Turandot · Teatro de la Maestranza (Seville)
Ópera Actual (12.11.24) · Ismael G. Cabral
Josep Fadó was also notable in his roles as Emperor Altoum and the Prince of Persia.
Opera World (11.11.24) · Gonzalo Roldán
Josep Fadó delivered a very commendable performance in his brief role as the Emperor.
Platea Magazine (08.11.24) · Javier del Olivo
The rest of the cast was solid, led by Maxim Kuzmin Karavaev as Timur, with an excellent Josep Fadó as Emperor Altoum.
Josep Fadó was also notable in his roles as Emperor Altoum and the Prince of Persia.
Opera World (11.11.24) · Gonzalo Roldán
Josep Fadó delivered a very commendable performance in his brief role as the Emperor.
Platea Magazine (08.11.24) · Javier del Olivo
The rest of the cast was solid, led by Maxim Kuzmin Karavaev as Timur, with an excellent Josep Fadó as Emperor Altoum.
Madama Butterfly · Teatro Afundación (Vigo)
Scherzo (29.10.24) · Arturo Reverter
Pinkerton was portrayed by the ever-brave and intrepid Alejandro del Cerro, making his debut in the role. He sang with confidence, delivering effortless and well-projected high notes, along with generous and assured phrasing.
Pinkerton was portrayed by the ever-brave and intrepid Alejandro del Cerro, making his debut in the role. He sang with confidence, delivering effortless and well-projected high notes, along with generous and assured phrasing.
Ariadne auf Naxos · Auditorio de Tenerife
Bachtrack (22.10.24) · Ramón Pereira Blanco
(...) This was complemented by a stage performance of great ease and elegance, further enriched by the theatrical approach of the four colleagues in the comic roles of the piece (Emmanuel Faraldo), who handled the dual roles in each of the two parts of the work with outstanding professionalism.
Scherzo (17.10.24) · Arturo Reverter
Arlequin was combined with a music teacher, Scaramuccio with an officer (Emmanuel Faraldo, tenor), Truffaldin with a footman, and Brighella with a dance master. All four performed their dual roles perfectly.
(...) This was complemented by a stage performance of great ease and elegance, further enriched by the theatrical approach of the four colleagues in the comic roles of the piece (Emmanuel Faraldo), who handled the dual roles in each of the two parts of the work with outstanding professionalism.
Scherzo (17.10.24) · Arturo Reverter
Arlequin was combined with a music teacher, Scaramuccio with an officer (Emmanuel Faraldo, tenor), Truffaldin with a footman, and Brighella with a dance master. All four performed their dual roles perfectly.
Il barbiere di Siviglia · Teatro Campoamor (Oviedo)
Scherzo (14.10.24) · Miriam Perandones Lozano
Pablo López delivered a very fine Bartolo.
Ópera Actual (12.10.24) · Antonio Hedrera
Baritone Pablo López delivered an amusing portrayal of Bartolo, conveying the eccentric and authoritarian nature of the role, which was originally written for a bass.
Pablo López delivered a very fine Bartolo.
Ópera Actual (12.10.24) · Antonio Hedrera
Baritone Pablo López delivered an amusing portrayal of Bartolo, conveying the eccentric and authoritarian nature of the role, which was originally written for a bass.
Lady Macbeth de Mtsensk · Gran Teatre del Liceu (Barcelona)
Opera World (12.10.24) · Federico Figueroa
I highlight and applaud the fact that nearly all of these secondary roles were performed by singers who, as is now said in the culinary world, are "locally sourced," and they shone in their respective roles: (...) Javier Agudo (administrator).
Platea Magazine (01.10.24) · Joan Sebastià Colomer
It would be absurd to start listing all the singers one by one. Lady Macbeth of Mtsensk is filled with brief roles, and all of them (... Javier Agudo) contributed both musically and dramatically to a performance (or performances) made memorable by the way Shostakovich’s dazzling score was delivered with tremendous force.
