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My Fair Lady And The Musical Triumphed At The Liceu

The debut of the musical genre at the Liceu , by the hand of the classic ‘My fair lady’ , resulted in undeniable success. The talent, wisdom and excellence of a seamless cast of true specialists, a handful of singer-actors of extraordinary dramatic capacity that he controlled without problems the characters in charge.

But these gifted artists not only limited themselves to reciting their dialogues and singing their songs, but, aided by an intelligent and synthetic stage direction, they built endearing characters (and also some very unpleasant ones), projecting the nooks and crannies of the libretto with great clarity.

The flowers are not limited in this case only to the protagonists, since the wonderful Susie Blake , chameleon in the accents, lectured in their different roles – the street cockney, the uptight Mrs. Higgins and the prudent Mrs. Pearce – as well than the spectacular Peter Polycarpou , a Mr. Doolittle absolutely brilliant in his characterization, in his songs and in his movements.

The Liceu opens to the musical with ‘My fair lady’
Tenor Nadim Naaman sang and moved with ease like the enamored Freddy Eynsford Hill, while Richard Suart’s delightful Colonel Pickering won over with his sympathy. Steven Pacey embroidered the unpleasant Professor Higgins, a cluster of prejudices and classism, taking the character to his ground and his vocal possibilities, while the soprano Ellie Laugharne drew an extraordinary Eliza Doolittle both in the musical section and in her performance as an actress.

This luxury of cast – supported by a very natural and well-achieved acoustic amplification – made the prejudices of the high school students towards this genre to collapse as the performance progressed, in addition to overcoming without problems the added difficulty of offering the work in original version, since ‘My fair lady’ requires English expressed in different ‘slangs’, from the ‘cockney’ accent to the more sophisticated.

The clarifying stage movement posed by Guy Unsworthhe paused in fundamental details, getting a theatrical speech that would take the Covent Garden audience to the protagonist’s house in the blink of an eye, regardless of the presence of orchestra and choir on the same stage. All this supported by an intelligent and subtle lighting game and a minimal change of wardrobe.

The Simfònica and the Liceístas Choir gave a great performance, giving life to a score offered in full, except for the dance numbers, all under the expert, ductile and efficient baton of the Spanish Alfonso Casado Trigo .

The public knew how to enjoy this new proposal that, for the moment, seems to have no continuity in the artistic offer of the Liceu.

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