Rudolf Buchbinder

He Tuesday 26 October at 19.30 hours, National Dissemination Center Musical (CNDM) inaugurates its cycle Borders in the Chamber Hall of the National Music Auditorium of Madrid with a essential appointment for music lovers: he legendary pianist Rudolph Buchbinder will present The Diabelli Project program in which he performs Waltz in C major composed by Anton Diabelli, next to Thirty-three variations on a waltz from A. Diabelli from Beethoven, a selection of variations of said work that various authors carried out in 1824 (Franz Liszt, Franz Schubert, Conradin Kreutzer, Johann Nepomuk Hummel, Friedrich Kalkbrenner, Ignaz Moscheles, Franz Xaver Wolfgang Mozart y Carl Czerny) and the premiere in Spain of the commissions made in 2020 by the CNDM In collaboration with la Society of Friends of Music Vienna, la Brucknerhaus Linz, la Gewandhaus in Leipzig, the Calouste Gulbenkian Foundation (Lisboa), el National Centre for the Performing Arts (Beijing), Palace of Catalan Music, the Philharmonie de Paris, el Stars of the White Nights Festival (St. Petersburg), la Ruhr Piano Festival Foundation and the Tonhalle Society Zurich, con el patrocinio de la Ernst von Siemens Musikstiftung and Lera Auerbach, Tosio Hosokawa, Max Richter, Tan Dun, Jörg Widmann, Brett Dean, Christian Jost, Brad Lubman, Philippe Manoury, Rodion Shchedrin and Johannes Maria Staud. The recital will also arrive in Oviedo (2 of November, Prince Felipe Auditorium) and Barcelona (a day later at the Palau de la Música). tickets in his day protagonist of one of the most memorable recordings of the work, with a price from €10 to €20, They are available at the box offices of the National Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

He residue motivations of a lifetime
Rudolph Buchbinder talks about this project: “No composer has been by my side as intensely as Ludwig van Beethoven, and none of his works has become a leitmotiv of my life as much as his Diabelli variations. perhaps Beethoven's most exciting work. They are music about music. In them Beethoven was obviously inspired by the Goldberg variations Bach, but also cites others “gods” like Haydn or Mozart, to whom he dedicates the 22nd variation with the motif Don Giovanni. In the end, Beethoven returns to himself, quoting his last sonata, op.111, in the 33rd variation, and revealing his genius in disassembling a simple waltz into its structural parts to reassemble them in all their complexity in his own image. could also be said: Beethoven eats Diabelli's waltz and digests it before our ears.

sixty years ago, my piano teacher Bruno Seidlhofer gave me, his youngest student at the Vienna Academy of Music, the score: he “last waltz” of Beethoven accompanies me ever since. When in 1973 I went to the Teldec studios in Berlin to record for the first time the Diabelli variations Beethoven, it seemed natural to me to also record the variations of his contemporaries. In the end, his pieces were a musical stroll through Beethoven's Vienna. When I resumed the cycle only three years later, some colleagues had already nicknamed me “Monsieur Diabelli”. And in fact, Today, the Diabelli variations They are still one of the pieces that I interpret the most: exactly 99 times before Beethoven's anniversary in 2020. This project is, so, also a private anniversary for me and my relationship with Beethoven. It was natural that he wanted to resume the cycle of variations in the year of the anniversary of his birth, as well as my favorite variations of the other 50 composers.

Anton Diabelli was not only a publisher, but also a very cunning businessman. the book with the 50 printed variations on his waltz was something like the calling cards of his day, works of musical superstars that could be played in the halls. An ingenious marketing strategy that, but nevertheless, Beethoven avoided. This was due, on the one hand, to the number of your 33 variations, that exceeded all limits, and on the other, to its (at that time) impossibility to touch them! Until 30 years after publication, lift up. 120 it was first performed by the pianist and conductor Hans von Bülow, and even later the Diabelli Variations, which Bülow called “microcosm of Beethoven's genius”, continued to have difficulties. I was clear: My project “Diabelli 2020” I was going to build a bridge in time, and a new recording of the Diabelli cycle would only make sense if contemporary composers were also asked to contribute a variation of the waltz. I am proud of the range of composers involved in this project: from the wonderful Lera Auerbach to the impeccable Max Richter. I am also delighted that Tan Dun is participating, To who, as a movie buff, I naturally admire his music, Oscar winner, for the film classic directed by Ang Lee Tiger and dragon. Toshio Hosokawa, probably the most important contemporary composer in Japan, he gave me his sheet music after a concert in Japan: Japanese characters penciled on the cover. Australian Brett Dean wrote his variation which opens with a wacky “with fire”. Austrian composer Johannes Maria Staud challenged me with his extremely creative notation. For the German conductor and composer Christian Jost, instead, Diabelli's waltz is an inspiration for a joyous performance. Brad Lubman also traces an arc through music history in his “Variation for RB”, like the French composer Philippe Manoury, that puts on stage the metronome (tool that became popular in the time of Beethoven). Russian composer Rodion Shchedrin begins his variation “almost improvised”, and composer and clarinettist Jörg Widmann explores characteristic traits of Beethoven in his detailed, multi-part variation.

I am often asked what goes through my mind when I play the Diabelli variations. my answer is simple: not much! The process of thinking about and engaging with Beethoven must be completed long before the first note is played.. during a concert, Beethoven invites the pianist to let go. I don't mean to swim aimlessly in the waves of sound. Getting carried away by Beethoven's drift requires knowing where you are at all times, know musical navigation, the starry sky, the winds and compass points of Beethoven's cosmos. Because the more willing one is to bend his own will to that of the composer, the safer you will be to hit the note that Beethoven intended. summarizing: it's too late to start thinking just before you hit the first note: at the time of the concert, it's about trusting and getting carried away by the enormous creativity of its variations.”

Photography copyright Rita Newman

Manuel BustoCover

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Interview Manuel Busto, director and composer of La Bella Otero Folk Music, flamenco, classical… All these musical genres and different aesthetic currents are those used by Manuel Busto to compose and conduct La Bella Otero., the operatic ballet premiered by the National Dance Company at the Teatro de la Zarzuela. A challenging and ingenious aesthetic and musical proposal by this young Sevillian director, one of the most promising races on the national and international scene.Brío Clásica: La Bella Otero was one of the most influential women of her time and her life was truly exciting, What characteristics of this character have you wanted to convey through your composition?

Manuel Busto: Work as a composer, from the approach of the dramatic ballet by Rubén Olmo and Gregor Acuña's own libretto, leads us to capture the rich characteristics of the intense life of this character in a very strong way in the musical dimension. La Bella Otero was from Valga, Galicia, where the rape she suffered forced her to flee semi-repudiated by society itself together with a group of itinerant gypsies, appearing later in Barcelona where the discovery of the character of Carmen made her become a "false Andalusian". From there he went to the France of the Belle Époque to conquer the world., starting with New York, have the most powerful men of the moment at your feet being one of the stars of the Folie Bergère. got to have it all, went broke and finally hid too young, when the beauty of youth disappeared, and live with his own loneliness in the south of France until the end of his days.

all, all the aesthetics of the places he passed through, but updated and with a personal vision, they should be present without losing sight that it is a single life. Unity as a global concept was essential on a technical and artistic level as a composer.

B.C: It is a work that has musically several registers and in its elaboration they have participated 3 composers. What part have you taken care of and how has the writing process been? Has each one written their part autonomously?

M.B: My part has been the whole, the global and unitary vision as a composer assuming most of the new creations, where there are so many aesthetics present. Example can be the first number, where I use a bagpipe prelude, flamenco percussion, where there is a clear reference to the Muñeira and a base of flamenco tiento, all using contemporary compositional techniques as well as instrumentation and orchestration treatment. All this is enhanced by including songs by great musicians who come from worlds other than mine., for example, Augustine Diassera, that comes from flamenco with forays into other currents, o Alejandro Cruz related to television and theater.

B.C: How do they merge into one, proposals from composers who come from so many styles and that the final result has a coherent musical discourse?, Is this part perhaps the one that has presented the greatest difficulty?

M.B: From them I received a sound proposal, which I respected but made mine to not only treat them with an orchestral sense, as my own, but in which he transformed by adding his own material, or even using part of their proposals at a motivational or rhythmic level in their own parts. I was free to use these approaches as my own, since the main purpose was that the work as a whole was solid on a musical level, which under a giant respect for the freshness that they brought, I have tried extremely to make it cohesive, no edges in the macrostructural or microstructural plane. Perhaps this part has been the most different or challenging, and the one that should be made with more care, I respect, coherence and I must confess, that with greater skill and ingenuity.

B.C: Is there an element in a dance composition that, by rule, make it different from an operatic composition?

M.B: Without a doubt the rhythm, and even more so since it is a ballet like the National Ballet of Spain, only one in the world. As a conductor I come directly from the world of opera, and it is true that both have their own language when making, very close in many ways, but different in terms of priorities. The characteristics of the National Ballet of Spain, and the use of the Spanish school or flamenco gives it a differentiating element that puts the composer before a greater challenge, if it fits, what is it to be able to understand that language first, and then speak through music with the same language in favor of what happens on stage.

My relationship of admiration, study and research with flamenco, makes me feel in my natural habitat by working for this company, where I have it and in fact I have used it in flamenco elements at a musical level, something that I think gives the sheet music of La Bella Otero a unique personality at the timbral level, to which must be added that ballet itself is a great percussion instrument due to its sonic dimension to be taken into account in creation.

B.C: How do you define your compositions, how would you classify them?

M.B: I precisely consider myself a person who avoids cataloging, or cataloging, that is to say, falling under one's own or external yoke on an aesthetic or technical level. For me in art the most important thing is the artistic message, and then the artistic medium at a technical level (here the preparation and the job is essential) with which to ensure that the emotional impact is the greatest possible on the viewer, and therefore in society. It is true that the use of flamenco is important, but only when I think that it is essential that it is present, since for example there is nothing of him in my first chamber opera Monologue to 2: Existence or in the job I just finished for Johan Inger and the Fondazionea Nazionalle della Danza Aterballetto.

B.C: He has just been awarded the prestigious Leonardo grant from the BBVA Foundation in the category of "composition and opera", to compose an opera. Do you already have an idea for this project?, What inspires you when you write, a character, a story…?

M.B: When it comes to aspiring to obtain this recognized award, two fundamental factors are taken into account according to the bases: the trajectory and content of the project presented. The title of my project is very revealing: "Flamenco in opera as a creative need: Blood Wedding, opera on rural tragedy by Federico García Lorca. This project will be a natural step in my own production, where, though not always, flamenco is present because of the enormous capacity to generate emotions that it has, just like opera, or the development of aesthetic currents through history that lead to contemporary aesthetics and techniques. Aspiring to know the latter is relatively natural in the development of the study of any composer, but not flamenco, and maybe because I was born where I was born, Los Palacios and Vfca. in the lower Guadalquivir, I have been forced to have a feeling of guilt well into adolescence for feeling ignorant in this matter. Which led me to discover it and, especially, to perceive your potential. So I decided to thoroughly study all its wealth, so that his language became part of me and my work. I insist, with the interest that his ability to generate emotions became part of me.

Cecilia Valdés, Teatro de la Zarzuela

 

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, it's never too late…
Cecilia Valdés
Gonzalo Roig (1890-1970)
Libretto by Agustín Rodríguez and José Sanches-Clay,
based on the novel Cecilia Valdés or Loma of the Angel
D. musical: Oliver Diaz
D. scene: Carlos Wagner
Scenography: Rifail Ajdarpasic
Locker room: Christophe Ouvrard
Lighting: Fabrice Kebour
Choreography: Nuria Castejón
Distribution: Elizabeth Knight, Martin Nusspaumer,
Homer Perez-Miranda, Linda Mirabal, Cristina Faus, Yusniel Estrada
In this fortunate line of the Teatro de la Zarzuela to recover our operatic heritage, It has been released these days the Cuban zarzuela, "Cecilia Valdés". the composer, Gonzalo Roig (Havana, 1890 – 1970) Cuban zarzuela redefined and made it a lyrical reference América.La traveler zarzuela was born with spirit and Cecilia Valdes is one of the clearest examples. Spaniards in the late nineteenth century and first half of the twentieth came to America, they did it, as, bringing their culture and music. were also determining orchestras and zarzuela companies who moved to act there to give coverage to the many musical emigrantes.Cecilia Valdés has the peculiarities of Caribbean and African sones, as good zarzuela, costumbristas the most recognizable and popular episodes at the time of its composition. The score is an extraordinary rhythmic richness. Bembé, guaracha, contradanza or Bolero, africanizantes combined with sounds and afrocubanos, Linda numbers as Mariscal, fully Cuban. But also they appear in the score and lyrical moments full of romance, as duets between Cecilia and Leonardo. The result is the perfect combination of popular music and lyricism, in a mixture of genres that complement each other and make "Cecilia Valdés" the most important work of Cuban music.

The scenery of Carlos Wagner, good knowledge of Caribbean culture, where big challenge was to acclimate the work, and he has done so in pre-revolutionary Cuba.

The main scenario remains fixed while flowing within it the elements that put each of the scenes. Get transform, factly, a sugar plantation in a ballroom where the protagonists celebrate their festivals. The speed and fluidity of change does not stop at all the pace of work. The colors, lighting and textures, you move to Cuba and the Caribbean atmosphere of high temperatures.
The libretto by Agustín Rodríguez and José Sánchez Arcilla, based on the novel Cecilia Valdés or Loma of the Angel, Cirilo Villaverde, It presents the problems of coexistence between slaves and mestizos, criticism of slavery and the consequences of sexism and racism. It also shows that mixture of religion and paganism which appears in an end of the play something strange that surprised the public.

The theatrical part of the work is very important and is brilliantly covered by Paloma Córdoba, Alberto Vazquez, Eduardo Carranza, Ileana Wilson, Moisés Giraldo Cardenas, Isabel and Juan Matute House. Cuban dance body as a whole was a protagonist of this zarzuela and the most applauded of the night.
Cubans are also some of the protagonists, soprano Elizabeth Caballero as, He defended its leading role of Cecilia Valdés so more solvent. It was not very well accompanied vocally by Martin Nusspaumer that, but nevertheless, If you built a good Leonardo in the interpretive part.

Baritone Homero Perez-Miranda, as José Dolores, Cristina Faus and mezzosoprano, in the role of Isabel Ilincheta, They were high in their respective interpretations. You can say the same for the rest of the cast. It should be noted the extraordinary participation of Linda Mariscal, who he played the freed slave Dolores Santa Cruz.

historical representation, although late, the first and most important Cuban zarzuela rising to the stage of the Teatro de la Zarzuela. Hopefully come after Cecilia Valdés some more.

Text: Paloma Sanz
pictures: Javier del Real

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

It was just a boy when a teacher heard her singing through the halls of school. Then he began studying music and his interest in the arts and humanities, the great passions of Franco Vassallo. Meticulous preparing to end their characters, arrive at Liceu Barcelona Aida and Amonasro provides us full of intensity and drama. We talk about it in this interview
Brío Clásica.
INTERVIEW FRANCO VASSALLO / CLASSIC ELAN
B.C: His beginnings were very original: he heard a singing teacher casually in school corridors. If there had been so, Would he have equally determined by music and singing? How did that start?
F.V: At this stage, with the experience of these years behind me, It is hard to say what would have done if that endearing episode occurred in the school would not have happened, but with all security I had found another way to focus my passion for art, culture, literature and philosophy. First of all, say that I consider myself a humanist.
B.C: Could you describe the characteristics of your voice?
F.V: It is always difficult to talk about one's voice on tape, singers and unfortunately we can not hear ourselves live. I would say that mine is frank, sincere, direct. I think it has always had a certain sweetness, it still retains, but obviously over the years he has matured and gained in roundness, taking a tan that has allowed me to face a more dramatic repertoire.
B.C: We know of your interest and knowledge of dramaturgy, cornerstone in the opera. When a role is interpreted on many occasions, that character, Does it yours and gives it a certain character forever or outweighs production and stage manager?
F.V: Dramaturgy in the operatic genre is critical because the opera is theater and music, so you can not do without his theatrical part. But the truth of the opera stage is obtained by finding the right key character, which is not only in the acting part but is also obtained and, especially, through score, because the composer leaves everything clear. Everything is in the score! In fact, these composers, as Verdi, They have never been forgotten because they were true geniuses; They created some masterpieces that still listen to and why they have become immortal. They had an intuitive and innate ability to capture the scenic score truth of the character. When you make it yours in my case also has helped me the Stanislavski method, I studied- revive you do through you. In the study period we thought to build character and shape, but once we got on stage to stop thinking just be him and live like him, that is to say, in my case I try to look and feel like the character; let it flow. Interpreters rationally know what is happening in the scene and what will happen next, however the character does not know, so you have to live it and react true self to everything that is happening. It is complex, but at the same time exciting, very similar to what an actor feels, although we, the singers, We also have the advantage of relying on the soundtrack, music, describing the situation we are living our performance and offers an incredible expressive force. On the other hand, we also have the disadvantage that if we acatarrados no choice but to leave and we still sing [laughs].
B.C: From 13 January is participating in the production of the Liceu Aida, in Verdi, with the musical direction of Gustavo Gimeno and scenery Mestres Cabanes. What Amonasro will look at the Liceu?
F.V: When I get the first tests naturally and I feel that the character runs through my veins; I feel mine and I've done a complete picture of the role that obviously have to be contrasted with the stage manager; I always try to find a balance between the idea of ​​the character he has and I do. Obviously there are always some directors with whom I connect more than others, but sometimes I have a vision of the role, although input does not agree with it, if the idea is smart, I just get carried away by his instructions to finish making my proposal. In any case, we, interpreters, as music directors or scene, We must be at the service of music and composer. It comes to my mind a beautiful phrase that Verdi told the baritone Felice Varesi, which premiered several of his operas: "I ask you please to serve before the poet to the musician"; Coming from Verdi fascinates me, because it means it had a great respect for the scenic realization, because it was like saying: if we do a good theater music comes alone, so I think you have to have a great respect for the libretto. As for the Amonasro I play, I feel like an intense character, tragic and painful; Verdi is a king who invites us to describe and interpret "impeto selvaggio" (wild momentum), a fact that is there, in the score; but sometimes we forget the immense humanity. In the big time stage, in duet with Aida, practical and decisive character must have as a politician meets with the affections and feelings; we see a father who is forced to ask his daughter a huge sacrifice, He is forcing his people to betray the man she loves. Hence his rage, which it is nothing but a human reaction to the internal pain she feels for having to ask something so cruel to a daughter. Is a character who lives intensely the pain; at the end of the duo tells his daughter something amazing: "Think that a people, won, heartbroken, for you can only rise again " ("Think a conquered people, torn, Only thanks to you can rise again), that is to say, "Everything is in your hands and our people must make this sacrifice, I know it's infamous, but there is no other way ". It is certainly one of the most beautiful moments of the whole scene. On the other hand, Amonasro proves to be a great king, intelligent warrior despite having been defeated in battle. Live extreme situations from the beginning to the end, since from entering scene he is almost sentenced to death and very little time to do everything to achieve their goals, save his people and his own life. In summary, We are facing an absolutely tragic character for everything that happens, but both fascinating still being relatively short.
B.C: In 2004 he played Zurga, in Bilbao in The Pearl Fishers, in 2008 was Figaro in Il Barbiere di Siviglia at the Opera de Las Palmas, in 2014 Vespri Siciliani I participated in the Teatro Real Guido di Monforte playing, and now he comes to the Liceu in Barcelona with Amonasro. Why have you been so spaced performances in Spain?
F.V: In addition to the commitments that you quote, I actually made my debut in I Vespri Siciliani Spain with the Opera Bilbao 2001 and also I sang Ernani in Las Palmas de Gran Camaria in 2005 and I Puritani Minorca 2008. In any case, and compared to the career I've done in other countries, It is true that my presence in Spain has been little, but it was not my will, because the truth is that I love this country and I love working here; It has just happened than usual in these cases: deals sometimes come at times when you are busy and time passes without matching agendas.
B.C: How do you feel more comfortable, with expressive intensity and strong vocalism of Amonasro or lightness and brilliance of Figaro? How they are approached as different technical roles?
F.V: As the old school of the "canto sul fiato" he said, are at odds on these two forms of singing and interpreting, that is to say, It is important vocal ductility; It must be able to move from one dramatic role bright and vice versa, especially when the instrument allows it. When the voice with the experience and maturity is ready to face the dramatic repertoire, It is important to return occasionally to the bel canto repertoire to maintain elasticity and squillo, so we avoided the voice becomes heavy. Recall that the singers of the past changed light heavy repertoire with astonishing rapidity; I just think having a minimum of time, If you keep your voice in the right place, without forcing, You can change without problems. This year I happily returned to play Figaro (The Barber of Seville) at the Hamburg Opera coming to interpret Rigoletto, and I found quickly comfortable in the freshness and elasticity adequate almost naturally and without any previous work. What we call "muscle memory" always works. Definitely, not to force anything because the sound becomes heavy, you just have to keep always loud and mask.
B.C: It seems that increasingly more difficult to find truly serious voices. In that case, Why do you think that is due?
F.V: I think the voice is certainly hard to find is the true deep bass; today under-baritone dominates over the, but I could not say a precise reason. Serious, sometimes voices, They not always tend to sing naturally because the voice already sounds itself, without applying any technique you certainly do need more acute voices to sound good. This sometimes makes racing more serious voices are slightly shorter, unless the technique work with a good teacher. In any case, technical work is essential for all strings, and not always due to have a good teacher. Like mine said, It is important not only a great teacher, but that great teacher must find the great student.
B.C: Given the evolution of his voice and his singing, What new roles have in mind for future seasons?
F.V: I would like to further explore the verismo and Puccini repertoire, como La Fanciulla del West, Gianni Schicchi, Pagliacci or Cavalleria rusticana, for example, but at the same time maintaining the Verdian baritone repertoire that is basic, and of course the bel canto. Próximamente sing Il Pirate, Lucia di Lammermoor y Roberto Devereux, a repertoire that is essential for me to keep up the ductile voice.
B.C: Must we wait four years to return to listen to him in Spain?
F.V: Hopefully not! I sincerely hope to be at least every year in a Spanish theater.
Sleeping Beauty Ballet at the Royal Theatre

Five years have passed since Nacho Duato will stop being in front of the National Dance Company. The same five years it took the master to return with a production designed and directed by him. Five years is too long an absence when it is like this.

