Friday, May 26, 2017

May 26, 2012: La Chulapona in Madrid

2012-05-26 La Chulapona (Moreno Torroba), Teatro de la Zarzuela (Madrid)

Manuela = Cristina Faus
Rosario = Susana Cordón
José María = Antonio Gandía
Juan de Dios = Carlos Crooke
Señor Antonio =Luis Alvarez
Doña Venustiana = Charo Reina
El Chalina = Jesus Castejón
Don Epifanio = Gerardo Malla
Emilia = Raquel Torres
Organillero = Jesus Alcaide
Lolita = Ana Santamaria
Ascensión = Isabel Gonzalez
Concha = Ada Rodriguez
Ist Guard = Keni Roldan
2nd Guard = Abel Garcia
Manolito = Neric Forcada / Raul Ruiz / Pedro de la Torre
Chico de la taberna = José Varela
Cantaora = Eva Duran
Ganadero = Saturnino Garcia
Maestro Cansino = Juan Rueda
Maravilla = Maria Briones
Guadalupe = Sagrario Mielgo
Engargado de Café = Juan Luis Cobo
Durmiente = Jesus Landin
Plachandoras = Rosa Maria Gutierrez, Carmen Gaviria, Paloma Curros
Zapatero = Carlos Duran
Hojolatero = Pedro Azpiri
Cliente = Gustavo Berliete
Voz Interna = Paloma Suarez
Giutarrista = José Maria Molero
Invitado = Ignacio Del Castillo


Dirección musical: Miquel Ortega

Dirección de escena: Gerardo Malla
Escenografía y figurines: Mario Bernedo
Coreografía: Goyo Montero
Iluminación: Eric Teunis







La Chulapona
Del 4 de Mayo al 3 de Junio de 2012 (excepto lunes y martes)
Miércoles (Día del espectador) y domingos, a las 18:00 horas
Funciones de abono: 24, 25, 26 y 27 de Mayo de 2012
Comedia lírica en tres actos
Música de Federico Moreno Torroba
Libro de Federico Romero y Guillermo Fernández-Shaw
Estrenada en el Teatro Calderón de Madrid,
el 31 de Marzo de 1934
Producción del Teatro de la Zarzuela, 1988
Edición a cargo de Federico Moreno-Torroba Larregla
(Ediciones Iberautor, SRL / Instituto Complutense de Ciencias Musicales, 2005)


Yesterday was veterans showing how to sing and act, today was the young and coming up showing their colors. Another Manuela, Rosario and Jose Maria. But still great singing and acting. I was so used to a blond Rosario than I almost missed Susana Cordons entrance. This was another Rosario, but it was hard to tell in which way she differed from Carmen Gonzalez. The young Rosario was not so ironic and seemed softer. Cristina Faus was todays Manuela. Younger voice, and amazing but still I must say Milagros Martin could still be someone that Cristina Faus should look after in order to be even better. Antonio Gandia as Jose Maria was also wonderful.

The whole experience of what a zarzuela is made me think it more like a musical than simply operetta. It is vocally demanding like an opera, expects dancing skills more like in a musical. How I wish I understood Spanish! The dialogue is demanding and singing superb in a zarzuela. It is stylistic and naturalistic in combination. LOVED IT...


OD Travel
Original blog post



For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Thursday, May 25, 2017

May 25, 2012: La Chulapona in Madrid


2012-05-25 La Chulapona (Moreno Torroba), Teatro de la Zarzuela (Madrid)

Manuela = Milagros Martín
Rosario = Carmen González
José María = Marcelo Puente
Juan de Dios = Carlos Crooke
Señor Antonio =Luis Alvarez
Doña Venustiana = Charo Reina
El Chalina = Jesus Castejón
Don Epifanio = Gerardo Malla
Emilia = Raquel Torres
Organillero = Jesus Alcaide
Lolita = Ana Santamaria
Ascensión = Isabel Gonzalez
Concha = Ada Rodriguez
Ist Guard = Keni Roldan
2nd Guard = Abel Garcia
Manolito = Neric Forcada / Raul Ruiz / Pedro de la Torre
Chico de la taberna = José Varela
Cantaora = Eva Duran
Ganadero = Saturnino Garcia
Maestro Cansino = Juan Rueda
Maravilla = Maria Briones
Guadalupe = Sagrario Mielgo
Engargado de Café = Juan Luis Cobo
Durmiente = Jesus Landin
Plachandoras = Rosa Maria Gutierrez, Carmen Gaviria, Paloma Curros
Zapatero = Carlos Duran
Hojolatero = Pedro Azpiri
Cliente = Gustavo Berliete
Voz Interna = Paloma Suarez
Giutarrista = José Maria Molero
Invitado = Ignacio Del Castillo


