Camerata Lírica presents today in Molina its production of this opera in which the wind, woodwind and horn instruments play an equally important role as those of the singers
Love is a serious matter that everyone experiences in their own way. Men or women, rich or poor, young or old, experts or novices, we are all so uniquely in love that we don’t let the cocktail of joy and sorrow rest. The librettist Lorenzo da Ponte and the composer Wolfgang Amadeus Mozart knew this and made ‘The Marriage of Figaro’ an operatic homage to human nature.
The Camerata Lírica orchestra presents its production of this opera in Molina de Segura in which the music perfectly defines the characters, so that the woodwinds and horns play as important a role as those of the singers themselves. One of the most interesting characters in ‘The Marriage of Figaro’ is Cherubino, a young and explosive page in the service of the Count of Almaviva who has just discovered his attraction to women.
Ana Molina (Madrid, 1993) is the mezzo-soprano who will play the role of Cherubino, whom she describes as a very lively character, very fresh and willing to intertwine all the plots, which makes the opera so much fun. Mozart wraps the page in a musical garment that makes it so unique and moves so quickly in Ana’s eyes.
For the mezzo from Madrid, in the aria ‘Non so più cosa son, cosa faccio’, the page expresses that he does not know what he feels when he talks about love at all times, which is musically expressed with sixteenth notes and fast dynamics which reflect the beats of this young heart. In the second act there is the arietta ‘Voi che sapete’, which Cherubino performs for the Countess and Susanna, showing his insecurity and state of mind in the light of what he feels, reflecting the music with rhythmic figurations and quivering silences between phrases .
Cherubino knocks for all the female characters in the opera, as Ana Molina explains that since she came on stage, she’s been talking to us about Barbarina, the gardener’s daughter. As the opera progresses, he doesn’t stop flirting with the Countess and Susanna, though Ana Molina prefers none of them to justify the page’s preferences.
This mezzo-soprano who takes on the role of Cherubino warns us that this shrewd young man seems naive because of his lack of experience, but not because he is naive. He knows very well what arouses women and has the necessary mischief to approach them. Undoubtedly, any director has a choice of showing a more boyish Cherubino or opting for a more adolescent one.
Mozart gave Cherubino a female voice. Ana Molina believes that this has to do with the fact that some young people change their voices earlier than others and this page is right on that point. To sing this part, you must have a voice that is warm and light enough to resemble that of a young man.
Our guest tells us that in Mozart’s time there was no distinction between mezzos and sopranos and that the role of Cherubino in the premiere of the opera was played by soprano Dorotea Bussani. Mozart probably conceived the role for a central voice, with agility and little weight. Perhaps the warm and dark color of the mezzos, which is more like that of a young man, means that they are the ones playing this role today.
Ana Molina has prepared very well to bring Cherubino on stage, as representing a young man with revolutionary hormones and accelerated movements requires good control so as not to contaminate the scene, as she explains. For this he has had the help of Professor Nacho Rodríguez, to rehearse each word of the recitatives, Professor Diego Carvajal, to process the way Cherubino moves and make interpretation easier, and his teacher, María Teresa Manzano, who in each of the recitatives. role he is preparing. For Ana, once you put the character in the body, the voice comes naturally, because the character speaks through her.
Molina made her debut last year as a soloist at the Campo Pequeno Theater in Lisbon in the role of Berta in ‘El barbero de Sevilla’ and this year she participated as New Artist in Life Victoria in Barcelona. Currently he plays a funny, fresh and believable Cherubino that breathes with Mozart’s clear and beautiful music.
Source: La Verdad
I’m Wayne Wickman, a professional journalist and author for Today Times Live. My specialty is covering global news and current events, offering readers a unique perspective on the world’s most pressing issues. I’m passionate about storytelling and helping people stay informed on the goings-on of our planet.