He appears in front of the Staatsballett Berlin. Company resulting from the union of the respective dance formations of the three Berlin opera houses: State Opera Under der Linden, German opera Y Weird opera. Thus becoming one of the most important classical ballet companies in Germany and prestigious in the world..

He came to Teatro Real with a classical ballet after twenty years dedicated exclusively to contemporary choreography. Sleeping Beauty, with music Chaikovski and based on the version of Charles Perrault. This tale conveys, from the early stages, to a magical world. And he does it hand in hand Pedro Mayor whose powerful baton drew extraordinary energy from the Orchestra. Perfectly coordinated with the dancers who had their main ally in music.

The first act is the most evocative. a children's story made music and conceived from the beginning by the composer to be danced. It is framed in the scenery of Angelina Atlagic as if it were a painting, everything is color and volume, that give a great depth to the stage.

In the second act, nature is the protagonist. The colors and costumes are impressive. Even more so if lighting enhances and balances. The third act breaks with the dynamics of the previous two. The appearance on stage of characters from other stories, distracts from the original plot.

It's a classical ballet, but with contemporary nuances, from which it seems that Duato cannot be detached. Although it is difficult to identify him in the whole choreography. With this work Duato has wanted to put the accent on the choreographic technique. He himself explains that he wanted to reflect in this choreography:"A renewed classic, lighter, lighter, closer to the public. It's hard to attract young people to the theater after spending all day with iPad. That is why I have tried to refresh it a bit and remove the dust ".

Pedro Alcalde's address is brilliant. Full of strength and rhythm and always aware of the dancers. Something very important in such an extremely exact art in the inputs and actions.

The corps de ballet, headed by Michael Banzhaf, as Rey Florestan and Beatrice Knob, like a queen, make up a sleeping beauty full of delicate plasticity. And they know how to interpret those keys that Nacho Duato prints in all his ballets.

The Royal Theater begins season with a ballet. Something unusual but extraordinary. Starting off so beautifully can only be the preamble to a great season. Delusion, no lack. That is not innocence.

Sleeping Beauty
Peter I. Chaikovski
Nacho Duato's libretto, based on the original by Ivan Vsevolozhski
Choreography: NAcho Duato
D. musical: Pedro Mayor
Scenography and costumes: Angelina Atlagic
Lighting Design: Brad Fields
dancers: Michael Banzhaf, Beatrice Knob, Iana Salenko, Marian Walter, Arshak Ghalumyan, Martina Böckmann, Elvis They Don't Know, You Gurfein.

Abbado

A small and simple funeral procession accompanied the Master's 21 January through the streets of Bologna. After, and absolute privacy, the one who was Director of the Scala and the Berlin Philharmonic. Scarcely had flowers, the family wanted that money should go towards those in need.

Also to those who need it most, the Master did Abbado let the music come. He took her to hospitals and prisons. He had a special dedication with the young people creating the European Youth Orchestra one to Gustav Mahler Youth Orchestra. He was the inspirer of the System of Orchestras of Venezuela created by José Antonio Abreu and developed by Gustavo Dudamel. At the Scala in Milan he founded the Orchestra della Scala with which he programmed concerts with especially cheap tickets, which allowed access to the Theater to a new public that, until that moment, I didn't go to La Scala. He considered that “music education is, actually, the education of man.

The week after his death, Daniel Barenboim, as a tribute to the Master, conducted the Scala Orchestra interpreting the funeral march of the “Heroic” Symphony, from Beethoven, with the room empty and the doors open...

http://youtu.be/VfU_qaPRa6Y

Artaserse

There are many recordings that are available to all through networks. Perhaps too. This volume of information prevents us sometimes discover authentic wonders. From this section we want to discover and presenting these little gems or curiosities that may be of interest. For that, Also we ask your collaboration, via mail, (brioclasica@brioclasica.es) to fish and show those recordings waiting look out this window.
We have decided to open this section with an aria from the opera Artaserse, by the Italian composer Leonardo Vinci (1690-1730). Very soon he became the most famous Neapolitan composer. He wrote more than 40 scenic works, of which not all are preserved. His most famous operas are Didone abbandonata (1726) and Artaserse (1730).
Managed and developed the accompaniment of the recitative and modified its structure, creating the recitative "speaking", later developed by one of his students, Pergolesi.
This being the time of the castratti, Artaserse could not not have, at least, four roles for this vocal tessitura. The production to which this recording belongs is musically directed by Diego Fasolis. The stage design is by Silviu Purcarete and is performed by the most important countertenors that are currently, Philippe Jaroussky, as Artaserse; Max Emanuel Cencic, as Mandane; Juan Sancho, as Artabanus; Franco Fagioli, like Arbace; Valer Barna Sabadus, como Semira y Yuriy Mynenko, like megabise.
Performed at the Opera de Lorraine on 10 November 2012. And whoever cannot resist it and wants to attend this same production live, you can do it this spring at the Versailles Theater.
We include the complete opera, for the very coffee, but we have selected this aria performed by the Argentine countertenor Franco Fagioli. your interpretation, after the short opening recitative, It is simply, masterly. the theatricalization, perfectly timed and full of genius and spark, but, especially, the vocal artillery is an absolute delight.
Enjoy.

Conquest of Mexico

The conquest of Mexico, of the German composer Wolfgang Rihm, It is one of the bets for this season's new artistic adviser now Royal Theatre, Gerard Mortier. A mortar that, with the usual enthusiasm, It gives a lecture on the work and its composer who can see and hear in this article. A contemporary opera or, as the composer called, music theater. It premiered in Germany 1992, in Mexico was presented in concert version 2003 and now it opens in Spain in a production of Teatro Real.
the libretto, of the composer himself, and back to music, It is based on texts Antonin Artaud and Octavio Paz. French Artaud has tried to reflect the impossibility of understanding between two cultures that are not known and confrontation between the two civilizations, Christian evangelizing, with a clear representative, Hernan Cortes, and pagan pre-Columbian through the character of Montezuma. Artaud theater proposals, almost always baffling to the public, They present a sensible and balanced indigenous people with nature. In contrast to the Christian barbarity of the conquerors. All this is part of its new theatrical concept: the so-called Theater of Cruelty.
Wolfgang Rihm ha dear, through its composition, transmitting a cathartic feeling. Aims to create a magical and transcendental atmosphere and the use of voices is essential to achieve. The clash between the two cultures is clearly defined and polarized. The representation of the indigenous world corresponds to female voices. It is the soprano Nadja Michael, who we were recently heard in this theater in Wozzeck, by Alban Berg. His powerful voice, a support and extraordinary projection, shape and character to Montezuma. Accompanied on stage by Caroline Stein Y Katarina Bradic. With them, the character of Malinche, played by Ryoko Aoki Japanese. Great connoisseur of contemporary opera and musical theater Japanese. What a great dramatic force otroga its interpretation.
The onírico environment is achieved through the score of Rihm, It reflects the consequences of war. All this enhanced with lighting by Urs Schönebaum, colorful costumes of the Polish figurinista Wojciech Dziedzic and videographic projections of the German Alexander Polzin.
Although the scenes unfold in a very dynamic way, the feeling of slowness is evident at times. Perhaps this is the best way to express the heavy burden of protracted wars.
Good transitions between social conflicts and those occurring between the protagonists, more personal and close. A seemingly complex way right out with simplicity.
Not forget that Rihm composed the music before having the script. It shows a great expressive capacity of the score. Percussion reproduces discrete noise battles, without being a mere accompaniment as is often constumbre, but pacesetter especially the beginning of the work. And nothing, no sound, however small or short it is, irrelevant or prominence.
The location of the orchestra, this time distributed by boxes, proscenium, boxes and stalls, generate an envelope and atmosphere efectista. Also the voices of the choir, live and through recordings, contribute to the dream-musical assembly work.
The result is a new contemporary production to which the public responds with a certain coldness. Rather by confusion that rejection. The audience of the Teatro Real, in general, has evolved during these years was Mortier. Otherwise hear contemporary music, before almost nonexistent, and can distinguish and appreciate the different qualities of a work of these characteristics.

The conquest of Mexico
Wolfgang Rihm (1952)
theatrical music in four parts (1992)
Libretto by the composer, based on texts by Antonin Artaud and Octavio Paz
D. musical: Alejo Pérez
D. scene: Pierre Audi
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
Lighting: Urs Schönebaum
Video: Polzin, Claudoa Rohrmoser
Playwright: Klaus Bertisch
D. choir: Andrés Máspero
Distribution: Nadja Michael, Georg Nigl, Graham Valentine, Ryoko Aoki

Joan Matabosch

He Teatro Real Has got, at last, squaring the circle and elegantly solve the difficult start of the season after the crisis exit by disease Gerard Mortier He had unleashed.
The agreement with Mortier allowed to continue linked to the theater through a new contractual relationship, artistic adviser. This new figure has as its main function dissemination and international promotion and artistic advice. Moriter loses its executive capacity but the Theatre, with great success, wins its invaluable artistic and operatic capacity. Whenever your state of health permits, collaborate with Joan Mataboch for the good development of the season that has just begun and it is entirely a product of his.
In the same press conference, it has to be presented to the new artistic director of the Theater, Joan Mataboch. What will all effect from 1 from January, since its current contract with Barcelona ends Liceu 31 from December.
Mataboch not ye, in his words, end the legacy of Mortier. He wants to open the theater repertoires, directors and singers who have not been common in recent seasons. Until then supervise the two theaters to facilitate the transition in both. It will from next season when it starts to bite the hand Mataboch, respecting the productions that are already closed, even you want to realize that they were not.
Roundly and enthusiasm has given his artistic vision and what will be the philosophy that joins Real after 16 years of mayor in Barcelona:
"Often opera is identified as a show, but it is neither just nor intentionally a show, as, above all, it's an art. The difference between art and the sheer spectacle is that art tells us about ourselves while a show is entertainment. Art allows us to feel and the Teatro Real has to promote it and make it happen. Already said well Pavarotti: 'You get excited because you put something on your part', and Hegel in his Lectures on Aesthetics: “The art stands in front of man what man is”.
Artistic Director of the Gran Teatre del Liceu since 1997. Previously he was Deputy Artistic director and director of Playwriting the same theater and has also worked as a journalist, opera critic, theater, music and dance in various publications .
Piano has career, Singing and Harmony, He holds a degree in Information Sciences from the Autonomous University of Barcelona and has studied sociology at the Complutense University of Madrid.
He was founder and president of Opera Europa and part of juries of prestigious international competitions, musical and lyrical.
As Artistic Director of the Gran Teatre del Liceu it has been, over the past fifteen years, responsible for the artistic program of the theater and during his tenure has led to standardization in the repertoire of the Liceu of the great composers of the twentieth century, in addition to strengthening the presence of the best singers, conductors and stage of the international circuit.
Joan Matabosch has opted for new productions often with great directors of Spanish theater La Fura dels Baus, calixto Bieito, comedians, Mario Gas, Nuria Espert, Lluís Pasqual, José Luis Gómez, Alex Rigola, Rafel Duran, etc. It has also favored large international co-productions with theaters and has developed a large audiovisual project that includes more than fifty productions editions of Gran Teatre del Liceu.

My Alma
Raquel ANdueza
the Galania
Soul and Body Music

The soprano Raquel Andueza and her group La Galanía, have presented their new album, Alma Mía. It is a collection of opera arias by one of the most important baroque composers of the Venetian school, Antonio Cesti (1623).
Baroque music is increasingly present in the classical scene and there are several performers who are favoring its dissemination. Raquel Andueza and the theorbist Jesús Fernández Baena, They have been leading the La Galanía group for years. Faced with the difficulties or demands imposed by the major record companies, decided to create their own record label and self-produce. This has allowed them the freedom to present small baroque pearls. Compositions that start from the simple accompaniment of theorbo and voice, until this last, more elaborate work in which he introduces, among others, continuous bass.
Antonio Cesti, like others, it fell into oblivion after a first period of splendor and is now recovered in this work. He devoted himself mainly to the composition of operas and cantatas and the album is a compilation of the best examples of each of the facets. The result is a rigorous and documented work that offers the quality to which Raquel Andueza is already accustoming us at the head of this baroque group..

Aida Mastranza

The Teatro de la Maestranza hosts in October two acclaimed shows of the season 2013-2014: the representation of Verdi's Aida and the concert guitarist Vicente Amigo.
Cycle Opera opening of the season, the days 25, 28 Y 31 October 3, 6 Y 9 of November, Maestranza reaches a magnificent title of Italian composer Giuseppe Verdi, Aida. In a co-production of the Gran Teatre del Liceu and the Santander Music Festival, José Antonio Gutiérrez will be in charge of staging such an emblematic title. A cast made up of unparalleled voices like those of Tamara Wilson, Alfred Kim, Mark S. Doss, Dmitry Ulyanov and Maria Luisa Corbacho, among other, faces the ambitious challenge of interpreting one of the most vocally demanding operas in the repertoire, also scenically. Aida will be performed in six performances under the direction of maestro Pedro Halffter at the head of the Seville Symphony Orchestra.
Flamenco guitarist Vicente Amigo returns to the Maestranza to inaugurate the Cycle of Flamenco with a concert in which he presents his new work Tierra; an album that mixes flamenco roots with subtle Celtic touches. Tierra's soothing music has been composed entirely by guitarist, although it has arrangements by Fletcher and was presented to the public last January at the Scottish Celtic Connections festival.
Vincent Friend, born on guadalcanal (Sevilla), but raised and educated in Córdoba -and from Córdoba he feels- he is today one of the great masters of flamenco guitar, to which he has given a special inner sensitivity that makes his touch, both, in intimate and rhythmic, perhaps because of the double influence it received in its origins.

everything Green

ABAO-OLBE (Bilbao Association of Friends of the Opera) begins its 62 season with the premiere of Giovanna d'Arco Bilbao, seventh Giuseppe Verdi opera composed during his years of "galleys", also it starts with the eighth edition of Tutto Verdi which now totals twenty operas to his credit since the Italian master started in Season 2006-2007. The next 21, 24, 27 Y 30 of September, sponsored by the Culture Department of the Basque Government, up to stage this exciting title admired by the beauty of his choral writing and arias, what constitutes an exceptional opportunity to enjoy an unusual work scenarios being recovered by important music festivals. In this poetic vision of the dramatic story of Santa Giovanna d'Arco, French peasant girl who struggles to free his homeland, combines the traditional Verdi with pages of real difficulty and beauty that reveal the great genius of Busseto do in future compositions of maturity. To give life to the characters of this tragedy and face their musical complexity, ABAO-OBE has assembled a cast led by the very personal Bulgarian soprano Krassimira Stoyanova, who made his debut in the role of 'Giovanna', a challenging role offering the most remarkable pieces of work. Next to her, the Spaniard returns to Bilbao tenor Alejandro Roy to become the king of France 'Carlos VII'. The trio protagonist is completed with the debut of the Italian baritone Claudio Association Sgura as 'Giacomo', the tormented father and his daughter informer. Close the cartel bass Miguel Ángel Zapater as 'Talbot' and tenor Eduardo Ituarte as 'Delil'. The musical direction is by the francés Yves Abel, one of the most interesting directors of his generation, who returned to Bilbao to be made al frente de la Symphony. With numerous interventions during the performance, the Bilbao Opera Choir, directed by Boris Dujin, Complete this section. On the stage, an elegant production of Teatro Regio di Parma devised by Gabriele Lavia debutant ABAO. As a key element of the same, a large painting in which a cavalry charge shown, which it is transformed into a series of movable panels to give great agility to changes in scene. Such cavalry charge is inspired by the paintings of the era Verdiana, recreating a war scene Risorgimento, time when Italy struggled to establish itself as an independent nation. Thus the action of Giovanna, which occurred at an earlier time, It is framed and plays as a metaphor of the inspiring impulse of the Italian master. On the other hand, They are remarkable for their beauty and wonderful lighting the passages that take place in the forest. This is facilitated by the rich and colorful costumes, obra de Andrea Viotti, a faithful recreation of the usual dress of the period in which the story unfolds. Conference on "Giovanna d'Arco" In order to analyze, in advance the premiere, the most important aspects of this opera by Verdi, ABAO-OLBE organizing a conference, Free entrance until full capacity, on Friday 20 September at the Hotel Ercilla to 20.00 hours. This time discover the ins and outs of Giovanna d'Arco, known writer and music critic Fernando Fraga.

Placido Domingo, baritone
Angel Joy Blue, soprano [Simon Boccanegra / Amelia]
Aquiles Machado, tenor [Simon Boccanegra / Gabriele - Don Carlo / Carlo]
Fernando Piqueras, baritone [Simon Boccanegra / Paolo]
Bonifaci Carrillo, low [Simon Boccanegra / Pietro]
Gianluca Buratto, low [Simon Boccanegra / Fiesco - Il Trovatore / Ferrando - The strength of destiny / Surgeon]
Coro de la Generalitat Valenciana
Francesc Perales, Director
Orchestra of the Valencian Community
Pablo Heras-Casado, Director
Sony Classical

For the first time, Placido Domingo records a complete album (tiutulado Verdi) with a baritone repertoire and the most emblematic arias of Giuseppe Verdi, among them those of Rigoletto, La traviata and Simon Boccanegra. After having sung the great tenor arias, Domingo sets out to explore the darkest and deepest characters in Verdi's work.
He 2009, Placido Domingo performed his first leading role as a baritone as Simon Boccanegra at the Royal Opera House in London., who was followed by Rigoletto, Francesco Foscari and Giorgio Germont of La traviata. This year he will perform Nabucco at the Metropolitan Opera in New York and the count of Luna in El trovador at the State Opera in Berlin..
Against popular belief, Placido Domingo did not start his career as a baritone. In his early years he mainly sang zarzuelas in the role of tenor, to later be considered the Verdi tenor of his generation. Now, with its change of register to baritone, deserves to be called the singer Verdi.
“Verdi is a great musician and we lyrical singers are grateful to him”, says Placido Domingo. When you think about the evolution since his first opera (Oberto, 1839) and Falstaff (1893), change is amazing. The passion, the dramatic sense, sensitivity... That was from the beginning, but the ability to develop individual characters in music, the refinement in orchestration and the gradual transformation of Italian opera reflect an almost miraculous maturing process. For me, 2013 means a special celebration, a tribute and an act of thanksgiving and love towards Giuseppe Verdi”.
Macbeth
01 »Betray! In the Anglo against me you are united! … Pity, respect, amore«

Rigoletto
02 »We are equal! ... I the language "
03 »Courtiers, vil damned race "

A masked ball
04 "Get up; there your son ... It was you who stained that soul "

La Traviata
05»From Provence on Tue, the soil "

Simon Boccanegra
06 »Down with swords! … Plebe! Patricians! … People with a ferocious history!«
07 »Here is the sword«

Ernani
08 This is the place
09 »Oh, from my green years "

The Troubadour
10 »Everything is deserted ...
11 »The flash of his smile«
12 »What sound!…oh heaven!….Per me, fatal hour "

Don Carlo
13 »It's me, my Carlo "
14 "For me it is the supreme day"
15 »That you speak of death?«

The force of Destiny
16 "Die! Tremendous thing "
17 »Fatal urn of my destiny«
18 "And if I could find other proof?«

