La Cenerentola premieres the season at the Teatro Real

Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

Tosca shines at the Teatro Real
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real











The theatrical conveniences and inconveniences
Viva la Mamma!
Gaetano Donizetti (1797-1848)
Playful drama en dos actos
Teatro Real, Madrid 5 June of 2021
Libreto by Domenico Gilardoni, based on the works Le convenienze teatrali
(1794) y The theatrical inconveniences (1800) by Antonio Simeone Sografi
Choir and Orchestra of the Teatro Real holders
D. musical: Evelino pido
D. scene: Laurent Pelly
Costume designer: Jean-Jacques Delmotte
scenographer: Chantal Thomas
illuminator: Joel Adam
D. choir: Andrés Máspero
Distribution: Sabina Puértolas, Gabriel Bermúdez, Luis Cansino, Francesca Sassu,
Alejandro del Cerro, Carol Garcia, Enric Martínez-Castignani, Piotr Micinski,
Luis López Navarro Opera is a very broad artistic expression. Total Art, Wagner was talking about. And behind the own stories that an opera tells us, there are others that are being woven between those who participate in them. To such an extent those other stories were important, that became a genre within the operatic compositional panorama towards the second half of the 18th century, in full classicism. The great animator of this new genre was Benedetto Marcello. Related to opera through its many facets as a composer, writer and businessman, in 1720 publishes a kind of satirical pamphlet entitled "Il teatro alla moda", that quickly generated a movement of critics adept at his cause and that did not leave a puppet with a head, they were already composers, singers, businessmen or simple stagehands. Marcello thought that classical opera had succumbed to the whims of the divas and the superficiality of the scenography.

The "Il teatro alla moda" actually had a lot to do with the way of doing theater at the time with great success among the public.. At that time, a kind of highly hierarchical operatic show was still taking place., where the singers had the command. The scores were at the service of the interpreters, even getting to write the works on the fly depending on the tastes or whims of the singer on duty.

A good number of works were then written on the subject, But with the passage of time the roles were reversed and it was the directors and entrepreneurs who came to take command. From that moment on, these works stopped making sense and were being forgotten..

One of these works is ¡Viva la Mamma!, whose real title is Le convenienze ed inconvenienze teatrali. It was too long a title that was replaced by ¡Viva la Mamma! when he returned to the stage. It was one of the last compositions of this genre and it is the first time that Donizetti wrote the libretto for one of his works.. A funny satire that talks about the entanglements and rivalries that occur during the staging and performance of an opera.

These popular works also had great flexibility in making changes.. Donizetti composed a first version consisting of a single act and, as if it were a zarzuela, had spoken parts that were written in Neapolitan dialect.

Four years later it opens in Milan and the composer adds a second act, removing the Neapolitan from the score so that it could reach the entire audience.

Laurent Pelly is the stage director of this new production of the Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva. scenography, using the idea of ​​forgetting this type of work, presents an old theater that is used as a parking lot. On stage, The characters that compete for the title role or to sing the best arias are parading, being the victims of these internal wars, businessmen, composers and librettists.

Pelly has turned to the theater within the theater and has created some characters, rather belonging to the past, that are fun while producing a certain melancholy. characters, as its authors wrote and Benedetto Marcello described well, they exaggerate their flaws to cause more hilarity. Characters for which singers who have a very important interpretive level are needed, apart from the vocal demands, that are not few in this score.

This second cast has been led by the soprano Sabina Puértolas and her Daria, the first woman. A candy that Puértolas embroiders thanks to its sophistication on stage and a very good execution of the first act cabaletta, full of difficulty due to its demanding agility.

Procolo is Daria's husband, played by Gabriel Bermúdez. A toxic husband pretending to be another prima donna like his wife. Bermúdez achieves a great performance, fun and with a good vocal level.

The tenor Alejandro del Cerro played Guglielmo, el first tenor, that embroidered the character stretched out and with a German accent. Had some very inspired moments, as in his aria from the second act.

Without a doubt, the winner of the night was Luis Cansino and his role as Mamma Agata. A transvestite in reverse, because until then only women dressed as men. Cansino gets into this role that can be said to be a specialist. She brilliantly recreated the twisted mamma de la seconda donna pretending to be the diva herself. He changed his register from baritonal to falsetone quite naturally in those unwritten notes and with which he played with mastery..

Luigia, the second gives, hija de Mamma Agata, was in charge of the Italian Francesca Sassu. He interpreted the timid and timid character of compresaria very well and showed the quality of his instrument., being at a very good level.

The rest of the cast had a participation at the height of the protagonists. Stage director Luis López Navarro, businessman Piort Micindki, the poet Enric Martínez-Catignani and the funny Pipeto by Carol García.

Evelino Pidó knows this repertoire well and it shows that he has a trade and experience. He solved the balance between pit and stage very well in such a sparkling play.

The performance ends with a group of workers entering the scene with their destructive machines., which is a true plea in defense of culture in a year as complicated as this. But the strength of those who, in the worst circumstances, they have defended it.

Text: Paloma Sanz
pictures: Javier del Real

The King who Rabbi-1

The King who Rabbi-2

The King who Rabbi-3

The King who Rabbi-4

The King who Rabbi-5


The King who raged
Zarzuela in three acts
Music by Ruperto Chapí
Libretto by Miguel Ramos Carrión and Vital Aza
D. musical: Ivan Lopez Reinoso
D. scene: Barbara Lluch
Scenography: Juan Guillermo Nova
Locker room: Clara Peluffo Valentini
Lighting: Vinivio Cheli
Orchestra and Choir of the Community of Madrid
Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.

At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.

The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.

This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.

The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.

The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.

The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.

Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.

It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.

A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.

Text: Paloma Sanz
pictures: Javier de Real


When one enters a field that is not his and does not know perfectly, it can be for two reasons, either he is reckless or he is very brave. And to be brave you have to have, Besides, other qualities.

The recital of Sonya Yoncheva at Teatro de la Zarzuela this past 29 of April, is a clear example of courage, among other things. You have to be brave to appear in the Theater of the genre with a zarzuela recital and you have to be even more so, to do it without knowing much about this genre.

Despite having to use the scores and having a somewhat insecure start, Sonya Yoncheva ha demostrado, not only have an instrument of indisputable quality, a bright voice, sunny, that filled the harmonics room, with a powerful central register and remarkable Spanish phrasing, but he also showed tremendous courage when interpreting with extraordinary success a repertoire of romances that made the audience vibrate. An audience that always knows how to thank and reward those who approach this genre with respect and dedication.

Yoncheva began the recital with the romance "Beautiful Night", de Katiuska de Sorozábal, as I say, something cold. But it was warming up as the recital progressed. He continued with "Three hours before the day", of the Machenera of the teacher Moreno Torroba, his favorite piece, as she herself indicated, and that he also offered as a first tip. He continued with three other romances, "My tears, where are you?", of the Iron Ring of Miquel Marqués, "The evening light is leaving", del Pájaro azul by Rafael Millán and ended this first part with "I saw myself in the world forsaken", from The Oath, Joaquín Gaztambide.

The second part began with the duet “What a beautiful night!”Of the wild cat, Manuel Penella. Here she was accompanied in the replica by an energetic Alejandro del Cerro. With a ravishing voice and a beautiful metallic timbre, put his two cents, next to the vibrant direction of Miquel Ortega, so that the public would definitely indulge in enjoyment.

He continued with "I did not cut more than a rose", by La with the bunch of roses by P. Sorozábal and “From Spain I Come” from the Jewish Child by Pablo Luna, already delivered from the stage and full of voice. He ended with "When I think about the duel of my loves", from La hija del cebedeo, by Ruperto Chapí and “I am Cecilia!”, by Cecilia Valdés de Gonzalo Roig, where he wasted great sympathy and ability to enjoy on stage. The second encore he offered, after the repetition of the Machenera, It was Carmen's habanera. Going all over the stage, including director's podium, who accompanied her to the piano. At that time the theater was surrendered to his bare feet.

Very outstanding was the work of the teacher Miquel Ortega leading the Orchestra of the Community of Madrid. Not only always attentive to Yoncheva's needs, giving you security, his direction at all times was especially outstanding and the interventions of the orchestral works raised the audience that at that time had been abandoned to the good work of the orchestra. They began with the prelude to La joy de la huerta, of Chueca, to later offer the Intermission of Los Burladores, of P. Sorozábal, The Prelude to Los Borrachos, by Gregorio Giménez and end with a masterful and electrifying interpretation of the Intermission of La Leyenda del beso by Reveriano Soutullo and Juan Vert.

A night to remember, next to the recital in this same room by Elyna Garanca, of those who come to our lyrical genre to know it, spread it out and make it even bigger.










Peter Grimes, from rumor to destruction
Peter Grimes
Benjamin Britten (1913-1976)
Opera in a prologue and three acts
D. musical: Ivor Bolton; D. scene: Deborah Warner; Scenographer: Michael Levine; Costume designer: Luis Carvalho; illuminator: Peter Mumford; Video Designer: Will Duke; D. choir: Andrés Máspero
Distribution: Allan Clayton, Maria Bengtsson, Christopher Purves, Catherine Why-Rogers, Hohn Graham-Hall, Clive Bayley, Rosie Aldridge, James Gilchrist, Jacques Imbrailo, Barnaby Rea, Rocío Pérez, Natalia Labourdette, Saúl Esgueva Mass theories have always been an attractive object of study for sociologists and psychologists. But they not only arouse the curiosity of researchers in the field. As a starting point for mass movements, there is an element that works as a catalyst, the rumor. Rumors are associated with the defense of social identity (Rouquette, 1997). They generally evoke negative or feared consequences or results and their circulation is a way of validating prejudices and stereotypes. When there is a critical situation, the need to build a common affective reference is born, being the rumor an effective vehicle of social cohesion. Participate in the dissemination of a rumor and validate it, increases the perception of belonging to the group.
Peter Grimes is the ideal character to launch the cohesive rumor mill of one of the protagonists of the play, Borough. The Imaginary Town of Suffolk County Coast, composer's birthplace, and whose socioeconomic situation can help explain the behavior of a society against the different, which in this case is not exactly a character with whom you can empathize. it is dark, Tormented, suspicious, lonely and bland, who lives outside all social norms and arouses the distrust of those around him.This work was commissioned by Sergei Koussevitzkt, director of the Boston Symphony Orchestra, Britten during the stay in the US, between 1939 Y 1942. It is based on the libretto by Montagu Slater, inspired in turn by the poem in the collection of The Borough (1810) George Crabbe Back to England, after his disappointing stay in the US, Britten got down to business with her new project that debuted just a month after the end of World War II., in an atmosphere of euphoria for victory. In this work Britten deals with a recurring theme in many of her operas, the drama of marginal characters who face hypocritical societies. A situation that Britten himself knew very well.

Peter Grimes does not premiere at the Royal Theater until November 1997, after its reopening. Although it is an opera that is already part of the repertoire in many theaters, your scheduling is still a brave decision, because it is an uncomfortable challenge due to the harshness of the topics it deals with.

Now Britten's best-known title comes back to Real, after having dedicated an important space to this composer in recent years, since Death in Venice, passing Gloriana and award-winning Billy Budd. And he does it scenic by the master hand of Deborah Warner.

Warner has set the scenery today. As always in the works of the Warner - Levine tandem, elegance is present even in the most seedy decorations. The opening scene of the town with its flashlights looking for Grimes is masterful. The direction of actors and the movements that take place on stage by Kim Brandstrup are very careful, they are perfect. Just like Peter Mumford's extraordinary lighting. All the atmospheres they create are emotional and disturbing. Nothing is random or frivolous or gratuitous. It all makes sense to describe the port, full of tackle and boxes in perfect disarray. Or the tavern, a messy, chaotic place where the townspeople are pouring in, to the rhythm that marks the storm and where, Of course, the protagonist who, facing the door and back to everyone, interpreta “now the great bear and pleiades”, creating one of the most emotional moments.

The famous six interludes have their leading role, both in the musical and the scenic. They serve to reflect, sometimes about the characters, sometimes about action, but always creating a special atmosphere.

Leading the Orchestra, an Ivor Bolton who, like he already did in Gloriana and Billy Budd, proves to be a great Britten specialist. He knew how to put the orchestra at the service of drama, in perfect coordination with the scenery. Perhaps that balance between pit and stage was the cause of the orchestral slowness in some moments. But the sound quality, especially in some of the interludes, it was at a very high level.

The chorus, one of the main characters in this play, has a brilliant participation in this production. In addition to the effort that he has been making when having to sing with a mask, flawlessly performs its predatory and threatening role. Has outstanding moments, as in the last scene.

The list of singers has been at a very high level. The quality of all of them has created a very balanced and compact set, combining magnificent singers with amazing actors.

Allan Clayton played an exceptional Peter Grimes. The drama of his performance built the most suitable character, without excesses or histrionics. His fresh voice accompanied with great sensitivity the moments of greatest intimacy of Grimes, which were the most outstanding. He knew how to highlight that most vulnerable and intimate part of the rude character. This lyricism may be helped by its baroque origins. He was certainly the winner of the night.

Maria Bengtsson was a moving Ellen Orford, the newcomer and also different and strange in the eyes of the people. His light voice endowed the character with great delicacy. He also stood out in the dramatic part, in love with Grimes and always attentive and tender with the ill-fated apprentice.
Another of the most prominent voices has been that of Christopher Purves. A Captain Balstrode who perfectly understands and appreciates Grimes, but he also knows that he must not cross the fine line that would make all the people go against. On the vocal plane it was at a very high level. With a homogeneous voice and a warm timbre, as your character.

Catherine Wyn-Rogers como Auntie, the irritating tavern owner whose voice was perfectly suited to the role and her performance was flawless.

Rosie Aldridge's Sedley also shone in the performance. Created the perfect town gossip character, where almost all the rumors come from. Only in some moments was it covered by the orchestra.

James Gilchrist of Life to Reverend Adams, the unpleasant representative of the church with a posed and bombastic demeanor. His tenorile timbre fit the character well.. The interpretation of John Graham-Hall as Bob Boles was also successful, the histrionic character that he knew how to impeccably characterize. Also highlight Jacques Imbrailo, which was the brand new Billy Budd from 2017 and here he played Ned Keene.

The only two Spanish women in the cast, well they were all british, you have been Rocío Pérez and Natalia Labourdette, like the nieces of the tavern owner. They both knew how to be at the level of the rest of the cast.

New success of the Teatro Real with this Peter Grimes, not an easy opera, nor for those who carry it out, nor for the public, who left the theater enthusiastic. But nothing is easy these days. And for challenges and successes, Royal Theatre.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Pregardian & Vignoles (c) Rafa Martin

XXVII Lied Cycle of the CNDM and the Teatro de la Zarzuela 12 April 2021

Christoph Prégardien, tenor

Roger Vignoles, piano

the beautiful Miller, Franz Schubert (1797-1828)

The comic opera had been premiered with great success in Germany. La Molinera, that is, the thwarted love, by Giovanni Paisiello. This event was a stimulus for some poets of the moment, who began to write about this bucolic topic. Goethe himself wrote four romances and four ballads of the miller.

Inspired by his admiration for Goethe's work, a young Müller sets out to create, with a group of friends, a dramatic development chaining Lieder in which, through its characters, a story is told. To the end result, fruit of a party game, put music by Ludwig Berger.

Years later, Schubert discovered Müller's poems and began a collaboration from which the definitive texts emerged.. Schubert found in these poems the perfect narrative description that he needed at that time, adapting the poems to your purposes and music.

The cycle was unveiled in early 1824. In 1830, publisher Anton Diabelli acquired the rights and published a revised second edition. His first known performance was in May 1856, by the baritone Julius Stockhausen in Vienna.

the beautiful Miller, initially written for tenor, is usually approached by baritones. This time, the person in charge of giving voice to Müller's poems in the Lied Cycle of the Teatro de la Zarzuela and the National Center for the Diffusion of Music has been the light lyrical tenor Christoph Prégardien, demonstrating, once again, his mastery of the Liederistic genre at the service of Schubert's work.

Prégardien has shown his virtuosity in acting. No need ornaments, the restrained form of his expression shows the elegance of his mastery of the genre. Clarity in diction, giving more importance to the text, and in his nuanced way of "saying", is above any excess in the expression.

Accompanied on piano by Roger Vignoles, they formed a perfect team that walked in unison, in a fluid and crystalline way, like the main water in some of the works they performed.

A perfect night, intense and culminated with two tips also from Schubert, equally well delineated by both interpreters and that finished off the good taste in the mouth that their performance left in the public.