Dirección musical: Miquel Ortega

Dirección de escena: Gerardo Malla
Escenografía y figurines: Mario Bernedo
Coreografía: Goyo Montero
Iluminación: Eric Teunis




Finally at 2000 LA CHULAPONA in Teatro de la Zarzuela with Milagros Martin as Manuela and Carmen Gonzalez as Rosario. The production is from 1988 and there exists a DVD from it also with Milagros Martin and Carmen Gonzalez.

Despite I still don't understand all that much Spanish I understood much more than I did in 1989 when I saw this zarzuela during the Edinburgh Festival. I love zarzuela and have recently started a small collection of zarzuelas. Federico Moreno Torroba (the composer) is a genius and the music in Chulapona is just marvellous. Naturally I have the CD with Teresa Berganza as Manuela and the wonderful Pilar Lorengar as Rosario. A wonderful CD with the perfect Manuela and perfect Rosario.

24 years after the premiere are Milagros Martin and Carmen Gonzalez still the perfect Manuela and Rosario. Aged but like fine wine only better and more refined than ever. Marcelo Puente in the role of Jose Maria, loved by these two different women, was also wonderful.

OD Travel
Original blog post



For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

May 25, 1990: Die Csardasfurstin in Oslo

1990-05-25 Die Csardasfürstin (Kalman), Den Norske Opera (Oslo)

Fyrst Lippert-Weylesheim = Almar Heggen
Anhilte = Vessa Hanssen
Edwin = Jan Sødal
Stasi = Anne Nyborg
Grev Boni von Kancianu = Tor Fagerland
Sylvia Varescu = Ingjerd Oda Mantor

Tore Dingstad, conductor



9 Years and 3 days after my first visit in an Opera House and then same operetta with some changes in the role list. GREAT!! I loved this production.

OD Travel

Wednesday, May 24, 2017

May 24, 2008: Carmen in Karlsruhe

2008-05-24 Carmen (G. Bizet),
Badisches Staatstheater Karlsruhe

Carmen = Denyce Graves
Don José = José Cura
Escamillo = Thomas J. Mayer
Micaëla = Barbara Dobrzanska

Jacques Delacôte, conductor


Musikalische Leitung Jacques Delacôte
Inszenierung Achim Thorwald
Bühne Christian Floeren
Kostüme Ute Frühling
Badischer Staatsopernchor
Extrachor, Theaterkinderchor am Helmholtz-Gymnasium
Badische Staatskapelle

"Non, tu ne m'aimes pas" (Carmen, Karlsruhe 24.5.08)


I was looking forward to a tradional CARMEN with the same sensational people that I had enjoyed in 2004 in London as Samson et Dalila (José Cura and Denyce Graves) and conducted by the great Jacques Delacôte. But I must admit that by the time that Cura had sung a wonderful Flower song and Denyce Graves was responding with "Non, tu ne m'aimes pas" that I knew what I was going to called the review of this Carmen. Yes, Carmen or Denyce Graves I do not love your voice anymore. It makes me sad!!! Already at the Habanera I thought, what have happened with the wonderful full mezzo voice, Denyce two voices appeared, one of a grown woman and the voice of a small and whiny child. Then my hopes was for the Seguedilla, but the same thing happened, but the Card Aria in act 3 was wonderful. So SAD... But hopefully this is just temporary problem... Of course, 2nd act of Carmen is a bit like Samson et Dalila, I even fantasized this Carmen being morphed into a SAMSON ET DALILA where Denyce Graves would have no vocal problems at all. And as a Baltsa fan I must admit I wanted Agnes Baltsa to come and rescue this Carmen, even if one at this stage of AB's career can hear that she is over 60.

