{"id":9454,"date":"2025-12-05T10:41:12","date_gmt":"2025-12-05T10:41:12","guid":{"rendered":"https:\/\/info-eforie.ro\/index.php\/2025\/12\/05\/la-opera-brasov-don-carlos-concertant\/"},"modified":"2025-12-05T10:41:12","modified_gmt":"2025-12-05T10:41:12","slug":"la-opera-brasov-don-carlos-concertant","status":"publish","type":"post","link":"https:\/\/info-eforie.ro\/index.php\/2025\/12\/05\/la-opera-brasov-don-carlos-concertant\/","title":{"rendered":"La Opera Bra\u0219ov, \u201eDon Carlos\u201d. Concertant?"},"content":{"rendered":"
\n

\u00cen ultima zi de
\nnoiembrie m-am aflat \u00eent\u00e2mpl\u0103tor sub T\u00e2mpa \u0219i cu surprindere am v\u0103zut pe afi\u0219e
\nc\u0103 avusese loc cu 24 de ore \u00eenainte premiera concertant\u0103 a operei \u201eDon Carlos\u201d
\nde Verdi. Serata urma s\u0103 se repete cu alt\u0103 distribu\u021bie chiar \u00een acea zi a\u0219a
\n\u00eenc\u00e2t, evident, nu am ratat ocazia. <\/p>\n