I highlight and applaud the fact that nearly all of these secondary roles were performed by singers who, as is now said in the culinary world, are "locally sourced," and they shone in their respective roles: (...) Javier Agudo (administrator).
Platea Magazine (01.10.24) · Joan Sebastià Colomer
It would be absurd to start listing all the singers one by one. Lady Macbeth of Mtsensk is filled with brief roles, and all of them (... Javier Agudo) contributed both musically and dramatically to a performance (or performances) made memorable by the way Shostakovich’s dazzling score was delivered with tremendous force.
Adriana Lecouvreur · Teatro Real (Madrid)
OperaWire (02.10.24) · Mauricio Villa
Josep Fadó was incredible in the secondary supporting role Abate with a strong projected voice and a detailed characterization of his role, full of mannerism.
Platea Magazine (27.09.24) · Javier del Olivo
Maurizio Muraro and Josep Fadó were excellent as the Prince of Bouillon and the Abate, respectively.
Codalario (26.09.24) · Óscar del Saz
The tenors Mikeldi Atxalandabaso and Josep Fadó were highly appropriate and effective in the role of the cunning Abate de Chazeuil, an important character in the plot. Their portrayal of comic and intriguing traits was seamlessly integrated with their singing, delivering sufficient volume and projection to stand out among heavier voices and effortlessly carry over the orchestra pit.
Josep Fadó was incredible in the secondary supporting role Abate with a strong projected voice and a detailed characterization of his role, full of mannerism.
Platea Magazine (27.09.24) · Javier del Olivo
Maurizio Muraro and Josep Fadó were excellent as the Prince of Bouillon and the Abate, respectively.
Codalario (26.09.24) · Óscar del Saz
The tenors Mikeldi Atxalandabaso and Josep Fadó were highly appropriate and effective in the role of the cunning Abate de Chazeuil, an important character in the plot. Their portrayal of comic and intriguing traits was seamlessly integrated with their singing, delivering sufficient volume and projection to stand out among heavier voices and effortlessly carry over the orchestra pit.
Domitila · Fundación March (Madrid)
Platea Magazine (30.09.24) · Enrique Bert
The staging is the responsibility of Nicola Beller Carbone, who is known to be an all-rounder on stage, brave and almost reckless; and it can be said that her approach is a true reflection of her personality. The director forces the only singer to maintain a frenetic activity, with continuous costume changes and symbolically charged stage movements while letters from the early 19th century are read out. Thus, Domitila appears to us as a demonic woman or a boxer, or as a bishopess (sic) transmuted into an elegant woman, and many other characters that the director would undoubtedly like to play.
Ópera Actual (30.09.24) · Mario Muñoz
The production was directed by Nicola Beller Carbone, who is well known as a singer and teacher. It seems that her journey on the world's stages, from the Deutsche Oper in Berlin to the Opéra de Lyon, has given her a spatial vision and an innate wisdom when it comes to moving the scenic elements that the march offers. Domitila speaks from emotional exile and Beller Carbone proposes a multiplicity of masks in the costumes and a continuous but accessible symbolism that marks the various elements, such as the strings. The show thrilled and convinced, and in the applause one could detect a certain vindictiveness: that of defending chamber opera, new opera, Latin American opera.
Beckmesser (24.09.24) · Arturo Reverter
A suggestive but undoubtedly limited proposal that has few dramatic grips feeding a varied and contrasting anecdote on stage, Nicola Beller Carbone has decided to propose a narrative rich in ideas, contrasts and colours, which goes far beyond what is in reality a monologue, well illustrated by Ripper, but flat and rigid. The regista opens up paths for us through an understanding that requires our intellectual participation, necessary to grasp the multiple meanings. A metaphorical narrative in which many of the descriptions and epistles make sense. And the characters and events take on prominence and entity. A very intelligent immersion in behaviours, facts, memories, through a montage of enormous conceptual richness that projects this limited epistolary world towards transcendent and universal definitions, more or less inconcrete, that leave the mind open and seek discomfort.