Spirit of the Balkans
Balkan Spirit
Hesperion XXI
Jordi Savall
Another Right

The idea of ​​developing a great musical and historical project about the peoples of the Balkans and the Gypsy and Sephardic diasporas was born at the end of the year 2011 during the preparation of the concert "Homage to the city of Sarajevo" that we gave at the Grec Festival in Barcelona on 9 July 2012.
Twenty years ago, during the tragic events of the war of disintegration of the former Republic of Yugoslavia, that city suffered a terrible siege by Serbian troops; more than twelve thousand people were then killed and more than fifty thousand suffered serious injuries.
Europe in particular and the world in general responded with absolute silence and a more than debatable decision not to intervene in the conflict., which resulted in the prolongation of the fierce siege of the Bosnian capital for four years (1992-1996).
International intervention would only come decisively in 1995, but then more than 20 Millions of kilos of projectiles and shrapnel had already disfigured forever the physical and human geography of that city..
from ancient times, Sarajevo had been the cultural crossroads of the Balkan peninsula where the traditions of the Slavic world, ya sea of ​​orthodox or catholic faith, they mixed in perfect harmony with the newly arrived cultures, like those of the Islam of the Ottoman Turks, who dominated the Balkans for more than four hundred years, or those of the Judaism of the Sephardim, who found refuge there after their expulsion from the Iberian Peninsula in 1492.
"That last war in the Balkans - Paul Garde points out - suddenly broke out in a Europe that had been deeply pacified for half a century and without recollection of the harshness of history.
Hence the misunderstanding, the suspicion regarding that region and the resurgence of stereotypes that describe it as eternally condemned to crime and disgrace».
Still considered the "powder keg of Europe", we must not forget, como subraya Predrag Matvejevic, that this peninsula was also "the cradle of European civilization".
That peninsula of the Mediterranean world extends from the island of Cythera in the south to the Danube and the Sava in the north.; According to Georges Castellan, in her, "actually, the olive tree does not reach Istanbul and the Bulgarian regions owe nothing to the winds of the Mediterranean.
However, from the Peloponnese to Moldavia, Although the landscapes change, cities and towns have common features: everywhere churches with byzantine domes, often a mosque, and those houses with large galleries (pergola) or those inns (an), caravan stopping points, that we found both in Patras and in Bucharest, in Skodra as in Plovdiv, without forgetting the street stalls where the craftsman offers a Turkish coffee, still hammering the copper plates.
a family resemblance? Definitely, that of diverse peoples that, after having lived a long common adventure, have ended up constituting within Europe a specific cultural zone».
Insightful travelers will observe a certain art of living, a kind of Spirit of the Balkans who knows how to associate leisure, conviviality and, especially, sense of hospitality, an essential value always highly respected by all Balkan societies and cultivated especially in rural areas.
However, to fully understand this Balkan specificity, we must go to history.
The fall of the Roman Empire in the 5th century gave rise to, in the eastern part of the Mediterranean, to the creation of the Byzantine Empire – whose capital Constantinople would be the largest and richest city in the Balkans for more than a thousand years, until 1453– that would unify the peninsula politically and religiously, installing the heritage of Orthodox Christianity that remains an essential feature of a majority of Balkan countries.
However, in the sixteenth century, the entirety of the Balkans would pass into the hands of the Ottoman Empire which, from what would be from 1453 Istanbul, would adopt the tolerant attitude of traditional Islam towards the Christian majority as "people of the Book", as long as it accepted Muslim rule and paid the taxes that exempted its members from military service.
That Ottoman conquest also brought about considerable changes in the human geography of the region..
On one side, introduced a third religion, el islam, and at the same time caused devastation and massive migrations that resulted in an inextricable mix of populations, languages ​​and cultures.
As Manuel Forcano remembers, after that invasion the ottomans refer to the peninsula with the word balkan, from two Turkish words, bal and khan, What do "honey" and "blood" mean?.
They not only discovered the richness of the area (its fruits, the sweetness of your honey), but also how brave, bellicose and rebellious that were its inhabitants, since they stubbornly fought against the invaders.
The Ottoman Empire began to lose power in the late 17th century.. The Austrians reconquered Hungary, Voivodina y Eslavonia. By last, in 1739, the Treaty of Belgrade was signed, ending a protracted war between the two empires, and the border stabilized for a century and a half on the Sava, the Danube and the peaks of the Transylvanian Alps.
In the XIX century, national feeling developed throughout Europe and, in that same impulse, all the Christian nations subjected to the Turks were rebelling against them: Serbia (1804), Montenegro (1820), Greece (1821), Wallachia and Moldavia, that came together to form Romania (1877), Bulgaria (1878).
We are witnessing a cultural renaissance, linguistic and literary of the different peoples: hungarians, romanian, Slovenes, Croatians, serbians.
In 1912, the first balkan war broke out: Serbia, Greece, Bulgaria and Montenegro managed to ally themselves to fight against the Ottoman Empire.
The second broke out a year later and ended with the defeat of the Bulgarians; Serbs and Greeks partitioned Macedonia, and Albania became independent.
Then it started right away, because of the balkans, the first World War, After the assassination of Archduke Franz Ferdinand the 28 June 1914 in Sarajevo.
melting pot of peoples, tongues, beliefs and cultures, the Balkans represent the most mysterious image of that "other Europe" that, due to its belonging to the Ottoman Empire, lived more than four hundred years almost totally outside the main cultural and social currents of Western Europe.
The Balkans have been a hotly contested crossroads: rich meeting place and, both, terrain of dramatic confrontation.
Despite the violent upheavals that mark its history, as well as its linguistic and political fragmentation, the peoples of the Balkans continue to share a significant number of cultural characteristics and the heritage of their historical past.
It is precisely these characteristics that we want to highlight in this first recording with the musicians we have invited and who belong to these different cultures., religions and regions.
Together with them we have deepened, selected and recorded different music in order to gather a beautiful ancient musical florilegium, traditional and popular at the same time, coming from that fascinating and still very mysterious part of Eastern Europe.
We are convinced that thanks to the emotion, the vitality and beauty of all that music, we will be able to better understand that feeling that we like to define as the musical image of an authentic «Spirit of the Balkans».
in western europe, today gives the impression that the 'Balkan' culture, popularized by the films of Emir Kusturica or the music of Goran Bregoviç, has become a safe value.
Balkan music festivals multiply, concerts by Fanfare Ciocârlia or Boban Markovic fill the halls.
Balkan traditional music, or at least, Westerners' idea of ​​it, already occupies a place in the World Music section of every well-stocked record store.
Instead, we know very little about the less «folkloric» repertoire, that does not respond to the mental projections of the western public.
Let's not forget that the essence of Balkan music has had a strong influence from Roma culture (see the article by Javier Pérez Senz «Music with a Romani soul»), something that on the other hand seems to forget all the musicologists of the region, who talk about «Serbian» music, «Bulgarian» or «Macedonian», not to mention that their sources and their interpreters are very often "gypsies".
With some of the greatest musicians from the different cultures of that part of Eastern Europe and the soloists of Hespèrion XXI, we wanted to address this extraordinary historical musical legacy, traditional and even modern, to study it, select it and interpret it together, creating at the same time a true intercultural dialogue between these different cultures often torn apart by dramatic and very old conflicts.
The selection of the music for this recording has been made based on our research on the Sephardic and Ottoman repertoires preserved in the main cities of the Balkans and, especially, from the proposals of the different musicians and specialized ensembles such as Bora Dugić, Tcha Limberger, Nedyalko Nedyalkov, Dimitri Psonis, Gyula Csfk y Moslem Rahal, invited to collaborate in the project.
We want to record our gratitude to all of them for the formidable commitment and the wonderful musical interpretations that, with its variety and diversity, contribute to giving shape and meaning to this "Spirit of the Balkans".
Music of ancient and modern traditions, rural and urban music, music of celebrations (the part number 14 Ciocârlia was composed and performed on the occasion of the inauguration of the Eiffel Tower in 1889) or evocations: songs and dances of very diverse origins, going from Bulgaria to Serbia, from Macedonia to the Turkey of the Ottoman confines, from Romania to the Hungarian border, from Bosnia to Greece, From Sephardic music to Gypsy traditions.
authentic mosaic, these musics are interpreted with the instruments of origin of each culture: cunning, gûdulka (Bulgarian lira), tamburitza, greek lyre, kemancha, canon, oud, drum, ney, are fed, saz, violin and double bass, flute, hungarian cymbal, accordion, organ and guitar, etc.
The set of these musics allows us to evoke a true multicultural map of the musical traditions of that rich part of Eastern Europe that surprise and captivate with their vitality and passion., but also for its beauty and its spirituality.
We then find that, despite the different national characteristics, the different peoples of the Balkan peninsula are often united at a deeper level by the same features.
This first recording Spirit of the Balkans is a prelude to the great project of the book-cd Miel y Sangre about the music and history of that region that we are preparing for the end of the year.
The consolidation of peace on that peninsula is still a difficult undertaking; difficulties especially accentuated in the regions most affected by the wars: Bosnia y Kosovo.
But nevertheless, understanding and integration between the different peoples of the Balkans can only be achieved through true reconciliation – similar to that carried out half a century ago by the French and German peoples – and through the integration of all the countries of the peninsula into the Union European.
As Paul Garde says, "they don't have to become Europeans, they are".
But nevertheless, the "angel of history" advances looking back, and all this requires an important process of reconciliation between the identities and the pasts of each one, integrating all layers of Balkan history; especially, ottoman heritage.
We also believe, as distant Jean-Arnault Dérens and Laurent Geslin, that "in this rediscovery of their own history and their multiple identities, the peoples of the Balkans will finally be able to once again be fully masters of their destiny, at the same time outlining another way of being European that will not cease to amaze and amaze Westerners».

Jordi Savall. Bellaterra, spring 2013

Love Surprises

JEAN-PHILIPPE RAMEAU
The Surprises of Love
Opera-ballet. Paris, 1758
Glossa

The contagious energy and exhilarating musicality of Sébastien d’Hérin and Les Nouveaux Caractères make their debut at Glossa with a first-rate operatic dish, never before recorded in its entirety: The Surprises of Love, opera-ballet by Jean-Philippe Rameau in tres acts or independent entries, released in 1748 and then subjected to several revisions. Work of the splendid maturity of the composer, dates from the time when, at last, was employed at court.
Three stories of a love that faces aggression (The Abduction of Adonis), indifference (The Enchanted Lyre) and the drink (Anacréon) are staged in this captivating production through a mix of arias, dialogues and duets with the full panoply of Rameau's orchestral genius – including war and dream scenes, dances and storm effects.
Although newly created, New Characters (based in Lyon) has a stable group of artists who, around the exquisite harpsichordist and conductor Sébastien d’Hérin, presents here vocal soloists of the stature of Karine Deshayes, Caroline Mutel, Anders Dahlin, Virginie Pochon and Jean-Sebastien Bou, responsible for portraying a whole series of mythological characters such as Cupid himself, to his mother Venus, to the huntress Diana, to the mermaid Parthenope, to the muse Urania or the drinker poet Anacreon, all of this in a highly inventive score that featured none other than Madame de Pompadour in the cast of its premiere.

Antonio Fauró

The Teatro de la Zarzuela opens this new season with the zarzuela, in concert, The Tempranica. Premiered in this same theater on 19 September 1900, on score, Geronimo Gimenez, It is considered by many as a masterpiece of our poetry.
As an advance to this jewel of our lyrics, a selection of various numbers from the Spanish Suite by Isaac Albéniz will be performed, with orchestration by Rafael Frühbeck de Burgos himself.
First part:
Isaac Albeniz (1860-1909)
spanish suite, on. 47
(orchestration by Rafael Frühbeck de Burgos)
Castile Granada Seville Asturias Aragon
Second part:
The Tempranica
Gerónimo Giménez (1852-1923)
Zarzuela in one act and three paintings by Julián Romea
(in concert)
Premiered at the Teatro de la Zarzuela, he 19 September 1900
Critical edition by Claudio Prieto
General Society of Authors – Complutense Institute of Musical Sciences, 1999
DISTRIBUTION
MARÍA, Maria Jose Montiel; I RECORDED, SALÚ, Virginia Wagner; SHEPHERD, Ana Maria Ramos*;
OLD GYPSY, Ana Santamarina*; DON LUIS, Carlos Bergaza; FAN, Ricardo Bernal; VIEJO (singer); Juanma Cifuentes; MR RAMON, Juan Ignacio Artiles*; MR. JAMES, Matthew Loren Crawford*
* Member of the Choir of the Teatro de la Zarzuela
Musical direction Rafael Frühbeck de Burgos
Community of Madrid Orchestra
Owner of Teatro de la Zarzuela
Coro del Teatro de la Zarzuela
Director Antonio Fauró
Saturday 21 and Sunday 22 of September.

Gerard Mortier

The Executive Committee of the Royal Theatre, at its regular meeting held on today, He has agreed to authorize the contracting, for a period of six years, Joan Matabosch as artistic director of the Teatro Real. This decision comes after completing the usual process for the appointment of responsible for the artistic direction of the Teatro Real started three months ago, and which they have been considered nominations of outstanding professionals of different nationalities.
With this terse statement Teatro Real has closed one of its most convulsive weeks. The rumor mill and a certain confusion had taken over the early season. "The opera is always the art that welcomes all passions", says the director of the Theater, Gregorio Maranon, perhaps for that reason the events of recent days have not been devoid of drama and theatricality that is always expected a show like opera.
Last May, until today the mayor of Madrid coliseum, Gerard Mortier, He was diagnosed with a serious illness. From this moment and, to the difficulty of beginning of season without its director to head, the Executive Committee of the Theatre was put in place to find a solution to this crisis of leadership.
The news media jumped in early September after giving Mortier an interview with newspaper El Pais. In her, and in a way a challenging both, Mortier put on the table the name, in your opinion, Theatre reshuffle was to succeed. In those same statements, Mortier assured that he would leave the theater the next day if his successor imposed by the government or if this was not in their list of "suggestions". The alleged political interference played for Pedro Hlaffter. The Nombramiento of Matabosch (which apparently he has not accepted Halffter musical director), They end with uncertainty and cause, if Mortier meets their threats, that tomorrow the Belgian leaves the artistic direction.
according Marañón, artistic reasons have been the only ones taken into account when making such an important decision. "Nationality is not an artistic element, bring art from terms of nationality, It is an impoverishment. Neither an artistic director is excluded by the fact of being Spanish ", roundly declared Gregorio Maranon.
Matabosch incorporating their management duties is imminent. It seems that will not be affected partnerships with the Liceu in Barcelona and, in principle and until the Liceu name new director, Matabosch may from Madrid to pay attention to possible needs of its previous theater.

mother Berlin

Mezzo-soprano Nancy Fabiola Herrera returns this season to perform in New York, which will offer a recital at the Cervantes Institute in Manhattan next 18 October to celebrate the 80th anniversary of the composer Antón García Abril. In the program, a monograph dedicated to the work for voice and piano of this outstanding composer Aragonese. Canary interpreter, last year she played Maddalena in Rigoletto at the Metropolitan Opera House New York, This action returns to the city in which it was formed and grew as an artist, adding to the cycle of concerts in homage to García Abril last July began with an evening by the mezzosoprano María José Montiel in Santiago de Compostela and will soon have other great artists, as soprano Maria Bayo Navarre or the Irish mezzo-soprano Zandra McMaster.
Nancy Fabiola Herrera, commencing the course inaugurating the academic year at the Conservatory of Music of the Canary Islands with the conference Beyond the classroom: tools to confront the artistic reality (the next 30 September at 20h. Gran Canaria at the headquarters of this university), It will move after, the days 7 Y 8 October, a la Kammerphilharmonie Bremen de (Germany) to interpret El amor brujo, Manuel de Falla, and songs by Xavier Montsalvatge. Later he will travel to the Cervantes Institute in New York and the Teatro de La Maestranza in Seville to offer two separate recitals with piano Ruben Fernandez Aguirre, all before embarking on their Australian adventure: at the Sydney Opera House will offer eight performances of its legendary Carmen, Bizet, capital which comes after this character fall in love with New York audiences, London, Tokyo and Berlin, among other cities.

On Tuesday 3 de septiembre se hizo historia cuando el público que abarrotaba el local se dio cita en el club Asphalt de Berlín para oír a Anne-Sophie Mutter en su debut en un Yellow Lounge. La violinista superestrella dejó fascinados a 800 amantes de la música con interpretaciones de obras que forman parte de su próximo disco Dvořák en Deutsche Grammophon. Los habituales del Yellow Lounge y los recién llegados aceptaron por igual el calor sofocante de esa noche, que llegó hasta los 45 degrees, para escuchar absortos en silencio.
Los posts en los medios sociales sobre la actuación de Mutter, presentada durante la Semana de la Música de Berlín, dio lugar a una demanda de entradas sin precedentes. Entre quienes tuvieron la suerte de acceder al local se encontraban el gran pianista polaco Krystian Zimerman y varios compañeros de profesión, con el solista de clarinete de la Orquesta Filarmónica de Berlín, Andreas Ottensamer, y el acordeonista lituano Martynas entre ellos.
La nueva grabación de Mutter, que contiene el Concierto para violín, Mazurek op. 49, Romanza en Fa menor Op. 11 y Humoresque op. 101, núm. 7 but Dvorak, será publicada por el Sello Amarillo a finales de octubre.

The Royal Theater has chosen one of the most vital and joyful titles of the lyrical repertoire to inaugurate its 17th Season, The Barber of Seville, de Gioachino Rossini, with the award-winning production created by Emilio Sagi in 2005 for this same scenario. An antidote for times of crisis that will serve as a prelude to intense programming, whose beginning will take place on Saturday 14 of September.
The most famous barber in the history of music returns to the Royal Theater at the hands of Emilio Sagi, one of our most international stage directors. Since it premiered on this stage in 2005 has toured various theaters, including the Châtelet de Paris, has garnered awards, like Campoamor for best stage direction, and lives on as a prized dvd. This work full of vitality and joy, although with the chiaroscuro so typical of Rossini, will open the new season of Real. The most beautiful opera buffa that exists, as Verdi stated, It is a challenge for all those who face it, precisely because it is one of the most popular titles in the repertoire and because of the numerous difficulties hidden under its bubbly appearance.

Maria Jose Montiel

The Madrid mezzo-soprano María José Montiel will return to the stage of the Teatro de La Zarzuela to inaugurate, the days 21 Y 22 of September, the course 2013-14, and he will do it starring in La Tempranica, Geronimo Gimenez, zarzuela in one act with a book by Julián Romea and premiered at the Jovellanos street coliseum a 113 years, he 19 September 1900. The work will be offered in concert version and will feature Rafael Frühbeck de Burgos on the podium, who should have acted last season in La Zarzuela, postponing engagement due to health problems. For Montiel to perform in his hometown “it is wonderful, I can't rate it any other way. Due to my commitments in other cities, I haven't sung in Madrid for a long time, and this reunion is very special: I do it with a zarzuela daughter of this land, since it premiered in this same theater”. They will accompany Montiel in these performances, among others, Carlos Bergaza, Ricardo Bernal and Virginia Wagner together with the Orchestra of the Community of Madrid and the Choir of the Teatro de La Zarzuela, an evening that also includes works by Joaquín Rodrigo (Tribute to La Tempranica) and Isaac Albeniz (a selection from his Spanish Suite).

The tenor Alejandro Roy will be Carlos VII in Giovanna d'Arco opera by Giuseppe Verdi that will take the stage next 21 of September, inaugurating the 62 opera season in Bilbao ABAO-OLBE. Roy will replace the originally planned Fabio Sartori, who for personal reasons has been forced to cancel, among others, Also this commitment. Alejandro Roy is considered one of the most promising tenors of his generation, that this same year he starred in an unusual event at the Teatro de la Zarzuela with the encore of "The Hungarian song" by Amor de Dios, something that has not happened in this genre for more than 30 years. He has worked with prestigious teachers and stage directors in the main European theaters and has a wide repertoire of zarzuela and opera with prominent roles in Il Barbiere di Siviglia., The turkish in Italy, Stabat Mater, La sonnambula, L'elisir d'amore, Lucrezia Borgia, The Song of the Earth, Macbeth, La Boheme, Nabucco, Tosca, Carmen or Turandot, among others. Of her most recent successes, Beatrice di Tenda stands out in Catania, La Traviata in the Macerata Sferisterio, Carmen in the Verona Arena, Turandot in Naples, Tosca in the Verona Arena, Oviedo, Bari, Trieste and Lake Tower, Macbeth in the Festival de Savonlina and The Battle of Legnano in the Regio of Parma. In ABAO-OLBE he has sung Carmen and Nabucco, title with which he will debut soon at the Liceu in Barcelona.

Celso Albelo

To the unstoppable list of awards that Celso Albelo has been collecting in recent seasons, we must add another one: Its about “Giuseppe
Lugo”, institution that in collaboration with the Fondazione Arena di Verona, the Veneto Region and the Province of Verona (Italy) and in its eagerness to reward each year a tenor with an international career, has decided on its 20th anniversary to award the prize to the young singer from Tenerife. The award, named after Veronese tenor Giuseppe Lugo (1899-1980) world-famous during the first half of the 20th century, has recognized in recent years the work of other illustrious names of international lyric, as Placido Domingo, José Carreras, Giuseppe Di Stefano or Franco Corelli, to name just a few.
The award ceremony will take place during a concert that will take place next 2 July at Villa Vento in Custoza (Verona) in which the canary tenor will be accompanied by the soprano Linda Campanella, the mezzo-soprano Rossana Rinaldi, the baritone Bruno de Simone and the bass Romano dal Zovo.

Requiem Verdi

The best of the evening was the soprano, with a very powerful voice, Record high amplitude . All it accompanied by a large capacity of dramatization, where it employs a spectacular registry changes. All this made possible an exciting and moving Libera me
Lianna's superior qualities were revealed in Agnus Dei's duets.. However, Violeta Urmana solved his role with dignity, thanks to his great office.
Ildebrando D'Arcangelo was comfortable and sure of himself from the beginning, unlike Jorge de León, that he was not able to relax and show off as his precious timbre can allow him.
A lot of craft was what the interpreters showed with this Requiem by Verdi at the Teatro Real. Following the original score of the Maestro de Busseto, no modifications or later versions, music director Teodor Currentzis, directed an exciting version of this great work and product of the maturity of a Verdi who had yet to compose some of his best works.
There is nothing new to say about the choir, except repeating the compliments to a quality that they have been showing off in recent weeks.
The same can be said of the Royal Theater Titular Orchestra, this time by the hand of a well-known and extraordinary baton, called to be one of the most important in the coming years.
At the height of the choir and orchestra, they did not hesitate to be the four soloists of the night. A Violet Falls, well known to this audience, there is no work that at this point can resist him. the lack of his voice, that are already evident, they are supplemented with a professionalism and know-how on stage that very few have. It is always a pleasure to hear.
The tenor Jorge de León, that after his successful substitution in Andrea Chenier a couple of seasons ago was highly anticipated, disappointed in his performance. Unnatural and too static, had some difficulty. You should relax and release the instrument you have already proven to possess..
The bass Ildebrando D'Arcangelo had an impeccable performance. It is a guarantee on stage and has a beautiful and forceful voice.

But the surprise focused on the Armenian soprano Lianna Haroutounian. long voice, round, broad and compelling. He knew how to control his instrument and maintain balance with the other voices, but it was never covered by the orchestra. A very interesting voice that promises a brilliant career.
This Armenian soprano is one of the most promising Verdian singers of her generation. His repertoire ranges from classicism to contemporary music, as well as sacred music and chamber song. He studied at the training center of the Opéra national de Paris and attended master classes by Christa Ludwig, Yvonne Minton and Renata Scotto. He has recently achieved great success with Les vêpres siciliennes in Bilbao and Don Carlo at Covent Garden., and has sung La traviata, Otello, A masked ball, Il trovatore and Faust in Paris, Marsella, Tours y Massy. Also noteworthy are his performances in Mozart and Verdi's Requiems, and the Stabat Maters of Dvořák and Poulenc, and his recitals are frequent in France, Italy, Spain and Armenia. He has won the Verdi Prize in the VI Jaume Aragall Singing Competition, the first and second prize at the Arlesian Lyric Forum and the first prize and the Renata Tebaldi Prize at the Adriatic Riviera International Competition.

Madame Butterfly

In the more than 100 years of existence, Madama Butterfly has been one of the most well received operas by the public. Simplicity in typically Japanese aesthetic of staging and great performers involved, invite to see this essential opera operatic repertoire.
Danielle Callegari, specialist in Italian opera, will lead the Cor and the Orquestra del Liceu featuring different singers of international prestige. In the role of Cio-Cio-San protagonist Ermonela Jaho will alternate, Patricia Racette and Amarilli Nizza and the Pinkerton Jorge de León, Stefano Secco y Roberto Aronica. Three different options of a high artistic level.
With this opera, considered the most popular of Puccini, the Liceu closes the season 2012-13 in which you have seen 30 different shows (15 operas, 11 concerts and 4 ballets).