\"image\"<\/picture>\n\t\t\t<\/div>\n

Sub coordonarea invitatului
\nRare\u0219 Zaharia, cunoscut regizor, vechi colaborator al lui Silviu Purc\u0103rete, s-a
\nfolosit versiunea \u00een 4 acte datat\u0103 1884, ce fusese reprezentat\u0103 pentru prima oar\u0103
\n\u00een limba italian\u0103 la Scala din Milano dup\u0103 premiera absolut\u0103 \u00een francez\u0103, 5
\nacte, Paris 1867. De ce doar \u00een concert, cum st\u0103tea scris pe afi\u0219ele \u0219i programele
\nOperei Bra\u0219ov? Un titlu de notorietate \u0219i grand-op\u00e9ra<\/i>, mai ales verdian, nu se \u00eenva\u021b\u0103 \u00een
\nlipsa spectacolului. Pot presupune c\u0103 dificult\u0103\u021bile financiare au fost motivul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Numai c\u0103 m\u00e2na lui Rare\u0219 Zaharia a
\nsim\u021bit contradic\u021bia \u0219i a construit efectiv un spectacol semi-staged<\/i> foarte apropiat unei produc\u021bii totale. De la intrarea
\n\u00een sal\u0103 am fost frapat c\u0103 orchestra se \u00eenc\u0103lzea \u00een fos\u0103. Deci scena urma s\u0103 fie
\nliber\u0103, iar coordonatorul – regizor a folosit-o pentru a imagina o montare (da,
\nacesta este cuv\u00e2ntul) valabil\u0103, de inspira\u021bie contemporan\u0103 \u00een ceea ce prive\u0219te
\nsimbolistica \u0219i stiliz\u0103rile, minimalist\u0103 ca gen, dar concentrat\u0103 pe
\nrela\u021bion\u0103rile \u00eentre personaje. Oarecari sugestii de epoc\u0103 au venit mai ales
\nprin unele accesorii vestimentare. Scenografia, Rodica Gar\u0219tea. \u00a0<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ideatica de baz\u0103 \u00een afara sus\u021binerii
\nriguroase a tramei a fost sublinierea suzeranit\u0103\u021bii regale care distruge
\npractic tot ce are \u00een jur. Scaunele pe care to\u021bi eroii au stat la deschiderea
\ncortinei, \u00een aburul istoriei, s-au ridicat c\u0103tre \u00eenalturi r\u0103m\u00e2n\u00e2nd obsedant
\nacolo, simboliz\u00e2nd viitoarea dispari\u021bie a tuturor adversarilor monarhului
\nmanipulat de Inchizi\u021bie (spioni, peste tot) \u0219i l\u0103s\u00e2nd impun\u0103torul tron regal s\u0103
\ndomine scena practic goal\u0103. Da, un tron falnic pe care de\u021binea dreptul s\u0103 se
\na\u0219eze numai Regele Filip, Regina Elisabetta st\u00e2ndu-i al\u0103turi \u00een picioare, parc\u0103
\ndeja proscris\u0103. Dup\u0103 expulzarea Contesei d’Aremberg, doamna de onoare a
\nReginei, dup\u0103 asasinarea lui Posa, sfetnicul Regelui, dou\u0103 scaune au r\u0103mas sp\u00e2nzurate
\n\u00een v\u0103zduh, ca o amenin\u021bare. De fapt, aproape totul se deruleaz\u0103 sub presiunea
\npsihic\u0103 a scaunelor balansate instabil \u0219i sinistru \u00een aer. P\u00e2n\u0103 \u0219i cobor\u00e2rea \u0219i
\nstivuirea lor \u00een form\u0103 de rug \u00een marea scen\u0103 a Autodaf\u00e9<\/i>-ului a reprezentat un avertisment. Nici nu mai era nevoie
\nde eretici condamna\u021bi, efecte de lumin\u0103 simul\u00e2nd incendierea e\u0219afodului. O idee
\nlugubr\u0103 imaginat\u0103 de Rare\u0219 Zaharia, creator \u00eendreptat \u00eentotdeauna c\u0103tre simboluri
\ninedite, efecte \u0219i coups-de-th\u00e9\u00e2tre<\/i>.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Costumele Rodic\u0103i Gar\u0219tea, potrivite
\nunui concert, fracuri, smokinguri, rochii de sear\u0103, poart\u0103 \u00eensemne de rang ale
\neroilor \u0219i c\u00e2te un adaos vestimentar, o e\u0219arf\u0103, o fund\u0103, o mantil\u0103 de culoare
\nro\u0219ie, nuan\u021b\u0103 care o sugereaz\u0103 pe cea a rasei Marelui Inchizitor. La fel ca \u0219i
\nrochia \u0219i peruca Principesei Eboli, intriganta amant\u0103 \u0219i confident\u0103 a Regelui,
\ncare a asistat impasibil\u0103 la aria de suflet a lui Filip (actul al III-lea),
