Sele ingaphantsi kweminyaka emine ukusukela oko u-Emiliano Suárez kunye noMacarena Bergareche bazala i-Ópera Garage, iprojekthi enombono ocacileyo, ithatha uhlobo lweengoma kubaphulaphuli abatsha. Isidalwa sazalelwa kwigaraji eBilbao, emva koko sakhenketha izixeko ezahlukahlukeneyo zaseSpain, kunye nomdlalo wesinye sezona zihloko zidumileyo kwirepertoire, 'La bohéme', nguPuccini, phantsi komhlaba kunye nangoku (uRodolfo ngumbhali wesikrini; uMímí ngu isitayile sefashoni kunye noMarcello umyili wezibane).
Ngoku, bobabini bathi, ixesha lifikile lokuthatha inyathelo eliya phambili, kwaye imveliso inyukela kwinqanaba lethiyetha; ngokukodwa iMarquina, eMadrid, apho iya kuba ukusuka kwi-16 ukuya kwi-27
eMadrid. “Siqinisekile ukuba siza kukwazi ukugqithisela umlingo esiwufumeneyo kwezinye iindawo kwiqonga lemidlalo yeqonga. Lucango oluvulayo lokuqhubeka nokuphuhlisa iprojekthi kwaye uyihlanganise. Ukwenza iopera kwezinye iindawo kunohambo kwaye kufuna indlela yokuyixela, kodwa ukuyiqhelanisa nethiyetha kuya kuba nolunye uhambo olunika umdla kakhulu. Ngumceli mngeni onobungozi kodwa siyakuvuyela ukuwuzama”.
Le midlalo ye-'La bohème', ilawulwa nguSuárez ngokwakhe, kunye nesikhokelo somculo sikaMiquel Ortega (ukwayimbathi yepiyano), kunye neqonga elibandakanya uPancho Corujo (Rodolfo), uSilvia Vázquez (Mimí), uCésar San Martín (Marcello). ), uRuth Teran (Musetta), Ihor Voievodin (Schaunard), uDavid Cervera (Colline) kunye noPedro Quiralte (Benoît / Alcindoro).
Umceli mngeni, utsho uSuárez, ibikukubalisa ibali ukuze eqongeni, kwisitya sesintu, lingaphulukani namandla ebenawo egaraji. “Siyijikile imbonakalo yoyilo lwezakhiwo, siye sayiqinisa kuba sifuna izinto ezininzi ukuhlonipha oko kucelwa yimidlalo yeqonga. Kufuneka udale umoya owawusele ukhona xa siwenza kwigaraji engasasetyenziswayo”.
U-Emiliano Suárez wayene-'La bohème 'entloko yakhe iminyaka emininzi, kunye nokukhungatheka, nokuba nomsindo, awazivayo xa iprojekthi yakhe ecetywayo kwi-opera house eLa Coruña yawa, umnike intshukumisa eyongezelelweyo xa kufikwa ekufumaneni iprojekthi. ngaphandle komhlaba. “Obunye ubugcisa beqonga, hayi kakhulu eSpeyin kodwa eYurophu naseUnited States, banendawo kwezinye iindawo. Asinto intsha; into endicinga ukuba yodwa kukukwazi ukwenza undoqo kunye nomlingo weopera efana ne'La bohème' kwiindawo ezinomdla nezothusayo”.
I-DNA yeprojekthi, u-Emiliano Suárez kunye no-Macarena Bergareche bayavumelana, "iminyango evulekileyo, i-taboos, ikhuthaza wonke umntu ukuba aze kubona umdlalo we-opera ngexabiso elifikelelekayo kunye nenqanaba eliphezulu lobugcisa, ngokucacileyo ngendlela ecetywayo. Xa abantu besiva Igama elithi opera, bacinga ngeengoma ezinkulu ezineekwayala ezilikhulu, ikhulu leemvumi kwiokhestra kunye namashumi amahlanu ezongezelelweyo. Yi-opera enkulu kwaye ilungile, kodwa unokwenza i-opera ngendlela esiyenza ngayo, ngendlela engaguqukiyo nangentlonipho. "
“Ababukeli -tercia Macarena Bergareche- bafuna ukubona imiboniso engamava ngaxeshanye, anento engaphezulu, enomlingo. Siyenzele kwiigaraji kwaye ngoku siza kuyenza kwimidlalo yeqonga”.
Ngengqiqo, kule projekthi kuye kwaba yinto yesiko ukukhupha ezinye izinto, "ezinye ngenjongo yokuvula iindlela kunye nabanye ngenxa yeemfuno zemveliso," kusho u-Emiliano Suárez. Yinguqulelo yepiyano kunye namazwi, "engafanelekanga kwaphela kwaye inomngeni kwimvumi ukuba xa ucula ngepiyano uvele ubone ithungo kwangoko".
Isenzo sesibini kunye nesesithathu se-'La bohème, ngokukodwa okwesibini, sinenxaxheba ebalulekileyo yekwayala, enye yezinto eziye zanyamalala ngenxa yezizathu zemali. "Kwinguqulo yegaraji, isenzo sonke asizange senziwe ngokwemvelo", kwaye yonke indawo yeCafé Momus yasonjululwa ngenxalenye yomculo orekhodiweyo; "Kuye kwafuneka sijike iqonga ukuze lilungele iimfuno zethiyetha."
'I-Rigoletto' sisihloko sokuqala ukuba i-Ópera Garage iya kwenza iqonga -ukongeza kwi-'La bohème', 'Lucia di Lammermoor' yadlalwa; “Ivula ngoMatshi eBilbao-utsho uMacarena Bergareche-. Umtsi wethu njengomvelisi kukwazi ukufikelela kubabukeli abatsha ngale fomula yeethiyetha ngentsebenziswano yenkampani yemveliso iOkapi”.