Maria Jose Montiel

The Madrid mezzo-soprano María José Montiel will return to the stage of the Teatro de La Zarzuela to inaugurate, the days 21 Y 22 of September, the course 2013-14, and he will do it starring in La Tempranica, Geronimo Gimenez, zarzuela in one act with a book by Julián Romea and premiered at the Jovellanos street coliseum a 113 years, he 19 September 1900. The work will be offered in concert version and will feature Rafael Frühbeck de Burgos on the podium, who should have acted last season in La Zarzuela, postponing engagement due to health problems. For Montiel to perform in his hometown “it is wonderful, I can't rate it any other way. Due to my commitments in other cities, I haven't sung in Madrid for a long time, and this reunion is very special: I do it with a zarzuela daughter of this land, since it premiered in this same theater”. They will accompany Montiel in these performances, among others, Carlos Bergaza, Ricardo Bernal and Virginia Wagner together with the Orchestra of the Community of Madrid and the Choir of the Teatro de La Zarzuela, an evening that also includes works by Joaquín Rodrigo (Tribute to La Tempranica) and Isaac Albeniz (a selection from his Spanish Suite).

Segovia Festival 2013

The Patio de Armas of El Alcázar, San Martin Square, Saint John of the Knights, the Garden of the Zuloaga, the Garden of Queen Victoria Eugenia, Cathedral, the Garden of the Mute, the royal mint, the Courtyard of the College of Architects and that of the House of Andrés Laguna, they will dress in music to host, of the 23 July to 4 of August, to the Segovia Festival: a music festival backed by 38 years of existence in which the best performers on the international scene have left their mark.
With much less budget but with a program characterized by eclecticism, the Segovia Festival aims to make a difference, betting this year on the variety, the fusion of genres and the enjoyment of music outdoors and in chosen corners where the acoustics are spectacular.
From the classic soul musical explosion of The Stars from The Commitments, straight from dublin, or from the most traditional Argentina with Tango Quattro, that will turn the Alcázar into a dance and music hall through the history of Tango, the FS will also reach the African continent, to offer, thanks to one of the most acclaimed formations, the trio from Ghana The Sey Sisters, a meaningful musical journey through the most diverse genres of the black community -from gospel and spiritual to soul and African music-.
The look towards the cinema will not be missing, through Pilar Jurado and the Castilla y León Orchestra, directed by Maestro Sergio Alapont who will perform a repertoire based on arias used in movies, or towards dance and experimentation thanks to “The inner gaze”, a work where the public chooses the music with which they want to see the different choreographies. A different look from an audience that will also know how to taste chamber music, for which it has been defined for 38 years FS, and that in this edition it will bet on Garnati Ensemble and a provocative and intelligent version of the “Goldberg Variations”; the Breton Quartet Performing Spanish Quartets by Tomás Bretón and Conrado del Campo; the recital of Liszt and Wagner by the pianist Antonio Baciero or the first electric guitar symphony orchestra in the world, Sinfonity, what, from Bach to Holst, from Vivaldi to Falla, will interpret scores with an unprecedented sonority and, maybe, moving. Luis Olmos will be in Segovia to conduct "Aires de Zarzuela" in the Patio de Armas of El Alcázar and works by Bach will be heard in the Cathedral, Haendel, Mouret, Franceschini and Schubert, for the organ trio, Trumpets and Timpani Trioorganum.
For the most familiar public, the characteristic traditional Family Concert, with buffa & Sons and his show “Tubes of the world”, where he will perform blues pieces, jazz and some popular songs thanks to instruments made from recycled materials, like a broom, A crutch, a stair, an olive, a brick, achieving a sound of instruments like the bansuri, saxo, gralla, course…
The commitment to young hopefuls
But one of the characteristics of the FS is its commitment to the promising young Spanish music scene, and the FS would not be such without its Youth Festival, a section through which the talent of the winners of the Santa Cecilia Piano Prize and the winners of the Intercentros Melómano contests are made known, Pedro Bote, Guerrero Foundation Guitar Award, and the young musicians of the INJUVE circuits.
Parallel activities such as The Sey Sisters Gospel Masterclass, the exhibition “30 years designing for Classical Ballet”, in collaboration with the House of Dance of Logroño, and David Gómez's piano concert “1 piano & 200 candles", will complete one of the Spanish festivals with the greatest tradition and solidity, that offers small and large concerts for all types of audiences. As long as they know how to enjoy quality music.

PROGRAMMING
Wednesday 24. / 22,30 h. San Martin Square
The Stars from The Commitments . “The most famous Soul Band in the world”. Free access

Thursday 25. / 22,30 h. Garden of the Zuloaga
Pilar Jurado. Castile and León Orchestra. Director: Sergio Alapont. “Cinema Arias”. 20 Y 10 euros

Friday 26. / 22,30 h. Arms Courtyard of the Alcázar
Airs of Zarzuela. Director: Louis Olmos. 20 Y 10 euros

Saturday 27. / 22,30 h. Arms Courtyard of the Alcázar
Tango Four. “Tango Suite”. 20 Y 10 euros

Sunday 28. / 20,00 h. Garden of the Zuloaga
FAMILY SHOW. Bufa & Sons. “world tubes”. 6 Y 3 euros (adults and children up to 12 years)

Sunday 28. / 22,30h. Garden of Queen Victoria Eugenia of El Alcázar
Sinfonity. “A Symphony of Electric Guitars”. Bach works, Vivaldi, Holst, Mozart. Director: Paul Salinas. 20 Y 10 euros

Monday 29. / 22,00h. Saint John of the Knights
Garnati Ensemble. “Playing Goldberg”. 10 unnumbered euros

Tuesday 30. / 22,00h. Saint John of the Knights
Antonio Baciero, piano. “Recital Liszt-Wagner”. 10 unnumbered euros

Wednesday 31. / 22,00h. Saint John of the Knights
Breton Quartet. Spanish quartets: Tomás Bretón and Conrado del Campo. 10 unnumbered euros

Thursday 1 August / 20,00h. Holy Cathedral Church
Trioorganum . Buxtehude's works, Bach, Haendel, Mouret, Franceschini and Schubert. CYCLE OF HISTORICAL ORGANS. 10 unnumbered euros

Friday 2 August / 19.30h. and 9:00 p.m.. Garden of the Zuloaga
The Inner Look . “A journey through Dance and Sound”. Free access

Saturday 3 August. / 22,30h. Royal Mint
CLOSURE. The Sey Sisters. “African Spirit Gospel”. 10 unnumbered euros

18 Young Festival. Free entry until complete seats. . – Young Performers Contest “Pedro Bote”. – Contest Winner “Intercenters, Music lover”. – Children's Piano Award Winners “Santa Cecilia” . – Young Performers Contest “Pedro Bote”. – Guitar Competition Winner “Guerrero Foundation”

The postman

The Royal Theater offer, between days 17 Y 28 of July, five performances of the opera Il postino, of the Mexican composer Daniel Catan (1949-2011), great promoter and promoter of opera in Spanish. Premiered in Los Angeles in September 2010, the work is inspired by the Franco-Italian film of the same name, directed at 1994 by Michael Radford and based on the novel Burning Patience by Chilean writer Antonio Skármeta, published in 1983. Although the libretto of Il postino is written in Spanish, the work had to keep the title of the Italian film due to contractual agreements with the film producers.
Placido Domingo, composer's friend, commissioned the score for the Los Angeles Opera, which has co-produced it with the Theater an der Wien and the Théâtre du Châtelet. Daniel Catán was able to attend its world premiere, in September 2010 and after its presentation in Vienna, but death surprised him in april 2011 in Austin (Texas), two months before it went on stage in Paris. The composer then told 62 years and was immersed in the composition of his fifth opera (not counting the first, that he himself discontinued), Meet John Doe, based on the film of the same name by Frank Capra. For the preceding operas, tal como en Il postino, he turned to Latin American writers such as Octavio Paz in La hija de Rappaccini (1994), Gabriel Garcia Marquez (Love in the time of cholera) in Florence on the Amazon (1996), or Eliseo Alberto and Francisco Hinojosa in Salsipuedes: a love story, war and anchovies (2004).
Vicente Ombuena, who played the role of Pablo Neruda at the Fine Arts Theater of Mexico and at the Municipal Theater of Santiago de Chile, will replace Plácido Domingo in the five performances of the Teatro Real. Two of the singers who accompanied him have participated in the world premiere of the opera: the Chilean Cristina Gallardo-Domâs -who participated in the six times in which this production has been presented (more of 25 functions)- and mezzo-soprano Nancy Fabiola Herrera, who sang it in Los Angeles and Santiago and Chile. The Italian-American tenor Leonardo Capalbo will debut his roles in Madrid, as Mario Ruoppolo, and the Spanish soprano Sylvia Schwartz, like Beatrice Russo, who will sing for the first time at the Teatro Real after performing in the most important European theaters.
Pablo Heras-Casado, who participated in the season 2010-2011 del Real in an acclaimed performance of The Rise and Fall of the City of Mahagonnny, will once again lead the Choir and Orchestra Headlines of the Royal Theater, after having conducted the most prestigious baroque and contemporary music orchestras and groups in Europe and America.

Festival Torroella

He 19 July begins a new edition of the Music Festival of Torroella. The opening concert features a performance by the resident orchestra of the Festival, Academia 1750, directed by Enrico Onofri and the voices of Nuria Rial (soprano) y Xavier Sabata (countertenor ). Perform works of Rincon de Astorga, Händel, Vivaldi y Porpora.
The opening concert of the Festival is also the official opening of the Auditorium Space Ter Torroella.
THE Torroella is a festival that has grown and strengthened over 33 years and. He has called together all this time to the best performers, orchestras and conductors, up to become one of the summer festivals more trestigiosos.
The International Music Festival of Torroella began the year 1980 with a cycle of a few concerts they were held in the medieval architectural framework of the old town, Gothic church of San Ginés, Gothic-Renaissance arcaded square and Convent of the Augustinians, late seventeenth century. Until the year 2012 They were held 32 editions with a total of 670 concerts and an attendance of more than 300.000 viewers.

PROGRAMMING:
1.- Friday 19 of July / 22 h / Ter Auditorium Space
Inaugural Concert Auditorium Space Ter
Academy 1750
Nuria Rial, soprano; Xavier Sabata, countertenor
Enrico Onfri, director
Rincon d'Astorga works, Händel, Vivaldi y Porpora

2.- Friday 26 of July / 22 h / Church of Saint Genis
State Choir of the Cathedral of Berlin (State- and Cathedral Choir Berlin)
Ludwig fruit, baritone | Lutten Kmpgney Berlín | Christian Filips, production and stage direction
Kai-Uwe Jirka, director
Works of J. S Bach i Knut Nystedt

3.- Sunday 28 of July / 22 h / Ter Auditorium Space
uri Caine, piano
Los classic jazz rhythm

4.- Friday 2 of August / 22 h / Ter Auditorium Space
Elisabeth Leonskaja, piano
Works by Mozart, Beethoven y Chaikovsky

5.- Saturday 3 of August / 22 h / Ter Auditorium Space
Academy 1750
Pablo Valetti, director
Works by Ferran Sor
Concert in memory of Ernest Lluch

6.- Sunday 4 of August / 22 h / Ter Auditorium Space
Ute Lemper, voice | Victor Villena, bandoneón | Vana Greedy, piano
Last Tango in Berlin.

7.- Monday 5 of August / 22 h / Ter Auditorium Space
Chamber Orchestra Stuttugart
Wolfram Christ, director
Works by Mozart, Chaikovsky y Dvorák

8.- Friday 9 of August / 22 h / Ter Auditorium Space
Freiburger Barockorchester
Gottfried von der Goltz, director
The Orchestral Suites J. S Bach

9.- Sunday 11 of August / 22 h / Ter Auditorium Space
Quartet Qvixote y Quartet Gerhard
Works by Schumann and Mendelssohn

10.- Thursday 15 of August / 22 h / Ter Auditorium Space
Ivan Martin, piano
Works by Antonio Soler, Debussy and Chopin

11.- Friday 16 of August / 22 h / Iglesia de San Ginés
new Sarao
Mercedes Hernandez, soprano; Marta Infante, mezzo soprano; José Pizarro, tenor; Guadalupe del Moral,
baroque violin; Manuel Vilas, barley; Oriol Aymat, baroque cello; Rafael Bonavita, Baroque guitar and musical direction
Book carols second tone and a, of, three to four voices of Joan Araniés, Kapellmeister of the cathedral of La Seu d'Urgell in the seventeenth century.

12.- Sunday 18 of August / 22 h / Ter Auditorium Space
Hesperion XXI
Jordi Savall, viola da gamba soprano and address
The musical Europe, 1500-1700
With the support of the Department of Culture of the Generalitat of Catalonia and the "Culture Programme" of the European Union

13.- Thursday 22 of August / 22 h / Ter Auditorium Space
Joaquín Achúcarro, piano
Works by Brahms, Rachmaninov, Granados, Albeniz and Ravel

14.- Tuesday 27 of August / 20 h / Town Square
The sounds of Torroella, Albert Guinovart
BCN Brass Ensemble
Albert Guinovart, piano; Berta Vidal, actress

For more information: http://www.festivaldetorroella.cat

Verdi

He 1 Y 3 July the Teatro Real offers its ninth night. The Requiem Mass of G. Verdi will be directed by Teodor Currentzis. The solo quartet is formed by soprano Lianna Haroutounian, the mezzosoprano Violet Urmana, Tenor Jorge de León and Ildebrando D'Arcangelo on bass. And the Principal Choir and Orchestra of the Royal Theater.
And with him goes the purest, the most sacred, the greatest of our glories. I have read many newspapers and none of them talk about him as they should. Many words but few deep feelings…”. This is how Giuseppe Verdi expressed himself in a letter to his friend the Countess Maffei, a few days after the death of Alessandro Manzoni, the writer and hero of the Risorgimento with whom the composer felt deeply identified, not in vain he always carried among the books that accompanied him, apart from the Divine Comedy, the Biblia y on I Promessi Sposi. Giuseppe Verdi took the initiative, as a tribute to whom he considered the greatest poet of his time, and he proposed to the Milan City Council the possibility of writing a Requiem that would be released the year after Manzoni's death, in 1874. The idea had already arisen at the death of Rossini, many years ago. On that occasion he wanted several composers to create a Requiem together, and he wrote the "Libera me", what later, when the project did not crystallize, took advantage, with few variations, for this requiem. by then, Verdi was sixty years old, was immersed in a long musical silence, after giving birth to Aida, and he was dedicated above all to the crops on his estate in Sant'Agata and to philanthropy. But nevertheless, would still produce three masterpieces: the Requiem (1874), Otello (1887) Y, Finally, at eighty years old, Falstaff (1893). Bernard Shaw claimed that the Requiem would be the only thing by Verdi that would go down to posterity. he was wrong, but not in the evaluation of a work that is the distillation of the musical wisdom of the Busseto master. Some even consider it "Verdi's best opera". (Hand program, Teatro Real).

RTVE Orchestra Concert

The RTVE Symphony Orchestra and Choir have offered a free concert this Sunday in the Plaza de Oriente in Madrid, to 12:30 Sunday hours 10 of June, to claim their continuity in the corporation and ask those responsible for it not to modify their working conditions. In the new agreement, RTVE intends to regulate its classification in another way, remuneration and other working conditions.
The proposal of the corporation is that the musicians go to a fixed-discontinuous employment contract, limiting its activity to the subscription season period of the Monumental Theater of Madrid, from October to May. “We feel singled out. No other RTVE worker has been proposed a change in the contractual relationship with the company. Our case is a qualitative leap. It supposes an absolute dismemberment of the activity. One could speak of a kind of undercover dismissal”, remarked a spokesman for the musicians. On the opposite side is the president of the corporation, Leopoldo González-Echenique, that I affirm the following last March: “we have to adapt, just like the rest of the corporation, the circumstances that surround the orchestra and the choir at the moment in which we live and the budgetary rigors that unfortunately we have to face. The management has made a concrete offer to open a negotiation process, that is not a fixed offer, but the idea is to open a negotiation process”, and adds, “the corporation's budget has fallen in a period of two exercises in more than one 25% Y, but nevertheless, the cost structure of the Orchestra and Choir remains exactly at the same level”.
From the Orchestra and Choir they defend themselves by explaining that they not only work from October to May, but they record throughout the year for RTVE. “We made recordings for RNE, we collaborated in the making of soundtracks for Spanish films and in July we recorded the music for the series 'Isabel'”.
They also consider that their service is not a waste for the corporation, quite the opposite., it's a saving. “We are an investment, profitable and an enhancing element of the corporation. The approach of the management is unfeasible and in the medium term it could mean our disappearance”, punctualize.

Jordi Domenech

The Aranjuez Early Music Festival ends with two extraordinary concerts. Both are offered in the Royal Chapel of the Palace on Saturday 15 of June, at 8:00 p.m., the Zarabanda group, directed by Ávaro Marías will offer works by Arcangelo Corelli, (1653-1713) on the third centenary of his death.
Sonata in C major for flute and continuo, On. 5 No 3
Slowly, Allegro, Slowly, Allegro, Allegro
Sonata in G minor for flute and continuo, On. 5 No 7
Prelude: Lively. Chain: Allegro. Sarabanda: Long . Giga: Allegro
Sonata in F major for flute and continuo, On. 5 No 4
Slowly. Allegro. Lively. Slowly. Allegro
Sonata in C minor for recorder and basso continuo, On. 5 No 5
Slowly. Lively. Slowly. Lively. Giga: Allegro
"Madness", On. 5 No 12
On Sunday 16 of June, at 7:00 p.m., the countertenor Jordi Domenech, accompanied by Vespres D´Arnadí: Pere Zaragoza, oboe and Dani Espasa, key, will offer works by A. Lots, G.F. Händel, A. Caldara, N. Porpora and Johann Adolph Hasse.

The Royal Theater will celebrate on Friday 21 of June, Music's day, a Tribute Gala to Teresa Berganza, which will serve as a celebration of the eightieth anniversary of the Spanish mezzo-soprano and in recognition of the professional career of one of the most important voices in the history of opera.
The teachers Sylvain Cambreling and Alejo Pérez will be the batons in charge of directing the Choir and Orchestra Headlines of the Royal Theater, who will be joined by renowned voices on the international scene such as Carlos Álvarez, Maria Bayo, Annick Massis y Jose Van Dam, young promises and other consecrated figures, whose names will be "secret" until the day of the Gala.
Works by Mozart and Rossini will not be missing from the program, of which Teresa Berganza has been an emblematic representative, but there will also be room for Spanish music, tribute to his pure soul. All this in search of a night that wants to be filled with emotion, but also of joy, turned into the best gift for a voice that is now eighty years old, pero que vivirá para siempre.
La recaudación obtenida con el concierto, que además del ingreso de las entradas contará con una Fila 0 y una cena de gala, será destinada a la financiación del Proyecto Pedagógico de Teatro Real. Una de las facetas más conocidas de Teresa Berganza, a la que más tiempo ha dedicado tras su retirada de los escenarios, es la docencia, a través de clases magistrales en todo el mundo o colaborando con centros de gran prestigio como la Escuela Superior de Música Reina Sofía.
Las entradas ya están disponibles en los canales habituales de venta del Teatro Real: taquillas, venta telefónica y página web (www.teatro-real.com). Más información en espectador@teatro-real.com y en el 902 24 48 48.

Wozzeck

The Royal Theater offer, between days 3 Y 20 of June, Wozzeck's eight functions, by Alban Berg (1885-1935), masterpiece of the lyrical repertoire, with composer's libretto, based on Woyzeck, unfinished drama of the visionary and ill-fated writer Georg Büchner (1813-1837), whose birth bicentenary is commemorated this year.
The prestigious Swiss stage director Christoph Marthaler, who works for the first time at the Teatro Real, places the action of the opera in a cantina with a children's play area, where the fifteen scenes that make up the opera take place uninterruptedly. The musical direction will be Sylvain Cambreling, great admirer of Alban Berg's score, who has directed in more than 60 occasions.
The title role of the opera will be performed by the British baritone Simon Keenlyside, who debuted the role of Wozzeck in Paris, in this production, driven by Gerard Mortier, being considerate, since then, one of his best and deepest interpreters.
The other protagonists of the opera are also known by the public of the Royal Theater: versatile German soprano Nadja Michael, who sang the title role of Poppea e Nerone last season, will embody the unfortunate Marie; the tenors jon villars (drum major) y Gerhard Siegel (Captain) will once again give life to the same grotesque characters they have played in 2007, in the production directed by Calixto Bieito; the bass-baritone Franz Hawlata (Doctor), was Baron Ochs in Der Rosenkavalier in 2007, and the Catalan tenor Roger Padullés (Andres), that will return once again to the Royal Theater.
Rounding out the cast is Katarina Bradić (Margret), Scott Wilde (first apprentice), Tomeu Bibiloni (second apprentice), Francisco Vas (Loco), Antonio Magno (Soldier), Enrique Lacárcel (Boy) and the children Lorenzo Bini Bicchierai and Diego Ramos Ruano.
Besides 14 soloists, participate in the opera 4 actors, 23 children of the Little Singers of the JORCAM, 51 Members of the Choir of the Teatro Real (Coro Intermezzo) Y 96 Titular Orchestra musicians of the Royal Theater (Madrid Symphony Orchestra) what, together with the artistic team, add up to more than 200 artists, who will come together to bring to life the brilliant and disturbing work of Alban Berg and Georg Büchner.