\nschimb\u00e2nd priviri (complice, poate) cu Marele Inchizitor ce tocmai intra \u00een
\nscen\u0103 la finalul ei. Doar Elisabetta a \u00eembr\u0103cat diverse rochii, cu patin\u0103 de
\naur vechi (dulcea Fran\u021b\u0103 natal\u0103) sau de un gri sumbru (traiul \u00een Spania
\ndespotic\u0103), culori reflect\u00e2nd st\u0103ri de spirit. Din nou, simboluri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen absen\u021ba decorurilor, fundalul
\nscenei a r\u0103mas gol, cu nuan\u021be uniform pastelate \u0219i schimbate \u00een func\u021bie de
\nambientul ac\u021biunii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen rolul titular, tenorul ie\u0219ean
\nFlorin Guzg\u0103 a frazat fluent \u0219i nuan\u021bat \u00een pasajele lirice (ce frumos i-a
\nap\u0103rut silueta Elisabettei ca un vis \u00eence\u021bo\u0219at \u00een timpul ariei \u201eIo la vidi\u201d!), expun\u00e2nd
\nacute sigure, spinte, Si bemol-urile care abund\u0103 \u00een partitur\u0103 sau un Si natural
\nde for\u021b\u0103 \u00een dificila tirad\u0103 dramatic\u0103 \u201esar\u00f2 tuo salvator\u201d din marele ansamblu
\nal actului secund. Unele sunete \u201estr\u00e2nse\u201d s-au f\u0103cut resim\u021bite pe alocuri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cu rafinamente \u00een expresie, de la
\ntriste\u021bea primului duet cu Don Carlos, pl\u0103m\u0103ditoare a unei atmosfere vibrante
\n\u00eentre cei doi, r\u0103scolit\u0103 \u0219i duioas\u0103 \u00een romanza<\/i>
\n\u201eNon pianger mia compagna\u201d \u00eencheiat\u0103 \u00eentr-o construc\u021bie special\u0103, soprana
\nAsineta R\u0103ducan a fost o Elisabetta de vocalitate lirico-spint\u0103, cu adres\u0103ri
\nenergice \u00een confruntarea cu Filip din actul al III-lea, expun\u00e2nd desene
\nmelodice nuan\u021bate ca rememor\u0103ri \u00een aria din final \u0219i lirism punctat de
\npianissime \u00een duetul subsecvent. A \u00eencheiat practic opera cu un Si natural acut
\nfabulos, str\u0103lucitor \u0219i interminabil \u201eOh ciel!\u201d. Memorabil.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dotat cu o timbralitate rar\u0103, venit\u0103
\ndin \u00eenzestrarea cu armonice deosebite, baritonul Alexandru Chiriac (Rodrigo,
\nmarchiz de Posa) a conferit personajului elegan\u021ba de c\u00e2nt \u0219i atitudinea nobil\u0103.
\nDezvoltat progresiv spre registrul acut, de\u0219i c\u00e2teodat\u0103 inegal, glasul a frazat
\nlimpid \u0219i omogen pe tot parcursul serii, cu un v\u00e2rf doloroso <\/i>\u00een aria \u201ePer me giunto\u201d din scena \u00eenchisorii c\u00e2ntat\u0103 cu
\nlinie vocal\u0103 impecabil\u0103 \u0219i moliciuni de glas. C\u00e2t prive\u0219te moartea eroului \u00eemi
\namintesc c\u0103 acum c\u00e2\u021biva ani o \u00eenzestra cu fraz\u0103ri continui sus\u021binute de o respira\u021bie
\nmai lung\u0103, ce-i drept \u00een recital, nu \u00eentr-un spectacol solicitant.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Vocea bogat\u0103, cald\u0103 \u0219i \u00een egal\u0103 m\u0103sur\u0103
\nrotund\u0103, intens colorat\u0103, cu sonorit\u0103\u021bi autoritare a basului Alin Anca a compus
\npersonajul Filip, mai \u00eent\u00e2i statuar, rece \u0219i indiferent pentru ca odat\u0103 cu
\npartea a doua a ariei \u201eElla giammai m’am\u00f2\u201d s\u0103 transmit\u0103 o tr\u0103ire intens\u0103, care
\na continuat \u0219i \u00een duetul cu Marele Inchizitor \u00eencheiat cu un Fa natural acut
\n\u201eDunque il trono piegar dovr\u00e0 sempre all’altare!\u201d, explozie a recunoa\u0219terii
\nvasalit\u0103\u021bii fa\u021b\u0103 de Inchizi\u021bie. Alin Anca a abordat cu expresivitate \u0219i scena
\ncu Elisabetta sau cvartetul. <\/p>\n