El País (23.09.24) · Jorge Fernández Guerra
The production presented at the Fundación March has another of its strong points in the powerful staging by Nicola Beller Carbone, who proposes a space enclosed by ropes that seem to symbolise both the complex of relationships that surround the couple and their own cage. Carbone plays very well with the musicians, who are excellent in their dual role as instrumentalists and occasional actors, adding dynamism to the movements and scenic changes.
Scherzo (23.09.24) · Tomás Marco
It benefited from a very successful production by Nicola Beller Carbone, with scenography by Carmen Castañón and attractive costumes by Pier Paolo Álvaro and Roger Portal. (...) The result is a show that goes in the right direction and reaches the audience directly, thanks also to the quality of the production and the interpretative work.
El Español (21.09.24) · Arturo Reverter
(...) An action that will develop according to the interesting and metaphorical stage proposal of the veteran soprano and great theatrical personality Nicola Beller Carbone, who represents the yoke that Domitila and the king bear trapped between ropes, "as if they were a single character with different appearances who struggles with himself to find balance in the midst of the ties that condition his existence".
The staging is the responsibility of Nicola Beller Carbone, who is known to be an all-rounder on stage, brave and almost reckless; and it can be said that her approach is a true reflection of her personality. The director forces the only singer to maintain a frenetic activity, with continuous costume changes and symbolically charged stage movements while letters from the early 19th century are read out. Thus, Domitila appears to us as a demonic woman or a boxer, or as a bishopess (sic) transmuted into an elegant woman, and many other characters that the director would undoubtedly like to play.
Ópera Actual (30.09.24) · Mario Muñoz
The production was directed by Nicola Beller Carbone, who is well known as a singer and teacher. It seems that her journey on the world's stages, from the Deutsche Oper in Berlin to the Opéra de Lyon, has given her a spatial vision and an innate wisdom when it comes to moving the scenic elements that the march offers. Domitila speaks from emotional exile and Beller Carbone proposes a multiplicity of masks in the costumes and a continuous but accessible symbolism that marks the various elements, such as the strings. The show thrilled and convinced, and in the applause one could detect a certain vindictiveness: that of defending chamber opera, new opera, Latin American opera.
Beckmesser (24.09.24) · Arturo Reverter
A suggestive but undoubtedly limited proposal that has few dramatic grips feeding a varied and contrasting anecdote on stage, Nicola Beller Carbone has decided to propose a narrative rich in ideas, contrasts and colours, which goes far beyond what is in reality a monologue, well illustrated by Ripper, but flat and rigid. The regista opens up paths for us through an understanding that requires our intellectual participation, necessary to grasp the multiple meanings. A metaphorical narrative in which many of the descriptions and epistles make sense. And the characters and events take on prominence and entity. A very intelligent immersion in behaviours, facts, memories, through a montage of enormous conceptual richness that projects this limited epistolary world towards transcendent and universal definitions, more or less inconcrete, that leave the mind open and seek discomfort.
El País (23.09.24) · Jorge Fernández Guerra
The production presented at the Fundación March has another of its strong points in the powerful staging by Nicola Beller Carbone, who proposes a space enclosed by ropes that seem to symbolise both the complex of relationships that surround the couple and their own cage. Carbone plays very well with the musicians, who are excellent in their dual role as instrumentalists and occasional actors, adding dynamism to the movements and scenic changes.
Scherzo (23.09.24) · Tomás Marco
It benefited from a very successful production by Nicola Beller Carbone, with scenography by Carmen Castañón and attractive costumes by Pier Paolo Álvaro and Roger Portal. (...) The result is a show that goes in the right direction and reaches the audience directly, thanks also to the quality of the production and the interpretative work.
El Español (21.09.24) · Arturo Reverter
(...) An action that will develop according to the interesting and metaphorical stage proposal of the veteran soprano and great theatrical personality Nicola Beller Carbone, who represents the yoke that Domitila and the king bear trapped between ropes, "as if they were a single character with different appearances who struggles with himself to find balance in the midst of the ties that condition his existence".
