a more nuanced understanding of the opera's dramatic arc, as evidenced by the restored duet between Alphonse and Léonor. The performance's success also speaks to the enduring appeal of bel canto singing.
Cognitive Concepts
Framing Bias
The framing is largely positive, celebrating the successful production and performances. The inclusion of Berlioz's quote sets a historical context, but the overall focus remains on the modern production's achievements, potentially overshadowing critical analysis of the opera itself. The emphasis is on the completeness of the production and the quality of the performances.
Language Bias
The language is largely descriptive and appreciative, using terms like "magnificent," "excellent," and "powerful." While positive, this could be considered biased towards a favorable interpretation. More neutral terms such as "skillful," "strong," and "effective" could offer a less subjective perspective.
Bias by Omission
The review focuses heavily on the performance and production aspects of the opera, potentially omitting analysis of the opera's inherent biases or social commentary. While the article mentions the opera's historical context and revisions, a deeper exploration of how the themes of power, gender, and religion might reflect or perpetuate biases is absent.
Gender Bias
The review discusses gender roles within the opera, noting the feminist interpretation of the ballet. However, a more in-depth analysis of potential gender biases within the opera's narrative and characterizations is lacking. While the production's feminist perspective is mentioned, the analysis doesn't fully explore whether it successfully addresses or challenges inherent gender dynamics within the opera.
Sustainable Development Goals
The article highlights a production of Donizetti's opera La favorite that features a diverse cast of Spanish singers and prioritizes a complete and historically accurate version of the work, promoting inclusivity and access to high-quality art. The ballet within the production is specifically described as a "feminist" statement that challenges ageism in women, directly addressing issues of gender equality and potentially impacting broader social equity.