The transposition of the opera was daring, not least because it involved the rewriting of most of the spoken dialogue, but for me it worked. The concept is that any war is comparable to any other, and so are class differences, gender stereotypes and moral dilemmas. The Cuban revolutionary setting also helps explain the change of heart of the Marquise at the end: she probably realises the winds are changing and this convinces her to swap her rigid, classist ideas for more egalitarian ones, allowing her daughter to marry a peasant/soldier. I also enjoyed Ernesto López Maturell playing bongos on stage as the drummer accompanying the army.
Photo: Gianfranco Rota