DENYCE GRAVES was despite her vocal state, a wonderful Carmen, she can act and she can dance. And she was celebrated in Karlsruhe. JOSE CURA was wonderful as Don José. His only problem, and that was the whole ensembles problem; the French dialogue. It was hard to hear, the pronunciation was not all that good by all singers. And the dialogue was cut shorter which really did not help that much. As if one got instead of thought got half thought. The dialogue was such a pain that I wanted the sung recitative (and I normally "hate" that one).

The Escamillo was great as an actor but as a singer so much volume was missing and he was too light in voice. Nice, cute, good-looking, yes.... But I missed a voice, big and with resonance (like Ruggero Raimondi in the opera film by Rosi). Micaela was wonderful in the duet with Don José and OK in her big aria.

Last act. We are in the matador's room, we see Escamillo pray the Prayer all matador pray before the corrida, he was dressed up by his men. Of course he walked into the room with Carmen. The duettino (Si tu m'aimes, Carmen) and the when Escamillo walks out to the corrida, Frasquita and Mercedes come to warn Carmen about Don José. It is all in the room, José and Carmen meets again, he pleads and then he kills. Escamillo has finished his job at the corrida, and does not see Carmen is killed, he is too busy with Frasquita and Mercedes. Fine man, that Escamillo!! Mercedes sees and finally Escamillo... (what? a slight shock) while Don José is all finished and asked to be arrested, he has killed his love, his Carmen.


The Production was OK. Modernized. But the men were all creeps and the women was nothing worth. And the Gypsies smuggled cocaine. Is it modern to be so negative... or is it just CARMEN?

Signierstunde after the opera with José Cura, Denyce Graves and Jacques Delacôte. And I had just a mobile phone. In the end I was the last to get to take a photo of José, he was tired as you can see, and as you can also judge a mobile camera is no competition to a real camera. but still....

OD Travel
Blog post: "Non, tu ne m'aimes pas" (Carmen, Karlsruhe 24.5.08)

For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

Tuesday, May 23, 2017

May 23, 1998: Sly in Zurich

1998-05-23 Sly (Wolff Ferrari), Opernhaus Zürich

Sly = Josep Carreras
Westmoreland = Juan Pons
Dolly = Daniela Dessi
John Plake = Carlos Chausson

Rafael Frühbeck de Burgos, conductor



This was the first time for me, Sly. A copy of a recording of a German recording had been my preparation and reading the libretto, but in German Sly is not an opera easily to be liked. Even in Italian it is not easy the first time. To have Jose Carreras in this role, creates all those positive forces that is needed to get an opera like this to be revived. This is an opera that needs a great ensemble of good singers, Zurich have an excellent ensemble. Like Stefania Kaluza as the hostess. She is an excellent mezzo, a Zurich member. Great! With Juan Pons as Westmoreland and Daniella Dessi as Dolly, and Carlos Chausson as John Plake headed by the great Jose Carreras as Sly, it could only be success.

First act is in a tavern, filled with many different characters. Vivid! Dolly has run off from her gilded life with the Count and come to the tavern to the real life. All reacts to her beauty, Dolly is enjoying herself but too soon the Count find out where he is. John Plake tells of Sly, Sly comes. He is a poet (a drunkard,too), he is making poetry of fantasizing. Snare tried to get Sly to prison (since Sly has debts to pay). Dolly protects Sly via the Count. Sly is so drunk that he fantasize of the perfect woman with Dolly standing so close to him, and he notices her not.
All the Counts sees in Sly is somebody/something that can amuse him, Dolly sees a dream and feels compassion to Sly. The Count decide; we will make Sly think he is the Count, what an amusement it will be.

Second act is in the Castle of Count Westmoreland. Sly wakes up and cannot believe it is true, he is an aristocrat and rich. But what makes him want to go with the dream, is the woman. His wife, who is waiting for him. He is seduced by the richesse. Love is at hand for Sly, the incomparable dream for Sly. Dolly is supposed to take part in a comedy, playing her part. But Dolly starts feeling for Sly, LOVE. Big Love Duet! Then the Count pretends to be Snare, Sly understands. They are murdering Love.

Third act is the dungeon of the Castle. Sly wakes up, desperate. When he decide it has all been a LIE, he decide on DEATH. Dolly comes in, but he is already dying.

