The opera is the new circus

Confetti while still sounded the overture, extras on stilts, jugglers and acrobats: it seemed we were in the circus, rather than opera. But it's exactly that -añadamos fire eaters, masquerades and clowns- what to expect from a director like Terry Gilliam. Much that has its mounting Benvenuto Cellini, Berlioz's early work, was in some of his early films, especially Time Bandits (1981) and The Adventures of Baron Munchausen (1988): this grotesque caricature of the vintage dresses, makeup and big gestures, the coming and going frantic variegated scenery, a riot from beginning to end, always serve an equally sympathetic argument.

Benvenuto Cellini, the end of the day, is a sitcom in which the protagonist, in the end, goes with the power-Pope Clement VII, who plays Eric Halfvarson one under cavernous, firm voice, characterized by both powder, rouge and tinsel that before pontiff looked more like a transmission Turandot and get the girl to be together, to live happily ever after. And Gilliam knows a lot of comedy.

When operas like this, uncommon in the repertoire despite the undeniable richness of the score, of an effusive romanticism, full of ups and downs like a roller coaster are assembled, it is prudent to take care of the visual aspect. Because singing Berlioz is demanding technically demanding: for tenor is a heavy burden, after many parts carrying the weight of the fabric, often heroic sharp drop almost bel canto; and the soprano is torture treble very beginning and before ending, even drilling a chorus of strong muscular lungs.

Photos : cheap fashion dresses

But that voice does not materialize in difficulty indisputable hits. No one expects big arias in Benvenuto Cellini, and yet there are so many delicious melody, so hard and so sweet, that there is enough room for the rapture. Still, if that -endulzada treat for the good work of John Osborn and Kathryn Lewek, great protagonist couple wrapped in brightly decorated, noisy action and moments of laughter, the mixture becomes explosive. Music comes and gives the view.

Now that seems to be popular interest in opera without that this still means a renewal of public teatros-, this production of Terry Gilliam presents itself as an ideal choice for deflower and acclimatize to the ritual without music or commissioning scene put it difficult for anyone. It's what he does best Gilliam: successfully meet the maladaptive and even what inadaptable; remember their heroic work at the hang of Fear and Loathing in Las-Vegas, and do it cool even in the eyes of a child.

But the splendor of the scene, with its giant golden head, genital display end, the end of the first act with frenzied tangle, acrobats and aesthetics between glam and Cirque du Soleil, does not divert attention from the main ingredient of Benvenuto Cellini: music, drawn with such brilliance by Josep Pons from the pit, which is barely noticeable. It flows like honey even in fortissimo, and both voices choir, portentous, as individual, especially Lidia Vinyes Curtis in the role of Ascanio only serve to underpin a sound building as colorful and appealing as that Gilliam stands with plasterboard. So, if want to have fun, go to the Liceu: opera is the new circus.

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