Pregardian & Vignoles (c) Rafa Martin

Vincenzo Bellini (1801-1835)
Lyrical tragedy in two acts
Libretto by Felice Romani, based on the work Norma, or infanticide (1831) Alexandre Submits
New production of Teatro Real
D. musical: Marco Armiliato
D. scene: Justin Way
Scenographer: Charles Edwards
Costume designer: Susan Willmington
illuminator: Nicolas Fischtel
Choreography: Jo meredith
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Annalisa Stroppa, John Osborn, Fernando Rado, Berna Beads, Juan Antonio Sanabria Arrives at the Teatro Real Norma, Bellini, in a new own production. He does it coinciding with Siegfried, Wagner, who did not exactly like Italian opera and who, but nevertheless, showed great admiration for the Italian master. Specifically, Norma was one of the works in which the German master showed the greatest interest. Norma transcended the bel canto, had some new elements full of romanticism and expressive capacity. The Bellinian declamato-cantato that in Norma reached its maximum expression, where arias are no less important than dialogues and manner, almost mourning, in which the different characters faced each other through duets and triplets, thus leaving aside the traditional succession of virtuous arias that defined the Italian opera tradition up to that time. The characters of this work, especially its protagonist Norma, they have multiple faces. Some even contradictory, what gives them that enigmatic halo that fills the plot with intrigues and romantic situations, with which Bellini and his librettist Felice Romani tried to make their audience cry with emotion., Justin Way's scenography repeats the now classic theater within the theater, located in pre-reunification Italy. But the scenery, which is full of originality and numerous nods to the decorations of 1831, when it premiered on the Milan Stopover, There is some confusion between the two scenes that are combined and that are not very well differentiated.Marco Armiliato has been commissioned to replace Maurizio Benini. The change may have gained in loudness and volume, but maybe it has lost nuances and delicacy. Norma is one of those operas par excellence, that define by themselves what this genre is.

The score is of great richness and, at the same time, simple. His orchestration is of great delicacy. He does not intend to accompany the singer, but to serve as a delicate mattress. This is undoubtedly one of your greatest difficulties when dealing with it, both for the orchestra and for the singers.

On this occasion the Royal Theater presents two high-rise casts. In this dress rehearsal we witness a second of extraordinary level that promises performances of great interpretive quality. It is the first Norma that the Russian Hibla Gerzmava faces and approaches it with courage. Has a good volume of voice and great drama. In addition to that lightness that the character demands, shone in the duet with Adalgisa, in which they pasted to perfection.

Annalisa Stroppa's Adalgisa is undoubtedly the most clearly bel canto voice of the cast. His singing line is very well defined, phrases delicately and with Bellinian intention. Draw an Adalgisa full of sensitivity and expressiveness. Elegant always on stage, stood out in the duet with Norma and the triplet of the second act, achieving some moments of brilliant lyricism. Not for nothing is an experienced Adalgisa.

Another of the most accurately bel canto voices is that of the Polione of the American John Osborn. His vocal characteristics are very suitable for the character and for this style of Bellinian declamation..

The rest of the cast is at high altitude. The destacar is Fernando Radó, as Orobeso. Well the Clotilde by Berna Perles and the Flavio by Juan Antonio Sanabria.
The Royal Theater is right with this work of the classical repertoire that is a respite for the amateur after having attended the endless and decontextualized Siegfried.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real











We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Siegfried, the heroic Siegfried
Richard Wagner (1813-1883)
Second day in three acts of the Der Ring des Nibelungen stage festival
Premiered at the Bayreuth Festtspielhaus in 1876
D. musical: Pablo Heras-Casado
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Head of the Royal Theatre Orchestra
Distribution: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler. Jongmin Park, Okka from the Damerau, Ricarda Menzer, Leonor BonillaIn extraordinary moments, doing everyday work can also become extraordinary. That is happening at the Teatro Real, which continues with its programming and these days represents the third installment of the Wagnerian Ring, nothing less than ‘Siegfried.. That the orchestra does not fit in the pit, because of the safety distance?, because it is distributed by the stalls. Harps to one side, metals to another. That the play lasts almost five hours and at 22:00 you have to be at home?, well it starts at 16:30. What is a long time in a closed room for so many public?, because the air renewal system is improved and instead of renewing it 4 times an hour, is renewed 8. What matches the representations of Norma?, Well as on other occasions!, where is the problem?. It is clear that others have the problem: we arrived with Siegfried on the second day of the Der Ring des Nibelungen stage festival. Although it is actually the third of the tetralogy, since Wagner composed this hulking work starting at the end, demonstrating his control over the dramatic unit long before he started writing it all started two seasons ago with Das Rheingold, where Wagner contextualizes the story. He continued last season with Die Walküre, that shows us the origins of the protagonist. Now comes Siegfried, that expresses its maximum splendor. And next season we will see Götterdämmerung, that narrates the decline and defeat of the character.In this apparent chaos in the compositional order, Wagner made several interruptions and various modifications, both in the libretto and in the score, during the composition of Siegfried. In May 1857, leaves the composition of this work in the middle of the second act to focus on Tristan und Isolde and Die Meistersinger von Nürnberg. It wouldn't be until twelve years later, in 1869, when he resumed his composition that he completely finished in 1871.

Fascinated by mythology and nature lover, Wagner creates a dark universe dominated by destruction. And the gods, which are often a metaphor of the human being, personify this destruction.

Within this universe of devastation, Wagner sees Siegfried as the new man model, that is free from morals and social conventions, who is not subject to the laws that govern the world and who is capable of facing the gods without fear. But this almost heroic behavior is also very innocent, for Siegfried is unaware that his exploits benefit those he fights, the bleak universe in which Wotan reigns.

As this is the chronicle of the dress rehearsal, we will not talk about the voices. But if I want to warn of its excellent level, especially the Siegfried of the Austrian tenor Andreas Schager, who thinks that "to make Siegfried you don't have to be afraid of anything", and Schager proves not to have it.

The rest of the voices are at a great height. A lot of quality in this cast with Ricarda Merbeth, as Brünnhilde. The Mime of the Italian Andreas Conrad. Tomasz Konieczny, like the walker. The Nibelung Alberich played by Martin Winkler. The Korean Jongmin Park as Fafner. here, the goddess of the earth, magnificent in the voice and the interpretation of Okka von der Damerau and the Sevillian Leonor Bonilla, who was in charge of giving voice to the forest bird.

As in the rest of the tetralogy, Siegfried requires an orchestra of maximum dimensions and unknown until then. It is here where the Royal Theater works the first miracle, and making virtue of necessity, he maintains the six harps required by the composer located in one of the stands, those closest to the pit. In the opposite box, the group of most serious metals is located. Thus, the bulk of the orchestra has barely been reduced. Only a few rope elements have been dispensed with, a pair of violins, a couple of cellos… The sound result is enveloping, but it shows some difficulties when it comes to filling or maintaining certain sound balances.

To tackle the scenery, Robert Carsen y Patrick Kinmonth, They use the destruction of nature as a metaphor, giving continuity to the line started two seasons ago. The scenic result is, basically, ugly and bleak.

Carsen completely decontextualizes Wagner's music and gives everything to a show, which is not such. Nature appears devastated, the bird is dead, the trees have been cut down and only the innocence of the two protagonists awakens a little light and hope.

It limits itself to criticizing climate change in a simple and commonplace way, with increasingly austere and minimalist scenographies. Beauty remains absent from his current productions. How we remember that Katia Kavanovà (2008) o Carmelite dialogues (2006).

Another success that the Royal Theater points to before the disbelief and astonishment of the rest of the theaters in the world. As the director says, Joan Mataboch (that like Siegfried, He is not afraid of anything), the secret is to anticipate events to solve possible problems. What is clear is that if you want to breathe clean air you have to go to the Royal Theater.

Text: Paloma Sanaz
pictures: Javier del Real
Videos: Teatro Real









Luisa Fernanda, or the indomitable desire to fight for beauty
Luisa Fernanda
Federico Moreno Torroba
record: Federico Romero and Guillermo Fernandez-Shaw
Yeatro de la Zarzuela, Madrid, 28 of January of 2021
D. musical: Karel Mark Chichon
D. scene: Davide Livermore
Scenography: Giò Forma
Locker room: Mariana Fracasso
Lighting: Antonio Castro
Choreography: Nuria Castejón
audiovisual design: Pedro Chamizo
D. choir: Antonio Fauró
Titular Orchestra and Choir of the Teatro de la Zarzuela
interpreters: Yolanda Auyanet, Juan Jesus Rodriguez, Rocío Ignacio, Jorge de León, María José Suárez, Nuria García-Arrés, Emilio Sánchez, Antonio Torres, Didier Otaola, Rafael Delgado, Cesar Dieguez, Julia Barbosa and Román Fernández-Cañadas.
He 30 April 2020 the premiere was scheduled at the Teatro de la Zarzuela by Luisa Fernanda. But like so many things in those days, Luisa Fernanda was postponed, that not suspended. Now it comes back to a Madrid whipped, but brave, in that "indomitable desire to fight for beauty". Released in Madrid in 1932, It is one of the most popular and widely accepted zarzuelas. One of those works that could be represented in any theater in the world and that is at the level of any work in the Italian repertoire.

This time, the Teatro de la Zarzuela, following his desire to internationalize the genre, wanted to have as musical and stage directors the British Karel Mark Chichon and the Italian Davide Livermore, respectively. It is one more way of approaching the zarzuela without prejudice and showing other visions of seeing and feeling our lyrics.
It is the first complete zarzuela that Chichon faces, a deep connoisseur of our lyrical repertoire who, with his wife, the mezzo-soprano Elina Garança, show their affection for this genre by playing it around the world.

Davide Livermore's knowledge of the zarzuela is more recent, dates back to his time as mayor at the Palau de Les Arts. Approaches the genre with deep respect for its principles, but with little success when choosing the elements that star in the scene. I don't know why many set designers insist on making everything turn, even, too. Apart from almost projecting poor Luisa Fernanda in one of the scenic turns, It is dizzy and distracts from the scene.
A Livermore, who likes good-sized stage elements, he got a bit out of hand with the good reproduction he has made of the façade of the Cine Doré. Luckily the corps de ballet, the choir and the singers, they had a good direction of actors and well learned the staging. It wasn't easy at all, especially in some moments, move around a stage full of traps and in constant movement.
The idea of ​​the cinematograph and the projection was very romantic, like a movie, of different scenes of the protagonists and others of the time. And, Besides, the projections would have been consistent with each other, the result would have been brilliant. More successful was the scene of the vareadores, with a well-drawn meadow of Extremadura.
Definitely, an exaggerated scenography that looked like a collection of elements from different works, all of them from different times. What comes to be a scenography of use.

The Orchestra of the Theater, at the command of Chichon, rang with great dignity, somewhat slow at times, but with chasticism and color. Very meritorious for a pit formed by barely 23 teachers for pandemic issues.
The same occurs with a choir reduced to five male voices and five female voices.. The mask did not prevent a magnificent performance, with some small initial mismatch, and the recognition of the efforts of all these professionals who are part of the Teatro de la Zarzuela.

The work of the musical and stage director was always supported by the theatrical capacity of a good cast of actors / singers on stage..

The character of Vidal was played by Juan Jesús Rodríguez. Before the beginning of the work, it was reported that his vocal loss caused by laryngitis. His performance was very commendable, but their difficulties were noticeable, especially in renouncing the higher registers.

Luisa Fernanda was in charge of Yolanda Auyanet, that a good recitative was marked out, prior to their musical numbers. As Livermore says, "Recitatives are not a break while waiting for the musical number, they have to be well supported by a good actress ". This is the case of Auyanet, that shone in the interpretation supported by a good declamation. His voice has lost some agility, but retains a powerful center and exquisite taste in phrasing.

We are going to end up catching a mania for Jorge de León for the villainy of many of his characters. It must be by nailing them in the interpretation. Start with the romance "From this peaceful corner of Madrid", without having barely entered the matter, may be a hamdicap. De León started something out of temper to get in tune with the progress of the work. Its emission is clean and powerful, but their singing is unnatural and with engolado sounds.

The Countess Carolina was well interpreted by Rocío Ignacio. He knew how to give the point of frivolity and sophistication that this character requires. He has a powerful voice and good highs, but its excessive vibrato prevents good diction.

Maria Jose Suarez, in the role of Marisa, it's always a guarantee on stage. His stage presence and acting capacity always put that necessary histrionic point in each representation.
The rest of comprimarios were at a good level. Highlight especially the revolutionary Luis Nogales, by Antonio Torres and veteran Emilio Sánchez, as Don Florito.

A night of zarzuela that rescues us from reality. Always in fear of a last minute suspension, but always maintaining this exercise of resistance in the face of reality. But beware!, that this theater is as real as everything else.





Don Giovanni
Wolfgang A. Mozart (1756-1794)
Playful drama en dos actos
Libretto by Lorenzo Da Ponte, based on the Trickster of Seville (1616) de Tirso de Molina y en el libreto de Giovanni Bertati for the opera Don Giovanni Tenorio or the stone guest (1787)
Production of the Berlin Staatsoper, from Salzburger Festpiele
Teatro Real, Madrid 29 December 2020
D. musical: Ivor Bolton
D. scene: Claus Guth
Responsible for the replacement: Julia Burbach
illuminator: Olaf winter
Dramaturgy: Ronny Dietrich
Choreographers: Ramses Sigl
D. choir: André Máspero
interpreters: Adrian Eröd, Goran Juric, Adela Zaharia, Airam Hernandez, Federica Lombardi, Marco Mimica, Cody Quattlebaum, Marina Monzó
Titulares Choir and Orchestra of the Teatro Real Personally I have to say that I have had bad luck with the Don Giovanni that I have attended. So unlucky I think this is the best I've ever seen. And I also have to admit that a few contradictions arise after seeing the representation. Some things I like a lot, other, less. But if you look at the whole, in all elements (which they are few) that make up this production, I can say that I left the Theater happy after having enjoyed Don Giovanni seems to have some kind of curse in Madrid, because the representations that have been made of him in recent decades have not been exactly brilliant. La de Claus Guth, which premiered in 2008 at the Salzburg Festival and now arriving at the Royal Theater, Since then he has been on stage with enough dignity. It is also the only Mozart opera that remained in the repertoire since its premiere in the Romantic period., when the rest had disappeared from the programming.There are two versions of Don Giovanni, the Prague of 1787 and Vienna in 1788, which is the one represented on this occasion, although the final sextet and the duo between Zerlina-Leporello have been dispensed with. How Mozart wrote for singers, adapted the Vienna version for the Austrian soprano Caterina Cavalieri for the role of Elvira, one of the most famous singers of the moment. He did the same with the role of Don Ottavio, which in Vienna was played by Francesco Morella, for who wrote the aria of Il mio tesoro, a tenor with more skill and facility for coloratura than Antonio Baglioni, which premiered the version in Prague.Guth has created a forest of extraordinary realism. Rotary, how could it be otherwise in the case of the German director. The forest ... that place where we hide or love each other. A place where we can feel fear, we get lost and worry, but where emotions are always strong. Claus Guth's scenography begins by altering the libretto, for the Commander mortally wounds Don Giovanni already in the overture, as a spoiler. From here we witness the agony, in real time, of a Don Giovanni who is like an animal hunted and wounded in a forest that, at turning, besides being a bit dizzy, It unveils the mysteries and corners in which the scenes take place. All this in a permanent and brilliant twilight created by Olaf Winter. There is room for a car, a bus stop or a swing. All, less a palace; neither the costumes nor the incomprehensible scenic elements accompany the immersion, like Don Giovanni's allusion to drugs and, in general, the lack of sensitivity in a work like this Ivor Bolton, that is handled very well in the Mozartian repertoire, had a somewhat uneven result this time. It was less to more, after a slightly muted overture, like most of the first part, a second came with greater musicality and refinement on the strings. The music managed to suffocate the moments in which the scenery took you out of the work. I didn't understand that James Ellis's mandolin had to be amplified. I do not know if this was the cause of the lack of neatness in its emission in an aria that, on the other hand, was cleverly lit creating one of the most sublime moments of the performance. The singers have been very balanced.. You should highlight the interpretation of Don Giovanni by Adrian Eröd, of a high interpretive level. Frivolous and hasty in his conquests while dying. Too bad your broadcast wasn't clean, it seemed like I had a problem. Cold, maybe. A character treated scenic as a poor erratic man. Nothing to do with the Don Juan that we have internalized, the Croatian Goran Jurik offers a good image of Comendador, thanks to his stage presence and his powerful bass voice in an ungrateful role, For brief I liked Adela Zaharia in her role as Donna Anna. The Romanian soprano combined sensitivity with vocal solvency and a good interpretation. She, like the rest of soloists, they had to sing while balancing on an uneven stage. Sometimes there is little thought about singers and much about unstable and unnecessary elements of the set. Nor was Federica Lombardi's Donna Elvira bad., with a solid central zone and good highs that allowed him moments of brilliance. Croatian Marko Mimica's Leporello had almost more vocal prominence than Don Giovanni himself. Not so in the interpretive facet. Though truly serious voices are missed these days, Mimica fulfilled her role.

