Inauguration of a New Edition
The prestigious Peralada Castle Festival has kicked off its 38th edition, specifically, on Friday 19 July. For this occasion, the festival has chosen a world-renowned artist, the Polish tenor Piotr Beczala, a beloved figure in the world of opera who has returned to Peralada for the third time. Close to turning sixty, Beczala retains an exceptional vocal condition, surprising for its brilliant tone and intense projection, which resonated against the solid walls of the Carmel Church, the cozy space where the event was held .
A Concert of Many Emotions
The concert featured the Polish tenor’s voice accompanied by French pianist Sarah Tysman, who provided a subtle and delicate accompaniment, letting Beczala’s voice shine in all its glory. The first part of the repertoire was dedicated to the work of Tchaikovsky, starting with a compilation of nine of his songs, which deeply reflect nostalgia and love loss, with a wave of emotions that characterize the compositions of the great russian composer
The World of Tchaikovsky
The selected pieces were little gems that addressed a range of human emotions and existential anxieties that resonate in this composer’s works. Beczala’s ability to vary her performance was admirable, adapting her voice to the delicacy of each song, with soft murmurs and impeccably placed high notes.
Key Moments of the Concert
After a short musical break with an excerpt from ‘June’ from ‘The Seasons’, the concert took a new turn with Lenski’s splendid aria from ‘Ievgueni Onieguin’, a role that Beczala has played with great success in over the years His expression made the audience feel the tragic story of the young character with a palpable intensity, ending the piece with a long diaphragm that caused the air to be trapped in the hearts of the spectators.
Second Part with an Operatic Keyboard
The second section of the concert focused entirely on the operatic universe. It began with a gem of the Polish repertoire, the carillon aria from ‘Straszny Dwór’ (House of Terror), by the Polish composer Stanislaw Moniuszko. Today, both Beczala and his compatriot, countertenor Jakub Józef Orliński, have become ambassadors for their works, taking them to theaters around the world and captivating audiences who were unaware of their beauty.
A Captivating Interpretation
In ‘Straszny Dwór’, the figure of Stefan evokes childhood memories through a carillon that sounded from the mysterious house, with Beczala transforming this evocation into a performance rich in nuance and emotion. Her voice began with a mysterious tenderness that gradually increased, capturing the essence of the melody with growing passion.
The Culminating Moment
One of the most anticipated moments came with the prince’s aria from ‘Rusalka’, a work that Beczala interprets with masterful ease. His robust voice and his sparkling treble created a dreamlike atmosphere, in which crowds could immerse themselves in the exciting operatic narrative. In addition, it is expected that he will return to this opera next year, with performances at the Liceu between June 22 and July 7, a great event that cannot be missed.
End of the Concert
After a short musical break, where the pianist performed a ‘Humoresque’ by Antonín Dvořák, the concert concluded with pieces by iconic authors such as Verdi and Puccini. From Verdi’s work, Beczala paid tribute with the song ‘Di’ tu sei fedele’ from ‘Un ballo in maschera’, performing interval jumps with admirable precision.
Applause and Encore
The concert ended with a standing ovation, with the audience standing in the Carmel church. Beczala did not disappoint, offering a couple of tips: a Polish folk song ‘Cichutko’, where he climaxed with a spectacular treble, and the well-known ‘Core’ngratu’, which moved the audience even more.
Organization Suggestion
Finally, it is important that the festival organization consider the possibility of offering a traditional hand program that allows attendees to better enjoy the performances, with printed lyrics and translations. Relying on small mobile screens via QR codes can be annoying and in fact would represent a dangerous aspect during the event. This improvement would ensure a deeper enjoyment of the music, without the distraction of technical errors.
