Bejun Mehta / Reviews

Mehta peut s’offrir beaucoup de libertés expressives tant son chant est soutenu par une présence et une intelligence scénique de tous les instants. Son Che puro ciel est bien évidemment un régal, par la densité du mot et par la subtilité du mouvement : c'est peut-être aussi le seul numéro de l'opéra dont le tempo est, sinon dans la moyenne, peut-être un peu plus retenu : c'est qu'on en a les moyens. Il bénéficie du plus beau des accompagnements, dans cette aria qui, entre toutes n’est pas accompagnée mais dont la polyphonie miraculeuse ressortit à la symphonie.

Well known by the Spanish public for his recitals and operatic appearances, Bejun Mehta debuted in the Lied Cycle of the Teatro de La Zarzuela with a varied recital, in which the Lied itself, so difficult to imagine in the countertenoril voice, alternated with an aria of great virtuosity and the wonderful scene that Haydn dedicated to Ariadna in Naxos , and that so many in the room would remember sung by Teresa Berganza. The pianist, with a relevant role, managed for his part to convey something of the warmth that despite his length and his fabulous technical mastery is still lacking in the countertenor. Mehta had opened the recital with a piece of the great exhibition, the sublime "Ombra felice!… Io ti lascio" written by Mozart for castrated, in which the great virtuoso was found again, this time at the service of theatrical intensity in the expression of feelings. Another kind of effort made in the more internalized Ariadnaof Haydn, so complex in the translation of the feelings of an abandoned woman, of Ovidian roots and noble and contained expression, despite everything. A great recital dedicated, as you can see, to the expression of love from many different perspectives. Bejun Mehta embroidered it, to great applause from the audience.