The role of Don Ottavio has been played by Airam Hernández, a cowardly character who was well portrayed by the Tenerife tenor who was also at a good level in the vocal part.

Marina Monzó's Zerlina was one of the night's satisfactions, no surprise. Next to Cody Quattlenaum's Masetto, they created a well-connected couple in the theatrical part.

Another night of opera at the Teatro Real, which is behaving like a great ship moving forward, Through thick and thin and keeping the course, in a vast ocean of ice.

Text: Paloma Sanz
pictures: Javier del Real / Teatro Real
Videos: Teatro Real








Rusalka, almost a century later, at the Theatre Royal
Antonin Dvorák (1841-1904)
Libretto by Jaroslav Kvapil, based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories.
New production of the Royal Theater in co-production with the Dresden Semperoper, the Teatro Comunale Bologna, he
Gran Teatre del Liceu in Barcelona and the Palau Les Arts Reina Sofía in Valencia.
Teatro Real in Madrid 13 November 2020
D. Musical: Ivor Bolton
D. scene: Christof Loy
Scenographer: Johannes Leiacker
Costume designer: Ursula Renzenbrink
Choreographer: Klevis Elmazaj
D. choir: Andrés Máspero
Distribution: Olesya Golovneva, David Butt Philip, Rebecca von Lipinski, Andreas Bauer Kanabas, Okka from the Damerau, Sebastiá Peris, Esteve Manel, Juliet Mars, Julitta Aleksanyan, Rachel Kelly and Alyona Abramova.
In 1891 Antonin Dvorák received a letter at his home in Prague in which the influential Jeanette Thurber, founder of the New York National Conservatory of Music, offered him the position of director of the New York Conservatory. It was there that he wrote one of his best known works, the New World Symphony, and it was there also that Dvorák listened, as I had not done before, Wagner's obas. He lived in New York until 1895, year he returned to Prague to take over his Conservatory. It was then that Rusalka wrote, the penultimate of his works, and where is warned, clearly, Wagner influences. Not only for its ambitious duration, more than three hours, if not, by the use of leitmotifs referring to the characters and an orchestration full of complexity and delicacy., in the case of Dvorák, the nationalist inspiration could not be missing in the score. And it is that Rusalka is, above all, an opera with a strong Czech character. Evocative of romantic melodies, that can be seen in some of the brightest moments played by the harp or that ending, almost momentous, which is considered by many one of the most sublime opera of all time.Rusalka arrives at the Royal Theater as one of the great premieres of the season. And it can be considered a premiere, since since 1924 it had not been re-represented in Madrid. On that occasion, was his librettist, Jaroslav Kvapil, who took over the stage direction.

The libretto is based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories. Is, definitely, a tale that stage director Christof Loy (Whose Capriccio from last season we'll never forget), has located inside a theater.

For Loy, the theater is the only place where reality and dreams can be represented at the same time. That duality that exists in the work between the fantastic world, to which Rusalka belongs and the underworld she longs for. But Loy's elegant, gray scenography is missing essential elements of the work. The lake, who is one more character and who gives meaning to the protagonists and the story, does not appear by chance. Nor are there hardly any references to nature, another must-have romantic item.

Ivor Bolton's musical direction was at a great height. The expressiveness of his gestures infects the orchestra that had moments of great brilliance, generating that magical atmosphere of the score. The strings and magic that Mickäele Granados was able to generate with his harp stood out from a prominent place above the pit.

Extraordinary the choir, this time offstage, that recreated the magic of the lake flawlessly. Very good also the performance of the dancers and actors, who did not act as a mere accompaniment in the scenes, but they had a great role in that kind of sexual orgy that Christof Loy marked himself.

The young Russian soprano Olesya Golovneva demonstrated great versatility on stage, not only sang, she also tiptoed around the stage with her ballet slippers. With a pleasant timbre and a delicate line of singing, reached moments of great beauty in his interventions. He found his difficulties in the most serious areas of his score.

The British David Butt Philip was in charge of giving life to the prince who falls in love with Rusalka. A role not easy, due to the great demand that the tenor has in this work and that Butt knew how to address without great difficulties.

Andreas Bauer Kanabas' Vodnik best represented the most heartless part of the menacing father, than the protector with her daughter Rusalka. Has powerful low and mid tones, but it had its difficulties in the highest notes.

The evil Jezibaba was played by German mezzo-soprano Okka von der Damerau. His good stage presence helped raise a dual character, like the rest, with its funny part and its disturbing and dark part. Good flow of well-timbred and adjusted voice.

Rebecca von Lipinski played the insinuating foreign princess with great intention and freshness, Rusalka's rival in conquering the prince.

Much applauded were the three nymphs played by Julietta Aleksanyan, Rachel Kelly, with impressive treble, and Alyona Abramova. With very balanced and well timbred voices, they unfolded with ease all over the stage.

The rest of the cast was at a high level, both the hunter by Sebastiá Peris and the servants played by Manel Esteve and Juliet Mars.

One more success of the Royal Theater, that continues to make representations, It is already without stage adaptations due to the pandemic, to the amazement of the theaters of the rest of Europe. Good for Matabosch!.

Text: Paloma Sanz
pictures: Monika Rittershaus

Sabine Devieilhe

It was presented in the Lied cycle of CNDM and Zarzuela theater, the french Sabine Devieilhe. He did it with a varied repertoire of Debussy, Poulenc, Fauré and Ravel. With an intelligent distribution interleaving each of the authors, which requires a greater demand on the part of both interpreters. The continuous change of atmospheres and registers requires a lot of attention and adds a dynamism to the extraordinary set.

Sabine Devieilhe is a coloratura soprano who in this recital has shown that this tessitura can be explored, notably, a chamber music repertoire like the one at hand. With great expressiveness in interpretation, elegance in diction and melodic line, Devieilhe was successfully and sensitively reeling off each of the qualities of the composers, from the most romantic tints of Fauré to the contemporaneity of Poulenc.

The ease that Devieilhe demonstrates in his sophisticated way of interpreting, was perfectly accompanied by one of the best piano performers of the moment, Alexandre Tharaud, who became the protagonist in some moments, thanks to its ability to create atmospheres and the absolute elegance with which it travels the keyboard.

Generous in tips, after going out to say hello on several occasions, they offered the "Aria of fire", from The child and incantations, Ravel, where Devieilhe demonstrated her mastery of coloratura. A baroque work by Rameau, where he demonstrated the versatility of his voice and the beautiful Youkali, Kurt Weill, masterfully performed and left the audience fully satisfied.

An extraordinary night that Devieilhe appreciated being able to offer, given the circumstances and the special impact of the pandemic on the world of culture. Do not forget that Madrid is the only European city where artistic shows are being offered. It was demonstrated in this recital, where the freshness of its two interpreters provided the audience with a breath of fresh air, so thankful right now.

Photograph: Rafa Martín








The one with the bunch of roses
Pablo Sorozabal
Libreto by Francisco Ramos de Castro and Anselmo Cuadrado Carreño
Premiered at the Fuencarral Theater in Madrid, he 13 November 1934
Production of the Teatro de la Zarzuela
D. musical: Guillermo García Calvo
D. scene: Emilo Sagi
Scenography: Gerardo Trotti
Locker room: Pepa Ojanguren
Lighting: Eduardo Bravo
Choreography: Goyo Montero
Choreographic replacement: Nuria Castejón
Orchestra of the Community of Madrid Owner of the Teatro de la Zarzuela
Holder Choir Teatro de la Zarzuela
Director Antonio Fauró
Distribution: Ruth Iniesta, Carlos Alvarez, Stephen Vincent, David Pérez Bayona, Sylvia Parejo, Ángel Ruiz, Milagros Martin, Enrique Baquerizo, Cesar Sanchez, Eduardo Carranza, Joseba Pinela, Daniel Huerta, Alberto Rios, Francisco Jose Pardo, Rodrigo Alvarez, Alberto Camon, Roman Fernández-Cañadas, Francisco Jose Rivero.
Dancers-extras: Begoña Alvarez, Cristina Arias, Ariel carmona, Lara chaves, Emmanuel Chita, Sarah Croft, Maria Angeles Fernandez, Alberto Ferrero, Antonio Gomez, Rafael Lobeto, Maria Lopez, Helena Martin, Xavi Montesinos, Daniel Morillo, Luis Romero, Esther ruiz, Lara Sagastizabal, Nathan Segado, Rosa Zaragoza, premiered at the Fuencarral Theater 86 years, The bunch of roses reflects the modern Madrid of the thirties, with the most characteristic and novel modes and fashions of the time. The presence and importance of the role of women, represented by the characters of Asunción and Clarita, and a hilarious social critique that has not lost its relevance since then. This production by Emilio Sagi, that premiered in this theater three decades ago, It is also, the most traveled and represented in Spain. Has even arrived, and with great success, to the stages of Paris and Rome. But he has always had a special bond with him Teatro de la Zarzuela.The director of the Theater, Daniel Bianco, thinks that this production of Sagi marked a before and after in the scenography of the genre. It is certainly full of topicality, It is elegant and functional and represents that authentic and timeless Madrid that reflects any time and place in the city. An ordinary and real street in Madrid, as commissioned by Sagi from his set designer Gerardo Trotti, represents and welcomes all its characters, perfectly reflected and described by an ingenious and brilliant Pablo Sorozabal, great connoisseur of social reality and how to represent it through the character of its characters.

On stage everything flows with great naturalness and success. It is an entertaining and dynamic work. The numbers are interspersed like in a musical. Dances, dialogues, Duets and romances follow each other with a freshness that makes the two hours without a break short.

The musical director Guillermo García Calvo works miracles with the 23 teachers who may be in the pit. A pity not to be able to enjoy the whole orchestration, but the rigor of García Calvo at the head of the Orchestra knows how to generate the atmospheres that the work contains, which they are numerous, and fill the most intense moments experienced by the protagonists with lyricism.

The baritone Carlos Álvarez, that debuted with this production in 1990 with this same Joaquín character, he was the real dominator of the scene all night. You could tell that for him it was being a special moment, deep and evocative, that he managed to transmit to the public. The nobility of his song, his perfect diction and phrasing, his beautiful timbre and his mastery of drama made him the protagonist of the brightest moments. His interpretation of the romance "Madrileña bonita", led the public to insistently request an encore that refused, but what would have been justice. Got the biggest applause of the night, deservedly.

The Aragonese soprano Ruth Iniesta debuted the role of Ascensión, after having been Clarita in this same theater. The evolution of his voice is undoubted. Has gained in volume and musicality and, although it lacks a bit of naturalness in the interpretation, his Ascension rose to the occasion.

La Clarita by Sylvia Parejo was full of freshness and self-confidence. His time in the musical theater is noted for his good acting skills. He made a good couple with David Pérez Bayona, a correct hood, something less loose on stage. They both come from the Zarza Project, how good results is it giving.

The most endearing character and that, although sometimes it seems, it's not over-acted, but adjusted, It is the Espasa of Ángel Ruíz. His extraordinary diction, necessary to understand his string of absurd words, and his tables on stage, make this character one of the most original ones.

The rest of the tablets were at great height. The experienced and well-versed Enrique Baquerizo, as Don Daniel and Milagros Martín, as Doña Mariana, They have a professionalism and good work that are a guarantee for this theater and for the genre. Very good also Ricardo de Vicenç Esteve, the other suitor of Ascension, who preferred to dedicate himself to aviation.

A special night at the Teatro de la Zarzuela, one more. With some singers and an audience with feelings on the surface, for the special moment that we are living and why is Madrid the only European city where you can have this type of emotions. Lucky we are.
Text: Paloma Sanz
pictures: Javier del Real







La vida breve and La Tempranica La Tempranica
Music: Gerónimo Giménez
dialogues: Alberto Cronejo
Sung: Julian Romea
Musical adaptation: Miguel Ortega
D. musical: Miguel Ángel Gómez Martínez
D. scene: Giancarlo del Monaco
Scenography: William Orlandi
Locker room: Jesus Ruiz
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
D. choir: Antonio Faur
Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón, Miguel Sola, Ricardo Muniz, Andres Merino, Maria Luisa Corbacho, Jesus Mendez, Alicia Martinez, Felipe Nieto, Thais Martin of War, Jesus Castejon, Carlos Hipólito and Juan Matute
Orchestra and Choir of the Community of Madrid

La vida breve
Music: Manuel de Falla
record: Carlos Fernández Shaw
D. musical: Miguel Ángel Gómez Martínez
D. scene and scenery: Giancarlo del Monaco
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
Text version: Alberto cornejo
Ainhoa ​​Arteta, Jorge de León, Maria Luisa Corbacho, Rubén Amoretti, Anna Gomá, Gerardo Bullón, Jesus Mendez, Gustavo Peña, Rafael Aguirre, Milagros Poblador, Paula alonso, PAtricia Illera, Francisco Diaz

Granada is a show that arises from the union of two works, short life, by Manuel de Falla and La Tempranica, Geronimo Gimenez. Two plays that share the setting of the city of Granada and the love dramas of its protagonists. Two teachers who admired each other and who did not know each other. But the magic of theater and Alberto Cornejo have brought the two composers together on stage, represented by Jesús Castejón and Carlos Hipólito.

The covid, that occupies everything, has been responsible for the Teatro de la Zarzuela having to separate the two works that make up Granada, The short life and La Tempranica, and offer them on alternate days to avoid intermission and shorten the time spent in the theater.

This has also involved an adaptation effort. The short life requires an orchestra of 96 teachers. Something impossible in the small pit of the Teatro de la Zarzuela right now, Well, the distances between musicians could not be maintained. In June, a solution to the situation that arose began to be sought. They spoke to the president of the Falla Foundation, Elena Garcia de Paredes, who showed his doubts about the possibility of representing the work with just 24 teachers. He agreed with three conditions, that it be done as it was originally written, that the adaptation was made by maestro Gómez Martínez and that it could only be premiered in this theater and under these circumstances.

The teacher Gómez Martínez got down to work. Rewrote the entire score, by hand, in record time. The templates that the Falla itself used for its representations in small places have been respected. And the end result is magnificent, taking into account the drastic reduction of personnel, Falla's music hardly loses spectacularity and the orchestra, although reduced, knows how to extract, by the hand of Gómez Martínez, all the musicality of the original score.

When Daniel Bianco got in touch with Giancarlo Del Monaco, he did not know La Tempranica. It was found, Besides, that there were no recordings of this work. Which explains a certain disconnection of La Tempranica with its scenography. Not so with La vida breve, to which the pomegranate color suits her very well. As much as the lighting of Vinicio Cheli. Both sets share simplicity of elements, just a few panels that move, But they are, like almost everything in Del Monaco, elegant and suggestive. Scenographies focused on the psychological aspects of the two protagonists, in their suffering and love disappointments. But it is La vida breve the one that comes out the best in Del Monaco's stylistic cast.

The spectacular cast of voices of La vida breve does not disappoint. Ainhoa ​​Arteta is in good shape, both vocally and in the interpretive part. He resolved with skill and ease the high tessitura in which the character of Salud develops. It maintains its beautiful timbre and a stage presence that captivated an audience that gave it a long standing ovation..

Jorge de León was the ungrateful, briefly, Paco's role. He hardly intervenes in the work, but he composed a perfectly despicable character, as it should be, and left some notes on the quality of his voice.

María Luisa Corbacho wore a voice volume that allowed her to be heard from the back of the stage as if she were wearing a tie. With a powerful central zone and a dramatization in the phrasing that saved his stillness on stage.

More expressive on stage was Rubén Amoretti. It is always a guarantee in any role and circumstance and it excelled in both roles, both in Don Luis de La Teampranica and in the more dramatic one of Uncle Salvador, from The Short Life.

