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Resounding success for Carlos Aragón and Leonor Bonilla in Le nozze di Figaro at the
Teatro Cervantes December 13th, 2023 |
After the premiere, on December 1st, of the production of Le nozze di Figaro at the Teatro Cervantes in Málaga, the media have echoed the excellent work of both conductor Carlos Aragón and soprano Leonor Bonilla.
In the words of José Antonio Cantón in Codalario, "To balance the artistic level, the pit counted on the intervention of one of the Spanish maestros with the greatest experience and lyrical instinct of Carlos Aragón who, by means of a careful reduction of the orchestral personnel, managed to clearly expose all the secrets of the score, displaying metrical precision, expressiveness and vocal direction. [...] Likewise, the conductor boosted the enormous experience of the Málaga baritone Carlos Álvarez".
On the other hand, in the Ópera Actual magazine, Alejandro Fernández highlights that: "Carlos Aragón's musical direction proposed agile dynamics and adapted to the vocal needs of soloists, particchinos and choral ensemble, showing a musical line of balances especially illuminated, extracting sonorities from a solvent Málaga Philharmonic thanks to the blending of strings and woodwinds."
The special mention by Andrés Moreno Mengíbar in Beckmesser magazine is worth mentioning: "Carlos Aragón did a superb job in making the Filarmónica de Málaga sound transparent, with restrained vibrato in the strings and a phrasing without portamento or arches that were too intense or long, playing with spiccato and the articulation. The tempos were generally lively, with the rhythm well marked, never blocking the voices even in the tumultuous concertantes at the end of the second and fourth acts. From a historicist point of view, it was a good idea to make the cembalo sound also beyond the recitatives, marking the tempo as Mozart himself would have done when conducting from the keyboard".
For her part, soprano Leonor Bonilla in the role of Susana, was praised for her interpretation and her excellent vocal qualities. José Antonio Cantón in Codalario notes that "Her voice, perfect in intonation, projection and placement enhanced her performance to such an extent that it leads one to believe that she has become one of the best Susanas on the international operatic scene".
Interpretative qualities have also been highlighted, such as Beckmesser's Andrés Moreno Mengíbar: "In this acting sense, it was Leonor Bonilla's Susanna, also a debutant in the role, who shone. Her way of moving around the stage is elegant and natural, with innate theatricality. Her ability to shape her voice, to open and close it, with attention to accents, is one hundred percent Mozartian, and this was evident in a "Deh, vieni, non tardar" sung at the top of her voice, with perfect projection, delicate and sensual. She also performed a fandango danced with bolero grace and accompanied with elegance and taste by the castanets".
And finally, Carlota Hernández highlights in DiarioSur, "The beautiful interpretations offered by Leonor Bonilla and Rocío Ignacio, who demonstrate not only their vocal talent, but also their interpretative talent, creating characters full of nuances and embroidering their respective roles with great stage presence, refined singing and a solid projection, their arias being the most applauded by the audience."
In the words of José Antonio Cantón in Codalario, "To balance the artistic level, the pit counted on the intervention of one of the Spanish maestros with the greatest experience and lyrical instinct of Carlos Aragón who, by means of a careful reduction of the orchestral personnel, managed to clearly expose all the secrets of the score, displaying metrical precision, expressiveness and vocal direction. [...] Likewise, the conductor boosted the enormous experience of the Málaga baritone Carlos Álvarez".
On the other hand, in the Ópera Actual magazine, Alejandro Fernández highlights that: "Carlos Aragón's musical direction proposed agile dynamics and adapted to the vocal needs of soloists, particchinos and choral ensemble, showing a musical line of balances especially illuminated, extracting sonorities from a solvent Málaga Philharmonic thanks to the blending of strings and woodwinds."
The special mention by Andrés Moreno Mengíbar in Beckmesser magazine is worth mentioning: "Carlos Aragón did a superb job in making the Filarmónica de Málaga sound transparent, with restrained vibrato in the strings and a phrasing without portamento or arches that were too intense or long, playing with spiccato and the articulation. The tempos were generally lively, with the rhythm well marked, never blocking the voices even in the tumultuous concertantes at the end of the second and fourth acts. From a historicist point of view, it was a good idea to make the cembalo sound also beyond the recitatives, marking the tempo as Mozart himself would have done when conducting from the keyboard".
For her part, soprano Leonor Bonilla in the role of Susana, was praised for her interpretation and her excellent vocal qualities. José Antonio Cantón in Codalario notes that "Her voice, perfect in intonation, projection and placement enhanced her performance to such an extent that it leads one to believe that she has become one of the best Susanas on the international operatic scene".
Interpretative qualities have also been highlighted, such as Beckmesser's Andrés Moreno Mengíbar: "In this acting sense, it was Leonor Bonilla's Susanna, also a debutant in the role, who shone. Her way of moving around the stage is elegant and natural, with innate theatricality. Her ability to shape her voice, to open and close it, with attention to accents, is one hundred percent Mozartian, and this was evident in a "Deh, vieni, non tardar" sung at the top of her voice, with perfect projection, delicate and sensual. She also performed a fandango danced with bolero grace and accompanied with elegance and taste by the castanets".
And finally, Carlota Hernández highlights in DiarioSur, "The beautiful interpretations offered by Leonor Bonilla and Rocío Ignacio, who demonstrate not only their vocal talent, but also their interpretative talent, creating characters full of nuances and embroidering their respective roles with great stage presence, refined singing and a solid projection, their arias being the most applauded by the audience."
