I was wrong. Happily, I must admit that I was wrong when the July 13, 2002 read me apurándoles to go to the theater in the city to watch the sunset at that time offered Porgy & Bess (1935): "If you are not sure of surviving other 50 years to see it again, "and you see, from Thursday until Sunday morning, Gershwin opera (1898-1937) added five performances at the Palace of Fine Arts, the exhibition was imported mount such a successful 1947 that the season had to be extended two more weeks.
Now, who spend between crying that the oven is not for scones and this assembly does not merit an extension of the season, who attended Thursday to the first function we must admit that to the surprise of those who walked out in the middle that was low to high.
When the curtain opened, what we saw did not promise much, and there were those who told me "no epidemic of crates used as scenery" to see the two moving structures in Catfishrow we ambientaron, the settlement that asks nothing to the our most miserable slums.
The poverty of the curtains also signed by John Farrell was not very promising. Rather, encouraged to believe that over which both insisted "radiopasillo" we were faced with a student production that sold us with more skill than if it had been brought from the Scala or the Vienna State Opera, is that like the anonymous concerted instrumental ensemble Pacien Mazzagatti, the large cast was uneven.
It is clear that when making the casting prevailed the view that "give the type" beyond the voices (at least on the first cast) give the size: there were singers like Sequina DuBose (Clara) whose volume to sing Summertime surprised more than a viewer who thought he was amplified, while others, like Darren Strokes who would be very buenote and "very mamey" Crown as one would imagine, his character, that hardly listened.
The line marked by Charles Randolph-Wright also fell into the "elementary but achiever". If anything, it allowed people like Sportin'Life (Reggie Whitehead) incurring exaggeration seemed the son who did not have Sammy Davis Jr. and Jim Carrey in The Mask when starring the vocal potential demerit expressed during its many: It Ain 't Necessarily So.
As Bess, Kishna Davis scenically unfolded with great ease and without exaggeration; without a memorable voice, we can not say that did not comply. It seems that Kenneth Overton was reserved for the end, as his Porgy was vocally rising, reaching its peak in the fifth scene of the second act, for I'm On My Way.
Far from convincing set signed by Francesca Zambello so successfully is currently touring the world, this modest production of Michael Capasso leaves a sad lesson: if I had to choose one word to describe it, that word is "birthday", same as no we can apply to virtually anything we've seen recently here.
I do not know if this company will be student or not, but has a decent level of professionalism and we would rather the deplorable proposals "professionals" who, for some time now, has provided the Opera de Bellas Artes, relying on "creative "inconsistent, failing casts, perennial improvisations and inflated budgets.
How hard is trying to make "what should be" or is it more to see who comes out the crate? Recognize ¿fallibility our authorities? Will rectify sometime or never hear them say "I was wrong"?
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