ÁLVARO ZAMBRANO- HAYDN- Lo speziale/Tutto il giorno, pista...HR Sinfonie Orchester/J.W de Vriend скачать в хорошем качестве

ÁLVARO ZAMBRANO- HAYDN- Lo speziale/Tutto il giorno, pista...HR Sinfonie Orchester/J.W de Vriend

J. HAYDN Lo speziale Aria: "Tutto il giorno, pista, pista.." (MENGONE) Álvaro Zambrano, tenor J. W. de Vriend, conductor HR Sinfonie Orchester Frankfurt Director: Eva Buchmann Set Design: Eva Buchmann Set realisation: Pieter Veenhof and De Man met de Hamer Costumes: Jorine van Beek Light design: Marc Heinz/Ramuntxo Stoete ARTISTIC CONCEPT In this production by Eva Buchmann, director, and Jan Willem de Vriend, musical director, we left Venice. The action takes place ‘on the road’. The apothecary literally has become ambulant. It is built-in in a Fiat 500. The cinque cento - the world famous fifties icon of Italian car industry. This triumphant car is a perfect vehicle in the hands of the director to enhance the comic effect of the eternal fight of several men over one woman. Jan Willem de Vriend is a great expert in 18th century music and opera performance practice. Since Haydn’s work is not complete, he made a revision by adding a selection of surprising music from Haydn and his time. In their longstanding collaboration Buchmann and De Vriend have developed an opera style that enthusiastically involves the audience. They know how to create an intelligent interaction between the singers/performers and the musicians, which in turn invites the audience to freely react to or ‘interact’ with the performance. That is why they not only work in the traditional venues with a proscenium stage, but also site specific, in a hotel or church or in the open, all fresco. Wherever they perform their show they adapt the set in such a way that they realise their goal: the audience close to the singers/performers and musicians, sharing the same space, in which one freely switches from the most intense concentration to sharing a drink, as the action unfolds. This intimacy is essential in their work and it requires great performance qualities from the singers. Their closeness to the spectators does not allow anything but authenticity. The informal atmosphere, thus created, most certainly resembles the 18th century performance practice more than the practice of most big opera houses today. But there is a big difference as well: the audience of today is not addressed well when the performers’ histrionic capacity consists of stylistic gestures alone, as in the time of Esterhazy and Haydn. The audience has internalized Freud and all the psychological rim ram of last century. Any spectator of today can only experience authenticity in a stage character when it has the complexity, the inner contradictions, that he/she experiences in him/herself and in others every day. Eva Buchmann has her way with singers to become authentic in this more complex way. At the same time she never loses her sense of entertainment. PUNTO ARTE FOLLOW ÁLVARO Facebook:   / alvarozambranotenor   Instagram:   / tenoralvarozambrano   Check my website for updates and more content: https://www.alvarozambranotenor.com