FACT SHEET

Opera Pagliacci de Leoncavallo presented by Kursaal Eszena. Opus Lirica Orchestra. Directors: Iker Sánchez, Coral Santa Cecilia. Laida Otaduy, Coro Promusika. Alain Ayerdi, Escoranias del Coro Easo. Gorka Miranda. Soloists: Nacho Guzmán (tenor), Ainhoa Garmendia (soprano), Hao Wen and Pau Armengol (Baritones), Aitor Garitano (tenor). Stage Direction: Pablo Ramos and Carlos Crooke. Place: Kursaal Auditorium. Date: 18 February.

Sometimes an artistic activity can be proposed not only for enjoyment, but also for social awareness on specific issues. This has been the intention of Opus Lirica to stand before the Donostia public opera Pagliacci de Leoncavallo. This opera is starred by jealousy and contempt for women. The argument comes from deep Italy at the end of the 19th century. In fact, despite the time that has elapsed and important social developments, violence against women and relations of dependence on women have not changed everything we would like. Let's study the art theme. First, we must look at the stage concept from which the representation begins. It is usual to
twist something classic, we have seen it many times. But sometimes this little tour doesn't make sense or doesn't add much to the play.

In this case, there were elements of originality. And this originality was based, in general, on the excess of people and elements on the stage. Too much noise on stage. The choir members as spectators, witnesses of the facts, slightly absurd dancers, the threads that supposedly affected the clowns -- all too much. What was really important was the loss of attention to the artistic fact and it was intended to convey to the public in the message. Moving on to the voice sphere, the action of the soloists was effective, but perhaps it did not go through that effectiveness either.
Ainhoa Garmendia, in addition to the artistic direction of Opus Lirica, is an excellent
soprano who performed the role of Nedda with charm. He had very nice moments (for example, Qual fiamma avea nel guardo, certainly nice), although the paper may not be the one that brightens his vocal dotes.

The tenor Nacho Guzman represents Canio, Ned's husband. It showed good projection, although its phrasing could be better. Hao Wen and Pau Armengol, both Barítonos, in the roles of Tonio and Silvio respectively, remained in the screening, but made their roles easily and effectively.

The Coral Santa Cecilia, the Escoranía del Coro Easo, the Coro Promusika and the Orchestra Opus Lirica had good and bad moments, but their work was right at all times.

We must, of course, congratulate Opus Lírica on its efforts, especially as Kursaal was almost empty. That is a pity.