The first consequence of having to separate the two representations is the lack of continuity of the show. That, together with the fact of having eliminated many of the most traditional texts and passages of La Tempranica, They have managed to make this piece in solitude a bit helpless. I guess this reduction is also due to its adaptation to the moment, but I'm afraid they have mutilated her too much. It was noticeable even in the interpreters. Although the good trade is to be praised, not only from the singers Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón or Miguel Solá, among others, but of the actors Jesús Castejón, Carlos Hipólito and Juan Matute, that served as a common thread through Alberto Cornejo's dialogues.

Text: Paloma Sanz
pictures: Javier del Real

Celso Albelo

The limited capacity in theaters, in this case, at Teatro de la Zarzuela, has turned out to be an ally for the Canarian tenor Celso Albelo, that has managed to create an atmosphere of intimacy and familiarity from the stage that eliminated any trace of coldness caused by the low influx of public.

Albelo offered a special recital, with traditional Canarian works recovered and adapted by Francisco Corujo Y Fernando Briones placeholder image. Works that, as Albelo himself explained, have been elevated to the category of lied.

Celso Albelo immersed himself in his land from the beginning, in your culture, its corners, with that characteristic and recognizable canary accent and vocal color. The tenor made a show of delicacy and subtlety by tightening, phrasing with elegance and filming with deep feeling.

It started with "Seven roses", work of Antonio González Santamaría which was his exposition of motives and marked the path of a very personal recital, in which he was found increasingly comfortable and complicit with an audience that adores him. His voice has gained solidity and security, especially when it goes through the highest notes. He was reeling off each of the songs while chatting animatedly with the audience.

The second part of the recital was dedicated to romances, as "The island of pearls", of the teacher Sorozabal, "The farmhouse", from Guridi o “Phear the smoke you know where the fire is" from "Francisquita" by Amadeo Vives. To end with "Faithful triumphant sword" of "Sevillano's guest" from Guerrero.

He ended up offering some original encores, also of Canarian song, accompanied by a guitar. Albelo got emotional in some moments.

Juan Francisco Parra accompanied the piano. There was great complicity between the two. He also offered two works, with their corresponding explanations, some tanguillos, from Teobaldo Power and a transcription of the Oviedo Anselmo González del Valle, from 1905 of the duo of “The diamonds in the crown" from Barbieri.

A great lyrical night, one more, in a Teatro de la Zarzuela that has started the season with strength and determination and with an absolute sense of security, with exhaustive compliance with all health protocols. Where safer than in the theater?.


La Traviata, “back to life”
La Traviata
Giuseppe Verdi (1813-1901)
Opera in three acts
Libreto de Francesco Maria Piave, based on the novel and the play La Dame aux camélias by Alexandre Dumas Jr.
Premiered at the Teatro La Fenice in Venice on 6 March 1853 and the the Teatro Real the 1 February 1855. Opera in semi-staged concert version
D. musical: Nicola Luisotti
Scenic concept: Leo Castaldi
Lighting: Carlos Torrijos
D. Choir: Andrés Máspero
Distribution: Marina Rebeka, Michael Fabiano, Artur Ruciński, Sandra Fernández, Marifé Nogales, Albert Casals, Isaac Galan, Tomeu Bibiloni, Stefano Palatchi, Emmanuel Faraldo, Elier Muñoz and Carlos García
It had been four months since everything was suspended. At first it seemed like it would be for a short time, but as the weeks and events passed, uncertainty came to occupy everything.
In this period there has been time to think about many things. Also that only a miracle would bring me back to this chair. But miracles exist, and we make them. In this case, Royal Theatre. And a miracle has worked that covers various aspects. First, have the courage and determination to return to operatic activity in the safest way, and the second, and no less important, have the ability to demonstrate that, difficult as the circumstances are, good management can be done, even, very good.The bet is risky, keep this fragile balance when the entire operatic world is watching, is not easy. For a full month, in which the representations have been multiplied to compensate for the limited capacity, this stage adaptation by Leo Castaldi is presented, like who says, with four little things that he has found by the theater, to create a scenery that could not be more effective. In it the essential elements appear, nothing is missing or nothing. A parceled stage delimits the two square meters that each singer has to move. A small space, but in which all the emotions of the protagonists fit. The chorus, occupying the back half of the stage box, remain disciplined in seclusion, each one of them, on his ground, which does not detract one iota from its sound and professionalism. All this illuminated with great success by Carlos Torrijos It was not easy to immerse yourself in history in an environment so different from the one we are used to. Too many elements distract us in the room, on the stage, distance, the mask ... But then, he appeared, Like a hero without a cape to rescue us from silence, Nicola Luisotti. One of the men who must be working the most in the last weeks and who was exultantly happy with this challenge, perhaps for having lived through the dramatic circumstances that have touched us with the intensity that only a passionate person like him has. He was the first to suspend the premiere of Il Trovatore at the Scala in Milan and is now the first to raise the curtain on what he calls "ritorno alla vita". It was then that one of the most elaborately romantic and evocative that have been written, the opening of the first act of La Traviata. The orchestra, which occupies the entire space of the pit, also appears with their masks, except for the wind, which is separated by a screen, like Luisotti himself. The Italian teacher was the perfect link between what was happening on the remote stage and the wide moat, generating confidence and balance in this strange new way of interpreting. After a deep overture, sober and heartfelt, for whom is a great connoisseur of this repertoire, he knew how to transmit to the stage the theatricality he lacked. His direction was above some more muted sounds caused by physical and technical distances. The orchestra sounded muffled and with the delicacy that some sometimes abandon when it comes to Verdi.The distance at which the singers were kept was not disturbing. Always attentive to the teacher who accompanied them, more than directed. Despite not approaching or touching, Violetta and Alfredo were able to demonstrate their passion.The Latvian Marina Rebeka is the first of five sopranos who address the character of Violetta Valéry. Has an extensive and voluminous lyrical soprano voice, a beautiful timbre and great sound that was appreciated very well in the most dramatic parts and in well-delineated pianos. Maybe too contained, which affected the most theatrical part of the character, something very important in this role that Rebeka is very knowledgeable and loving. If I let the character take over her, coupled with his exceptional technique, would be the best of the Violets.The Alfredo by Michael Fabiano went from less to more. He had moments of great inspiration, although it was noticed a little insecure at the beginning, something that may be normal under the circumstances, and that it disappeared from the second and third act, In which he shone with an inspired and intense Alfredo, the most applauded of the night was Artur Rucinski and his Giorgio Germont.. A good diction and elegant and very careful phrasing for your stretched Germont. Very well at Di Provence.

The rest of the tablets were at high altitude. Great participation Marifé Nogales in her role as Annina. Also perfect Sandra Fernández, with a frivolous Flora Bervoix, both are involved in all functions. Like Albert Casals, as Gastone, Isaac Galan, like Baron Douphol, Tomeu Bibiloni, as Marquis de Obigny, Stefano Palatchi, like Doctor Grenvil and Emmanuel Faraldo, as Giuseppe and Violetta's servant.

A success without a doubt of the Royal Theater showing great courage and ability. All this served with a security that can be felt. If a major outbreak occurs, I'm going to the Royal Theater. And is that normality does not come alone, you have to conquer it.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Anita Hartig

Interview with Anita Hartig soprano
Violetta Valery, Liú y, especially, Mimí. Anita Hartig is the Mimí of the time. Versatility and features of your voice and sensitivity and dramatic on stage, They make the Romanian soprano voices one of the most sought after by pincipales
theaters of the mundo.Habla for us before his upcoming performances in Spain, in Granada and Barcelona.
Brío Clásica: We had the great fortune to hear his Mimí of the Royal Theater, role you can say that it is an expert. Do you think Puccini requires a special technique for interpretation?Anita Hartig: Very kind of you you are saying I'm an expert. Puccini is the composer I most sung throughout my career and I feel I still discover new things to respect, so the conquest is not over yet. The technique is and must be the same for all, but with Puccini many emotions and feelings can get hurt and you have to keep some distance required. I mean being involved but without forgetting that you have to sing well and not only act. I have often focused more on the interpretation and I was out of breath while singing. The master is always to find the equilibrio.Actualmente is a sensitive issue because certain stage directors want you to move all the time on stage and act, but they forget that it is necessary to breathe to sing the difficult parts. Opera is not theater or theater prose, is sung drama and action needs more time because a word can be written to 4.6 bars and repeat them in a register higher, so to be credible we must be able to pay full attention and a lot of concentration. And of course you want to respect the legacy of the composer. So for me the score is a bible, a sacred manuscript that I have to respect.
B.C: Mozart is another of his favorite composers, Which of the two composers he feels more comfortable vocally?

A.H: Mozart is the one that requires a cleaner edge, narrow, especially elegant and cured. I enjoy both composers for different reasons. Mozart for his musicality so simple, unique melodies, pure, Elegant and some heavenly way, Meditative and also because I have the feeling that many times makes us a wink through his music. Now thinking of La Contessa, which I debuted at the Met in New York recently, I think of the musical phrases, are not as deep and visceral music and Puccini. Puccini somehow need low support and meatier sound. I would say that the former is more celestial and the other more terrestrial. But this is just an idea to think more deeply, while I am waiting to sing more of both composers and different roles in the future.

B.C: Onstage has great expressiveness and drama, How important is a good dramatic training?

A.H: That's another very interesting topic for me and more time is needed to talk to respect. As I said, the balance between singing and acting create an ideal opera. To find that balance would have to work, from my point of view, as theater actors, but not the same. We use breathing with the text a bit like theater actors, but not the same. To use our breath over the text and the sentences sing long, higher or deeper, more air is needed than merely declaim. We should, along with director, work on the text of an opera as actors, but being sensitive to the above, acting in accordance with the phrases sung and declaimed. Also respect and give due attention to respect for the musical parts and give meaning to the interpret, but never more, overacting, since the phrase sung will suffer shortness of breath and care.

B.C: His career has been linked for several years at the Vienna State Opera, What he brought his way through this theater?

A.H: I had the great fortune of being in the Oper Vienna for six years. Singing from smaller to larger roles, replacing singers and learning different repertoire in other languages ​​with very good companions, in different distributions. Watching the best singers of our time on stage, Inspired by them, out for coffee or lunch and seeing that they are simple people, I like that. I thought the artists were pretentious and far, many of them are but most are thoughtful and generous.

B.C: And now he is in Madrid and we are happy about it, What does Madrid have decided to live here?

A.H: I am also very happy to be here, Thank you. Madrid has a lot more sun and atmosphere, especially amazing food!! The people are warm and the number of museums is huge. In summer I had the opportunity to visit some cities in the north and next I decided to go south. I keep discovering the country and I find it very inspiring.

B.C: What do you think the Spanish repertoire, He has some of his works in his repertoire?

A.H: Unfortunately I have not had the opportunity to sing in Spanish yet. As there are many singers who specialize in zarzuelas, I not think I can do better than them, and I'm not a singer who wants to sing all. I have my own repertoire and try to improve it.
B.C: Javier Camarena said a few days thinking about their new roles over four years ago view, How you structure your career? New roles, Are the plans or the voice that calls for changes?

A.H: It is a mixture of both. Depending on the nature, lla voice can, over time, become more complete,have more body, to put it in some way. Sometimes circumstances force you to try out new roles for those who are not ready, or sometimes, I pass my case long before encompass a dramatic role. I am perfeccionsita, and before advancing like to take me all you can in that role. And as I'm constantly change as a human being, I have other experiences in my personal life that inspire me for the roles I sing, then I feel adding layers and character to the character every time I sing.

B.C: What is your relationship with the baroque repertoire?

A.H: I actually started singing church music and pieces by Bach, Philipp Caudella and other composers with a group at the beginning of my studies, but I can not say that I find very appealing to my mind and my voice. I also spent a lot of time with the music of Baroque, maybe it's just my ignorance talking. But, again, I do not want to sing all … just what I find interesting and exciting.
B.C: Currently, How would you define the characteristics of your voice? Being fond of painting, A color that defines it?

I was always a lyric soprano and always will be. Many of the roles that interest me are lyrical both musically and in terms of the character. sensitive women, They find love, They sacrifice for love, and in many cases die at the end, that's a lyrical character who needs a lyrical approach to singing.

So, even if some of the roles has dramatic accents or coloratura, usually they have many lyrical moments, with long sentences, long breath, arias reflection, prayers and infatuations.

If there are times of increased tension as a great outburst of anger, of helplessness and emotional struggle, as the second act of La traviata, or the end of Marguerite or e triplet Antonio, some moments of Mimì at the beginning of the third act, all are lyrical with some poignant moments.
B.C: In this world of opera, so competitive and so many good professionals, What it is for you the originality and how it is achieved?

A.H: The authenticity brings originality. Allow bring your understanding, experiences, sensitivity, creativity and temperament stage. In fact, often you have to crush the ego and beliefs to avoid disagreements with colleagues, Conductors, stage directors and keep everyone happy.

On the other hand, many opera lovers say they no longer have personalities as "the golden age of opera". !Today would not be tolerated! You grow up with a strong personality and principles having space to share your perspective on things and not being chased by them, or because they share a common view.

But to have a peaceful environment at work all have to make concessions, not only in theaters.

I think the final music will always win above all else and is all that will survive.
B.C: Coming soon, Are you planning to incorporate new roles?

A.H: Yes, You will debut in the role of the Countess in Le nozze di Figaro, Symphony No. 8 Mahler and opera Mariella Piccolo Marat, in concert, will be new to me.

Y, Of course, even if I'm not singing certain roles I am now beginning to prepare fragments

B.C: When will we have the opportunity to hear it again in Madrid?

A.H: In Madrid two seasons for now, but until then I will have a Mahler 8 in Granada, under the master Pons, and Barcelona, a new production of La Boheme.

Interview: Paloma Sanz

The Valkyrie
The Valkyrie
Richard Wagner (1813 – 1883)
First day in three acts of the scenic festival
The Ring of the Nibelung
Libretto by Richard Wagner
Teatro Real in Madrid 14 February of 2020
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Klinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Klinmonth
illuminator: Manfred Voss
Distribution: Christopher Ventris, Ain Agner, James Rutherford, Elisabet Strid, Ingela Brimberg, Daniela Sindram, Julie Davies, Samantha Crawford, Sandra Fernández, Bernadett Fodor, Daniela Köhler, Heike Grötzinger, Marifé Nogales y Rosie Aldridge
W agner began work on Die Walküre while giving the finishing touches to the orchestration of Das Rheingol. from Zurich, where he had taken refuge fleeing from the German police for his revolutionary activities, lived quiet, dedicated to his compositions and one of her new hobbies, long walks through the Alps Suizos.Es precisely this contact with nature one of the inspiring elements of the work of the German composer. And Norse mythology and complexity of relations between gods and humans, the thread of his musical universe.

Roger Scruton says in his book The ring of truth: "The battle between Hunding and Siegmund returns us with maximum intensity the old idea that, when we, mortals, We fought for what really matters to us, immortals fight with us, pursuing their own goals ".

"The Valkyrie", La Valquiria, It is the first day of the tetralogy "The Ring of the Nibelung the" who began representing last season with "Das Rheingol", Rheingold, and that will be continued the next two seasons with Siegfried and Gotterdammerung I. A work of elephantine dimensions in which Wagner invested 25 years of work to create 15 Always hours of contemporary music.

Valkyrie is perhaps the most important work of this tetralogy, taking into account their structure and musical discourse, completely different from that of the Rhine Gold and demonstrating a clear musical and dramatic evolution. It took 18 months to complete its composition. It may seem a long time, but listening to this play can take the measure of their true and enormous artistic dimension. An architectural work, full of complexities to build an orchestration of great strength that moves away from any fugacidad.

He had devised an orchestra of some hitherto unknown dimensions. Enter instruments, as snorkels Wagnerist, and others barely used hitherto. Changes the traditional way of working with the orchestra, rather than do it by families of instruments, It transforms it into a chamber orchestra, where any instrument can be combined with the following, does not belong to the same family. Creates and contemporary sound.

The Valkyries also provides developments in the dramatic aspects. The characters have a greater psychological depth and Wagner associated with each of them an orchestral motif that defines him, he leitmotiv, another revolution. Is The Valkyrie, which it has the most elaborate score and interpreted tetralogy, where the protagonists show their human side, even being gods, and they distance themselves from mythology. Heras-Casado says "What makes music Wagner is converted into a complex emotional moment of an individual, and it must build all a sound building ".

