Review: Evita
Helsinki City Theatre’s musical drama is snappy and spectacular
MARIA CHARMS IN THE MUSICAL EVITA
The second premiere of the Helsinki City Theatre’s new musical was last year’s
on Saturday on the big stage. Evita, directed by Kurt Nuotio, is
snappy, visually spectacular, full of musical fireworks and
skillful dance moves. Maria Ylipää, born in Ylöjärvi, plays the main role
The driving force of the performance and an absolutely charming star.
Andrew Lloid Webber and Tim Rice almost thirty years ago
tells the story of Eva “Evita” Perón, Argentina’s first
a woman who climbed from poverty to the top of the nation’s closet and her husband
“shirtless”.
I remember, among other things, Faye Dunaway’s interpretation of Evita in a TV movie and
Ritva Jalonen’s lead role at the Tampere Theatre.
Madonna’s canned version in 1996 received shouts from the Argentines:
“discredited” woman and plays their saint!
Evita is still a sensitive topic in Argentina today. His
its historical significance is still debated, while his
flowers flow to their graves.
In the musical, the story is carried by Che (Quevara), who describes the events
mocking tone and also takes a strong stand on them.
In fact, Che was born into a bourgeois family during the Peronist era, but it did not
said to have had a more significant impact on the future guerrilla leader and
revolutionary.
Che Quevara graduated from the University of Buenos Aires School of Medicine
In 1953, the same year that Evita died of cancer.
In real life, these two mystical icons are known to never
met each other.
Worshiped by the workers,
Hated by the aristocracy
For the power-hungry Eva, men were just steps towards fame.
She met Juan Perón at a charity concert while working
B-class melodramas, radio and as a theatre assistant.
They married in 1945 after being “secret lovers” for a while.
Perón was elected president with Eva’s strong support, and his wife received a prominent
position in the board.
Eva Perón was a women’s advocate and Robin Hood, who took from the trade unions
and from the aristocracy and gave to the poor. He was worshipped by the working class, but rich
He was hated by the elite because of his background, his frivolity, and his active
because of their politics.
Evita’s initially altruistic aid operations derailed, and
money also flowed into Perón’s own pocket.
How else, Eva loved Dior’s clothes, jewels and culture
In addition, motorsports. Among other things, he owned a rare Maserati racer.
The Perónist saint was left childless and died of uterine cancer only
At the age of 33.
Sensual Tango
and grotesque elite
Directed by Kurt Nuotio, Evita has a snappy rhythm and is visually spectacular.
The story flows forward dynamically, coloured by music.
Conductor Henrik Wikström leads the orchestra, supporting the performers so that
that even when sung, the dialogue can be heard well in the audience.
I don’t understand why the translator Mikko Koivusalo has had to twist Et
to cry is allowed, Argentina translation to “Tears away, Argentina”.
Kari Junnikkala’s set design is spatially functional and inventive and rhythmic
The performance was nice. The scenery changes quickly, and the furniture, bars
move smoothly in the hands of the actors. Everything works fine
like a greased machine.
Lighting designer Mika Ijäs is credited with lighting.
Markku Nenonen’s fast-paced choreographies effectively bind us together
changing stage images. Piquant solutions are angularly grotesque
moving elite and Evita and Che’s sensual tango without skin contact.
Sari Salmela’s costumes are pleasing to the eye, and Evita’s costumes are edible
delightful.
Mary’s voice is
Wonderfully toned
Born in Ylöjärvi, Maria Ylipää aroused widespread admiration already in the Tampere
In the Workers’ Theatre’s musical Suruttomat, the gypsy girl Homsantuuna.
And yes, she will also redeem her place as the Evita of Helsinki.
Ylipää is an excellent illustration of a young girl’s burning desire to get out
poverty, towards fame and fame. He raises his Eve
strong-willed and ambitious Evita, who is advancing by means
and only bend in the face of illness.
The overall sound is strong, toned, and the overtones sound clear. Sound caresses
replaces and ventilates body hair.
When Maria Ylipää sang, there was no need to worry about losing or breaking her voice.
Sami Hintsanen Perón is a rigid and willless marionette whose threads are
Evita in her hands. Hintsanen’s vocals are also a little colorless.
There is no pain between the married couple.
The truth is probably that they just needed each other: Juan Pero’s Evita
to charm the people and Evita is only interested in her obsessive lust for power
as a tool.
The plight of the people
is a means of fishing
Sami Hokkanen Che is a relaxed and stocky role. She sings skillfully, voice
is strong and holds up well, even though he carries the whole story on his shoulders and
with their vocal cords.
Mikko Jokinen is the slick Magaldi who vibrates with his tango bellows.
Emilia Nyman is Perón’s young, Mollamaija-like mistress, who does not long
Evita appeared in the picture. Nyman sings in a beautiful and
with a personal voice that climbs effortlessly to the upper register.
Evita’s energetic 30-piece ensemble consists of convincing
musical theatre experts. A truly beautiful choral performance is the Requiem.
From the final scene, Che’s nudge could have been stripped of Eva’s body
disappearance. It sought drama at the end, but fell
pretentiousness.
Following Eva Perón’s story, one is reminded of the recent presidential election.
The plight of man, whether it arises from the EU’s agricultural legislation,
NATO grunt or fear of change, is an easy way to fish for prestige.
But, would a fiery person like Eva Duarte de Perón
the agitator has also been useful in Matti’s and Sauli’s election work…