THE END.
Carreras is the ultimate SLY!!!!

OD Travel + Photos

Musilkalische Leitung RAFAEL FRÜHBECK DE BURGOS
Inszenierung HANS HOFMANN
ßühnenbild HANS HOFFER
Kostüme DIRK VON BODISCO
Lichtgestaltung JÜRGEN HOFFMANN
Chor ERNST RAFFElSBERGER


Französiss('her Edelmann/Musiker PIOTR BECZALA
1. Edelnann/mohr MARTIN ZYSSET
2. Edelnann/Indiauer VOLKER VOGEL
3. Edelmann/ Alter Diener PETER KELLER
4. Edelmam1/Chinese RUDOLF A. HARTMANN
5. Edehnann/Doktor JEE-I-IYUN KIM0
Wirtin STEFANIA KALUZA
Rosalina CAPUCINE CHIAUDANl0
Snare, Polizeibeamter RORY BAIN°
Page GABRIELA PALIKRUSCHEVAo
Kellner MIROSLAV CHRISTOFF
Landrichter RICARDO BERNAL0
Soldat JUUSO HEIVIMINKi 0
KoehI-IEIKKI YRTTIAHO
Fuhrmann ENGELBERT CARL
1. Säufer CARL HIEGER
2. Säufer PETER KÁLMÁN°
1. Dame MILENAJOTOwVAO
2. Dame ALEXANDRA WEISS0
3. Dame CAPUCINE CHIAUDANi 0
1. Diener RUDOLF A. I-IARTIVIANN
2. Diener RORY BAIN°
3. Diener JEE-I-IYUN KIIVi 0
Dubiose Individuen JULlE BRÄUNING+, SILJA CLEMENS+,
und junge Höflinge SUSANNE LlCHTENßERGER+, ANTJE MAlRlCH+,
B,ARB,ARA MAURER+, ALEX,ANDRA RÖHRER+, KEERSTlN RULLlK+ PHILIPPE GRAßER+, INGO I-IElSE+, MARCEL METTEN+, EMAANUEL RUHOFF +, HENRlK ZIMMIERMANN+
0 Mitgiie,d des lnternationaien Opernstudios,
unterstützt vou der Herbert von Karajan M"sic, Legacy
und von Geert. Bianke,n, Sursee
+ Student/in der Schauspiel Aikademie Zürich
CHOR DES OPERNIHIAUSES ZÜRICI-I
STATISTENVEREIN AM OPERNI-IAUS züRIcI-I
ORCI-IESTER DER OPER ZÜRICI-I

Monday, May 22, 2017

May 22, 1987: Don Giovanni in Oslo

1987-05-22 Don Giovanni (Mozart), Den Norske Opera (Oslo)

Don Juan: Knut Skram
Il Commendatore Oddbjörn Tennfjord
Donna Anna: Eva Johansson
Don Ottavio: Esaias Tewolde
Donna Elvira: Frøydis Klausberger
Leporello: Stein Arild Thorsen
Masetto: Espen Fegran
Zerlina: Ingjerd Oda Mantor

Heinz Fricke, conductor



Friday 1987-05-22 DEN NORSKE OPERA

(Premiere 4/4-87)
DON JUAN = Don Giovanni
Opera in 2 acts by Wolfgang Amadeus Mozart
Text: Lorenzo da Ponte
19.30 - ca. 22.35.

Conductor: Heinz Fricke
Regie: Goran Järvefelt
Translation: Per Boye Hansen after Pauline Hall
Scenography: Kathrine Hysing

Lysdesign: Torkel Blomquist


Den Norske Operas chorus
Den Norske Operas orchestra
Cembalo: Tore Dingstad

This Don Giovanni production was also televised naturally with Knut Skram, our Great Norwegian baritone but with other singers in the other roles.

OD Travel

As I remember it, I enjoyed this night at the opera.