And the most perfect with which Wagner expressly these psychological depths, with similar dimensions orchestra, It is not the volume and density sound, but the delicacy and sophistication of most intimate moments of the work. Duets between Sieglinde and Siegmund Wotan and Brünnhilde or between or, especially, the end of the opera, They are an extreme subtlety that seems endless and can only be achieved with this great orchestra, These six harps, Not one less.

Pablo Heras-Casado, by Robert Carsen, They are responsible for carrying out all the tetralogy. It can be seen the evolution of the orchestra, hand of its director, He has had from the Rhine Gold last season. Heras-Casado has decided to focus on the human and psychological part of the musical description. After an initial storm somewhat intemperate, He was working with meticulousness and extracting the orchestra sound quality.

The best moments came with scenes of greater intimacy and delicacy. The meticulousness of the Grenadian Director reached its peak in the interludes and the scene where the Valkyries rescue the dead warriors to bring them to the Valhalla, auinque winds took some freedom. From here everything was gaining in intensity, musicality and drama, They are culminating in end seductive spellfire. After nearly five hours of opera, you keep wanting more. If this is the first ring of the Pablo Heras-Casado, I want to hear when you already take a few back to.

Robert Carsen's staging begins with snow, and retaking the end of the Gold of the Rhine. It is elegant, but desolating. Only the snow adorns a first act that seems to be the haunt of smugglers of weapons. Perhaps Wagner would have liked this inhospitable decorated. Certainly not distracted from the main element, what is music.

The second act is located in what is supposed to be the castle of Wotan. A spacious and luxurious living room guarded by military. one Wotan appears different to that of the Gold of the Rhine, which he seemed a little military rank or come unless. This time, It has a higher rank and authority.

The third act is the most accomplished, remains bleak but with a different atmosphere and a fire end reminiscent. His strong start, Ride of the Valkyries, and soldiers path Valhalla, They make a beautiful scene full force.

In this cold scenery, While some issues solved and not so, it should be noted lighting Manfred Voss, that masterfully creates environments with little scenic elements.

As for the voices, I liked them more than they.

Wotan of James Rutherford showed his human side, first defeated before the authority of Fricka and then, to their daughters, the Valkyries. Too bad her beautiful timbre was not enough to offset the shortage of volume of your voice.

Christopher Ventris served as heroic Siegmund. He had his difficulties with sharp but the British tenor has extensive experience with Wagnerian roles, especially Parsifal.

The BRÜNNHILDE Ingela Brimberg has a penetrating sharp and well ring and a volume more remarkable. It can also boast serious dense and compact. He shined in the interpretive section, with emphasis on human weaknesses rather than supernatural qualities that you would expect his character.

Sieglinde was performed by Elisabet Strid, well versed in the role for a lyric spinto required. strife, with a powerful center and a sharp clean and well delineated, It is a very good Sieglinde. voluminous voice that knew also put the service of the most lyrical duets with her husband and brother . He showed great acting ability.

The Valkyries were performed by Julie Davis (Gerhilde), Samantha Crawford (Ortlinde), Sandra Fernández (Waltraute), Bernadett Fodor (Schwertleite), Daniela Köhjer (Helmwgide), Heike Grötzinger (Siegrune), Marifé Nogales (Vloaz) y Rosie Aldridge (Rossweise). They performed very well with his role, without stopping a moment on stage. They staged some of the best numbers, Ride of the Valkyries and the resurrection of the warriors. And all, despite having been in uniform with a homespun batita.

Fricka very well Daniela Sindram, with its interpretive nuances. Splendid in its second act monologue.

Estonian bass Ain Anger outlined a magnificent Hunding vocally and great stage presence.

It seems that the effort involved in a production like this in successive seasons is meeting goals. Best of all is the expectation that generates. I'm already looking forward to the next chapter next season.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

The magic Flute, Of whom!
The magic Flute
W. A. Mozart (1756 – 1791)
The Magic Flute
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
Teatro Real Madrid 17/02/20
D. musical: Ivor Bolton
D. scene: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade & Paul Barritt)Barrie Kosky
Set and costume designer: Esther Bialas
illuminator: Diego Leetz
Playwright: Ulrich Lenz
D. choir: Andrés Máspero
D. JORCAM choir: Ana González
Distribution: Rafal Siwek, Paul Appleby, Rocío Pérez, olga Peretyatko, Andreas Wolf, Ruth Rosique, Mikeldi Atxalandabaso, Elena Copons, As Grmma-Alabert, Marie-Luise Dreben, Catalina Pelaez, Celia Martos, Patricia Ginés, Antonio Lozano, Felipe Bou
T he Royal Theater has pulled wardrobe (so did this season with his L'elissir d'amore) and The Magic Flute programmed so successfully opened the season 2016. I must say that this time success has not been lower. Barrie Kosky and Suzanne Andrade sign a scenery that delights all audiences in one of the most popular works of Mozart were the repertorio.Le just a few months old when it premiered The Magic Flute, attending a commission that could help clean up its battered economy. The most influential figure in the cultural life of Vienna, Emanuel Schikaneder, librettist, businessman, singer, actor, composer and stage director, Mozart had asked the composition of a Singspiel, what it is traditionally understood by a comedy of manners, with peasants and popular characters in which parts sung with gender recitadas.El he alternated evolved and began to incorporate other character created, as noble and Bourgeois, without ever leaving the costumbrismo and humorada.
Mozart managed to raise the genre of the Singspiel keying in more typical opera seria characters and develop more complex musical scores for some of the roles. The Magic Flute Mozart fills the score and the libretto for a number of keys and Masonic references, lodge they are belonging to both Mozart and Schikaneder, and that crossed Europe from the hand of new ideas illustration. All these elements enrich the most popular genre at the time in Germany and Austria.

With the main axis of the popularity of the work, Barrie Kosky and Suzanne Andrade have developed a set design inspired by the film and animation. This could not have enjoyed the cooperation of the theater company 1927, you already have some experience in working linking animation with real characters. The result could not be more dramatic and appealing to the public. But also carries some risks, especially for some singers who, intuitively, They must interact with projections that they can not see. Another problem that may present film screenings is that the public pay more attention to the video that the singers and the score.

One can say that this production does not have scenery, just a huge proscenium screen serves for singers, through small gestualizaciones that mimic the silent film, play their role alongside the images projected.
At times the volume of images and constant movement can be overwhelming for the public. But the truth is that new technologies and virtual reality theater service, open a scenic possibilities, almost endless.

The Magic Flute is an opera in which often dispenses with the recitatives whose presence was so important at the time of its composition. This production is no exception. They have been removed leaving the surface and infant part, renouncing the deepest and educated philosophy of work created by Mozart. A change appear between scenes typical signs that accompanied silent movies and going briefly narrating the story. All very well embedded in the film production line. This time they are accompanied by the fortepiano Ashok Gupta, interpreting fragments of Fantasy in C minor Mozart.

The musical direction has been in charge of the owner of the theater, Ivor Bolton. His technique and correction when directing is absolute, but on this occasion the orchestra sounded flat, off, with low sound volume without shadings. It lacked the spark that accompanies Mozart works on this one occasion was right.

Singers of the box, I could have been more balanced, we must highlight his efforts to sing in conditions which would have to be. They appeared most often on small platforms to several meters from the ground. Although they were well secured, available and good work must be evaluated.
The Pamina Peretyatko Olga was the best night. A very good line of singing and phrasing for a voice with good volume and beautiful timbre.

American Paul Appleby was a Tamino irregular. It has a nice timbre, especially acute, that arrives in a strange way in braces.

Rocio Perez was the Queen of the Night, but only by sharing roles. He boarded his character without fear, which it is something, but his treble quedaros something suspenders. Better his first aria. As seen in the three deals of this paper, there is some crisis queens.

Well the Papageno Andreas Wolf. powerful and excellent voice fraseo, being German help in these cases.
Another of the winners was Mikeldi Atxalandabaso, who played an evocative Monostratos of Nosferatum full of vocal nuances and interpretative.

The Papagena Ruth Rosique was in his point, fun and sparkling. Very good also the three ladies Elena Compons, Marie-Luise Dreben and Gemma Coma-Alabert, despite the latter's indisposition.

Rafal Siwek good work done, as Sarastro, It has a good central register, although his grave were almost inaudible. Solvente the interpretation of Antonio Lozano and Felipe Bou, as two men in armor.

The three boys who play the young singers of the JORCAM Catalina Pelaez, Lucia Seriñán, Celia Martos, Chandra Henderson and Patricia Ginés, Maria Guzman, Are those voices that never fail. Although they are almost hung several meters from the ground.

A success over this reissue of a magic flute that is always a guarantee. Ticket office, show and happy audience. Mission accomplished.

Text: Paloma Sanz
pictures: Javier del Real

The pirate 1












Il Pirata in Teatro Real 192 years later
Brand an opera in one of the great operatic temples 192 years after it was written, must be justified. In the case of Il Pirata is a very important, the difficulty in interpreting main roles makes this work almost impossible. These vocal demands are caused his absence during decades of the repertoire and the big stage. As well the teacher says Benini, "It all depends on having good singers with. A good tenor, a good soprano and baritone good "final .In, and despite the success with which premiered, first to La Scala in Milan, in 1827 and subsequently in Naples, Bologna, Trieste, Vienna, Dresden, Lisboa, Barcelona, Cádiz (in 1834), NY, Mexico and Madrid (in 1830 at the Teatro de la Cruz), Il Pirata suffer the same fate so many romantic operas of the time were absent from the stage since the second half of the nineteenth century, until the fifties of the twentieth century. It is at this time when it appears in 1958 figure with Callas, which updates the main character in Imogene, Il Pirata placing again in the repertoire. It was subsequently Montserrat Caballe who, assuming the difficulty of the role, He incorporated it into his repertoire bringing it to the main theaters of the mundo.Un little history
Il Pirata catapulted a young Bellini always attentive to the trends and influences coming, especially, from Germany. Your search for a new musical language and its taste for innovation, make Il Pirata is positioned halfway between the classic tragedy, the Age of Enlightenment, and romance and music more symphonic, who came from the hand of Schubert and Beethoven.Esta transition from classicism to romanticism is also noted in his libretto, escrito por Felice Romani, based on the work of Justin Severin Taylor, Bertram, or Pirate. Romani had great admiration for the Italian poets of the eighteenth century, but it is now at the romanticism that at that time already wrapped Europa.Pero, Il Pirata why so rarely it represented?
Javier Camarena and Celso Albelo, two tenors who play Walter in this new production of Teatro Real, say: "I prefer to chant a Puritani morning and afternoon, before singing Il Pirata ".There Keep in mind that these operas were written for certain singers, with a specific vocalism and under certain performance conditions, small theaters and orchestras components and very tight sound volume. At that time the singers were accustomed to sing in falsetone. Natural tessitura of the tenor of the time led them to sing in falsetto everything that was found above the natural or Bb. Today's falsetto is not regarded as broadcast mode. The theaters are larger and, let alone the orquestas.Bellini wrote a score for tenor of great vocal and dramatic demands. I wanted a tenor who dominate the treble and bass records at the same time as the fiato and legato. Also he wanted to be a virtuoso declamation and phrasing. All this accompanied, to the same as in the role of Imogene, Agilita of inherited Rossini and thus achieve greater expression in a work with so much excess sentimentalismo.Para carry out all these demands reflected in the score, Bellini resorted to which was then the most acclaimed tenor, Giovanni Battista Rubini, to which he demanded two types of singing, the virtuous and the contraltino Tenore acute and baritenore, with powerful bass, but equally virtuous. Walter was born with the myth of the cold tenor.Escenografía, not ugly
Romantic bel canto is considered by many stage directors one of the most difficult genres lead to a scenario. They think that romantic bel canto operas have no clear dramaturgy within the plot of the play. Emilio Sagi is not one of these directors. The fact that the argument is not fully closed offers many scenic possibilities. The result is elegant and a great visual strength, with many elements trademark, like chairs or moon. The scenery of Daniel Bianco is cold, to highlight the enormous scenic passions experienced by the characters and mirrors grandre to enhance the elements and get a multiplier effect. The stage becomes a big box fully closed, almost smothering, but greatly facilitates the work of the singers. They are always kept in proscenium, which allows a better projection without forcing the instrument too much The different scenarios are not defined or give clues to the place where the events take place. The black and reflexes dominate a deliberately gothic scene, as is the genre of the work in which this opera is based. Impeccable costumes by Pepa Ojanguren, lighting Albert Faura and projections Yann-Loic Lambert help to plunge into the atmosphere full dramatic intensity Gothic novel.

There have been three deals that have gone to the scene of the Real. If it is difficult to find one good, Imagine three. Undoubtedly the main attraction was represented the participation of Javier Camarena and Sonya Yoncheva in the first division, and they did not disappoint a devoted audience and thanked the end of each performance.
He also received his award for the effort that Celso Albelo, although a escaloncito below Camarena, He gave a remarkable interpretation of Walter.

In another step below it can be placed on the young Russian tenor Dmitry Korchak, they tried hard and did the role. Together with the Korchak, and Ernesto de Simone Piazzila (you must already have home in Madrid). His stage presence was not important in this occasion accompanied all the qualities of his voice, rang resounding, but dull.

Yolanda Auyanet was the most applauded of the night. The truth is that the work started back and nearly brought forward by herself. Although it has lost some smoothness of his voice, perhaps due to changing repertoire it is underway, It maintains its generous volume and sufficient fiato, something to keep in mind a demanding role.

Another thing was the participation of María Miró Barcelona, despite all give prominence to the role of Imogene, He wore his superb dramatic soprano voice, fluently unfolding on stage.

If there is a knowledgeable director of this repertoire, this is definitely Maurizio Benini. Its effectiveness to the front of the orchestra of the Teatro Real Titular was sufficiently demonstrated in "Il Trovatore" a few months ago in this same theater. Impregnates his address italianismo, essential in this type of work. Steady and smooth pulse accompanying the interpreters and the chorus, Outstanding once again, from the early stages.

Special mention deserves the participation of an unknown Marin Yonchev, in the role of Itulbo. It is not understood very well that doing there, until you find out who is the brother of Sonya Yoncheva, do not tell me more!

A good premiere of Il Pirata at the Royal Theater, even if it had to wait 192 years. It's never too late, especially this time.

The pirate
Vincenzo Bellini (1801-1835)
Libreto of Felice Romani, based on the work Bertram, or Pirate (1822) Justin Severin Taylor, translated into French by Charles Maturin
Premiere at the Royal Theater in co-production with the Teatro alla Scala in Milan
D. musical: Maurizio Benini
D. scene: Emilio Sagi
Scenographer: Daniel Bianco
Costume designer: Pepa Ojanguren
Lighting: Albert Faura
Video: Yann-Loïc Lambert
D. choir: Andrés Máspero
Distribution: Dmitry Korchak, Yolanda Auyandet, Simone Piazzola, María Miró, Felipe BPU, Marin Yonchev
Headlines Choir and Orchestra of the Teatro Real

Text: Paloma Sana
Photograph: Javier del Real
Videos: Teatro Real

Curious and original it appeared in the Teatro de la Zarzuela the third recital of the Lied. Under the title, Cabaret evenings, mezzosoprano Nancy Fabiola Herrera, He began shelling, his voice thick and enveloping, all the musicality of works, perhaps less known, to show that not only the German lieder requires mastery and expertise. He showed that compositions which are less susceptible to the corsetting and technical require the same discipline and management of musical knowledge and canoro.

A repertoire full of artistic possibilities and identity, the eclectic personality of Herrera, coupled with its stylistic resources, They led to a higher level the most popular works by composers such as Oscar Straus, Erik Satie o Francis Poulenc. This first part, more formal, if you can say so, He was completed with works by Kurt Weill and Louis Guglielmi (Louiguy). Always very well accompanied by piano Mac McClure.

To demonstrate the uniqueness of the evening, something happened that, at least I, I had not seen before in a theater. After the break, an inattentive public, I do not know if the originality of the night, He did not finish entering the room, prompting singer and pianist were on stage waiting several minutes for him to finish accommodate public. This was the start of a second part in which Herrera proved to have a capacity of artistic records and idiomatic almost chameleonic.

It is not easy to place voice after a first more academic side, but, once resolved settings, Herrera found us new ways to deepen the freedom of interpretation, knowledge of the works and their composers and the ability to convey nostalgia and exoticism posed composers like Ernesto Lecuona, Joaquim Zamacois the Astor Piazzolla. Or draw the perfect melancholy boleros Pedro Junco, Maria Grever, Alvaro Carrillo, Gabriel Ruiz Bobby Capó.

