Opera Fest 2024 Lisboa
REVIEW BY ANTÓNIO LOURENÇO. 2/09/2025
© Opera Fest 2024
The grand celebration of the National Opera, lasting 21 days, is themed "Fatal Instinct." OPERfest 24 is in its 5th edition, this time set in the sumptuous and historic gardens of the Marquis of Pombal, in Oeiras. It is worth noting that the Marquis of Pombal was the great architect behind the reconstruction of Lisbon, which was almost destroyed by the 1755 earthquake.
The festival opens with two of the most popular Italian verismo operas: Cavalleria Rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo. Both operas are directed by Maestro Osvaldo Ferreira and star the Basque tenor (lyric spinto) Andeka Gorrotxategi and soprano Catarina Molder in both productions — a rare feat, performing both operas in the same recital. The staging is by Mónica Garnel. These are two operas in a single act, where tragedy, crimes of honor, marital crimes, and romantic conflicts are brought into the popular realm.
The first opera, Cavalleria Rusticana, is centered around a love triangle and revenge, portraying the typical stereotype of the Sicilian people — overly passionate and impulsive. The Overture and Symphonic Intermezzo consist of beautiful melodies and famous excerpts from the work's themes.
The characters include Turiddu, a young villager who returns from military service, portrayed by the lyric spinto tenor Andeka Gorrotxategi, of Basque origin, endowed with a voice of a bright and rounded timbre, powerful and dramatically expressive. He lives with Santuzza, played by soprano Catarina Molder, who is unmatched in dramatic expression, as her voice has darkened over time (this role is sometimes performed by mezzos) in her despair and anguish after discovering that her lover has betrayed her with Lola (mezzo-soprano Leila Moreso), who is married to Alfio (brilliant baritone Cristhian Luján). Out of revenge, Santuzza exposes the betrayal and infidelity.
It is Easter, and in an intense and aggressive duet, they challenge each other to a duel, which, according to Sicilian customs, involves Turiddu biting the other’s ear. Santuzza sings the famous aria "Voi lo sapete, o Mamma," complaining to her mother, Lucia (Catarina Figueiredo). Meanwhile, the tenor, in his farewell, sings the famous aria "Mamma, quel vino è generoso," often performed in concerts. The opera ends with the scream of a woman announcing that Turiddu has been killed!
"First the Word, then the Music"
PAGLIACCI by Ruggero Leoncavallo
Conductor: Osvaldo Ferreira
Staging: Monica Garnel
The opera that followed was "PAGLIACCI," in two acts, first released in 1892, centered on themes of betrayal and murder.
Act 1: The opera begins with a Prologue sung by Tonio, the baritone, who addresses the audience, warning them that they are about to see and hear a play based on real events. The action takes place in an Italian village where a group of traveling comedians arrives. The leader is Canio (the clown), sung with great drama by the Basque tenor Andeka Gorrotxategi, and his wife Nedda (also known as Colombina), sung by soprano Catarina Molder. The performance is particularly notable for the excellent stage presence and vocal interpretation, especially from the soprano. Other characters include Tonio (baritone Jorge Martins), Tadeu, and Beppe (Arlecchino), sung by tenor Bruno Almeida. Tonio, a crippled man who was rejected by Nedda, hides and witnesses her with her lover, Silvio (Rui Baeta). Seeking revenge for Nedda's rejection, he reports the affair to Canio. The role of the Chorus is also quite significant throughout the opera. In a moment of deep sorrow, Canio, crying, sings the famous aria "Vesti la giubba," typically performed by a dramatic tenor.
Act 2: There is a performance of a play in the style of "Commedia dell'Arte." The husband, suspecting his wife of adultery, kills the lovers by stabbing them. With his heart broken, he turns to the audience and declares, "La Commedia è finita!" This "verismo" style aims to portray real life as it is, filled with human flaws and emotions.
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Thanks to: Opera Fest; Catarina Molder; João Figueiredo Costa