Nancy Fabiola Herrera returns this summer to the Madrid billboard. After the premiere in Madrid of his show Gitanas at the Teatro de La Zarzuela in 2012 and his participation in January of this year in the ONE season and in the II Fiesta de la Lírica in La Zarzuela, The Canarian singer disembarks this June at the Teatro Real to join the rehearsals for the Spanish premiere of the opera Il Postino, of the recently deceased Mexican composer Daniel Catán. Herrera participated in the world premiere of the score at the Los Angeles Opera in 2010, assuming the title again in Santiago de Chile in July 2012, always with Placido Domingo. “Working directly with the composer while creating the character was a very interesting and beautiful experience”, says the singer. “With Daniel we talked a lot about Donna Rosa, the role that I sing, with whom I feel very comfortable since he wrote it taking into account my tessitura and my vocal characteristics”.
The postman, opera in three acts with libretto and music by Daniel Catán, It is based on the novel Burning Patience., Chilean writer Antonio
Skármeta, and narrates a passage from the exile in Rome of the poet, also Chilean, Pablo Neruda, who establishes a relationship with his postman, Mario Ruoppolo. Along with Donna Rosa by Nancy Fabiola Herrera, Placido Domingo will play Pablo Neruda, Leonardo Capalbo will be Mario Ruoppolo, Cristina Gallardo-Domás will be Matilde Urrutia and Sylvia Schwartz Beatrice Russo. The musical and scenic direction will be in charge of Pablo Heras Casado, respectively – at the head of the stable bodies of the Real- and Ron Daniels, title of which five functions will be offered on the days 17, 20, 23, 25 Y 28 of July.
Nancy Fabiola Herrera has visited stages in Madrid this year, Munich, San Juan de Puerto Rico, NY, Montevideo and Bogota, and in what remains of 2013 you have pending, among others, appointments in Toulouse (La vida breve with the Orchester National du Capitole on 22 of June), Pergolesi's Stabat Mater and a concert with the Medellín Philharmonic in Bogotá (September), a concert with orchestra in Bremen (October) y un recital en el Teatro de La Maestranza de Sevilla. and in 2014 destaca su aplaudida visión de Carmen en lo que será su debut con el título de Bizet en la Ópera de Sydney, la Ópera de Melbourne y el Teatro Bolshoi de Moscú.

Tenor from Tenerife Celso Albelo does not stop conquering new opera places. If in the last two seasons the Spanish singer has stepped on the most important stages of cities like London, Vienna, Paris, Naples, Berlin, Milan or Madrid, this summer he returns to the European arena to conquer the public of the Wildbad summer festivals (Germany), morose (Austria) and Pesaro (Italy).
After assuming the role of the Duke of Mantua at the end of this month of June, participating in four performances of Rigoletto at the Sevillian Teatro de La Maestranza, Albelo will be present at the aforementioned summer events with a very varied repertoire: Guillaume Tell will sing in July, Rossini, en el Rossini in Wildbad Belcanto Opera Festival, event in which he will also offer a lyrical Gala with the soprano Alessandra Marianelli and the bass-baritone Lorenzo Regazzo to commemorate the 25th anniversary of the German festival.
At the end of July he will travel to Mörbisch to participate, the day 23, at a Verdi Gala to commemorate the bicentenary of the Italian composer's birth, sharing the stage with artists like Vittorio Grigolo, Nino Machaidze, Leo Nucci and Luciana d'Intino.
Already in August he will travel to Italy to sing, at the Rossini Opera Festival in Pesaro -Rossinian world temple-, Guillaume Tell again (day functions 11, 14, 17 Y 20) crowning his participation in the legendary Italian festival, he 18 of August, with a solo recital in which he will include works by Turina, Guastavino, Ginastera, Serrano, Penella, Vives and Donizetti.

After participating in the Rossini film Il Turco in Italia at the Gran Teatre del Liceu in Barcelona and participating in the tribute to the great Teresa Berganza at the Teatro Real in Madrid, Barcelona tenor David Alegret prepares for a real challenge: perform Richard Wagner's youth opera Das Liebesverbot (The Liebesverbot) and a solo recital dedicated to the chamber work of Benjamin Britten, occasion in which he will perform accompanied by Iain Burnside (piano) and Àlex Garrobé (guitar).
Both appointments are part of the offer 2013 of the Castell de Peralada Festival, event that includes the scenic and musical experience of Alegret to commemorate the bicentenary of Wagner's birth with the premiere in Spain of the aforementioned and little-known Wagnerian work (3 Y 4 of August), and the centenary of de Britten (15 of August). “My voice and temperament are very well suited to Britten's music., who composed and arranged a large number of songs for the tenor string”, explains David Alegret. “The recital in Peralada is the ideal occasion to review these compositions, even more so if I do it together with a great specialist in the work of the British composer such as the master Iain Burnside”.
Regarding Wagner's opera, he points out that “it is one of the operas that he reneged on, with much Italian stylistic load and of the ‘grand opera’ French. It has very beautiful melodies, but it is far from the works of Wagner that we know today, so it suits my voice”.
David Alegret's next engagements will lead him to perform in Metz with Rossini's La Cenerentola (September), in Barcelona (Palau de la Música) and Sabadell (La Faràndula Theater) with Beethoven's Mass in C major, again in Barcelona, returning to the Liceu to participate in the scenic cantata Atlántida, Manuel de Falla, in Toulon with La Cenerentola and in Hamburgo with Il Turco in Italy.

Maria Bayo

We get a radiant woman, serena, full of vitality and with a smiling glance. Is Maria Bayo. One of the most interesting and important sopranos on the international scene. The interview leveraging its Madrid to give a recital.
Almost all seasons participates in some operatic production at the Gran Teatre del Liceu, but lately it is unusual to hear in Real.
And this season, especially in productions mozartianas, there have been many of us who have remembered her with longing. And she makes it clear to us, "they have not called me". A shame, Well, you have to always try to call the best. And her, definitely, is among the best. Especially if we talk about the Da Ponte trilogy. We must not forget that she has been the only Spanish woman who has performed this trilogy four seasons in a row at the Salzburg Festival.

of great amplitude, both in its tessitura and in its dramatizations, María Bayo covers with her voice a repertoire that goes from Haendel or Cavalli, hasta Poulenc o Stravinsky. But his great weakness is Mozart and Rossini, and its great specialty, the Susanna from The Marriage of Figaro or the Rossina, of The Barber of Seville.
But he has never stopped investigating and taking risks with new repertoires. He is currently preparing “The Human Voice”, by Poulenc and texto by Jean Cocteau. A risky monologue that is quite a challenge.

Por segunda vez durante esta temporada 2012-13 vuelve al Liceu una de las óperas más queridas de Gaetano Donizetti, L'elisir d'amore.
After being represented in the current season with great success, returns with a new deluxe cast: Kurzak (Adina), Rolando Villazon (Nemorino), Joan Martin-Royo (Belcore), Ambrogio Maestri (Doctor Dulcamara) and Cristina Obregon (Jeannette). The days 27 Y 30 May and 5 June 2013 to 20:00 h 2 June 2013 to 17:00 h
Written by Gaetano Donizetti in fifteen days and released on 12 May 1832 at the Teatro della Cannobiana in Milan, L'elisir d'amore is a small wonder of comedy halfway between the Rossinian and Neapolitan traditions. Opera buffa has evolved to be able to present human characters, with weaknesses and feelings, emotions and fragilities. Nemorino, protagonist of the story, seek the help of the charlatan Dulcamara to get the love of the beautiful Adina, but a timely inheritance will prove more effective than the qualities of the elixir of love, whose taste was surprisingly similar to Bordeaux wine.

The Royal Theater begins 7 May sale fertilizers opera for the season 13/14 with important news, including the application of securities through its website, thus avoiding the expectations of new subscribers for locations. Later, will go on sale fertilizers dance the 14 of May, the Young fertilizers and nights of the Real 21 the same month, Popular and fertilizers, Sundays and chamber opera in cinema one week later, the day 28.
With love as protagonist, both in his romantic side as in the most tragic, the new season contains titles ranging from the baroque to the latest vanguards. Alceste, Gluck and the new version of The Indian Queen, Henry Purcel; Tristan and Isolde, Wagner, at the special stage version of Bill Viola; or the world premiere of Brokeback Mountain, Charles Wourinen, are just some of the great titles programmed by the Royal Theater for the season 2013-2014.
Along with the aforementioned, if también han programado The Barber of Seville , L'elisir d'amore, And Les Contes d'Hoffmann Lohengrin that alternate with operas involving absolute novelties in Madrid: The Conquest of Mexico (The conquest of Mexico) de Wolfgang Rihm, more choreographed by Pina Bausch Orphée et Eurydice version of Gluck. Two titles in concert, Dido and Aeneas, Purcell's I Vespri Siciliani by Verdi, complete a season trying to reach all fans, to continue building a center of national and international reference in the world of culture.
To become a season ticket holder of the Royal Theater, habitual sales channels can be used: through 902 244 848 or on the website by requesting the link http://www.teatro-real.com/es/solicitud-abonos-2013-14.

The Royal Theater offer, between days 13 Y 19 of May, four functions of Don Pasquale, de Gaetano Donizetti (1797-1848), which contains in its pages a double and melancholy farewell: It was the last masterpiece of Italian opera buffa, He is culminating their way to the perfect synthesis of all his prolific tour; and the glorious farewell of its composer, whose disease worsened at the end of this score. The two operas still write before their final placement in the sanatorium of the French town of Ivry, They were created between the ravings of alienation and crises that hit the end of his tragic life hectic work, that would leave us more 70 operas.
Andrea De Rosa was inspired by the background of the stories of the Decameron, de Boccaccio, to create a staging that transcends the grotesque caricature of the characters and laughs at human misery in all of us. That complicity featured soloist quintet, led by the baritone Nicola Alaimo, in the title role, soprano Eleonora Buratto, as Norina -the last season was Susanna in I due Figaro, el tenor Dmitry Korchak, as Ernesto, -corner in L'arbore di Diana, Real, in 2010,- baritone Alessandro Luongo, Doctor Malatesta and baritone Davide Luciano, as a notary.
Riccardo Muti, who last season was a great success with the interpretation of I Due Figaro, of Saverio Mercadante, at the Theatre Royal, VOLVERA dirigir at the Luigi Cherubini Youth Orchestra, group that he founded in 2004 and with which it has a special link in the dissemination of Italian music. This time he directed an opera that knows deeply -the debuted in Salzburg, in 1971, invitado por Herbert von Karajan- and already he played with this orchestra 2006, in Ravenna and 2008, in the Gold Room of the Musikverein in Vienna. Now it will do with the Titular Choir Teatro Real (Coro Intermezzo).

La incansable mezzosoprano Cecilia Bartoli nos sorprende nuevamente con un nuevo descubrimiento. Con esta versión histórica de Norma, durante la que Bartoli y un equipo de musicólogos han estudiado la partitura autógrafa y un gran número de fuentes manuscritas, esta legendaria ópera se revela como una obra maestra prerromántica de estremecedora belleza, y con una escritura mucho mas rica y llena de matices de la que conocíamos hasta ahora.
Para recuperar el mundo sonoro belcantista de la época, se ha elegido un reparto similar al del estreno. Se ha usado una nueva edición crítica a partir del manuscrito, se han respetado los tempi, dinámicas y fraseo originales, se ha bajado el diapasón a 430 Hz y se han utilizado instrumentos de época.
It is presented at the Salzburg Festival on 17 Y 19 May 2013 and the 17, 20, 24, 27 Y 30 August 2013.

Near 3.400 people have visited the Teatro Real in a new open day that has been part of the events of the European Day of the Opera 2013, and in which thousands of visitors have had the opportunity to get to know some of its most emblematic public spaces. From early in the morning, long queues have waited for the moment to access the interior of the Theater on a festive day, that has been developed normally and in which all audiences have had a place.
The tour has started in the Main Hall, where the visitors, received by the guides of the Theater, volunteers of the Association of Friends of the Madrid Opera, they have offered a brief explanation about the activities that take place on stage, in addition to offering the most curious data on the history of the Theater and the places that they were going to visit next.
The five imperial halls, with its works of art and ornamental objects; the palace cafe, from which you can see unparalleled views of the Plaza de Oriente and a detailed model of the building; and the old ballroom, now converted into a restaurant, of unique decoration and in which historical opera costumes used at the beginning of the 20th century are kept.
They have also had the opportunity to enjoy video projections of the latest shows held at the Theater and the activity of the technical team in the production and preparation of the elements that will later be used in the performances..
This is the seventh edition of the European Opera Day, in which 107 theaters, from 24 countries of the continent, have joined an initiative that aims to bring the art of opera and the talent of those who do it closer, to increase recognition of an activity that contributes to the creation of a more creative society.

The funny opera buffa, full of intrigue, agile and frivolous finally arrives at the Gran Teatre del Liceu, a century after its premiere in Milan (1814). Under the stage direction of Christof Loy and with the maestro Víctor Pablo Pérez conducting the Symphony Orchestra and Choir of the Gran Teatre del Liceu, a tireless team of singers will perform this brilliant typically Rossinian “turquerie”, in which messes and misunderstandings are the protagonists.
The turkish in Italy, comic opera en dos actos by Gioachino Rossini, with libreto of Felice Romani, premiered at the Teatro alla Scala in Milan in 1814 and was reluctantly received by the demanding Milanese public as it was considered a pastiche of L'italiana in Algeri by the same composer (released a year earlier), due to the coincidence in the fashionable Muslim theme at the time. The protagonists – the Turkish prince Selim, low; the soprano Fiorilla, wife of buffo bass Don Geronio; the tenor narcissus, knight servant of Fiorilla, or the mezzo-soprano Zaida, gypsy woman who has been Selim's lover– they have outstanding arias and are part of brilliant ensembles, except for the poet Prosdocimo, limited to recitatives in his role as author and narrator of the intrigue. The action takes place near Naples, in a coastal station of villegiatura, and in Don Geronio's house, in a time contemporary to the premiere and with the particularity of a long unit of time, from the morning of one day to the dawn of the next night.
Days 18, 23 Y 28 May and 1, 4 Y 6 of June

From the 26 May to 16 June at the Palace of the Royal Site, with a program dedicated to Farinelli. Six concerts through which different repertoires will be addressed that will recreate those nights at the Palace where Farinelli's talent shone and that of the musicians who came to Spain with his hand, and a tribute to Corelli in the 300 anniversary of his death.
With performers of the stature of Mariví Blasco, Jordi Domenech, Marta Infante, the renowned harpsichordist Nicolau de Figueiredo, the vihuelist Ariel Abramovich and reference groups such as Zarabanda, Harmony of Parnassus and Vespress D’Arnadí.
Award for "European Excellence" awarded by the Community of Madrid and creator of the record label Música Antigua Aranjuez Ediciones, the Ancient Music Festival of Aranjuez celebrates 20 años difundiendo el esplendor de la música española en la Ciudad de la Música por excelencia y en un entorno difícil de igualar.
El Festival de Música Antigua de Aranjuez celebrará su XX edición a través de 6 conciertos y una programación especial que se encuadra bajo el título “Volver a Farinelli”, en recuerdo a la figura de Carlo Broschi Farinelli en España, 1737-1759, un periodo especialmente fecundo que convirtió a Madrid y a Aranjuez en uno de los centros musicales de referencia en Europa. De ahí que el Festival, de la mano de cantantes como Mariví Blasco, María Cristina Kiehr, Marta Infante o Jordi Domenech, que han pasado a lo largo de estos años por Aranjuez, approach different repertoires that will recreate those nights at the Royal Palace of Aranjuez where the talent of Farinelli shone and the musicians who came to Spain with his hand, many of them to stay and live among us.
But this year is also celebrated in the musical world 300 anniversary of the death of Arcangelo Corelli (1653-1713), and the Early Music Festival has not wanted to forget, so one of the festival concerts will be performed by the group Zarabanda directed by Álvaro Marías, and that he will interpret a program dedicated to the author.
The Festival is completed by a recital by the extraordinary Brazilian harpsichordist Nicolau de Figueiredo on the music of Scarlatti, friend and collaborator of Farinelli in the splendors of the Palace and with works by Father Soler.

The Executive Commission of the Gran Teatre del Liceu Foundation informs of the opening of a selection process to occupy the position of general director.
At the last meeting of the Executive Committee, and since the 7 July 2013 the contract of the current general director of the Gran Teatre del Liceu Foundation ends, has been accepted, unanimously, the proposal of the President of the Foundation, to initiate an open and transparent search and selection process for the person who is to occupy the position of General Director of the Fundació del Gran Teatre del Liceu, from next season. This process will be carried out through a selection company specialized in the search for executives.

The productions of the Royal Theater continue to garner the applause of the public and critics in foreign opera houses, from Buenos Aires to Los Angeles, de Perm a Toronto.
With the presence of these productions in some of the most important theaters and festivals in Europe and America, the contribution of the Teatro Real to the Marca España linked to art is strengthened, music and culture.
If a week ago I due Figaro, co-production of Real and Ravenna Festival, with stage direction by Emilio Sagi, was awarded as best lyrical show in Buenos Aires, two days ago, he 15 of May, Poppea e Nerone - conceived for the Teatro Real with the original staging by Krzysztof Warlikowski- estrenó in the National Opera Montpellier Languedoc-Roussillon, with a warm welcome from the spectators.
Before, in February, the public of that French city had enjoyed the creation of Israel Galván Lo Real/Le Réel/The Real, Commissioned by the Royal Theater, after its premiere in Madrid and its presentation in Paris, Amsterdam and Ludwigsburg. The show will be offered, even this year, and Perm (July), Ghent (September) and Brussels (November).
Also C(h)oeurs, with choreography and direction by Alain Platel, continues to generate great international interest. After last year's tour of Germany, Holland and Belgium, will return to that country, Ahora at La Monnaie, next september, and to Austria, in October.
Così fan tutte, in Michael Haneke's lauded conception, will premiere on 23 this month in Brussels and is already scheduled for the Vienna State Opera in 2014.
Likewise, he 1 of June, The Perfect American, de Philip Glass, whose world premiere was in Madrid last January, will take the stage at the English National Opera, being scheduled for presentation at the Brisbane Festival, in Australia, and later on, in Los Angeles.
Also in June, the show The Life and Death of Marina Abramovic continues its successful journey, which will stop in New York and Toronto.
Another production of the Royal, Iolanta, of Tchaikovsky and Persephone, Stravinsky, with the poetic scenic vision of Peter Sellars, and whose DVD has won numerous international awards —“Diapason d’Or”, “Shock” by Classica, “Diamond” from Opera Magazine, etc.—, will be presented in Aix-en-Provence, Venice and Lyon in the coming years.

The next 12 May is the European Opera Day 2013.
In this seventh edition of the European Opera Day, 107 theaters, from 24 countries of the continent, will join an initiative that aims to bring the art of opera and the talent of those who do it closer, to increase recognition of an activity that contributes to the creation of a more creative society.
The Royal Theater and the Liceu of Barcelona celebrate this day their traditional open days. There will be guided tours that will show the most emblematic public areas of the two buildings.
At the Teatro Real, Entrance will be free and will be through the main door (Plaza de Oriente) from 10.00 h in the morning and it will last, continuously, until 13.15 hours, when the last group will access.
In the Gran Teatro del Liceu, and throughout the day, Musical performances will be offered by young performers from the Liceu Superior Conservatory of Music in the Hall of Mirrors. Fragments of operas recorded at the Liceu and of El Petit Liceu shows will also be screened in the Foyer. as a novelty, this year there will be a space dedicated to children, where the little ones can enjoy projections of fragments of family shows and carry out workshops related to them. The open doors will be from 10:00 a.m. to 6:00 p.m. on Sunday 12. Access through the main lobby, La Rambla 51 – 59.
That same sunday, to 20.00 hours, and as part of the Royal Theater program, the concert corresponding to the Sixth Night of the Royal will take place, in which the soprano María Bayo and the director Titus Engel, by the Titular Orchestra of the Teatro Real (Madrid Symphony Orchestra), will offer works by Berlioz, Fauré, Franck and Cantelube.
The Teatro de la Zarzuela in Madrid celebrates the day 12 to 18.00 h the II Festival of the Lyric, for the benefit of the San Juan-Adeje Association, in which Juan Pons will perform, M. J. Moreno, Pancho Corujo, Marifé Nogales, Ricardo Bernal, Ruth Rosique, Manuel Lanza, José Julián Frontal, Isabel Rey, Nancy Fabiola Herrera, Lola Casariego, Aquiles Machado, Ana Ibarra, Davinia Rodríguez, Miguel Angel Zapater, I. Damaso, Reinaldo Macías, J. Of Lion, Yolanda Auyanet, Miguel Sola, Ruben Amoretti, Juan Jesus Rodriguez, Itziar Barredo and Miguel Huertas.

The National Dance Company returns to the Teatro Real with its first major ballet production since José Carlos Martínez took over the direction. Between days 16 Y 27 April will be offered 8 functions of this new version of the ballet designed and performed by the choreographer Goyo Montero. The music of Serguei Prokofiev will be performed in the pit by the Royal Theater Orchestra under the direction of maestro Koen Kessels. The new choreography combines technique and poetry to bring the characters of Shakespeare's drama to life.
With the participation on stage of the entire Company, He directed José Carlos Martínez, Aleix Mañé and Isaac Montllor will alternate in the leading roles, like Romeo, and Marina Jiménez and Kayoko Everhart in the skin of Julieta. From the pit, the Teatro Real Titular Orchestra will be under the command of maestro Koen Kessels to bring to life one of the best-known scores by Serguei Prokofiev.
Based on the drama by William Shakespeare, and without departing from the original argument, Montero makes a very personal version of the drama to delve into the psychological side of the characters, Among those who will take a special role is Queen Mab, symbol of fate and death, y Mercutio, character whose complexity “with its irony and contained drama, make it the most difficult to portray”.
El coreógrafo derrocha originalidad en este Romeo y Julieta en el que destaca la fuerza de las emociones combinando la dinámica de la partitura de Prokofiev con la expresividad y pasión de los bailarines. Durante el ballet se suceden escenas de grupo espectaculares, casi acrobáticas, combinadas con poéticos pasos a dos que nos recuerdan que el amor puede convertirse en una adicción.

The Teatros del Canal of the Community of Madrid present the absolute premiere of their show The Verdi pepper, a musical montage made as a tribute to Giuseppe Verdi and Richard Wagner, on the bicentennial of their births, under the direction of Albert Boadella.
this production, which will be on the bill in the Green Room from the 18 from April to 12 of May, includes sung excerpts from the operas El Trovador, La Traviata, Rigoletto, Otello, Nabucco, Aida, The force of Destiny, Don Carlo, Tristán e Isolda, Tannhäuser, Siegfried, Lohengrin, Walquiria, or Parsifal, among others.
The dramatist, Albert Boadella, has ensured that in the fight between Wagnerians and Verdians of the work directed by 'The verdi pepper', he opts for the latter as he appreciates so much the cultural ties that unite him with the Italian, as the political role he played in the reunification of his country.
“I don't have to hide, i'm verdian, but I recognize the merits of Wagner”, the playwright pointed out, who has highlighted the work of time in international and national political events. “If one day Catalonia achieves independence, I will be the great traitor”, has added.
In a press conference after the presentation of the world premiere of the work, which was attended by the Deputy Minister of Tourism and Culture, Carmen González, Boadella explained that the work of 'The Verdi pepper', which will be on the bill in the Green Room from the 18 until the 12 of May, takes place in a tavern of the same name.