Or as described exceptionally Mary of the Self in the playbill, "Moving to the nineteenth century is traveling through subjectivism and introspection; It is the time of rebellion, the willingness to explore all avenues artistic expression with a weekend full trying to regain past precious or achieve a wonderful future. It is the pursuit of feelings, wrapped in dreams, in mystery and fantasy of the exotic haunted by a spirit of nostalgia, melancholy and longing after completion impossible ".

the Caserío
Jesus Gurido (1886-1961)
lyrical comedy in three acts
Libretto by Federico Romero and Guillermo Fernandez-Shaw
Madrid, 3 October, Teatro de la Zarzuela
D. musical: Juanjo Mena
D. scene: Pablo Viar
Scenography: Daniel Bianco
Locker room: Jesus Ruiz
Lighting: Juan Gómez-Cornejo
Choreography: Edyardo Muruamendiaraz
Distribution: angel Ódena, Raquel Lojendio,Andeka Gorrotxategi, Marifé Nogales, Pablo Garcia-Lopez, hope Mentxaka, Eduardo Carranza
and José Luis Martínez
Community of Madrid Orchestra and Choir Holder
Teatro de la Zarzuela
Dance de Monserrat Caballe tribute KonpainiaAl, symbolically he started the season at the Teatro de la Zarzuela, followed by the premiere of El Caserío, Jesus Guridi and libretto by Federico Romero and Guillermo Fernandez-Shaw. The scenery is run by Pablo Viar and Daniel Bianco.Tiene eight years of travel in coproduction with ABAO of Bilbao and the Campoamor Theater in Oviedo, but this right is not affected scenery over time. Two scenarios, the entrance of a village and traditional pediment, They take us to a timeless and unmistakable Basque Country.

Production that presents the Teatro de la Zarzuela, and that it was shown in Madrid Canal Theaters, He has been omitted, rightly, of some of the dialogue and more costumbristas passages and which they are very outdated.

Critics of the zarzuela always point as one of their problems to be represented and understood today, some ancient texts, by jetlagged. But all is hopeless, as it takes demonstrating the Teatro de la Zarzuela in recent seasons. What does not change is the music aging, always fresh and processed Jesus Guridi. We narrates the story accurately and delineating the moods of his characters, thanks to a perfect orchestration.

Leading the Orchestra and Chorus of the Teatro Juanjo Mena. Another Basque who makes the best reading of a score rich in color and musicality. Very good pulse pulls the best performance of ORCAM and Choir, this time has an important role and covers actoral, with his performance, the lack of other narrative and scenic elements.

Another surprise of this village are the popular dances by Aukeran Dantza Konpainia, under the direction of Eduardo Muruamendiaraz. Of professionalism and absolute perfection in execution. Very well integrated into the scenes, They were an inspiring element and contextualizing of the entire work. They provided dynamism and fluidity performing transitions.

A production like this can only count on first-rate voices, as well it has been. Ódena Angel turns to gold everything that sings, and his character Uncle Santi would not be less. Accompanied de Andeka Gorrotxategi, with a beautiful and unique tenore di forza bell, giving life to a scatterbrained José Miguel frívolon and, until he finds the love of Ana Mari, which it shapes Rachel Rojendio, another luxury for the cast.

Inosensia character is in charge of other insurance value at this theater, Marife Nogales sings, dances and acts, You can not ask for more. Pablo García López is responsible for giving life to a vibrant Txomin, which is well accompanied by the amusing scene Eustasia, de Hope Mentxaca, marido of the idle Inosensia, who plays Eduardo Carranza and a troubled Don Leoncio, Hand José Luis Martínez.

A more attractive start to the season will be continued, with music by Guridi, in his first opera, Mirentxu, concert version that we see the 22 Y 24 of November, Ainhoa ​​Arteta and Mikeldi Atxalandabaso protagonists.

Text: Paloma Sanz
pictures: Javier del Real

Don Carlo
Giuseppe Verdi (1813-1901)
Opera in five acts
Joseph Mery libretto there Camile Le Locle, based on the play Don Carlos, infant of Spain (1787) de Friedrich Schiller, translated into Italian by Achille de Lauzières and Angelo Zanardini.
2 October, Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: David McVicar
Scenographer: Robert Jones
Costume designer: Brigitte Reiffenstuel
illuminator: Joachim Klein
Choreographer: Andrew George
Playwright: Maite Krasting
D. choir: Andrés Máspero
Distribution: Michele Pertusi, Andrea Caré, Simone Piazzola, Rafal Siwek, Fernando Rado, Ainhoa ​​Arteta, Silvia Tro Santafe, Natalia Labourdette,
Moses Marin, Leonor Bonilla, Mateusz Beware, Cristian Diaz,
David Sanchez, Francis Tójar, David Lagares and Luis Lopez NavarroLas intrigues of the Spanish court have always been a source of inspiration for writers and musicians. Especially those fed by the "black legend" that came mainly from England, the rival Spanish power cut at the time. Y a Friedrich Schiller, author of the work on the libretto by Joseph Méry and Camille du Locle interested him more than the fabled legend real.Verdi history did not escape this fascination is based. Interested in the issue after a visit to the Escorial during his stay in Madrid, he thought that Don Carlo could respond to the request of the Paris Opera for the celebration of the Universal Exhibition 1867. A theme like this was perfect for the public in Paris, lover of the great French opera, with spectacular scenery and great intensity dramática.Pero, despite the deployment of resources for its composition, Verdi was not satisfied with the result. Constant modifications introduced. So much, the first version of Don Carlo never be released. After the first rehearsal and before the second, the large number of changes made in the score resulted in a second version, which it was premiered at which 1867, known as the "Paris version" .Había time opera premiered in Italy, or public taste Italian, unaccustomed to almost endless works, nor the ability theaters, They are responding to the demands of the Parisian version of Don Carlo. Verdi then decided to make a drastic cut to work, thus giving the Italian pragmatism. Then came the "Milan version" of 1884, in which it dispenses with the ballets and the first act, el Fontainebleau. This has been to date, the version represented Españ 1886 Verdi revised the work again. The suppression of the first act left some gaps in the narrative. He decided to reinstate Fontainebleau. It is not in vain in this act in which the main theme of the work is proposed, the innermost feelings of the characters, meet their public responsibilities. born then, "Version of Modena". Which recovers the Teatro Real this season.

The scenery is abstract, David McVicar very typical, which we recall the twist and the latest Gloriana, ambas Britons. The stage has been reset by Axel Weidauer, justifying the scenery quoting the author of the libretto, Friedrich Schiller: "The most beautiful dreams are those who are in prison". And certainly this phrase has inspired the scene until an oppressive and claustrophobic atmosphere. It composed solely of gray brick structures whose slight movement creates new spaces in which nothing changes. Only a few symbolic elements take us back stage.

McVicar always used the costumes as a fundamental element of contextualization of the work. Its historical rigor and the extraordinary costumes by Brigitte Reiffenstuel are quite reminiscent of the historic moment living characters. It is a perfect vehicle between history that narrates the work and modern and eclectic scenery.

The musical direction was in charge of Nicola Luisotti. With him the orchestra sounds like Verdi. Sometimes, too. The sound volume was often excessive and somewhat cumbersome. Maybe that's why the best moments of the orchestra were those that required greater expressiveness. It was less more in his direction and managed to keep the pulse until the end. Get a good level of theatricality and narrative continuity that facilitates the work of the singers.

The choir was an important element in dramaturgy. Figurines and that set the perfect sound that vibrates the heart of the entire room.

The voices were led by Don Carlo Andrea Caré. His performance was also low to high. It started with a somewhat rude lisp was clearing, resulting in a good phrasing that emphasized a beautiful and homogeneous timbre. expressiveness, both vocal and scenic, It was almost nonexistent.

Isabel de Valois Ainhoa ​​Arteta was at high altitude. His voice, always audible and timbrada, delineated a character suffered in the most intimate and full of dignity and solemnity in its institutional part, Thank you, especially, his extraordinary stage presence. He played his Elisabetta with elegance and musicality and shone in the middle voices.

The always solvent Silvia Tro, I knew give your Princess Eboli distant coldness that is supposed. Registration maintains an extensive tour that allowed him to face an acute tessitura at times, but also demanding rushing serious character in "O don fatale".

Filippo II of Michele Pertusi had its greatest qualities in the interpretation and phrasing intentional. But the volume of his voice and insufficient serious, They blurred partly a character, roundness asking more vocal and more psychological depth

Something similar happened with the grand inquisitor of Rafal Siwek. His presence on the scene saw the character, but it is very scarce in vocal terms.

Simone Piazzola gave birth to a Rodrigo with all its qualities of loyalty and camaraderie to his friend, The infant. He had moments of inspiration and phrasing with taste, especially in duets and at the time of his death.

The Tybalt Natalia Labourdette was almost unheard. Between the volume of the orchestra and his voice, We could barely hear.

A very good standard interpretation was Friar Fernando Radó. And the Flemish deputies Mateusz Hoedt, Cristian Diaz, David S´nachez, Francis Tójar, David Lagares and Luis López Navarro.

A successful start of season with more show at the stalls that scene.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Mahler He had said "I statelessness in triplicate: native of Bohemia in Austria, Austrian among Germans and Jews worldwide. Always an intruder, never welcome ", he was a prisoner of the time he lived. Viennese decadence and imperialism entered step opened new artistic currents, intellectual and philosophical, encabezas by Klimt, Olbrich, Hoffmann steel or Freud, his personal friend.

It took to reach him recognition. The originality of the compositions, on the one hand, and the rise of Nazism in Germany and Austria on the other, They made their work was classified as "degenerate". Add to that the anti-Semitic atmosphere joined the Viennese society of the time that, after a press campaign aimed at their expulsion from the Vienna State Opera, He succeeded in making 1907 Marler moved to New York, where he led the Metropolitan Opera between 1908 Y 1910. The following year return to Vienna where he died 18 of May, suffering from a serious illness.

After World War II, two of their brightest students, Bruno Waltter y Otto Klemperer, They began distributing his work, after more than 50 years of indifference.

Great admirer of Wagner, He had tried unsuccessfully to compose opera, but if he developed a brilliant career as a composer of symphonies and orchestral lieder. Although it is two different genres, Mahler is not understood without each other. Throughout his compositional career, both genders fed off. From 1890, Mahler orchestrated all songs, providing them with a symphonic entity notably enriched his vocal music.

The Teatro de la Zarzuela dedicated XXVI Lied two complete series of works by Gustav Mahler Lied. In this first installment are interpreted Llieder a moving join (1884-1885), Wayfarer songs. This was the first song cycle as such, he composed at the end of his stormy affair with the soprano Johanna Richter, while he was director of the opera house in Kassel, Germany.

Lieder accompanied by piano should not be considered minor work. Mahler was an extraordinary pianist and is the absolute knowledge of the instrument, with clarity and perfection he sought in his compositions, which they make these voice and piano versions are treated as an orchestrated version, full of nuances and symphonic textures.

Christian Gerhaher y Gerold Huber raise its peak the term interpenetration. Both were students of the great Dietrich Fischer-Dieskau, note what, among other things, in faithful interpretation made. Dieskau thought that Mahler not have to read between the lines, "Observing only his instructions exactly can be demonstrated fully the art of Mahler".

Gerhaher modulated his voice to provide a clearer record, closer to its natural tenor baritone. He demonstrated once again its ability to articulate, to say the outline and exact verse with a refined and smooth voice. As usual, without stylistic ornaments. Done accurately the journey to the depths in the interpretation of lieder. No one as he goes through the different characters and demands that contain these song cycles. Dota expressive of deep intimacy Songs of Wayfarer, where nothing is accessory. then flows into Des Knaben Wunderhorn (The wonderful horn Boy) and voice rises with roundness conclusive.

The grand finale came with a deep understanding of Kindertotenlieder (Songs on the Death of Children). Not abandon elegance never, or is carried away by the drama, but it gives each one of these songs an abyssal intensity and always sober.

A great start to this traditional Lied CNDM and Teatro de la Zarzuela. Definitely, the quality of this cycle is already a very important cultural heritage for Madrid. It sets an example.

Photograph: Elvira Megías

It may be the sweetest or most furious Mimí Elettra, in a magical duality security product in an impeccable technique and a consolidated instrument. Claimed by directors like Riccardo Muti, Eleonora Buratto has become one of the strongest performers of his rope.
Muses always visit when working, ensuring the greatest stimuli listen. After his successful Elettra in Mozart's Idomeneo Teatro Real, we can again enjoy Liceu in Barcelona with Luisa Miller. Do not miss it.
During the last few seasons we have been fortunate to hear different roles in Spain, at the Royal Theater and El Liceu. What is more attractive to the interpretation, Elettra wickedness or naivete of Mimí?
The truth is that I think Elettra is not so bad and that is not so naive Mimí. I explain better: A love and excited to be able to live with the man she loves and to return to his homeland woman has no right to feel and externalize their rage? Elettra is a woman with a very strong character, but like the other characters in the play is the destination slave, the true deus ex machina of the whole plot. Elettra not concocts no cheating on his rival to win the love!. As for Mimí, He is a weak woman health, but I would say it has very clear ideas about what he wants: it is she who waits for friends to go and Rodolfo left alone, before knocking on the door; it is she who blows out the candle to have an excuse to talk to Rodolfo and, in the end, it is she who takes the reins of the situation at the time of crisis Rodolfo, in the third act. Good, the truth is that both are two characters I love and, I am not able to choose! mimi, I love her for that sweetness of phrases and singing Elettra, by force not to accept head down your destination, by his rebellious character and that is the role that has tested me on stage…because it coincided with the death of my mother. Elettra has saved me in the most painful moment of my life, and will always have a special place in my own corazón.El Currentzis, a great lover and student of Mozart, He chose to sing Elettra last May at the Diaghilev Festival in Perm, Had they worked together ever? Were you surprised that the call? How he was working with the famous and controversial director Teodor Currentzis?I had never worked with Master Currentzis, although he had auditioned in Madrid for a Traviata 2013, and really nice is that when we met again perfectly remember me. I was thrilled to know that I had chosen for Elettra ... long overdue opportunity to work with him and, It has been an experience that has exceeded all my expectations! I was in schock at the first rehearsal with the orchestra (without any musical rehearsal before), listening to my first aria di tempo ... then, that same afternoon, Currentzis teacher invited all cast the opening concert of the festival and there I was in love with her address and the wonderful orchestra formed. The next day, I just got carried away ... I trusted fully in their tempi and make music together, and it has been one of the most beautiful experiences of my professional life. Thank you, Maestro!What attracts you most of the Verdi heroines, his vocalism, his character ... and what role verdiano would like to play in the future?
When more roles on board and study verdianos, I realize that it is my own voice which demand, so I certainly like his vocalism. But to say that is only so, It would be too simple ... Probably, I like the mere fact that Verdi is the composer. His enormous capacity to make credible the characters derived from his sincere writing, a script that comes from the heart. I feel myself when I play that character and temperament with the Verdi heroines. always respecting my vocal career and expanding the repertoire, I hope to have chance to debut Otello and Don Carlo, and later, in the future, maybe, They could also get Trovatore and Aida.
Now comes the Teatro del Liceu with Luisa Miller, a role here is closely linked to Montserrat Caballé. When a character so closely linked addressed a singer reference, Do you feel other liability?Of course, the responsibility is great, but I do not think anyone expect to hear another Caballé, and much less think I can be. The biggest responsibility I have with myself, and the best way to interpret a wonderful character…You are fond of other great music, specifically the rock. Do the feelings you have now to take the stage of a theater are very different from those he had when he sang with his rock band?
Yes, sang in a cover band ... He sang rock songs Anouk, Alanis Morrissette, Skunk Anansie, Tina Turner and Toto! The initial excitement is the same, but after interaction with the public it is very different. When you are singing rock, the audience is an active part of the concert ... you can sing and the same singer can involve the public in the choruses and choirs; Besides, between one piece and another, You can interact, presenting the piece, telling a little story or asking questions. Instead, during the execution of an opera, The audience listens attentively in silence, that is to say, no such interaction with the public but is something different, ... deeper interaction with the public is through the emotions, baring our soul to play a character. And the excitement of the public is a reflection of those emotions that have been achieved transmitir.Los stage managers are increasingly leading role in a production. Have you ever seen in a compromising position by demanding stage manager?Say I'm not always totally agree with stage directors, but also, I have to say, I've been fortunate to be able to find a compromise with them on the interpretation. When there uncomfortable stage movements, I ask a solution most often found together. Perhaps he did not accept things that might disturb my song, but sometimes I have other distant accepted interpretations of my visión.¿Cómo she met her teacher, Paola Elisabetta, and what it means for his career?I heard about Paola at a time of crisis with the song in 2009 ... I wanted to leave ... thought he was not capable and lyrical singing was an unattainable dream. In January 2010, I made my first lesson with Paola, and immediately I realized that I had found, at last, the correct master. The first years were mainly technical impostación, but then I started preparing her roles. It is a relationship that has evolved and grown over time; I do not want to say, now no longer consider technical, must never stop studying, but, obviously, with the years, I have consolidated the technique and I could also devote myself to the study of the technique in the repertoire. Paola has been and is an important reference figure ... every singer should have a picture of this guy and I feel very afortunada.Tras his debut as Elettra in the Royal Theater before returning to sing at the Teatro Massimo of Palermo, was a great success as Amelia (Simon Boccanegra) with Placido Domingo and Francesco Meli at the Wiener Staatsoper, Is it in a golden moment of his career? What other roles have on the agenda and what roles you would like to debut in the near future?Yes, the truth is that I am living a beautiful moment of my career, fruit of much study, patience and good choices. And I hope it lasts a long time, because I put everything in my power to make it last. The next major debuts will Così fan tutte in Tokyo, and Rusalka in Amsterdam, in March and June 2020, respectively. But the season is coming, There will also be some very nice projects: Turandot at the Met in October, el de Verdi Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia, directed by Mikko Franck, Bohème in Berlin in December / January, and then in London in February. Also I engrave some arias by Beethoven in Klagenfurt and finally, in summer 2020, I will debut at the Rossini Opera Festival singing a recital and Stabat Mater. Y, Besides, There are other exciting debuts, With el, la Scala…Now that mentions his debut in the Rof, just received rave reviews with his latest recording dedicated precisely to Rossini: Petite Messe Solennelle. You who has also sung the Stabat Mater, What would you say are the characteristics of rossiniano language for soprano in these two sacred works? Do you like the Rossini sacrum?Rossini singing the sacrum is, In my opinion, a real challenge. effectively, I've sung both Stabat mater Messe Solennelle as Petite, and although they have not been many times, itself have been enough to fall in love with that intensity of the writing of Rossini , their ability to use language that requires us to singers a true virtuosity, and involves completely immersed in the text, in meaning, nobly and dialogue with other soloists and instruments. I sing Rossini completely seduced by the music I listen, perfectly supporting parts dedicated to the soprano. I think, for example, in the "Crucifixus" from the Petite Messe Solennelle, in the musical climate as serious and rich in pathos that gives meaning to the text and that seduces me and moved me. Rossini sacrum, Besides, It fits well with my vocalism and my idea of ​​beauty is a woman committed musical.Usted, not only with his profession, also it faults that we know exist, but toward which we do not usually look. Tell us about some of these issues and convince us not to be mere espectadores.Sí, the "butterfly children", say that sounds so sweet, but whose disease, bullosa epidermólosis, it's terrible. These children have such fragile skin that require painful daily treatments. They are more exposed than anyone to infections, and for them, even the caresses of the mother can be painful and dangerous. It all started when I met "my first butterfly", sweet and very strong, an example for all of us. Today, research offers some opportunity more, but we are far from having found the ultimate recipe to combat bullous epidermólosis yet. I try to make this horrible disease, getting involved with Debra Association South Tyrol - Alto Adige. I would like to sensitize everyone to collect more and more funds allocated to research, putting my voice available for the necessary collection of funds.