May 22, 1982: Rosenkavalier in Stockholm

1982-05-22 Der Rosenkavalier (R. Strauss), Operan (Stockholm)

Feldmarschallin Fürstin Werdenberg = Margareta Hallin
Octavian = Edith Thallaug
Herr von Faninal = Erik Saeden
Sophie, his daughter = Dorrit Klejmert
Baron Ochs = Arne Tyrèn
Jungfrau Marianne Leitmetzerin = Leana Peterson
Valzacchi = Sven-Erik Vikström
Annina = Gunilla Söderström
A singer = Hans Johansson

Neemi Järvi, conductor



ROSENKAVALJEREN = Der Rosenkavalier
Composer: Richard Strauss

Saturday 22 may 1982 kl. 16.30



Operan, Stockholm (Kungliga Teatern = The Royal Theatre)

Regie = Folke Albenius
Conductor NEEME JÄRVI
Translation = Herbert Sandberg & Göran Gentele

We were in Stockholm for vacation. My mother had bought the Stockholm-card to get the most out of this trip to Sweden. We got tickets at the Royal Opera and saw our own Edith Thallaug as Octavian. And we enjoyed it. The production seemed to be a classic and the singers were good.

OD Travel

May 22, 1981: Die Csardasfurstin in Oslo

1981-05-22 Die Csardasfürstin (Kalman), Den Norske Opera (Oslo)

Leopold Maria,
Fürst Lippert-Weylersheim = Almar Heggen
Anhilte, his wife = Vessa Hanssen
Edwin, their son = Jan SødaI
Stasi, his cousin = Eva SoIheim
Graf Boni Kancsianu = Tor Fagerland
Sylva Varescu = Else Dehli
Graf Feri von Kerekes = Tor Gilje
Eugen von Rohnsdorff = Terje Stensvold

Zdenko Peharda, conductor



Czardasfyrstinnen = Die Csardasfürstin
Operetta in three acts by EMMERICH KALMAN
Den Norske Opera
Friday 22. may 1981

Text by Leo Stein and Bela Jenbach
Adaption: Folke Abenius
Translation of song text: Einar Sissener
Translation of dialogue: Wilhelm Sandven
Conductor: Zdenko Peharda
Regie: Folke Abenius og Eugene Gabay

Scenography: Wolfgang Vollhard
Costumes: Anna Gisle
Choreograpyi: Eugene Gabay



Den Norske Operas Chorus and Orchestra

Performance starts. 19.30 and ends ca. 22.30
Pause between the acts.

My first time in any opera house, my first operetta. I loved it. This operetta, this production was also later televised although with other singers. Tor Fagerland was great as the cute count Boni.

OD Travel

Sunday, May 21, 2017

May 21, 2011: Samson et Dalila in Berlin

2011-05-21 Samson et Dalila (Saint-Saëns),Deutsche Oper Berlin

Samson = José Cura
Dalila = Vesselina Kasarova
Abimelech = Jörn Schümann
High Priest = Laurent Naouri
Ancient Hebrew = Ante Jerkunica
Messenger = Clemens Bieber
First Philistine = Peter Maus
Second Philistine = Sergio Vitale

Alain Altinoglu, conductor

Director - Patrick Kinmonth
Stage design, Costume design - Patrick Kinmonth, Darko Petrovic
Light design - Manfred Voss
Dramaturgie - Katharina John, Miriam Konert
Chorus master - William Spaulding
Artistic production manager - Christian Baier


I love Saint-Saens' Samson et Dalila and act 2 is the best act. But today in Deutsche Oper Berlin I was bored and I was pained by listening to the mezzo Vesselina Kasarova. It was not helped by the feeling of lacking fresh air in the audience room. But, any way, I am pleased to say that both Jose Cura and Vesselina Kasarova was excellent in the big duet of act 2 beginning with En ces lieux and continued with Mon coeur s'ouvre a ta voix.

Kasarova's voice is deeper now and sound almost like an alto. Her voice lacks some agility and she was not helped by the young maestro's slowing the music. Jose Cura's voice seemed to have opened of by act 2 and continued its triumph in act 3. In act 1 his voice sounded muffled. Laurent Nouri was an excellent High Priest of Dagon.

