Last Saturday, 28 of March, video platform the Teatro Real, MyOperaPlayer congregated near 13.000 people around the premiere of Turandot, opera G. Puccini whose production, drawn by Bob Wilson unmistakable talent and the musical direction of Nicola Luisotti, It was offered scoop, and for one day, viewers.
To reinforce the initiative to accompany and satisfy music lovers, and those who are starting in these days of confinement, MyOperaPlayer continues to increase its audiovisual offer unique sessions, historic concerts, children's shows and documentaries, that can meet the expectations of a community that has now reached 32.000 subscribers.
The proposal of the Royal Theater for the next days provides a wide range in which we highlight Parsifal, Richard Wagner, 4k recorded production technology, which was attended by a large cast of Wagnerian voices, musical direction Semyon Bychkov and scenic Claus Guth, whose display is only available on Saturday, 4 of April, starting at 19.00 hours.
#Stay at home, the Royal Theater stays with you.
ITALIAN IN ALGIERS
Teatro del Liceu 2019
The Italian Girl in Algiers He was staged at the Liceu season 2018/19 commemorating the 150 years after the death of the Italian composer Gioachino Rossini. He film director Vittorio Borrelli presents a striking assembly and colorist, Rossini joined the vibrant music under the baton of the teacher Riccardo Frizza. The cast is led by the mezzosoprano Varduhi Abrahamyan as Isabella, bass-baritone Luca Pisaroni Mustafa and tenor Maxim Mironov as Lindoro, three voices highly prized internationally converge on stage with Giorgio Caoduro como Taddeo; Sara Blanch, Elvira; Lydia Curtis-Viñas, as Zulma, Y Toni Marsol, como Halls.
L 'Italian Girl in Algiers It is a work that plays the card of the liberation of women through its protagonist, Isabella, able to put everything in place before the rudeness of Mustapha. Rossini got, to the 21 years, a total success with this comic farce in two acts. Despite being so young, Italian musician consolidated his personal style, as a legitimate heir to the opera buffa eighteenth century. Great arias as 'Cruda sorte' Isabella and a splendid concertantes-such as onomatopoeic the end of the first act are some of the highlights of this hilarious menu rossiniano.
Teatro Real 2015
the soprano Mariella should and tenor Gregory Could star in this title Belcanto, whose interpretation requires great vocal virtuosity, in September 2015 He is inaugurating the season of the Teatro Real. Under the musical direction Bruno Campanella, great specialist of this repertoire, complete the quartet starring mezzo-soprano Silvia Tro Santafe and baritone angel Ódena, next to Headlines Choir and Orchestra of the Teatro Real.
Created in a terribly painful period of unfortunate life of Gaetano Donizetti, the score Roberto Devereux, filled with rage, grief and despair, It offers a breathtaking psychological portrait of Queen Elizabeth I of England (Elisabetta), victim of its own despotism in the claustrophobic court, Inbreeding and terrifying Tudor.
In the wake of Donizetti, and the dramaturgy of opera libretto served by Salvatore Cammarano, the director of the South African scene Alessandro Talevi It reinforces precisely the expression of emotions rampant, lustful drives and corrosive torment of impetuous Queen, in a destructive spiral dragging the protagonists to its tragic outcome.
Teatro Real 2016
Parsifal, last, enigmatic and brilliant opera Richard Wagner, the composer classified as "scenic sacred Festival in three acts", It features a remarkable cast starring Klaus Florian Vogt, along with other veterans Wagnerian singers as Anja Matches (Kundry), Detlef Roth (Amfortas), baritones Franz-Josef Selig (Gurnemanz) Y Evgeny Nikitin (Klingsor), and bass-baritone to Jerkunica (Titurel), Besides of Headlines Choir and Orchestra of the Teatro Real.
The musical direction has the renowned Russian conductor Semyon Bychkov and scenic German Claus Guth, who moved discouragement and orphanhood of the knights of the Grail in the castle of Monsalvat to a sanatorium where they saturate the war-torn soldiers, in a Europe devastated, broken and aimless.