What do Eleonora Buratto usually hours before going on stage? Do you follow any ritual? What is never missing in your suitcase?

Before taking the stage, the only ritual I follow is to pray and repeat the most difficult passages. In my luggage, something that never lacks is a good book and the score of the following production.


Capriccio, Strauss, a gift insperado at the Royal Theater
Richard Strauss (1865-1949)
Teatro Real in Madrid, 31 May 2019
Conversation piece for music en un acto
Record of Joseph Gregor, Richard Strauss y Clemens Krauss, based on the original idea of ​​Stefan Zweig
Released in the Staatsoper in Munich on 28 October 1942
Premiere at the Royal Theater, in co-production with
Opera de Zúrich
D. musical: Asher Fisch
D. scene: Christof Loy
Scenographer: Raimund Orfeo Voigt
igurinista: Klaus Bruns
illuminator: Franck Evin
Choreographer: Andreas Heise
Distribution: Marlin Bystrom, Josef Wagner, Norman Reinhardt, André Schuen, Christof fish eaters, Theresa Kronthaler, John Graham-Hall, Leonor Bonilla, Juan José de León, Torben Jüngens, Emmanuel Faraldo, Pablo Garcia-Lopez, Tomeu Bibiloni, David Oller, Sebastiá Peris, davil Sánches, Elizabeth McGorian and Julia Ibáñez
Titular Orchestra of the Teatro Real¿Quién, amid one of the worst moments that crossed the world, I could stop and think and compose an aristocratic refinement as Capriccio? Richard Strauss and Stefan Zweig were able to develop an intellectual debate on the opera itself, the manner of Plato's dialogues. And maybe they did, simply, as evasión.Una method opera on the opera. This was the theme Richard Strauss choice for the last of his compositions, the eternal debate about whether to prevail music or text.
The story had begun years ago, when you start searching for a new librettist, after the death of Hugo von Hofmannsthal, in 1929, which until then he had been his main collaborator and author of the libretto of all his compositions. In his next opera, the silent (The Silent Woman), composed 1934, It takes over the text one of the most important writers of the time, Austrian Stefan Zweig. parallel, Diving in the British Museum Library, Zweig is the script he had written Gionavanni Batista Castri debut for music, after the words, the composer Antonio Salieri. A Strauss liked the idea, but they were forced to postpone the project to the problems that the premiere of the silent woman had caused. He had called for the withdrawal of librettist Name Poster, something that Strauss refused. It came Brand, but he withdrew after a few days.For then had already been banned in Germany Zweig's books. The Jewish Zweig, as he was known by the Nazi regime, he was forced into exile, like many other intellectuals from 1933. He went from being a distinguished foreigner wandering Jew in the Brazilian city of Petrópolis, where he committed suicide with his wife in 1942, fearing that the world had known desapareciera.El sketch libretto by Capriccio initiated by Zweig was retaken, first by Joseph Gregor, and then by Strauss himself and his friend, the conductor Clemens Krauss. It would then director of Capriccio at its premiere. And his wife, ucraniana-Austrian soprano Viorica the Ursuleac, would be the first Countess Madeleine. This time there was no problem at its premiere. The fact that Clemens Kraus was at that time the most powerful man in German opera and personal friend of Goebbels, He helped a lot. Also he helped himself, despite its good relationship with the regime, the flight of many Jewish artists, mainly to the United States.

In preparing Capriccio also attended by director Hans Swarosky, who provided one of the fundamental elements of the opera, a sonnet by the French poet Pierre Ronsard sixteenth century. A declaration of love which is declaimed by Madeleine, especially in the final scene:

I would need to look for other veins
Mine are so full of your love
Another love could not stand

The same year died Zweig, 1942, Capriccio was premiered at the Munich Staatsoper 28 October. Now is the Royal Theater which debuts, in co-production with the Zurich Opernhaus.

When Strauss and Zweig started thinking about Capriccio, they could not agree on whether it should be an opera or a play. Certainly, opera is more like a play that can be. In that, as in other aspects, Capriccio is full of originality and peculiarities.

Christof Loy, helped by the set designer Raimund Orfeo Voigt, He created a bright scenery, full of deliciousness, Empty surface elements and references fill depth this dialogue opera. It is a choral work, It composed of all the characters involved in production, director, composer, librettist, scenographer, singers… It is filled with scenes set in which the actors / singers move and interpreted entirely theatrically, without dramatic excess conventional opera. What fills the development of the scenes of realism and credibility. The scenery is nothing casual. Loy is responsible for directing all the details and does it work with incredible precision. The scenes move smoothly and naturally, as if it were really happening. With very few elements recreates all the thoroughness that holds the score. And all with a feature always present, the elegance.

Asher Fisch music director has achieved an extraordinary result of the Titular Orchestra del Teatro. The initial string sextet, one chamber music piece that highlights the originality of the work, demonstrates the soundness of the Orchestra. The scene and the pit walk in unison fluidity and musicality. Fisch gets the same intensity and sound quality along the more than two-hour representation, with a score full of difficulties and constant changes. All strings sounded exceptionally, but, In addition sextet, excelled horn soloist Ramón Cueves, especially in the interpretation of the Serenade for horn and orchestra of the last scene.

The two lovers vying for the love of Madeleine were interpreted by André Schuen, as Olivier and Norman Reinhardt, as Flamand. The Italian baritone André Schuen and recently surprised us in the Lied at the Teatro de la Zarzuela. Recreate well his role as poet with perfect phrasing and a voice of beautiful timbre and great sound and depth. impeccable theatrically, like the rest of the cast.

Norman Reinhardt played the musician Flamand. His voice light tenor sounded a little forced at times, but he learned to live up assembly. Smart also in his stage performance.

Josef Wagner played the Count, one of the Christof Loy details of the baroque, to make him appear on stage with period costumes. Perfect performance and dark timbre resounding, ideal for the character.

The Swedish soprano Malin Byström gave life to the Countess Madeleine. And really she filled life. Its elegant and aristocratic bearing are perfect for the character and his voice, lyric soprano, perfect for phrasing sung his numerous dialogues supported by a powerful and necessary fiato. Its peak, and the work, It was its glossy finish, that romantic and delicate song of love sonnet by Pierre Ronsard. He mimicked his character absolutely, that could not be more credible. It was perfectly accompanied by her child replicas, Julia Ibáñez and almost old, Elizabeth McGorian.

Interesting were also interventions Theresa Kronthaler, in the role of Clairon. mezzosoprano that, in addition to its good performance voice, He demonstrated his stage training.

Leonor Bonilla and Juan José de León performed superbly to light Italian singers. Winking Strauss to perfectly imbricated Italian opera in the work.

Octet scene servants is another element to highlight in this opera. Both the baroque costumes, all white, as the layout stage. Perfect figurines Klaus Bruns and choreography by Andreas Heise.
To round out this very balanced distribution, both vocally, and the interpretive, citar a John Graham-Hall, como Mr. Mole there Torben Jungens, Butler made.

The Teatro Real has accustomed us, at least, a surprise season. Nobody expects something exceptional. This time, You can say that is the surprise of the bicentennial, The Real. An unexpected gift that justifies, by itself, a season.

Text: Paloma Sanz
Images: Javier del Real
Videos: Teatro Real


Almost removed from the world of composition, Giuseppe Verdi enjoyed the company of his wife Giuseppina Strepponi in his sleep Laugar, Sant´Agata. There some friends were coming, among others, the Boito. Arrigo Boito and Verdi had not had very good relationship so far, He was following the success of Otello, Boito libretto another successful, when they began a friendship that was consolidated during the last years of the composer, they shared a love of music and literatura.Boito did get a theatrical sketch Verdi "Falstaff", libretto based on Shakespeare's "The Merry Wives of Windsor" and "Henry IV". He wanted to encourage the teacher to write a comedy, a genre that Verdi had returned to explore for nearly fifty years, tras el fracaso de "A day of reign", his first foray into comedy that was withdrawn the day after its release. Aware of the thorn that her husband was stuck since then, Giuseppina tried, along Boito, encourage the teacher in the adventure of composing a opera buffa. And so he announced during a dinner with the publisher Ricordi, the teacher was writing a new play to their 77 years. The next day, "Corriere della Sera" if hacia eco de la noticia, It generated great excitement among his seguidores.Verdi faced so, with his friend and librettist, its praised, no pressure, with the peace of those who no longer has anything to prove, to build a character that came to empathize along the composition. "The paunchy", as Verdi and Giuseppina called Falstaff, It was completed in mid 1892 and it was premiered at the Teatro alla Scalla Milan on 9 1893.Verdi February came all rehearsals and kept giving indications musicians and singers, something that surprised everyone, for he was about to turn 80 years. The premiere was a success and Verdi had to go out to greet several times. But Falstaff had also created some confusion among some fans of the composer. His music had nothing to do with works made so far. Even he moved away from Otello, I had already been a great musical evolution. After Don Carlo, Verdi had made a great effort to be accepted and respond to criticism that he made his detractors and now Falstaff went a step further. But, at this stage, the master of Busseto was a character dedicated, not only in the world of opera and Italy, He was admired internationally. So the awards to this his last work, They were higher than those embarrassments.

The main novelty in the score of Falstaff lies in their vocal and orchestral style, and its new way of reciting. Verdi completely abandoned in this work the system arias, not appear here passions and dramas so characteristic of his works, represented by those ary bravura. They not appear the cabaletas, concertantes duets and a filled structure rigidities. The composer made a much more dynamic system, where the word is of great importance through a script full of wealth and creative force. It can be said that gives a twist creating a bright, Italian opera theatrical, with a complex orchestral writing, with ensembles and sets. A main character, two side and a set of comprimarios that come out on stage with pinpoint accuracy. a comedy where the pace is essential and where all the characters have an irreplaceable position in the work gear is thus created.

The stage director Laurent Pelly, It has managed to make a very accurate reading of the theatrical level of this opera buffa. He has designed two distinct spaces, a tavern in which Falstaff lives and prepares the intrigues with his cronies Bardolph and Pistol, and another space, elegantly flattering Tangle, where he lives and operates bourgeois part of the deal. The great success of Laurent Pelly scenery and Barbara de Limburg is its theatricality, that faciliya inputs and outputs scene as if it were an intermission, with outstanding direction of actors. Excessive darkness of the stage was conducted by Joël Adam.

The musical direction of the young Daniele Rustioni was very effective and scrupulous in their interpretation. Perhaps, around a few years, Rustioni dares to put more intention and personality in this work. The enthusiasm showed on the podium was not reflected by the orchestra. All very correct, but with little spark.

Falstaff is a choral work. Its many characters should be as good singers as actors, and the final cast, after some casualties, It is an extraordinary level.

Roberto de Candia Nicola Alaimo replaced in the role of Sir John Falstaff. Candia defends his character with enough authority, a homogeneous timbre and great theater capacity. His experience on stage and intention that gives your character, They filled the empty stage in which it was in any of its passages. His Falstaff has the right amount of humor, without falling into caricature. It is a Falstaff with his little smugness and swagger, and it is believed that handsome gentle. Don Giovanni came a living unless his memories and the one just empathizing.

Simone Piazzola's Ford had a higher load histrionic. His character is not vocally simple, but Piazzola smoothly resolved the most difficult passages of his jocular Ford.

The Merry Wives of Windsor didn't have it easy on stage. Pelly put them all up and down stairs while singing. One difficulty to add to its interpretation. Rebecca Evans was Mrs. Alice Ford filled with humor and grace. Its emission is clean and direct, was the most prominent group vocally comadres.

Daniela Barcellona, como Mistress Quickly, It was the most elegant and sophisticated, also in the ridge line. We take a little less wonderful that has such serious. Made very good match with Roberto de Candia in duets sharing.

Most go unnoticed on stage with Mrs Maite Beaumont. Meg Page. Not so with Ruth Iniesta and Nannetta, with a clean voice, fresh and voluminous that accompanied the diffident Fenton Joel Prieto, it costs to recover the good level he showed in The Magic Flute takes a couple of seasons in this same theater.

The doctor. Caius de Chritophe Mortagne was somewhat grotesque, with a somewhat forced his comedy broadcast.

Mikeldi Atxalandabaso is always a guarantee vocally and, especially, in the interpretation. It is a true chameleon on stage. On Bardolph, a bit tacky neighborhood, It was the most fun night. Valeriano showed the same trade Lanchas, Bardolph forays partner and Falstaff. With a bass that resonated with power and a very good performance.

Falstaff ends so masterfully Original, with a leak performed by all actors, including the choir (once again, magnificent), while a large mirror reflects the stalls while listening to "Everything in the world is mocking". In this case, we do not mind being teased.

Gidon Kremer

Religious Music Week in Cuenca has already reached its 58 edition. More than enough for the consolidation of a festival time. But nevertheless, neither enthusiasm nor the environment can breathe a few years ago, despite the excellence of some of the performers who have been here in this edition. It is the case of the Latvian violinist, Gidon Kremer and Kremerata Baltica. They have interpreted works by the composer Arvo Pärt, honoree this year and was unable to attend due to poor health prevents him from traveling.