Li furbi · Little Opera Zamora
Ritmo (02.08.24) · Eustaquio Iribarren
Mar Morán triumphed in the role of the landowner Don Camilo, performing some of the most beautiful and complex arias in the entire work. She possesses a voice of beautiful colour, delivered with great musicality and refined technique. Her role, the least comedic in the libretto, unfolds through these showcase arias, which she approached with the appropriate lyricism and a well-prepared display of her talents.
Beckmesser (01.08.24) · Arturo Reverter
The most important and extensive arias are the three intended for the character of Don Camilo, likely written for a castrato—here performed with grace by soprano Mar Morán. (...) Mar Morán must be mentioned first, dressed as a woman in trousers, though we know she is portraying a man—the master of the house. Her voice, a shimmering light lyric soprano with richness and finely polished metal, displayed excellent singing artistry. She delivered her challenging part with flair and elegance.
Mar Morán triumphed in the role of the landowner Don Camilo, performing some of the most beautiful and complex arias in the entire work. She possesses a voice of beautiful colour, delivered with great musicality and refined technique. Her role, the least comedic in the libretto, unfolds through these showcase arias, which she approached with the appropriate lyricism and a well-prepared display of her talents.
Beckmesser (01.08.24) · Arturo Reverter
The most important and extensive arias are the three intended for the character of Don Camilo, likely written for a castrato—here performed with grace by soprano Mar Morán. (...) Mar Morán must be mentioned first, dressed as a woman in trousers, though we know she is portraying a man—the master of the house. Her voice, a shimmering light lyric soprano with richness and finely polished metal, displayed excellent singing artistry. She delivered her challenging part with flair and elegance.
Madama Butterfly · Teatro Real (Madrid)
Codalario (10.07.24) · Raúl Chamorro Mena
The Madrid-born baritone Gerardo Bullón delivered a splendid Sharpless, despite a few strained high notes. Vocally, he showcased a beautiful, noble, and resonant timbre, while dramatically, he offered a magnificent and precise portrayal of the consul. Bullón employed all his acting talents, leaving no accent or nuance unexpressed, to convey the full humanity of the character, who foresees the tragic outcome of the plot.
Ópera Actual (09.07.24) · Mario Muñoz
Gerardo Bullón's Sharpless also made a strong impression from an acting perspective, skillfully navigating the complex role of a bridge between the monstrous side of American society and the servility of those who welcome him. His letter-reading scene was poignant, showcasing once again his vocal consistency across registers, rounded singing, perfect diction, and a deep sense of drama.
Scherzo (03.07.24) · Andrés Moreno Mengíbar
To continue with the aspects that on this second day surpassed those of the first, Gerardo Bullón's Sharpless benefited from the beautiful colour of his voice and its roundness across all registers. He knows how to deliver the text clearly and imbue it with convincing accents, as was evident in his warnings to Pinkerton and, especially, in the scene with Cio-Cio-San in the second act, with phrasing chiselled to perfection.
The Madrid-born baritone Gerardo Bullón delivered a splendid Sharpless, despite a few strained high notes. Vocally, he showcased a beautiful, noble, and resonant timbre, while dramatically, he offered a magnificent and precise portrayal of the consul. Bullón employed all his acting talents, leaving no accent or nuance unexpressed, to convey the full humanity of the character, who foresees the tragic outcome of the plot.
Ópera Actual (09.07.24) · Mario Muñoz
Gerardo Bullón's Sharpless also made a strong impression from an acting perspective, skillfully navigating the complex role of a bridge between the monstrous side of American society and the servility of those who welcome him. His letter-reading scene was poignant, showcasing once again his vocal consistency across registers, rounded singing, perfect diction, and a deep sense of drama.
Scherzo (03.07.24) · Andrés Moreno Mengíbar
To continue with the aspects that on this second day surpassed those of the first, Gerardo Bullón's Sharpless benefited from the beautiful colour of his voice and its roundness across all registers. He knows how to deliver the text clearly and imbue it with convincing accents, as was evident in his warnings to Pinkerton and, especially, in the scene with Cio-Cio-San in the second act, with phrasing chiselled to perfection.