Concert by the soprano Vanessa Goikoetxea, at the Rosalía Castro Theater with the “OSG” directed by Miguel Ortega- tomorrow at 7:00 p.m.-, a voice that we recovered from last season, when we had her as “Nedda”, the long-suffering companion of “Cannio”, of “O Pagliacci” by Ruggero Leoncavallo and who consummated her artistic value in the aria “Qual fiamma avea nel guardo”, in one of the operatic productions, which also included “I Puritani” by Vincenzo Bellini and as less common excellence, “Partenope”, by Georg Friedrich Händel, from “Les Ars Florissants”, directed by the distinguished Wiiliam Christie, in collaboration with styling due to Paul Agnew, and with the pleasant news of the collaboration of singers from our environment such as the soprano Ana Vieira Leite- “Parténope”- and the countertenor Alberto Miguélez Rouco- “Armindo”, integrated into the project that William Christie himself proposes at an international level, in the maintenance of a training school within the styles that define your seal or identity.
Vanessa Goikoetxea, had left an excellent impression thanks to her interpretive resources for the singing resources, in a soprano with superb interpretive skills in the vocal, to confirm herself in the domains of a role as long-suffering as it is demanding. Partners then, were Alejandro Roy, the tenor in the skin of “Canio”, head of the band of comedians; the baritone Zeljko Lucic, a “Tonio”, very much in his role; the tenor Enrique Alberto Martínez- as “Beppe”, the comedian and the baritone César San Martín, as the feral “Silvio”. A production from the Teatro Lírico Nacional de la Zarzuela, with musical direction by the always reliable J. Miguel Pérez Sierra and the necessary participation of the “Coro Gaos”, by Fernando Briones. Also as a stage production signed by Ignacio García, based on a work by Ángel Coso Marín and Juan Sanz Ballesteros.
Vanessa Goikoetxea studied at the Bartolomé Ertzilla Conservatory in Durango, before continuing at the Juan Crisóstomo Arriaga Center in Bilbao, and at the Superior School of Singing in Madrid, attending the classes of Montserrat Caballé, Roberto Scandiuzzi, Edith Wiens, Miguel Zanetti-as a repertorist-, or Anna Luisa Chova. In addition to this training in the operatic field, she is also a gifted accordionist. She was directed by teachers such as Fabio Luisi, Matteo Beltrami, P.Giorgio Morandi, Carlo Montanaro, Patrick Fournillier, Diego Fasolis or Sir Andrew Davis. She was integrated in 2011, at the Semperoper Dresden, where she took on roles such as “Alcina”, by Händel; “Musetta”- “La Bohème” Pucciniana; “Rachel” from “La Juive”; “Hanna Glawari”, from the operetta “The Merry Widow” or “Vixen”, from “The Cunning Little Vixen”, by Janacek.
In 2013, she participated in Antonin Dvorak’s “Rusalka” – the first “Ninfa” – at the Gran Teatre de Liceu, in Barcelona, to which she will return seasons later for “Donna Anna” by “Don Giovanni”, continuing in the “ABAO ” with “La Bohème”. Not least important will be its leading role in the rococo styles of Luigi Boccherini, in this case by “La Clementina”, a graceful style that a specialist such as Andrea Marcon had skilfully concocted, shared with Beatriz Díaz, Carmen Romeu and Carol García, an excellent game of courtly misunderstandings, hand in hand with Xavier Capdet and Manuel Galiana. She was awarded the Deborah Voigt-Vero Beach Foundation Marcello Giordani Award (USA). With the Limoges Opera, she achieved a highly regarded success for the opera “Goyescas”, by Enric Granados, in a production that also featured the piano “Goyescas”, performed by François Heisser. In the field of oratory and for the Euskalduna theater, she booked in Deutches Requiem ”, by Johannes Brahms, with the “Coral Andra Mari”, the “Euzkadi Symphony Orchestra, directed by Josep Caballé.
In the space of “Inclusive Lyric”, it will be the turn for the 14th, of Lis Teuntor, the “Clotilde”, assistant of “Norma”, in the functions of last September, who will offer a session at the Os Mallos Civic Center – 7:00 p.m.-, which will be followed by Lucia Iglesias at the Labañou Civic Center, on the 21st, and Héctor Rodríguez, at the Montealto Civic Center, on the 28th. In the middle, there is the screening of the opera “Halka”, by Stanislaw Moniuszko, on the 17th, at the Auditorium of the Afundación Headquarters – 7:00 p.m. -, and to close the month, at that venue, the screening of the opera “The Snow Maiden”, by Nikolai Rimski-Korsakov.
A program divided between his Puccinian influences, to which he will dedicate the second part in its entirety, which is preceded by a first part that will be a pure delight for the fan, beginning with the intoxicating aria of “Rusalka”, by Antonin Dvorak, a one of those musical pieces that never fail to tempt sopranos with plenty of resources in their expressive delicacies, “Canto a la luna”, a perfect business card as an introduction, to continue with another aria by Piotr Illich Tchaikovsky, dazzling in its melodism, of one of his operas that deserves better luck than it frequently receives, the protagonist’s arioso “Iolanta”, to give prominence to “sad song No. 2, from Op. 40”- with Miquel Ortega on piano. A similar opinion inspires Erich Wolfgang Korngold, a composer who fled from the Germany of the dark years, like many of his colleagues, who would end up leaving their mark on the world of cinema, as is well known. His opera “Die tote Stadt” (The Dead City), managed to survive and is currently one of the titles that enjoys excellent health, due to its frequent appearances in seasonal programming. From it, the quintessential page, which is none other than “Marietta’s Lied” (Marietta’s song), and to round off this first part, a plenary session for Vanessa, with another of those samples that we took again from P .Illich Tchakovski, the seductive scene of the letter from the opera “Eugene Onegin”.
Puccini, not to be outdone, in a selection of five pieces, among which “Foglio d’album” will stand out as a bridge, in a piano performance by Miquel Ortega, beginning with “La Bohème”, distilled from the composer’s best ideas and which, for example, , one of those eternal ones that always excite the fan, “Si, mi chiamano Mimi”, which will be followed by another of the excellences of “Trittico”, the most sweetened of the same “Suor Angelica” and to raise the climax of the emotional state, the aria “Senza Mamma”, that triptych that will break ties in “Gianni Schichi”. Not to be outdone, the Puccini of “Tosca”, cruelty in his crude verismo and an opera that was not lacking in the programming of “Amigos de la Opera de A Coruña”. “Vissi d’arte”, the protagonist’s plea in the second act, a stark lament in preparation for “E lucevan le stelle”. “Madama Butterfly”, that opera born from the story of Pierre Loti, “Madame Chrysanthème”, premiered at the Teatro alla Scala in 1904, and received with bad forms, before becoming what we already know, awaits us for the conclusion with “A bel di vedremo”.
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