Juan Diego Flórez returns to the Teatro Real with Les pêcheurs de perles, Georges Bizet's opera about friendship and passion. The Peruvian tenor leads a cast in which he shares the leading role with Patrizia Ciofi and is completed with Mariusz Kwiecien and Daniel Oren conducting the Teatro Titular Orchestra. Together they will weave the story of the fisherman who, for the love of a woman, he betrays his best friend.
The duet in which both swear eternal friendship, "Into the holy temple", happens to be one of the most popular in the repertoire. There will be three functions in concert version in which we will be able to enjoy the second most popular work of the French author, after his great success, Carmen. And if the whole cast turns out dazzling, Juan Diego Flórez shines with his own light.
Juan Diego Flórez continues to grow as a singer, as a media phenomenon and versatile musician, perhaps struggling to get rid of the Rossinian tenor label that for some time was placed almost exclusively on him. During the last years we have seen him interpreting Così fan tutte, Linda Chamounix, Orphée et Eurydice… and now he arrives with Les pêcheurs de perles, in the role of Nadir, what, as he assures, "It's a role I've always wanted to do". He has the privilege of being able to choose the roles himself, so that “I choose all the roles without pressure, what I feel that I can sing”. He arrives in Madrid with the character filmed and ready to make his fans enjoy once again. His first Nadir was heard a few months ago in Las Palmas de Gran Canaria, where the singer finds a loyal audience. Hence, debuting roles in the land of his admired Alfredo Kraus begins to be a tradition in his career..

The Royal Theater offers, in the Sala Gayarre, ten functions of the successful educational show of the Antonio Gades Foundation ¡Movements! Dance, from tip to heel, six of them aimed at schools and four open to the public, which will take place next weekend, with double session on Saturday and Sunday.
Starting from the creations of Antonio Gades, inspired by the rich and diversified Spanish folklore, in the flamingo, in traditional dances and in the heritage and rigor of classical ballet, the show presents, attractively, didactic and poetic, a journey through the techniques that allow dancers to express, with his body, stories, feelings and emotions.
Looking at the feet of the dancers, there are clues to follow the dance styles they perform: pointe in classical ballet, the shoe in Spanish dance, the shoe and the boot in flamenco… Shoes are thus one of the guiding threads of the show presented by Ana Hernández-Sanchiz, in which the live performances of the dancers and the musicians are interspersed, with images of choreographies by Gades and the dialogue with the public.

In the more than 100 years of existence, Madama Butterfly has been one of their most well received by the public operas and is considered the most popular Puccini opera. In this season, the Liceu has scheduled two periods (in March and July 2013) with a total of 13 functions 4 different distributions of the highest level.
Madama Butterfly is possibly one of the operas that best portrays, from the theatrical point of view, the intimate drama of its protagonist. a true monodrama. That dramatic quality guides the staging of Moshe Leiser and Patrice Caurier.. Cio-Cio-San's monodrama is enhanced with an elegant synthesis of Japanese and European stage tradition. A relationship that ceased to be anecdotal based on the theatrical postulates of contemporary drama. A staging of great formal austerity inspired by the centuries-old scenic spaces of Japanese theater (like noh and kabuki). A scenographic stripping to place the tragedy of Butterfly at the center of the staging. A drama subtly underscored by the symbolism of Japanese culture.

Thursday 14 of March, Placido Domingo debuts at the MET in New York in the role of Giorgio Germond, of the Traviata. His new status as a baritone distances him from that time when, in this same opera, played the role of Gastone.
Domingo is a great connoisseur of Verdi's work, And what is more important, an accomplished performer. His vocal and interpretive ability, that it preserves at levels that others would like, leads you to be able to face, their 72 years, to top-level professional challenges.
Soon he will continue his Verdian journey, deepening in the baritone voice, with Nabucco at Covent Garden and Giovanna D'Arco, at the Sazbusgo Festival.

The next season 2013-14, the management of the MET has decided to lower a 10% ticket prices. this descent, which coincides with the return to the Theater of James Levine and director Jane Glover, is mainly due to the drop in viewers during this season by almost a 5%.
Film sessions will continue, whose followers have increased considerably. These measures, along with free and open trials, not only cause envy here, in Spain, They indicate above all the enormous distance that exists between the conception of the elaboration and dissemination of culture. The success of these policies in the countries that carry them out, don't seem like a good enough excuse to try.

He 8 of March, the mezzo-soprano Joyce DiDonato will offer a recital in the series of Las Noches del Real. the repertoire, purely baroque, will be composed of works by Antonio Cesti (1623-1669), Domenico Scarlatti (1685-1757), Claudio Monteverdi (1567-1643), Geminiano Giacomelli (1692-1740), Antonio Vivaldi (1678-1741), Giuseppe Maria Orlandini (1676-1760), Johann Adolph Hasse (1699-1783), George Frideric Haendel (1685-1759), Giovanni Porta (1675-1755) y Christoph Wilibald Gluck (1714-1787).
The musical direction and violin will be in charge of Dmitry Sinkovsky and with the musical advice of Alan Curtis.

The Royal Theater will get back on its stage, after nearly ten years of absence, in the soprano Edita Gruberova, who returns with the Spanish tenor José Bros for two unique performances in concert Donizetti, Roberto Devereux, the next 3 Y 7 of March.
Rounding out the cast the beautiful voices of Sonia Ganassi and Vladimir Stoyanov, and Spanish Simon Orfila and Mikeldi Atxalandabaso, all of them under the direction of master Andriy Yurkevych, who will be in charge of the Choir and Orchestra Headlines of the Royal Theater.
Donizetti puts music to the drama of a failed relationship between Queen Elisabetta (Elizabeth I of England) and the Earl of Essex, who loves sarah, wife of the Duke of Nottingham, Robert's friend. The opera, containing intense dramatic action, offers interpreters, especially soprano and tenor, the possibility of showing off vocals with arias with a refined melodic line, in one of the best examples of bel canto.

The next sunday, 24 February, the Royal Theater will take the stage a new show entitled The pedagogical project man named Amade. A pleasant outlook on life and work of composer Salzburg, interpreted by the tenor José Manuel Zapata, who will be accompanied by the Orchestra-School of the Madrid Symphony Orchestra conducted by maestro Arnaud Arbet.
Zapata, responsible for the script and the presentation of the work, has enjoyed the cooperation in the direction of Vanessa Martinez Navas scene and will beside the soprano Eugenia Enguita. Together they have developed a different way of approaching music.
Wolfang Amadé Mozart, It is one of the most extraordinary and prolific composers of music history. his symphonies, concerts, piano pieces, and other chamber music compositions, They are a torrent of genius, and all, the young Austrian master unmatched way manages to capture the entire range of emotions and feelings of human beings.
The man named Amade is a family-show, where, from composer Antonio Salieri look, discover some of the most important moments in the life and work of Mozart.
Will be the emcee a friendly and histrionic Salieri, contemporary of Mozart become the antagonist Amadé. He will give us his vision of genius. A distorted view by envy, and at the same time, filled with a deep admiration.
But the main attraction will be the music. Through his work, since his first piece for piano, written just six years, to The Magic Flute, one of his last works, discover the personality of, maybe, is the greatest genius of music history: Wolfgang Amadé Mozart.

A new concert by the Liceu Symphony Orchestra under the direction of Josep Pons and with the intervention of the pianist Lars Vogt in the concert “Emperador” by Beethoven.
Monday 25 February at 20:00h will take place the Concert no. 03 within the “Liceu al Palau” Cycle of the Liceu Symphony Orchestra that revolves around the composer Johannes Brahms.
Bajo la dirección del su director musical titular, Josep Pons, la Orquesta interpretará el nocturno Vistes al mar del compositor y gran director de orquesta catalán Eduard Toldrà. De Brahms, podremos escuchar la Sinfonía nº 2 in D major, op.73 y la intervención del pianista Lars Vogt será en el famoso Concierto para piano y orquesta ”Emperador “ de Ludwig van Beethoven.

Nothing says Michael Haneke's "Così fan tutte" by Mozart which opens on Saturday at Real. In an unusual press conference at the Circulo de Bellas Artes in Madrid, Austrian filmmaker has released a terse "let yourself be surprised" as the only reference to the work leading up to something more than three years in the Madrid coliseum.
The media attention that has attracted the director this time may not be made profitable by Royal. Failure to have held the press conference in the theater itself, as is usual, and its refusal to give any explanation about the work; He has left the Royal Theater as stone guest while the star is cinema, his films and Oscar nominations. These nominations will be responsible for his second operatic experience is not present at the premiere of this.
"In my movies if I speak, but I want to give an instruction manual for the public to understand ". This was the justification for his silence.
This German Bavarian, but nationalized Austrian, It leads from the January 2 locked in the Real to leave no stone unturned in this his second foray into opera. Don Giovanni was Mozart and his previous experience. "With Mozart you are doomed to fail. The big question is at what level will be your failure ". He vows director.
In the pit Sylvain Cambreling and will be cast by William Shimell, Kerstin Avemo, Anett Fristch, Paola Gardina, Andreas Wolf y Juan Francisco Gatell. A young cast, or at least youthful look, He commented as the artistic director of Theater, Gerard Mortier.

Jordi Savall is one of the most interesting musical personalities, as well as the most recognized and awarded in our cultural world. Viola da gamba player, conductor and researcher of early music, with the ensemble Le Concert des Nations, founded by him and by Montserrat Figueres, offers us a program entitled "The lyrical tragedy in France at the time of Louis XIV and Louis XV".
The concert will take place on Friday 15 February at 8:00 p.m. and it is the show that opens the XXXV Festival de Música Antiga de Barcelona. The program is:

I
Jean-Baptiste Lully (1632-1687)
Alceste, lyrical tragedy (1674), “Airs to sing & Tunes to play»
Marin Marais (1656-1728)
Hatch, tragedy in music (1706), “Airs to sing & Tunes to play»

II
Jean-Philippe Rameau (1683-1764)
The Boreades, tragedy in music (1764), “Airs to sing & Tunes to play»

LE CONCERT DES NATIONS Directed by Jordi Savall
Soloists: Hanna Bayodi-Hirt, soprano; Damien Guillon, countertenor; Marc Mauillon, baritone.

El Teatro Real ha tenido que hacer el segundo cambio en su programación esta temporada. Como ya ocurrió con “La flauta mágica” de Mozart que, por problemas presupuestarios, tuvo que dar paso en la programación a la Novena Sinfonía de Beethoven, la ópera de Mercadante “La Rappresaglia”, será sustituida por Don Pascuale de Donizetti. The reason has been the surgical intervention of its director, Riccardo Muti, who in recent days has undergone surgery for a hernia, has also been forced to cancel a planned tour of Asia with the Chicago Symphony.
"Muti's state of health does not allow him to face the demands and work times that the preparation of a new opera, newly created, como La Retaliation exígen ", indicate from the Royal Theater.
But Ricardo Muti does not want to miss his appointment with the Teatro Real and will take over the direction of Don Pascuale, in a Ravenna Opera production with the same stage manager, Andrea Rosa.

The former artistic director of the National Dance Company (CND), and currently responsible for the Mikhailovsky Theater in Saint Petersburg, he is the most likely candidate to succeed the Russian Vladimir Malakhov at the head of the Berlin State Ballet. The offer to the Spanish choreographer comes after the resignation of the prestigious German artist Sasha Waltz, which has led the cultural authorities of Berlin to urgently search for a candidate for the Berlin Staatsballet.

They arrive in Seville, produced by the Teatro La Fenice in Venice, two short and very different operas, but, practically contemporary, integrate one of the most unique offers of the season in such an exceptional double program, that once again places the Teatro de la Maestranza in the forefront of national lyrical news. On one side, “Šárka” - absolute premiere in Spain- of Czech Leoš Janáček (1854-1928), It is a heroic opera in three acts composed in 1887 and “Cavalleria Rusticana”, de Pietro Mascagni (1863-1945), is a one-act verista drama premiered in 1890 which alludes to the tragic “code of honour” of the southern Italians.
Two works located in very distant creative hemispheres – bohemian romanticism and dramatic Italian verismo- what, but nevertheless, are linked in the acclaimed production of the Teatro La Fenice in Venice, presenting both titles in the penetrating vision of one of the most exciting Italian filmmakers of recent decades, Ermanno Olmi, Palme d'Or in Cannes for the endearing "The Tree of Zzuecos" (1978). Olmi faces the mythical story of “Šárka”, based on a 14th century Czech legend presented with the dark airs of Wagnerian Tetralogy against the Sicilian luminosity of Mascagni's drama.

5, 7 Y 9 February.
D. musical: Santiago Serrate
D. scene: Ermanno Olmi

Valladolid Auditorium, Miguled Delibes, cycle opens early music with instrumental groups specialized in Baroque music most relevant current music scene. Il Giardino Armonico fundado fue por Giovanni Antonini, Paul Beschi y Lorenzo en Ghielmi 1985, those who joined shortly after Luca Pianca and Enrico Onofri, all specializing in period instruments. Currently he is regularly invited to the most prestigious festivals and theaters around the world. If last season enjoyed their version of the Brandenburg Concertos, this time, Antonini, with his particular reading of the music of the seventeenth and eighteenth centuries we offer a selection of chamber concerts of the great master Vivaldi. The Gramophone award obtained in 1996, the Diapason d'Or by Il Proteo Vivaldi, and Grammy awarded in 1999 Vivaldi Album for his album not only guarantee the quality of its interpretation of the Venetian musician but show interest and study of the works of this composer by the Italian group. Vivaldi composed over 500 chamber concerts which are among the six selected for this program- compositional ability which no doubt he was proud as he said himself: "I can write a chamber concert with all its parts in less time than it would take to copy a copyist". This is a great opportunity to hear Vivaldi.

Maria Jose Montiel

Next Monday 28 Madrid mezzo-soprano María José Montiel returns to the United States after her applauded Carmen performed in Atlanta last November, now to celebrate 40 años de la National Alliance for Hispanic Health, entity founded in Los Angeles in 1973 and based in the North American capital that promotes the health and well-being of Hispanic communities. In practice, is the source of information on the health of Hispanics in the United States and an advocate for science and research focused on society.
After completing four decades of, they wanted to tell to celebrate it with the art of the Spanish mezzo María José Montiel, who will perform accompanied by the Majorcan pianist Miquel Estelrich at a gala to be held at the Kennedy Center in Washington.

Of the 2 February to 24 March 2013

The Community of Madrid organizes the XXIII Festival of Sacred Art, to be held between 2 February and 24 of March, in 33 historical spaces, secular and religious, many of them restored by the Community. The programming can be enjoyed in fifteen Madrid municipalities, including the capital, and understand 41 different music shows, dance and cinema.
The festival will open on Saturday, 2 February, with three of the Cello Solo Suites, Johann Sebastian Bach, performed by the San Sebastian musician Iagoba Fanlo, which will take place in the Church of San Antonio de los Alemanes.
In this edition of the festival, the participation of internationally renowned soloists stands out, like the violinist Joaquín Torre, the pianists Tito García and Daniel del Pino and the Pastrana-Prisuelos duos and the Czech formed by Jiri Bartá and Terezie Fialová, both cello and piano ensembles.
The duo composed by Alfredo García, baritone, and David Mason, pianoforte, will perform works by Franz Schubert on an original pianoforte from the composer's time, specially brought for the concert of the day 19 February in the Church of Santiago and San Juan Bautista.

The next 22 In January, the world premiere of Philip Glass's opera will take place at the Teatro Real (Baltimore, 1937) The Perfect American, based on the book by Peter Stephan Jungk (California, 1952), recently published in Spain under the name of The Perfect American, that recreates, in the form of fiction, the last months of the life of Walt Disney, in which the great icon of American culture relives moments from his past and is besieged by doubts and concerns.
This new opera, the number 24, according to composer, in the extensive catalog of his musical production, was commissioned and co-produced by the Teatro Real and the English National Opera, where it will be presented next June. Philip Glass arrives in Madrid these days to supervise the last rehearsals and attend this world premiere.
Both the music director, Dennis R. Davies, as the stage manager, Phelim McDermott, have been collaborating for a long time on Glass projects and are, so, great connoisseurs of the author and his work.
The cast includes baritone Christopher Purves., David Pittsinger, Janis Kelly, Marie McLaughlin y Sarah Tynan, among others.
A work that tries to demystify its protagonist, Walt Disney. On the one hand, he presents us with the man who was, the one that more or less could know the public, and on the other, the man i could be. In any case, always a character with a lot to analyze.

The next 24 January will begin the new musical season Auditorio Conde Duque. This first concert will feature soloists from the Berlin Philharmonic, considered by experts as the world's foremost institution of musical excellence.
This first concert (They will be in Spain until June), It will involve the concertmaster Thomas Timm and Cordelia Höfer, professor of piano Mozarteum Salzburg.
The main task of teachers who visit us will be teaching, since Conde Duque, in collaboration with the association Davidsbuendler, will organize, with free admission until full capacity, lectures and intensive meetings with invited artists to cycle.
Also concerts by soloists of the Philharmonic will have a special price of 10 €, subscriptions at reduced prices and 50 first students attending the Conde Duque will have free entrance to the choir seats.

This may seem a gossip more than news, and it is pour. But in the case of these two "divas", in the worst sense, a little surprised that after almost 17 years of marriage, in which appeared one of the most solid couples opera scene, They are ending up each one by hand.
As he stated by the soprano, will continue on with their professional projects, even those who have planned together.
Hopefully separate their characters are dulcifiquen, This would benefit them both very much, at the professional level and in dealing with fans and press.

He 8 and the 10 de enero a las 19,30h, la Fundación Juan March inicia el bicentenario de Wagner ofreciendo sendas conferencias. Con el título de Un hombre del presente”, on Tuesday 8, Y “Una música del futuro”, Thursday 10, el crítico José Luís Téllez nos mostrará la verdadera dimensión de un compositor que tanta importancia ha tenido en la renovación de la música, no solo de la ópera, sino de la armonía y la instrumentación en el siglo XIX. Todo a través del análisis de su vida, pensamiento y obra.

Bass-baritone Simon Orfila Minorcan has fulfilled another of his dreams: He has sung at La Scala in Milan, Rossini Festival in Pesaro in May will debut at Covent Garden in London, but now, at last, He has been able to record an album with songs that have accompanied him throughout his life: en My Dream se unen las romanzas de zarzuela que él escuchaba sin parar siendo un adolescente con canciones tradicionales catalanas, melodías populares menorquinas y varias obras maestras del género del musical.
Acompañado de la Real Filharmonia de Galicia y bajo la dirección del maestro David Giménez Carreras, Simón Orfila ofrece en este disco un recorrido sentimental por la banda sonora de su vida. Estas piezas me han acompañado desde que era un niño”, afirma el cantante de Alaior. “En esta ocasión he preferido meterme en el estudio de grabación con mis canciones y mis romanzas favoritas, aquellas que me enseñaron a amar y a respetar la música y el canto”.
Grabado entre La Coruña y Barcelona hace solo algunas semanas, el disco cuenta con Antoni Parera Fons como productor, de quien también se incluye alguna pieza. My Dream se presentará en sociedad el próximo 12 de enero en un concierto en el Teatre Principal de Maó contando con la dirección musical de Joan Mesquida Saner.

El Patronato de la Fundación del Teatro Real, presidida por Gregorio Marañón, ha aprobado el presupuesto del Teatro Real para el año 2013 in a total of 42.495.291 euros.
With a reduction of 4,3% over the previous year, the budget approved today responds to a balanced budget exercise in which all spending is fully financed with revenue for the year without the need to resort to the provision of reserves.
The distribution of the budget of the Royal Theater for the next year is divided between the Royal Theater's own income and public subsidies. These last, from the Ministry of Culture, the Community and City Council of Madrid, represent the 30,3% of the budget of 2013, in an amount of 12.885.088 euros, while the 25,9% of the budget corresponds to sponsorship, and the 46,8 % to the own income section – income from sales and income derived from other uses and activities of the Theater-.
Compared to the previous exercise, el apartado de patrocinio es uno de los que proporcionalmente más crece en los presupuestos, según las previsiones. Este incremento se enmarca en el cambio de modelo corporativo del Teatro Real, en el que se fortalece la participación privada y de la sociedad civil en el sostenimiento de la institución, y en el que se integran además, nuevas modalidades de patrocinio y apoyo particular, como la reciente constitución de la Junta de Amigos, la Junta de Protectores, o el Programa de Amigos del Real, renovado en la presente temporada con el fin de hacerlo más accesible a la participación de todos los públicos.
En relación con los ingresos por venta, si bien los nuevos presupuestos estiman un ligero descenso en las previsiones, de entorno al 4%, essentially motivated by the VAT increase and the current economic situation, These revenues will be offset by the increase, in more than one 15%, from those derived from the new fundraising strategy for activities such as the opening of new musical shows outside of its own programming, Space rental, new products such as guided tours, and rental and sale of own productions.
Likewise, the new budgets reflect a reduction in costs derived from the policy of budgetary restrictions and austerity in personnel expenses, maintenance and contracting of the productions of the Royal Theater, close to the 4 million euros. Specifically, they are reduced in relation to the budget of 2012, in a 10,6% staff costs, in a 23,8 % operating expenses and 4,6% production expenses.
this savings, along with increased private sponsorship and new revenue streams will offset the decline in 30,6% in the subsidies of the Public Administrations and the incidence of the VAT increase in the average occupancy levels of the Theater, estimated between a 82% and a 95%.