Rezolvarea
\ndificult\u0103\u021bilor partiturii Principesei Eboli de c\u0103tre mezzosoprana Florentina
\nSoare a fost rezultatul experien\u021bei \u00een carier\u0103 \u0219i abord\u0103rii foarte potrivite a succesiunii
\nintr\u0103rii \u00een roluri, de la cele belcantiste la cele romantice dramatice. I s-a
\nad\u0103ugat \u00eembog\u0103\u021birea consisten\u021bei glasului. Astfel, a c\u00e2ntat cu lejeritate
\nroman\u021ba maur\u0103 de dragoste \u201eCanzone del velo\u201d, finaliz\u00e2nd-o cu un La natural
\namplu. Piatra de \u00eencercare, marea arie \u201eO don fatale\u201d, a avut incisivitatea de
\nfor\u021b\u0103 a disper\u0103rii, pigmentat\u0103 cu un cantabile<\/i>
\ncer\u00e2nd clemen\u021b\u0103 \u201eO\u2026 mia Regina\u201d \u0219i \u00eencheiat\u0103 cu teribilul lan\u021b acut executat \u00een
\nplin\u0103 t\u0103rie energetic\u0103 dintr-o singur\u0103 respira\u021bie. Rar\u0103 abordare.<\/p>\n

Invitat de la
\nBucure\u0219ti, basul Marius Bolo\u0219 a repetat cunoscuta \u0219i importanta sa presta\u021bie \u00een
\nrolul Marelui Inchizitor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Au mai fost distribui\u021bi \u0218erban Dinu
\n(Un c\u0103lug\u0103r, bas cu voce neagr\u0103, impun\u0103toare ca proiec\u021bie \u00een sal\u0103, nesigur
\nintona\u021bional \u0219i cu frazare fragmentat\u0103 la \u00eenceput), Iuliana St\u00eerlea (Tebaldo,
\nsopran\u0103), Cristian Dicu (Contele Lerma, tenor), Bede L\u00e1szl\u00f3 (Heraldul regal,
\ntenor cu voce frumoas\u0103 \u0219i omogen\u0103), Silvia Micu, sopran\u0103 destinat\u0103 Vocii
\nCeleste care a plutit sonor \u00een scena Autodaf\u00e9<\/i>-ului
\np\u00e2n\u0103 la nota final\u0103 de Si natural acut, for\u021bat \u0219i u\u0219or strident), Ioana Popescu
\n(Contesa d’Aremberg, dansatoare gra\u021bioas\u0103 \u00een timpul primei arii a lui Eboli,
\n\u00eenconjurat\u0103 de mi\u0219c\u0103rile elegante ale coristelor).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dirijorul clujean Victor Dum\u0103nescu \u0219i-a
\ndemonstrat experien\u021ba de-o via\u021b\u0103 \u00een abordarea diverselor stiluri componistice
\nlirice \u0219i a condus ansamblurile (nu mari) cu tempi adecva\u021bi \u0219i \u00een deplin\u0103 \u00een\u021belegere
\na specificului partiturii. <\/p>\n

Corul preg\u0103tit
\nde Drago\u0219 Cohal a avut bune momente \u00een scena din gr\u0103dina M\u0103n\u0103stirii San Giusto
\n(primul act), \u00een partea median\u0103 \u0219i final\u0103 a tabloului Autodaf\u00e9 <\/i>(\u00een prima se ar\u0103tase u\u0219or\u2026 lene\u0219) \u0219i la sf\u00e2r\u0219itul actului
\nal III-lea. De asemenea, remarci merg c\u0103tre c\u00e2ntul murmurat al c\u0103lug\u0103rilor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Orchestra Operei Bra\u0219ov s-a concentrat
\nmeritoriu asupra partiturii \u0219i suflului baghetei. Subliniez c\u00e2teva pasaje, Preludiul
\nactului al II-lea (cu viori fine), scena Autodaf\u00e9
\n<\/i>(grandioas\u0103), Introducerea la aria lui Filip (cu violoncel \u0219i viori expresive)\u2026
\nGreu Preludiu \u00eens\u0103 pentru corn la primul act!<\/p>\n

F\u0103r\u0103 \u00eendoial\u0103, p\u00e2n\u0103 la versiunea
\nfinal\u0103 care va \u0219terge de pe afi\u0219e sintagma \u201eoper\u0103 \u00een concert\u201d, produc\u021bia
\nsemnat\u0103 de Rare\u0219 Zaharia \u0219i Victor Dum\u0103nescu se va mai completa \u0219i roda din punct
\nde vedere scenic, respectiv muzical. Nu mai este mult.<\/p>\n

\"image\"<\/picture>\n\t\t\t<\/div>\n<\/p><\/div>\n

Read More<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00cen ultima zi de noiembrie m-am aflat \u00eent\u00e2mpl\u0103tor sub T\u00e2mpa \u0219i cu surprindere am v\u0103zut pe afi\u0219e c\u0103 avusese loc cu 24 de ore \u00eenainte […]<\/p>\n","protected":false},"author":1,"featured_media":9455,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-9454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-popular"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/posts\/9454","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/comments?post=9454"}],"version-history":[{"count":0,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/posts\/9454\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/media\/9455"}],"wp:attachment":[{"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/media?parent=9454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/categories?post=9454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/info-eforie.ro\/index.php\/wp-json\/wp\/v2\/tags?post=9454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}