The theater director Andreas Arneth can take a deep breath: The second pandemic-like summer program “Teatro Coronato” came to a good conclusion with an evening of arias.
Weilheim -
Most of the performances were moved inside due to the weather, almost all of them were completely in demand, some also - in theory - sold out several times: "We could have done three times tonight as well," said Arneth.
After all: The vocal conclusion was given twice in the city theater, with the number of seats required.
Italian opera offered the first thematic arc for Maria Czeiler (soprano) and Robson Bueno Tavares (baritone).
Both singers' voices were well stored and richly colored, while Maria Czeiler seemed to spare the city theater the double forte, whereas the native Latin American baritone blaring unrestrainedly, as if he were singing out into the open square during the once so valued "Italian Week".
A “pretty loud” was whispered from a listener who - nota bene - was sitting in one of the back rows;
and she was right.
An "evening only with happy endings"
The impeccable Munich pianist Florian Daniel also took over the moderation and promised an “evening with happy endings”. In addition, there were arias from Mozart's “Don Giovanni”, in which Bueno Tavares flirtatiously smacked his vocal partner: “Andiam '”, let's go. The coloratura were right, the voice was very expressive, and the baritone was visually reminiscent of King Ludwig II - a series of pluses, and here even with a soulful voice.
However, it was soon noticed in a Verdi aria that the singer was sparing the articulation of the "hard" consonants, so that his Italian corresponded more to a French sentence sound, which was a shame because it was hardly ever a single word to be heard.
Maria Czeiler, on the other hand, sang clearly and dosed the forti for clever moments, for example on the “Perché Signor” (Why, Lord) in the “Vissi d'arte” from “Tosca” - in this line combined with grandiose height: to the point!
Italian folk songs follow arias
Facial expressions and gestures were intense when both protagonists considered each other with oaths of love in the dialogue singing: "Sì, baciami" - yes, kiss me: the performance was also convincing scenically with the searching hand of the soprano on the baritone's chest. Italian folk songs followed, sometimes individually, sometimes in a duet: “Non ti scordar di me”, don't forget me, first recorded on record in 1942 and later made famous by Pavarotti - it had a heart: a performance for the soul. Meanwhile every song got applause.
Finally, the program hit the final curve to the eponymous “Summertime” from “Porgy and Bess”.
Again, both voices in the system were beautiful, but Maria Czeiler more understandable, filigree, dosed - Robson Bueno Tavares vocally quasi the cream cake with extra cream: simply a little too bulky for the volume of the room.
But all shortcomings disappeared in “O sole mio”, because the longing for the sun was probably never as acute as in this watered-down August.
Long applause.
BY ANDREAS BRETTING