This monumental and unclassifiable "mystic-dramatic oratorio", designed to be represented only in the revolutionary theater of Bayreuth, without applause, to avoid disturbing the religious atmosphere of the ritual music-theater, He has promoted, since its premiere in 1882, diverse and contradictory interpretations, heated debates and endless works inspired directly or indirectly in the existential derived from the mysterious Wagnerian hero.
georg Friedrich Handel
choreography Mauricio Wainrot
Bicentennial Theater, San Juan (Argentina) 2019
The Bicentennial Theater is transformed into a glorious and minimalist firmament where bodies take shape and converge from the contemporary and neoclassical imprint to celebrate the sublime vibrations of The Messiah, oratory georg Friedrich Handel, through choreographing Mauricio Wainrot.
Wainrot oma religious and emotional essence of the work of Händel and builds a ballet that transforms moving moods, inviting the public to embark on a spiritual and introspective journey. The scenes, abstract, but of subtle beauty, evoked by scenes moments of the New Testament and keep an intimate relationship with the spirit that inspired the music of Haendel.
The Messiah, is starring starring Balance and Gerardo Victoria Marturano, with an outstanding cast of Argentine artists I, those who face this important technical and artistic challenge that the iconic work of Wainrot proposes.
ALFREDO KRAUS CONCERT
Historical Archives of TVE
Concert at the Royal Theater 1998
In an era marked by haste and the need to immediately achieve the fastest goals, Alfredo Kraus knew install prudence and restraint among its objectives. Intelligence begins with the discovery of his vocal ability, Follow choosing the right repertoire and ends with the controlled distribution of its possibilities. The consistency of his professional journey is decisive. Almost 40 operísticos roles, twenty enough to cement his legend, all sung in Italian or French and, Thus, belonging to these repertoires. Youth personalities, passionate and prone to loving feeling, entities that provide the best weapons of their song: the elegance, flexibility, the fluidity, Spontaneity, the transparency of the sound, the subtlety and ease of ascension to the acute register, qualities kept pristine, with the logical changes brought by age, throughout his long career.
Kraus impresses us for many reasons, but especially for the characteristic timbral quality, the fantasy of phrasing, displaying its regulations, the naturalness of his legato and the perfection of the line.
Excerpt from the text of the Teatro Real program, by Fernando Fraga
THE BARBER OF SEVILLE
Teatro Real 2005
Starring an excellent cast, with Juan Diego Florez, Maria Bayo, Pietro Spagnoli Y Ruggero Raimondi, this production of The Barber of Seville premiered at the Teatro Real Madrid, the month of january 2005, had the musical direction of the great Rossinian expert Gianluigi Gelmetti and staging of Emilio Sagi, Artistic Director of the Teatro Real between 2001 Y 2005.
In this production, conceived as an ingenious follie organizée, everything moves, nothing is safe, including the scenery (completely white), that is permanently formed and transformed in front of the public, giving shelter to the different scenes of the opera.
Joy, "The salt shaker" and the extrovert character of the people of Seville is evoked throughout the entire work through a meticulous dramatic work developed by the protagonists (all of them great singers and excellent actors), the choir and the actor-dancers who participate in the opera, treated as an immense choreography in which the scenery and the props.
Although the time frame is not reflected explicitly, full scenography refers to the eighteenth century, reflecting mainly the time of instability in which the obscurantism of the Old regime gives way to the Enlightenment, peeking out the germ of the bourgeois revolution will emerge later.
The color and lighting become dramatic elements, more than escenográficos: the show is all he conceived in black and white, and only occurrences of Rosina, his rebellion and desire to live, introduce a color note to the scene, that Bartolo's servants immediately delete.
Finally, in “la tempesta” a multicolored rain breaks the bichrome of the scene giving way to a progressive emergence of colors as the end of the plot is unleashed.
Vitality, the bustle and spontaneity of the Andalusian "street people", with its sevillanas and its flamenco-inspired gestures, are fundamental in the choreographic design of the opera, full of surprises, irony and complicit winks at the viewer.