The start of the season 2012-2013 of the Gran Teatre del Liceu has undergone changes in its funding sources that may have very adverse consequences for the future of the institution.
The unforeseen budget adjustment by the administrations of the 33% of the budget initially approved by the executive committee of the Foundation within the framework of the 2012 and ratified in the Master Plan last July, and the descent of 30% in income, due to falling demand, aggravated by the increase in prices with the rise in VAT 8 al 21%, they put the future of the Liceu at risk.
This decrease in income, valued at 4 millions of euros, it can jeopardize the cash flows and the immediate activity of the theater and irreversibly deteriorate the foundations of its artistic activity. The progress of the choir and the orchestra, the prestige and credit that the Liceu has earned among our fellow citizens, the spectators, the most important artists and opera houses in the world are in danger with this new situation.
To resolve the situation, the Liceu has initiated a series of actions in the short and medium term, among which the negotiations with companies, which will be done jointly with the representatives of the public administrations present in the governing bodies of the Fundació Gran Teatre del Liceu, with the aim of increasing the contributions of the business world to the Theater and incorporating new companies that offer us their support. At the same time, the Liceu will expand and strengthen the Benefactor program, with expanding individual stand figures, addressed to individuals who, with your contribution, are actively involved with the Liceu project. The third measure is the opening of a new way of income through international patronage, as it already exists in many other opera houses in Europe.
parallel, The “Actuem pel Liceu” platform has been created, born at the initiative of civil society, which will start its own campaign to raise funds from small private contributions. The Liceu strongly and gratefully supports this citizen initiative, which will be presented shortly.

Next Monday 3 from December, the countertenor Bejun Mehta, -which had a resounding success at the Liceu both in the recital of the 2009 as in the opera Tamerlano the year 2011- will be the protagonist of the monographic concert Händel.
Bejun Mehta, considered one of the best countertenors in the world, has received acclamations in the main opera houses of the current scene. The public at the Liceu still remembers the great performance he did with Plácido Domingo in Tamerlano from the previous season.
The Freiburg Baroque Orchestra conducted by Petra Müllejans, que ya actuó la pasada temporada para interpretar un programa Händel que fue un éxito de crítica, garantiza la magnífica calidad y la sintonía entre la formación musical y el contratenor con este repertorio del compositor de música barroca.

The Teatro Real has announced that "the current situation and circumstances" make it necessary to take this decision which has dominated the desire to maintain both the presence of the Berlin Philharmonic Orchestra as, for next season, the creative work of Robert Carsen in The Magic Flute, both very appreciated by the public of the Real.
The withdrawal of the contribution coming so far making the Madrid City Council, 500,000 €, prevent carrying out this project. The suspension of these functions allows the Theater save about 800,000 €. "They are decisions made under the exercise of responsibility. It is a considered decision together after many reviews ", He explained Ignacio García-Belenguer.
Again is culture, specifically music, the main victim of the municipal mediocrity. These are difficult times to manage what no, But culture is the only seed that grows.
It is then the Berlin Philharmonic which offer day 26, 27 Y 28 June a concert of Beethoven's Ninth Symphony, with the participation of soloists from The Magic Flute Camilla Tilling, Nathalie Stutzmann, Joseph Kaiser y Dmitry Ivaschenko.
Under the direction of Simon Rattle, the concert will also feature the Choir of the Teatro Real Owner, thus uniting one of the most important orchestras in the world with which it has become the most promising choir Europe.
Viewers who hold an entry for performances of The Magic Flute can keep their locality for the corresponding date of this concert, maintaining the same category entry. further, a locality will be offered for one of the concerts and recitals Katia and Marielle Labèque, Maria Bayo or Measha Brueggergosman program Nights Real. In any case, also there will be the option that they can claim back input.
Beethoven's Ninth Symphony, performed by the Berlin Philharmonic Orchestra and Chorus of the Teatro Real Owner, It will be broadcast live, big screen, in different areas of Madrid, with the support of the City, within the framework of collaboration between the cities of Berlin and Madrid.

Within the programming of Madrid en Danza, between 14 and the 18 November, the company directed by José Carlos Martínez will offer the premieres of Unsound and Demodé as well as Babylon.

UNSOUND
Absolute Premiere by the National Dance Company on 14 November 2012 in The Spanish Ships of Matadero Madrid.
Arches & Vierthaler started from a philosophical study of the actions/emotions carried out on a daily basis as his crucial motivation.. "Relationships" played a key role in the concept of movement, determined by a variety of opposites:
evolution – regression, freedom – bonds, intimacy – distance, communication – silence, generosity – selfishness, desire – repulsion, trust – betrayal.
you are difficult, and still family, actions/emotions were chosen because they determine mental health and physical comfort, in addition to the trauma that humanity can bear. Relationships are what make individuals feel alive, even without awareness about them or their beneficial effects or not, and this is what is explored in Unsound through a movement-dialogue without borders.

BABYLON
Premiered by the National Dance Company at the Mercat de les Flors, Barcelona, he 25 October 2012.
The dynamics as a starting point of an underworld anchored in the metric of the sonority of the movement, powered by a dormant, multicellular humanity, powerful, that moves us from the verticality of being, contrasted with the horizontality of the soul. In that painful duality I move, dragged by the forces that govern us, from the infinite planes of emotional coreutics, of mestizo vectors of a mental color in exodus to a distant Zion.
Trip, can only start with movement.

OLD
Absolute Premiere by the National Dance Company on 14 November 2012 in Las Naves del Español in Matadero Madrid..
You have never looked at your own reflection in a shop window, Have you looked around and wondered: – what's hot?, Is it fashionable or is it old-fashioned? It seems that it is fashionable not to be emotional. It seems that it is fashionable to constantly dodge one's demons and passions.
I wonder: – What am I doing?, Is the need to know what I am doing and why so great?? I could never create out of nothing, I'm inevitably loaded with memories, of past essences that at the same time teach me and inspire me. And i ask myself: – and who does not?
Fashions, the ideologies, artistic styles and trends are temporary, they come back and transform. what is undeniable, is that the end result, the work of art, itself and regardless of the elements that compose it, is something new per se.
Ivan Perez

The Royal Theatre, bound by circumstances, has begun to change its forms of financing. Instead of the German model, the Berlin Opera receives the 90% of its financing of public institutions, will have to look more and more like the American model, to the New York Metropolitan, who barely gets a 1% publicly financed.
The Ministry of Education, Culture and Sport will contribute 8.771.283 euros to the Royal Theater in 2013, a 33% less than budgeted for this year. To counteract this reduction, the theater will increase its efforts to involve civil society in the consolidation of its artistic project.
The rigorous policy of austerity in personnel expenses will be maintained, production maintenance and contracting, at the same time that an ambitious plan of self-financing measures will be developed.
In addition to this search for private financing, Efforts will be multiplied to rent the Real's own productions to other theaters and the co-production policy with other European opera centers will be strengthened, how has it been done in recent years.
The Royal Theater has reached an agreement with its workers to sign the modification of the collective agreement, which means greater flexibility in the internal organization and a reduction in personnel costs.
looking forward to next year 2013 the Royal Theater is committed to stability, both in the workplace and in the quality of its artistic programming.

Contributions from public administrations to the Royal Theater in 2012:
Ministry of Education, Culture and Sports 13.150.350 euros
Madrid's community 3.874.386 euros
City of Madrid 941.851 euros

Contributions from public administrations to the Royal Theater in 2013:
Ministry of Education, Culture and Sports 8.771.283 euros
The contributions of the Community and the Madrid City Council are still unknown.

Cecilia Bartoli Mission

When the Italian mezzosoprano Cecilia Bartoli diving in archives and libraries looking for information for their work "Opera Prohibita", They were discovered several musical-ments made. One of the most caught his attention, for its musical quality and the mystery that enveloped, It was on the seventeenth-century Italian composer, Agostino Steffani.
The old friendship between Cecilia Bartoli with writer Donna Leon, has led them to collaborate in the investigation and elaboration of this work.
The result of this joint adventure has been an album that reveals the marvelous music of this composer, before Handel and Bach, but the same dimensions, and a novel that tries to reveal all the mysteries of a character, Steffani, as paradoxical as it is great. maybe priest, tal vez castrato, maybe spy… but always interesting. The life and music of this great composer have inspired Cecilia Bartoli to interpret his music and Donna Leon her life..

“Mission”
Cecilia Bartoli
I Barocchisti
Diego Fasolis
DECCA

“The jewels of paradise”
Donna Leon
Seix Barral
Planet Publisher

The new program of guided tours opens the heart of the Royal Theater to the public:

• An artistic tour and a technical tour are added to the general, it already exists, to know the secrets of how the Theater works
• Work areas hitherto hidden from the public are shown
• Visits take place every day of the week, with reduced prices for adults 65 years, minor 26 and large families

The Royal Theater has launched a new program of guided tours, coinciding with the 15 Anniversary of its reopening, with which he wants to make known both the history of the building and its protagonists, as the main technical and artistic spaces.
Two interesting routes have been designed for this., one technical and one artistic, that are added to the general that already existed, and will show the visitor the work areas hitherto hidden from the public, highlighting why the versatility and dimensions of its stage box and the good layout of its artistic spaces make the Real one of the best theaters in the world.
Visits will take place every day of the week, with a duration of approximately 1 hour and, depending on the mode chosen, will be able to access the ballet rehearsal rooms, orchestra and choir, tailoring workshops, characterization, the dressing rooms, the unloading and assembly area of ​​the sets or the stage, Guided by specialists from the Association of Friends of the Madrid Opera.
This opening initiative is added to the recent inauguration of the exhibition The artists of the Real, which will remain open to the public until the next 6 from January, and the extraordinary reception of the Open Doors Days, whose last edition, last weekend, received the visit of more than 5.000 people who were able to get to know its emblematic areas.

THREE VISITS, THREE COURSES:

overall visit
Schedule: from 10.30 a 13.00 h.
Duration: between 50 min. Y 1 h.
groups: maximum 25 people
Price: 8 € (reduced, 6 €)
Travel: Foyer, Palace Cafe, salons, restaurant, Royal Box and Main Hall

artistic visit
Schedule: 9.30 Y 9.45 h.
Duration: 1 h.
groups: maximum 15 people
Price: 12 € (reduced, 10 €)
Travel: Foyer, Sala Gayarre, stage rehearsal rooms, choir, ballet and orchestra, tailoring and characterization workshops and dressing rooms

Technical visit
Schedule: 9.30 h. (daily) Y 15.00 h (upon request)
Duration: 1 h.
groups: maximum 12 people
Price: 16 € (reduced, 14 €)
Travel: Foyer, living room, stage,
scenic tower and gate.
Minimum age, 10 years

Francesco Tristano, Luxembourgers from 29 years and resident in Barcelona, has presented his latest work “Long Walk”, inspired by Bach's work, in the slaughterhouse of Madrid.
It has done so through a new "concept" of performing classical music. One en 2001, it was the first place where Deutsche Grammophon opted to move classical music away from its usual spaces to introduce it in a risky format of clubs and concert halls. Then two blocks of sound produced by the artist emerge, that marks the pauses, completado por dj FM que entremezcla imágenes al ritmo de melodías clásicas.
La excusa es el intento de captación de nuevos públicos, públicos jóvenes, que hasta el momento no han llegado a las salas de concierto. No queda más remedio que acercar la montaña a Mahoma.
La idea es buena. Hay que investigar, explorar nuevas formas de acercar esta música y demostrar a los, until now, no aficionados que en realidad les gusta. Que se sorprendan experimentando emociones con música de la que huyen habitualmente.
De esta primera experiencia en Madrid, los organizadores deben sacar alguna conclusión. Adiestrar mejor a los profesionales que trabajan en estos nuevos espacios. Hacerles saber que no es lo más conveniente romper hielo en la barra del bar (equivocadamente demasiado próxima al escenario) cuando suena el Aria de las Variaciones Goldberg. Definitely, mejorar la convivencia ente el asombro de los descubridores de esta música y de quienes, simply, pasaban por allí.

Petit Liceu programming remains year after year commitment to children, and adults who accompany them, of bringing music, dance and performing arts with proposals and varied shows, imaginative and of high artistic quality. This season, novelty, Petit Liceu's program includes a title aimed at young people 14-15 years, and Cosi fan tutte, a proposal that will allow the Liceu open to a new age group.
Barcelona, Cornellà and Sant Cugat are among the few cities in the world that offer a children's opera programming like the Petit Liceu 10 titles and a capacity of more than 90.000 seats.

The season 2012-2013 It presents three new proposals in the Main Hall:

– Così fan tutte, an adaptation of Carol López for all audiences, fun and sassy.
– With his feet on the moon, with music by Antoni Parera narrating the arrival of three astronauts and a boy to the moon.
– The houseboat, Xavier Montsalvatge, a musical tale of Noah's Ark.

And there are classics like Superbarber Seville, Allegro Vivace, Bremen Town Musicians, Cinderella, Guillem Tell y Petruixka.

Petit Liceu programming is designed for families (weekends and holidays) and schools (business days). Also it offered in schools other complementary educational activities, guided tours and training sessions for teachers.
There are tickets for the Petit Liceu which include a minimum of 3 shows a 10% off.
We recall that the price of the towns of Petit Liceu NO has impacted the VAT increase.

The Education Service of the Gran Teatre del Liceu read 73.775 people and is one of the main tools you have to bring the art of opera to younger, in the most efficient and enjoyable way. Servei Educatiu behind this is the aim of awakening a taste for music and see live theater from small.

In general terms, the Gran Teatre del Liceu organized 238 actividades Education Service, with a total attendance of 73.775 people, of which more than 47.000 were students in Catalan schools.
Las actividades to cam cabo Education Service are:

1- Education Department: The programming of the Petit Liceu

Petit Liceu has a regular program of family shows and school that, the season 2011-2012, sumo 88 representations (55 school and 33 family) a total of 66.730 assistants (45.133 at school functions and 21.597 in family), among children, parents and teachers. The average occupancy of Petit Liceu shows exceeded 80%.
Of the 11 different shows offered by the Petit Liceu, the most popular were Guillem Tell, Bremen Town Musicians, Little Magic Flute, La cenicienta and Petruixka.

2- Education Department: SCHOOL ACTIVITIES Program

In the area of ​​school activities, more of 6.000 children of 176 schools went through the Gran Teatre del Liceu during Season 2011-2012 to enjoy the 153 activities organized. The "Opera: emotion ", designed to bring opera to teenagers, featured 29 passes and almost 3.000 students of 34 different schools.
Likewise, they organized 99 guided tours for students, with a total attendance of more than 2.300 children. In this frame, the activity "The mystery of the score" is a dramatized visit, addressed to Early Childhood Education, that it got 13 passes with 152 students last season.
In this same area, the Educational Service offers, high school and conservatory students, the chance to attend a dress rehearsal of a complete opera, in the main hall of the theater. During the last Season they organized 5 passes with almost 800 students.
To end, the Educational Service also offered 7 teacher training sessions, with an assistance of 183 teachers in the season 2011-2012.

Josep Pons, el nuevo director musical del Gran Teatre del Liceu, ha presentado un ambicioso proyecto de actividad de los cuerpos artísticos estables y del departamento musical del Gran Teatre del Liceu.
En la presentación, que ha tenido lugar hoy en el Salón de los Espejos del Liceu, el director general Joan Francesc Marco ha explicado que cuando en el año 2008 se incorporó en el Liceu, una de las prioridades de su hoja de ruta era la potenciación de los cuerpos artísticos estables. Joan Francesc Marco has shown that the artistic personality of an opera house is fundamentally provided by the Orchestra and the Choir. Today with the arrival of Josep Pons, this objective is met.
Joan Matabosch, artistic director has welcomed the maestro and has highlighted the need for the centrality of the Choir and the Orchestra for the benefit of artistic activity.
Likewise, Josep Pons has presented his project and has announced the need to build a central space for the Choir and the Orchestra that must be reflected in the structure and in the activity.
In relation to the structure, a Musical Department is created to work on musical activity, beyond the opera. The Department will take care of the general needs of the groups, its diffusion and will have a position in the Direction Committee of the Theater. A new framework of labor and artistic relations will be created with a new agreement with specificities for the Choir and the Orchestra that adapts to modern times. An artistic commission of the Orchestra will also be created.
On the other hand, the Music Department will work with the commitment to replenish the vacant places in accordance with the Master Plan.
In relation to the activity, he pointed out the need for greater visibility of the Choir and the Orchestra so that they are part of the musical life of the country and of the esteem of the people..
To achieve these goals, Maestro Pons has designed activities such as symphonic concerts inside and outside the Liceu (cycles, giras, conciertos de bienvenida populares, etc.) También propone crear grupos de cámara dentro de la Orquesta y dos academias (una musical y la otra vocal). El proyecto social y educativo está también presente en sus prioridades. Finalmente ha apostado por la difusión de la Orquesta y el Coro a través de las grabaciones audiovisuales.
Josep Pons ha señalado que le hace mucha ilusión reencontrarse con el país y la ciudad y concretamente con el Liceu, después de haber estado fuera durante casi 20 years. Xavier Solà, secretario general del departamento de cultura de la Generalitat ha cerrado la rueda de prensa dando su apoyo al nuevo proyecto y ha señalado que el Liceu tiene que ser el buque insignia de la presencia de Cataluña en el mundo, in these difficult times”

The Royal Theater exhibits works made in its workshops to celebrate the 15th anniversary of its reopening, in 1997

The Royal Theater celebrates the 15th Anniversary of its reopening with the exhibition “The Other Artists of the Royal”, that intends to show the work that is carried out in its workshops, where the scenographic elements that create the dramaturgical space of each opera are born, as well as the suits, wigs and other elements used in the characterization of the characters.
The sample is divided into two parts.. The first, in the space of the Plaza de Isabel II, is dedicated to the environment of the "Other Artists", with some tools used in workshops, mock-ups of decorations, sketches of costumes and pieces that have appeared in the scenery of different productions of the Royal Theater, as: Ernani's masks (2000), Madama Butterfly movie cameras (2002), the sword, Merlin's crown and scepter (2003), Tancredi's puppets (2007), el throne of La Clemenza di Tito (2008), the birds of the blank page (2011), the corpse of Seneca by Poppea and Nerone (2012) and the mask of the protagonist of The Death and Life of Marina Abramovic (2012), among others. A video of 8 minutes long, which will be projected uninterruptedly in the Projection Room, complete the exhibition in this small space, free access.
The second part of the exhibition, with plays on six different floors of the Teatro Real, It can be enjoyed by people who attend a show or who follow one of its guided tours. At the entrance of the building is the carriage of the opera Les Contes d'Hoffmann (2006), followed by Tancredi's horse (2007) and Don Giovanni's car (2005), in the center of the foyer. Pharaohs and goddesses of Aida (1998) adorn the Café de Palacio on the sixth floor. On the other floors you can see the Roman coliseum of La Clemenza di Tito (1999), the harpsichord made for Andrea Chénier (2010), aida wigs (1998), Don Carlo (2001) y fist-bal (2009), as well as colorful costumes and accessories from El sombrero de Tres Picos (1997), divine words (1997), Manon (2000), Luisa Fernanda (2006), The Marriage of Figaro (2008), The Coronation of Poppea (2010), among others.
Una serie de terminales interactivos permitirá que el público se acerque al fascinante proceso de producción de las óperas que han desfilado por el Real en estos quince años.
La exposición estará abierta al público entre los días 28 September 2012 Y 6 of January of 2013.
El espacio de la Plaza de Isabel II (sala de exposiciones y sala de proyecciones) tendrá acceso gratuito y estará abierto todos los días de la semana.
Para ver las obras expuestas en los demás espacios del Teatro Real será necesario adquirir una entrada para sus visitas guiadas (por las mañanas) o para uno de sus espectáculos.
La exposición pretende homenajear a los artistas anónimos que trabajan en el Teatro Real, exhibiendo maquetas, piezas de escenografía, tailoring or characterization carried out in their workshops.

Of the 2 al 20 October one of Verdi's most popular operas will take to the stage in a co-production of the Gran Teatre del Liceu with the Opéra National de Paris.
With three stellar casts, the opera has been under-performed in the full version, because it requires 6 top-level solo figures who, in the case of the Liceu they will be directed by the teacher Renato Palumbo.
With La forza deldestino begin the acts that during the year 2013 will commemorate the Verdi Bicentennial.

The Gran Teatre del Liceu has confirmed that a total of 268.715 people attended the shows scheduled by the Theater as part of the Season 2011-2012. The average occupancy of the Theater shows has been 83,6%, figure slightly higher than the previous season; opera performances have reached 84,5% of average occupation and those of dance, he 75,7%. The Gran Teatre del Liceu with capacity for 2.292 towns is the large capacity space with the % highest occupancy in Catalonia.
The highest occupancy rate has been recorded at the functions of Linda de Chamounix, The Marriage of Figaro, Aida, La Bohème and the Magic Flute, have passed the 90% occupation, together with the recital of the tenor Juan Diego Flórez, the concert with the countertenor Philippe Jaroussky and the tribute concert to Montserrat Caballé.
The 5 shows with the largest number of people have been La Bohème (39.452 viewers), Adriana Lecouvreur (23.684), Linda of Chamounix (21.607), Aida (14.887) and Faust in Concert version (14.406).
Fertilizers have represented 50% of the occupation of the theater. for the next season, which officially opens the 2 October with La Forza del Destino, have already reached more than 1.000 new subscribers. The Liceu will keep the VAT reduced from 8%, instead of 21% actual.

The Teatro Real will open its new season with the premiere in Madrid of one of the classics of 20th-century music: the great opera Moses and Aaron, de Arnold Schoenberg (1874-1951), de la que se ofrecerán dos funciones en versión de concierto los días 7 Y 9 September at 20.00 hours, con el patrocinio de AQUALOGY, la marca global de soluciones del agua.
Esta ambiciosa ópera será interpretada por 230 musicians, 10 soloists (encabezados por el barítono Franz Grundheber y el tenor Andreas Conrad), 110 instrumentistas de la SWR Sinfonieorchester Baden-Baden Freiburg y 110 miembros del EuropaChorAkademie, bajo la dirección de Sylvain Cambreling. Su presentación en Madrid se enmarca en un proyecto conjunto del Teatro Real, la Philharmonie of Berlín, el Festival de Lucerna y el Festival Musica de Estrasburgo.
He 6 September at 19.30 hours, in the cycle approaches, con entrada libre, Gerard Mortier y el musicólogo Rainer Peters presentarán la ópera al público, que podrá escuchar en directo la interpretación de dos obras de Schönberg: el sexteto de cuerdas La noche transfigurada, por miembros de la Orquesta Titular del Teatro Real (Madrid Symphony Orchestra), y la Suite para piano Op.25, por la pianista Kyoko Nojima.