This Samson et Dalila was not shocking, or edgy. It was not even interesting. Even having Jose Cura singing his heart out in Vois ma misere did not change the fact that this production failed to make us care. It was the best singing of this aria so this says the production failed. It did not fail because director chose to put the action to another time place, Paris at the time the opera was composed. It fail by having half-cooked ideas, by defying logic, by putting distractions up instead of making the audience think and feel. The young boy and young woman (his mother? and servant to Dalila), the boy was supposed to be the alter-ego of Samson, but what interpretive value did it give the opera? Little value but plenty of distractions to the real story. The offensive part was the end of the opera with cattle wagons and Philistine dressing down as if they were Jews off to Auschwitz. But the real offensive part of this offensiveness was to make Holocaust into kitsch and it did not even make sense.... BAD

Yes it was bad, really bad, I have never applauded so little in my life, except that time when I had almost broken my wrist.

UPDATE: All the reviews I have read about this production gives the highest praise to Vesselina Kasarova.


For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com

May 21, 1998: L'Elisir d'Amore in Zurich

1998-05-21 L'Elisir d'Amore (Donizetti), Opernhaus Zürich

Adina = Isabel Rey
Nemorino = Vincenzo La Scola
Belcore = Angelo Veccia
Dulcamara = Carlos Chausson
Giannetta = Martina Jankova

Nello Santi, conductor



Inszenierung GRISCHA ASAGAROFF
Ausstattung TULLlO PERICOLl
Mitarbeiler des Ausstatters MAROUAN DIB
Lichtgestaltung JÜRGEN HOFFMANN
Chor JÜRG HÄMMERLl


0 Mitglied des Internationalcn Opcrnstndios,
unterstützed von der Herbert von Karajan Music Legacy
CHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN AM OlPERNI'IAUS
ORCHESTER DER OPER ZÜRICH
Musikalische Einstudierung
und Biihnenmusil,THOMAS B1ARTHEL
ftbendspielleitungGUDRUN HARTMANN
Organisation und
Beb'euung der Kincler SUSY SIEGRIST
Inspizient RUDOLF BUDAV ÁRY
Souffieuse TATJANA KUKAWKA
Iuitische Ausgabe herausgegeben vou
Alberto Zedda, G. Ricordi & C., lVMailand
Donnerstag, 21. Mai 1998 Wiederaufnahme, Kombi-Abo
Pause nach dem 1. Akt
Beginn:20.00 Uhr
Ende: ca. 22.45 Uhr


Should have started at 20.00. The technicians were working hard, the ballet earlier that day, had lasted too long, the management said they were sorry. But they couldn't have known it was like that. So we waited about half an hour. But since we knew the explanation it was all right.

169 SF for a good place in the opera Reihe 2 Platz 7. Fantastic!!!

Vincenzo La Scola is as good as Carreras would have been as Nemorino. (Carreras is better naturally). So natural.

Isabel Rey is great. Actress/singer as were La Scola

All great.

Vincenzo La Scola: is as good as I am sure Carreras would have been if he sang Nemorino. It would have been so interesting to see Carreras in this role, because he would have been supreme. La Scola was also a natural kind of Nemorino. Not Stupid as many portray him, he just haven't learnt to write. "Tu sei buona, modesto sei" You are good, and modest,as Adina says. He has qualities in him, Pavarotti makes him a village fool. And in this version, unlike the Alagna, there no modernization of the arias ( Or should I say Oldifization).

Isabel Rey, is this not-so-modest woman. Wealthy and flirty farm-keeper (quoted from : http://www.operaed.org/guides/elisir/index.htm)

She comes at stage and all the other show her their respect. She Takes this in the most natural way, she is friendly to all,and there is just a invisible barrier between her and the others. It is all very natural. The Chorus is overdoing a little, but maybe it's just my seat near the scene that makes it seem so.

Her aria is very natural, sitting there telling them about Tristan and Isolde. Then the duet, such beautiful singing, and acting as it is all happening here and now.

Belcore comes, he is so sure of him self, and vulgar.

Dulcamara comes, and his aides are helping him.

Aria between Nemorino and Dulcamara. The acting and the singing is superb at all stages.

Caro elisir, sei mio -You should have been there. Think about the Philips cd-set with Carreras, and fill it with you own pictures of how you think, it would be on stage, and you might be right. Nothing stupid in this scene either

Adina comes in, and their duet, Incroyable!!

Crowd scene: Adina accepts to marry belcore. "Adina,credimi" Vincenzo La Scola is amazing, Isabel Rey showing Adina's feeling, the stupid, angry Belcore!!

OD Travel