The Staatsoper was built between 1741 Y 1743, being at the time one of the most important opera venues in Europe and currently, the oldest cultural building in Berlin.
Its remodeling began in September 2010. With this reform the functionality of the Opera is intended, create an underground connection to the adjoining building that houses the replay and storage rooms, strengthen its structure and, especially, improve your acoustics.
The main challenge on acoustics is to increase the reverberation time of the room from 1.1s to 1.6s. All this while maintaining the balance between musicality and intelligibility.. On the one hand, the music must envelop the spectators, and it is intended to create a diffuse and reverberant sound field. On the other hand, intensity should be optimized to increase clarity and intelligibility and thus enhance the artists' speech.
To achieve this, the volumetric space of the room is being increased by raising the ceiling 4 meters and creating a reverberant gallery above the third balcony. Sound absorption in the room has also been reduced by limiting the number of spectators 1395 a 1335.
The conclusion of the works and reopening of the building was scheduled for the year 2013, but the complexity in the displacement of the ornaments that are preserved from the building, and the adverse weather conditions of the previous winter, caused a first delay of one year to occur and its reopening was set for October 2014. but this week, the management of the Staatsoper has announced a new delay in the refurbishment works that will not be completed until 2015. It will be then in October of this year, 2015, when it opens its doors again. All these delays also represent an additional expense since the opera has moved to the Schiller Theater.

John Cage is one of the most important figures of contemporary art, not only for its innovations in the field of music but as a thinker, writer and philosopher. He was born in the United States 5 September 1912. So the first centenary of his birth is now fulfilled. To celebrate, the label that released all his works, Wergo, He has decided to release an anniversary chest with 5 Limited edition CD entitled "John Cage 100. This box will bring his most significant works in recordings absolute reference, como las Sonatas and Interludes for Prepared Piano”, “Concerto for piano and orchestra” O “Music for Two”.
Moreover Wergo released on DVD the legendary cinematic collage “Birdcage: 73’20.958’ for a Composer”, created in 1972 commissioned by WDR and SWR on the occasion of the 60th birthday Cage by composer and writer Hans G. Helms, an extraordinary portrait of Cage as an artist, his musical and extra-musical thought, his character and his work.
Also this week, the Museum der Moderne Salzburg has organized an exhibition that will last until 7 October dedicated to John Cage as an artist.”

Chinese composer Tan Dun received last Saturday 18 August at the Laeiszhalle Hamburg Bach Prize 2011 awarded by the city of Hamburg every four years to an outstanding composer of our time”. The award is endowed with 10.000 euros and was granted, among other great works he has composed, por su Water Passion after St. It based on Matthew Passion St Matthew J. S. Bach.
In the above Bach Awards are Paul Hindemith (1951), Ernst Krenek (1966), György Ligeti (1975), Alfred Schnittke (1992) Y, in last edition, Sofia Gubaidulina (2007).
In addition two separate awards were granted 5.000 two young composers euros linked to the city of Hamburg: Leopold Hurt (Regensburg, Germany, 1979) y Shen Ye (1977).
Tan Dun:
Tan Dun was born in the village of Simaonae, Changsha in Hunan province of China. As a child he was fascinated by the role of the shaman of his people, He is carrying out rituals and ceremonies, often with music made with unusual objects, such as rocks and water. But nevertheless, as a child in the middle of the Chinese Cultural Revolution, such practices found “you retrogressive” frowned and was sent to work as a rice planter in a commune government.
But this does not stop his love of music. He created his own musical group, formed by the peasants of the village playing all they could, even using pots and pans. It was thanks to these peasants as he became interested in playing traditional string instruments China.
Thanks to the contract that made him a traveling musical company, He got out of the commune in which he lived. From there he could access the Central Conservatory of Music in Beijing and studied with musicians like Toru Takemitsu, which strongly he influenced his musicality and sense of musical style.
In the eighties he moved to New York City as a PhD student at the University of Columbia, studied composition with Wen-Chung Chou, who was a student and assistant composer Edgard Varèse. That's where Tan discovered experimental musicians such as Philip Glass, John Cage, Meredith Monk, y Steve Reich. He was gradually incorporating all these influences in his style of composition.
Tan Dun is widely known for using untraditional instruments in their compositions. Su pieza Water Passion After St. Matthew uses water as containers amplified traditional percussion. It is also recognized by applying multimedia elements to their performances orchestras such as video or interact with audience participation.”

After the Carmen signed by Calixto Bieito that he starred in last year at the Teatro Massimo in Palermo won the Abbiati Award, the Madrid mezzo-soprano María José Montiel will meet again with the Sicilian public from the 16 October thanks to two very different papers: Conception, of Spanish time, y The child, from The Child and the Spells, both by Maurice Ravel, titles that will have musical direction by Yves Abel and stage direction by Luciano Cannito in a new production of the Palermo lyrical coliseum.
The Spanish singer fell in love with the public of Palermo when she offered her latest Carmen: “It is a very demanding public, understood and who deeply loves opera. There the theatrical drama is lived like nowhere, That's why I'm so excited about this return to the Teatro Massimo”, explains Maria Jose Montiel, who leaves behind a recital tour to play these two Ravelian roles. “They are complex and very different from each other, both by character and by requirement, but both are amazing, as much as Ravel is as a composer”, whose birthday this year 75 years of his disappearance. The Spanish mezzo has previously stepped into Concepción's skin - three years ago and precisely in Sicily, at the Vittorio Emmnuele Theater in Messina- and now he incorporates the role of L'Enfant into his repertoire.
Among the upcoming commitments of the Spanish mezzo, a new show by Carmen (Bizet), this time at the Atlanta Opera (U.S) and Beethoven's Ninth Symphony in what will be his return to the Palau de les Arts in Valencia after his unforgettable performance of Neris (Medea, Cherubini), directed by Zubin Mehta, with which he got several minutes of applause in each representation.

No corren precisamente buenos tiempos en esta Europa con los pies de barro. Menos aún para todo aquello que siempre, ante la incertidumbre, se manifiesta más vulnerable. Es el caso de la música y el arte en general.
La temporada de ópera en España ha terminado sembrando cierta inquietud de cara a la próxima de 2012-13 when it comes to labor issues. Despite the suspension of the ERE that jeopardized the continuity of the season at the Teatro del Liceu in Barcelona, the last performance, Aida, where the baritone Joan Pons said goodbye to the stage, was affected by the strike of some thirty members of the choir. They were protesting the dismissal of two of their members. The great choirs of this opera had needed the reinforcement of some 50 choristers of the Puig-Reig Polyphony, which allowed the work not to tarnish and the farewell of the magnificent Pons has been the one it deserves.
Nor is the situation easy at the Teatro Real in Madrid. The negotiations that had been held by representatives of the workers and the company, they have not reached any agreement and dismissals are announced before the start of the next season.
Real workers accuse the artistic direction, not without reason, of the lack of realism due to the current situation that the country is going through. Starting the season with an opera in concert version (2 functions) that costs more than 1.000.000 €. Se programan 6 new productions, with the immense expense that it entails, and there is no commitment to any revival as all the opera houses in Europe are doing. Se programan 10 Real nights when this season there have been 7 Y 6 have been very poor”.
Given these situations, it is clear that the next season in the two most important opera houses in Spain will begin with some concern.. In the absence of the impact that VAT will have from September (never good), we will have to be attentive and wait for events. The only thing clear is that we live in moments of uncertainty and music, as, it was not going to be less.”

Decca has presented the complete Beethoven symphonies, recorded live by Daniel Barenboim and the West-Eastern Divan Orchestra in Cologne, project testimonial: “Beethoven for all”, which began with a world tour in 2010 at the Colon Theater in Buenos Aires.
The WEDO orchestra was founded in 1999 by Edward Said and Daniel Barenboim as “a forum for young musicians from all the different countries of the Middle East to come together, to have an opportunity to make music together and thus fight against the ignorance they have of each other.”
The project is a reflection of the universality of music. As Barenboim points out, “music is for everyone who opens their mind and heart. It takes that curiosity and it takes careful listening, but then it's for everyone. And if you ask people who think they're not musically inclined: who do you know?, they say: a Beethoven. So if we want music for everyone, then it has to be Beethoven.”
further, explains that this composer was at the center of the entire development of the orchestra because he has everything: “it's dramatic, lyrical, epic...it's anything but one thing, there is nothing superficial. It really deals with what is essential for the human being.”
Despite acknowledging that the record market does not need another cycle of Beethoven, clarify that these recordings “they are different because they contain an impressive amount of energy (due to the youth of the musicians of the instrumentalists), but there is rigor in exactly the same proportion. And the combination of rigor with energy is very powerful.”
“Beethovewn for all” It will be the first classic Fi-Di album of Universal Music Spain, a format that will allow all those who buy his album in physical format to enjoy exclusive digital content of interest on the website www.beethovenforall.es, which they can access with a personal code that will be included inside the album.

Conference dedicated to Arnold Shönberg and his opera Moisés y Aarón at the Círculo de Bellas Artes in Madrid

ARNOLD SCHÖNBERG, MUSICAL TRADITION AND INNOVATION HEBRAICA
25 of June, Monday, to 19.30 hours
column room
Music should not adorn but be true, por Rainer Peters
musical structure of the opera “Moses and Aaron”, por Sylvain Cambreling
Concert: Five Pieces for Piano Op. 23 and Suite for Piano Op.25, de Arnold Schoenberg
Interpretación de Kyoko Nojima

MOISÉS, THE BIBLICAL CHARACTER, THE FIGURE THROUGH THE HISTORY OF ARTS
26 of June, Tuesday, to 19.30 hours
column room
The biblical figure of Moses. history and memory, by Julio Trebolle
My Moses looks like Michelangelo. The motif of Moses in the painting, literature and psychoanalysis, por Rainer Peters
Concert: Transfigured Night, On. 4, de Arnold Schoenberg
Interpretation: Soloists of the Madrid Symphony Orchestra

PRELUDE TO THE CELEBRATION OF THE 15 ANNIVERSARY OF THE ROYAL THEATER IN THE CIRCULO DE BELLAS ARTES IN MADRID
The Royal Theater will commemorate the 15 anniversary of its reopening with the premiere in Madrid of the fabulous opera by Arnold Shönberg, Moses and Aaron.
As a prelude to this celebration, they will take place at the Círculo de Bellas Artes, the days 25 Y 26 of June, to 19.30 hours, two Conferences dedicated to the Viennese composer with round tables and concerts.
El acceso a estos encuentros es gratuito y libre hasta completar el aforo.

The Royal Theatre, en colaboración con el Círculo de Bellas Artes de Madrid, ha organizado dos atractivas y poliédricas Jornadas dedicadas a Arnold Schönberg (1874-1951) para profundizar en el universo creativo de este gran compositor austríaco, cuya ópera Moisés y Aarón inaugurará la próxima temporada del Teatro Real.
moisés, personaje central en el cristianismo, judaísmo e islamismo, fascina igualmente a historiadores, arqueólogos, egiptólogos o teólogos, que durante más de 3000 años han rastreado e investigado sus huellas, su influencia y su aura mística y religiosa.
Su figura sedujo también a innumerables artistas -de Miguel Ángel a Tintoretto, de Rembrandt a Murillo-, escritores y pensadores que, como Thomas Mann, Strindberg, Heine o Freud lo han convertido en impulsor de obras literarias y ensayos.
También Arnold Schönberg, creador del dodecafonismo y compositor crucial en la historia de la música del siglo XX, convirtió a Moisés en el protagonista de su única ópera, Moses and Aaron, creación singular, imponente y sobrecogedora prácticamente desconocida en España, que el Teatro Real presentará en versión de concierto para conmemorar el 15º aniversario de su reapertura, in 1997.
Como anticipo a este gran acontecimiento se ofrecerá al público de Madrid la posibilidad de acercarse, desde diferentes enfoques, a la vida y obra de Schönberg, con dos Jornadas dedicadas al compositor en las que participan:

Rainer Peters, musicólogo alemán experto en la Escuela de Viena, who will talk about Schönberg's work in its social and artistic context
– Sylvain Cambreling, conductor of renowned prestige in the interpretation of 20th century music, who will illustrate his intervention with abundant musical examples
– Julius Trebolle, Professor of the Department of Hebrew and Aramaic Studies at the Complutense University of Madrid, that will bring the figure of Moses closer to the public from different perspectives

Both days will be closed by a small concert with works by Shönberg:

– Kyoko Nojima will perform the Five Pieces for piano Op. 23 y la Suite para piano Op.25, the day 25 of June
– A String Sextet from the Royal Theater Orchestra will perform the Transfigured Night

The next 12 The world premiere of Poppea e Nerone will take place in June at the Teatro Real, new orchestration by Philippe Boesmans (1936) para The coronation of Poppea, de Claudio Monteverdi (1567-1643), with musical direction by Sylvain Cambreling, stage direction by Krzysztof Warlikowski and scenery and costumes by Malgorzata Szczesniak.
Philippe Boesmans has created for the Teatro Real a new version of the orchestration premiered in 1989 at the Teatro de La Monnaie, clearest, refined and intended for a reduced orchestra, made up of solo musicians, como la Klangforum Wien, group of great prestige in the interpretation of contemporary music, that will be in the moat of the Real.
In the two known manuscripts of L'incoronazione di Poppea -the one from Naples and the one from Venice-, the opera appears only with the vocal part and a harmonic accompaniment of three voices (top two and bottom). The absence of the orchestral score means that a new instrumental version has to be created each time the opera is performed..
The orchestration can be carried out with historicist criteria “as read by Nikolaus Harnoncourt, René Jacobs, Alan Curtis o William Christie”, or you can choose, as in the case of Luciano Berio, Hans Werner Henze, o Philippe Boesmans, for a score in which modern and ancient instruments coexist, and that gives the basso continuo a great richness of rhythm and color, reinforcing the original operatic dramaturgy.
This reinterpretation, driven by Claudio Monteverdi himself, it becomes extensive, at the Theatre Royal, to the entire artistic team, headed by Krzysztof Warlikowski, who has decided to concentrate the plot of the play on the ethical and philosophical issues raised by the characters, under the aura of Seneca.
The opera will be preceded by a theatrical prologue created by Krzysztof Warlikowski, Christian Longchamp y Jonathan Littell, inspired by texts by Michel Foucault (his last conferences), Thomas Hobbes y Christopher Isherwood (his novel A Single Man) and in excerpts from the Wittgenstein film, by Derek Jarman.
Monteverdi's masterpiece, written when the composer had 75 years, abandons mythological themes for the first time to address a historical drama full of exacerbated passions and bloody struggles for power, treated in the brilliant libretto by Giovanni Francesco Busenello with amazing naturalness, brushstrokes of humor and disguised disenchantment.
In this production the character of Seneca is enhanced, who has renounced the pleasures of love and passion to consecrate his days to philosophy and teaching. In old age he has to face his past and is prey to hallucinations. The first one takes place in the Prologue, in an elite university in which he has among his disciples Nerone, Poppea and Ottavia.
six years later, when does the first act begin, Seneca, already in full dictatorship, has left teaching, but he is still a reference for his former students. The old university classroom has become an abandoned place, that the young fascists use for their exercises and that the former students frequent for nostalgia, as a meeting place. Seneca, although he no longer teaches, also return to this space regularly…
To bring this opera to life Sylvain Cambreling, first guest conductor of the Klangforum Wien, will lead this prestigious group and a large number of soloists, in which they stand out: Nadja Michael (Poppea), Charles Castronovo (Nerone), Maria Riccarda Wesseling (Octavia), William Towers (Brass), Williard White (Seneca), Ekaterina Siurina (drusilla), José Manuel Zapata (Arnalta), Lyubov Petrova (Virtue / Shovels), Elena Tsallagova (Luck / Checkers), Serge Kakudji (Love), Jadwiga Rappé (nodriza de Octavia), Isaac Galan (Mercury/Lictor/Seneca's Familiar), Juan Francisco Gatell (Lucano / Liberto) y Hannah Esther Minutillo (page).

Brilliantly matching the roles of international opera star, cartoonist, humorist, TV personality and budding novelist, the highly talented Mexican tenor (and exclusive recording artist for Deutsche Grammophon) Rolando Villazón has just reaped a new double victory in Baden-Baden, where the new staging at the Festspielhaus of L'elisir d'amore by Donizetti has seen not only how he re-incarnated his emblematic role as Nemorino, the opera hero afflicted with lovesickness, but also how he directed the entire production on stage.
Rolando has directed opera on stage before – he made his stage debut with Massenet's Werther in Lyon in 2010., but this is the first time he has sung and conducted in the same show.
Rolando's audacious double has proven to be, Without any type of doubts, a huge success. Monday's premiere performance was greeted with a ten-minute standing ovation and critics have praised both her performance and staging.. The Pforzheimer Zeitung praised her “beautifully fluid bel canto performance”, while Die Welt paid tribute to his “absolute control” of the scene: “[To direct] L'elisir requires, above all, authentic skill; and Villazón -the smart clown- certainly owns it […] an absolute pleasure”.

No one can be of the greatest and eco any means made of his death. It's what you have to leave while Donna Summer and Robin Gibb. It's what you have to live in a time where mediocrity is raw and trivializes knowledge. When the banality becomes important, the important thing happens to the back rows. And it is that the great baritone Dietrich Fischer-Dieskau has left us, with the same elegance with which he interpreted, impeccably, read songs by Schubert. His resounding stage presence. His perfect phrasing and declamation. your technique, refined and convincing. and his voice, homogeneous, smooth and precise. The greatest of the 20th century.

The Académie du Disque Classique Lyrique de Paris has awarded soprano Patricia Petibon for her interpretation of the title role of Alban Berg's Lulu on the DVD recorded at the Gran Teatre del Liceu in November 2010.
Lulu is a co-production of the Gran Teatre del Liceu and the Grand Théâtre de Genève with the controversial stage direction of Olivier Py. With this DVD, the Liceu launches its collaboration with the record company Deutsche Grammophon.
Patricia Petibon, Internationally acclaimed French soprano, stands out in the leading role with a fantastic performance, of great magnetism and theatrical force.

He 21 May the Teatro Real premieres Rienzi, one of the emblematic titles of the romantic grand opera in concert version, prelude to the commemorations of the bicentennial of the birth of Richard Wagner that will take place next year.
Alejo Pérez will be in charge of 13 soloists, about 100 singers of the Vienna Philharmonia Chor and the Choir of the Royal Theater and the 122 Titular Orchestra musicians of the Royal Theater, divided between pit and stage.
The tenor Andreas Schager , replacing Burkhard Fritz in the title role, leads the cast alongside soprano Anja Kampe and mezzo-soprano Claudia Mahnke.
Opera in five acts by Richard Wagner (1813-1883) based on the novel Rienzi , the Last of the Roman Tribunes , de Bulwer-Lytton, and written within the formal principles of the French grand opera, then at its peak.
La creación de Rienzi pasó por varias fases y se gestó en diferentes ciudades: Riga, in 1838, los dos primeros actos, y en Boulogne-sur-mer y París , in 1839 Y 1840, los tres últimos. A pesar de la poderosa presión de Meyerbeer para que Rienzi se representase primero en Berlín y después en París, la ópera sólo logró su primera presentación pública el 20 October 1842, Dresden, cuando Wagner ya había concluido Der fliegende Holländer (The Flying Dutchman) y iniciado la composición de Tannhäuser.
La trama de la ópera se basa en el ascenso y caída del tribuno del pueblo Rienzi, quien se propuso, in 1347, instaurar en Roma una república conforme al modelo de la Antigüedad. Tras liderar una insurrección popular, hubo de abdicar siete meses más tarde y huir al exilio. Rehabilitated by the Roman Church after seven years, returned to the eternal city, where he was killed.
A good part of Rienzi's features assume the presuppositions of the grand opera , whose contrasts between the historical plot, collective and grandiose, and the drama of the protagonist, deep and unique, backbone the structure of the opera, opposing intimate and intense scenes to spectacular endings of great scenic complexity.
The success of the Rienzi premiere was colossal, perhaps the greatest and unanimous in Wagner's life. However, the composer submitted the score to several revisions and progressively moved away from it., almost disowning her at the end of her life. This rejection was appropriated by the staunchest Wagnerians, who have not allowed the work to ever premiere at the Bayreuth Festival, not even after the "revision" of Cósima Wagner to adapt it to the aesthetic principles of Musikdrama.
Nor was it alien to the future of the work its close link with the biography of Adolf Hitler, who listened enthusiastically to the 17 years, used it for the opening of the NSdAP Congress, in Nuremberg, in 1939 and finally appropriated the autograph score, which became part of his private collection and disappeared during the bombing of Berlin.
Today, 170 years after its premiere, Rienzi can be seen within the aesthetic context of his creation, within the framework of the great opera of the 19th century and as an important step in the career of Richard Wagner, before embarking on the path that would consecrate him as an icon of operatic creation of all time.

The Barcelona tenor David Alegret will make his operatic debut at the Teatro de La Maestranza in Seville next 28 June assuming one of the main characters of the forgotten opera Christopher Columbus (1829), of the composer Ramón Carnicer (Tarrega, 1789 – Madrid, 1855), and whose upcoming revival in Seville will mean its premiere in modern times and one of the musical events of the season. It is a fully bel canto work, reminiscent of the great repertoire of the late Donizetti or the early Verdi, with moments of extreme difficulty and with a lot of ornament”, Alegret points out, who must defend the complex role of Zamoro, “very sharp and full of coloraturas”.
The work of Carnicer, essential composer of Spanish musical Romanticism, author of a dozen operas and, even, of rarities such as the National Anthem of the Republic of Chile, will arrive at the Sevillian coliseum in a concert version directed by Santiago Serrate, who will be in charge of the Royal Symphony Orchestra of Seville and a cast in which Yolanda Auyanet also participates, Cristina Faus and Joan Martin Royo, among others. The premiere of this opera, with the Italianized name of Cristóforo Colombo, took place at the Teatro del Príncipe in Madrid on 12 of January of 1831 and the sheet music, one of the best in the catalog of the Spanish composer, demands great vocal virtuosity from its performers.”

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