Arvo Pärt and Gidon Kremer have some things in common. Both were born in countries that were under the domination of the Soviet Union, Estonia and Latvia, respectively. And both endured the rigors of the Soviet regime, like so many artistic creators.

Pärt's early works were influenced by composers like Prokofiev, Shostakovich P. Bartel, and therefore very close to neoclassicism. He later became interested in dodecafonismo, Following, this time, his admired Schoenberg. But the work Pärt best known corresponds to his later years as a composer. After a deep personal crisis, Pärt felt the need to return to more traditional European music. He delved into ancient music and Gregorian chant. His style was then defined. It was completely away from any musical current created so far, but he got his compositions were made wildly popular. You manage to create atmospheres that are fully recognizable and framed in the deeper and spiritual European roots.

On the first day of the SMR, Part two works were interpreted. The first of them Frates (brothers), violin, string orchestra and percussion, one of the adaptations of his work done for his friend Part Gidon Kremer. Written under the technical, produced by self-Part, tintinnabuli (a bell), where resource use is minimal but the results are spectacular sound. It is characterized by the use of two types of voice, the first and second tone scale in diatonic, stepwise, which gives the play a slow tempo, full of spirituality that characterizes almost all his works. A calmness and composure as exquisitely recreates Kremer. Demonstrating a mastery of the instrument that rarely, to say no, you have the opportunity to listen.

The second of the works, known tabula rasa, It is one of the first compositions of Part after returning to the more traditional music.

The first movement, Ludus (game), He began with the solo violins duo formed by Kremer and Tatiana Grindenko leading interpretation sustained silence of the score of Part to higher levels of perfection. The second movement, qualified silence, is a canon in which the three sections, in which the strings are divided, They are evolving at different rates creating depth and texture to reach the atmosphere of recollection, stillness and silence that the composer raises. Only altered by the prepared piano chord.

The last work breaks with the sacrum style of the previous two and the overall context of the SMR. symphony No. 2 for strings op 30, Polish composer Mieczyslaw Weinberg, She was interpreted by the Kremerata Baltica. Unison never sounded so clean string. The performance quality of this musical ensemble, of the hand of Gidon Kremer, masterfully directed from the discretion of his genius, He would delight the public more knowledgeable and demanding. It is for this reason not understood that the Teatro Auditorio de Cuenca rozase just half its capacity. A situation that must be analyzed by those responsible. A festival like this, already established, although you should bet on a higher quality of interpreters throughout the week, and in an environment heritage of humanity as Cuenca, It should have greater institutional support and popular.

Photograph: Santiago Torralba / SMR

the Barberillo 1

the Barberillo 2

the Barberillo 3

the Barberillo 4

the Barberillo 5

the Barberillo 6

The Barberillo Lavapies at the Teatro de la ZarzuelaEl Barberillo Lavapies is one of the top works of the Spanish lyric, not only the zarzuela. His music represents the true popular root of Madrid most traditional and customary. Alfredo Sanzol says, "It contains the musical force of an era". The libretto by Luis Mariano de Larra is surprisingly current. It could have been written yesterday, It is showing that the characteristics of a society features like Spanish, not change, regardless of the historical moment. In the argument they are reflected almost all the features of the Madrid of the time, of that and this, as the gallantry of the pestles and chulapos, the ability to generate taste for intrigue and criticize everything, mainly to authorities. It also reflects the eternal struggle and class differences represented by two pairs of lovers, a village, the barber Lamparilla and Paloma seamstress and other aristocratic formed by Don Luis de Haro and Marquesa del Bierzo.

Barbieri wanted to empower the Hispanic music and Barberillo was like a manifesto "for our music ", and it shows from the early stages, aunque with a point rossiniano. Lamparilla has similarities to the Barber of Seville, political frames, the main characters, choirs, majos, youths, students, guards or seamstresses, They belong to the most traditional of the era Madrid and his music comes from the most popular Spanish roots. Barbieri intended to compensate, somehow, new musical currents coming from the rest of Europe staged, especially, by Wagner.

After Lavapies Barberillo of Calixto Bieito in 1998, Alfredo Sanzol has created an almost nonexistent scenery but with a very dramatic result. On a dark stage, neutral and almost empty, Large blocks appear that the characters were in charge of moving, creating scenic areas along representation resulting in a hit a work with a frame so convoluted, dances and even military parades. With this scenery makes the role rests with the protagonists couples and music. Such a scenario does not clean downplays history, but the real atmosphere rests almost entirely on the costumes Alejandro Andújar, carefully crafted and historically located where it should, in Madrid of Carlos III.

The musical direction was in charge of Madrid José Miguel Pérez-Sierra, who he led with brio, extracting the best of the Community of Madrid Orchestra on the most popular numbers work, and providing a certain lyricism those who, as if it were a leitmotif, accompanied the couple formed by the Countess and Don Luis.

A note also the craft and skill of a chorus, The Teatro de la Zarzuela, as anyone who plays the melodies of this work, chispera with all the intention of the people of Madrid.

Voice box was a bit unbalanced, not because it was bad, but if the distance by volume and interpretation Borja scored perhaps his Lamparilla. His lyric baritone voice filled the room with his loud voice and pleasant timbre. He played with grace his clever character and he understood perfectly the fast phrasing and easy, clarifying and emphasizing every sentence.

His costar was Cristina Faus, in the role of Paloma. You can not say I'm in the best vocal moment, although his dark, lyrical tones gave character to his character. His diction was not very good, hard to understand what he said, but his interpretation was full of intent and sensuality.

The soprano Maria Miró played the Marquesita with a beautiful timbre and considerable agility, He gave the character of sophistication that requires a marquise, although the interpretation was rather bland and unconvincing. What it is said castiza, It is not, a must in any zarzuela and, especially, in this.

The rest of the cast did the job with dignity. Production and a work that makes as few enjoy a sellout audience in all its functions.

The Barberillo Lavapies
Francisco Asenjo Barbieri
Zarzuela in three acts
Teatro de la Zarzuela in Madrid, 3 April 2019
Libretto by Luis Mariano de Larra, and an adaptation of Alfredo Sanzol
D. musical: José Miguel Pérez-Sierra
D. Text scene and adaptation: Alfredo Sanzol
Sets and costumes: Alejandro Andújar
Lighting: Pedro Yagüe
Choreography: Antonio Ruz
Distribution: Maybe Borja, Cristina Faus, María Miró, Javier Tomé, David Sanchez, Abel Garcia, Paula Carmen Romero, José Ricardo Sánchez, Felipe Nieto
Community of Madrid Orchestra
Holder Choir Teatro de la Zarzuela
D. choir: Antonio Fauró
Text: Paloma Sanz
pictures: Javier del Real

La Calisto 1

La Calisto 2

La Calisto 3

La Calisto 4

La Calisto 5

La Calisto 6

La Calisto 7


La Calisto, venecianaLA effervescence CALISTO
Francesco Cavalli (1602-1676)
dramma per musica in a prologue and three years
Libreto de Giovanni Faustini, based on the book II
Metamorphoses (8 d.C.) Ovidio
San Apollinare premiered at the Venice Theater
28 November 1651
Premiere at the Royal Theater
Bayerische Staatsoper production Munich
Madrid 25 of March, 2019
D. musical: Ivor Bolton
D. scene: David Alden
Scenographer: Paul Steinberg
Costume designer: Buki Shiff
Illuminator: Pat Collins
choreographer: Beate Vollack
Distribution: Dominique Visse, Karina Gauvin, Monica Pods,
Luca Tittoto, Nikolay Borchev, Louise Alder, Tim Mead,
Guy de Mey, Ed Lyon, Andrea MastroniLa seventeenth-century Venice is a suitable place for divertimento, full of life, carnivalesque mocking. Always wary of Roma who came to excommunicate the Venetian authorities to consider the city a hovel of sodomizing. It is in this context that born La Calisto, work that was the great dominator of the Venetian opera, Francesco Cavalli. With great dramatic sense and wisdom in choosing the librettos, I knew how to put in this work all his artillery to exert satirical critique gaunt clerics, Roman politicians and artists. This was his peculiar way of settling accounts with ellos.Cavalli worked as Kapellmeister of San Marcos without forgetting his true passion, composition operas. He wrote more than 40 of which they have lost nearly a third. Of the 27 preserved, Callisto is the most popular since it was rescued in the years 70 by director Raymond Leppard.Cavalli should be as well known as Monteverdi or Haendel, whose works are part of the standard repertoire of all concerned teatros.Esta Italian society is reflected in the artistic and musical expressions through a clear evolution. Are the first solo, Madrigals abandoned 5 parts, texts gain in importance and should be understood by an audience that, for the first time, attending such shows paying entry. new instruments that imbue the works of a continuous basis are needed more powerful than traditional lute. a new instrument then appears with Greek mythological basis, chitarrone, It is beginning to be heard in the early and Venetian operas.

La Calisto, as a good representative of the Venetian opera, It consists of short scenes and a variety of characters and plots that occur with great fluency.

This style manages to convey, effectively and dynamics, a story with scene transitions and assemblies that makes these works have a special appeal to new audiences, accustomed to rapid movements of television and media.
Stage directors have always had some qualms about addressing Baroque works. Not easy to dramatize the long recitatives and statism of his characters. It may be the reason why some directors are entangled in impossible positions and / or surreal, creating scenery not always successful.

David Alden has devised a kind of psychedelic parade going by parading a large group of characters who are always very attractive for scenographer, gods, humans and mythological animals occur in fun filled scenes of sexuality and lasciviousness. Alden has reflected well through satiric characters, Cavalli mockery to the Roman authorities.

But the scenery is also loaded with scenic dispensable items, that they make no contribution to drama and sometimes distracts from the scenes that do not need much embellishment sterile to be understood.

Ivor Bolton put this time in front of two excellent baroque ensembles, on the one hand, the Baroque Orchestra of Seville, with some of its prominent members, Sylvan James and Elisabeth Bataller, violins; Kepa Arteche y Elena Borderías, violas; Mercedes Ruiz, cello; Ventura Rico, double bass; Simone Nill y Katja Schönwitz, Recorders; Bork-Frithjof Smith y David Gebhard, cornetos and Philip Tarr was in charge of percussion that was excessive and even annoying at times.

And on the other hand, and Monteverdi Continuo Ensemble, a group led by self Ivor Bolton, specializing in baroque operas and improvisation and created for these occasions. La Calisto involved with 4 key touched by the Bolton own, Luke Green, Roderick Shaw y Bernard Robertson; Mark Lawson, organ; Fred Jacobs, Michael Freimuth y Joachim Held, the chitarrones, instruments in the seventeenth century there was scarcely see the stage to an audience protesting the length of your rod; Friederike Heumann, Lirona and viola da gamba; Joy Smith, Cello (continuous) y Frank Coppieters, double bass (continuous).

They have also introduced some wind instruments, as natural trumpets, performed by members of the Titular del Teatro Real Orchestra Ricardo Garcia and Marcos García Vaquero, not included in the original manuscript of Cavalli and part of the update of this new critical edition prepared by Alvaro Torrente, which it has provided a solid and true basis of the text from which it was possible to carry out this work of recomposition in a work with great ability to introduce the element of improvisation.

Bolton direction in front of these sets is extraordinary. Faced with a score like this, on which he has worked in depth, instrumenting passages, shows his great knowledge and mastery of the baroque repertoire. Does a great job of connection between the different bands that get perfect pitch. His success in the leadership demonstrated by the standing ovation before the start of the second part.

It should be noted the balance of vocal ensemble. Bass Luca Tittoto, como Jupiter, She showed her acting skills, especially disguised as Diana and using the falsetto. It proved a very interesting central register. Made good partner with Mercury Nikola Borchev.

Calisto was played by British Louise Alder. A beautiful timbre well and potently projected was enough to give life to his character, something sappy and simplón.

The Endimione Tim Mead was full of tenderness in the interpretive part, He gave the public time full of lyricism and taste in singing. He made very good theater and vocal partner with Diana Monica Bacelli, which he demonstrated his mastery of the baroque.

No doubt the winner of the night was Dominique Visse. This disciple of Alfred Deller is an expert on his rope and countertenor repertoire. His voice is not the same as when founded in 78 el Ensemble Clément Janequi, but his acting ability makes up any vocal difficulty and delights the public.

The rest of the cast was high, why not have it any easier from their platforms, as in the case of Ed Lyon, interpreting Pane.

An interesting production that allows us to be optimistic to think that there is a deficit of Baroque works in our theaters. Hopefully sets an example and good public acceptance is taken into account.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Idomeneo 1

Idomeneo 3

Idomeneo 4

Idomeneo 5

Idomeneo 6


Idomeneo, King of Crete
Idomeneo, King of Crete
Wolfgang Amadeus Mozart
serious opera in three acts, K. 36
Teatro Real, 20 February 2019
Libreto de Giovanni Battista Varesco, based on the work Idoménée (1712) Antoine Danchet, inspired by the eponymous play (1705) Prosper Crébillon
reviewed by Mozart for the premiere at the Palace version
Auersperg in Vienna 10 March 1786
New production of Teatro Real, in coproduction with
the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma
D. musical: Ivor Bolton
D. scene: Robert Carsen
scenographers: Robert Carsen and Luis F. Carvalho
Costume designer: Luis F. Carvalho
illuminators: Robert Carsen y Peter Praet
Director motion: Marco Berriel
Video Designer: Will Duke
D. from the choir: Ándres Máspero
Distribution: Jeremy Ovenden, Anicio Zorzi Giustiniani, Sabina Puertolas,
Pleiades Sabirova, Krystian Adam, Oliver Johnston, Alexander Tsymbalyuk
Choir and Orchestra of the Teatro RealLas Headlines wars between Greeks and Trojans, Jolyoy described by Prosper in the Crébillon 1705, Antoine inspired Idoménée Danchet in which the libretto by Giovanni Battista is based Varesco. In the works of Mozart are the descendants of the protagonists of the Iliad they face, but this time does not end with the destruction of Troy, This mozartiano Idomeneo is solved with the reconciliation of peoples through marriage of the Trojan Ilia and Idomeneo Idamante.La Greek composition, Re di Creta is a huge creative leap. Mozart was fully involved in developing the script, which earned him not a few disputes with Varesco. I wanted the drama had a major role and was most convincing posible.Su influence on the script led him to develop several versions. Among the first, premiered at the Munich Resodenztheater 29 of January of 1781, and the second, premiered in Vienna five years later, Mozart made numerous changes until just before estreno.Aunque choruses and marches follow the French style Tragédie lyrique, Mozart, with its commitment to constantly update the work and aware of the decline of Italian Baroque Theater court, decide to shorten the long dry recitatives, that lightened with musical accompaniments, He developed a wider vocal line, Italian singers used a much richer and orchestra instruments and timbres. All these elements gave the score a lot more depth and frescura.Mozart had in Munich with the famous tenor virtuoso Anton Raaff, known for his coloratura, for which he composed two arias charged vocal pyrotechnics. These arias disappeared in the Vienna version, We do not know if because the singer this time was not so bright. Another important change was the replacement, the role of Idamante, initially she is written for countertenor and tenor became.

Mozart would have liked to release his Idomeneo in Vienna rather than in Munich, but the weight of Gluck at that time was too important. Vienna was represented Iphigenia in Tauris first and then Alceste, preventing be scheduled at the same time the works of Gluck and a devoted young 25 still unknown years, as Mozart.

The version offered by the Teatro Real is inspired by the review Vienna. Apart from the two long arias Arbace, as it did Mozart. It does in coproduction with Toronto theaters, Rome and Copenhagen. The set design is done by Robert Carsen and, as usual in it, the stage is clear. A beach and sea are the only items where some Greeks and Trojans updated, winners and losers, military and refugees appear as showing that the tragedy remains current.

A sea of ​​orange vests and projection of a city destroyed, complete the scene. A pacifist plea somewhat forced and, of hackneyed, it is tiresome and lacking in originality.

What it does very well Carsen is to manage the crowds standing on stage. More of 60 choir members and a 100 figurantes filled the stage perfectly synchronized. Reserving scenic absolute privacy for the stars, especially Idomeneo duets with Idamante, or arias of Elettra.

A dark scenery, which highlights the subtle lighting Carsen and Peter van Praet, They are projecting the shadow of a huge Idomeneo afflicted. Lighting full of details and information that amplifies the open spaces and helps create more atmospheres reserved.

Extraordinary is the work in front of the Titular Orchestra of the Royal Theater performs its director Ivor Bolton. The inclusion of some vintage instruments, as muted horns, devised by Leopold Mozart, or wooden flutes, get a truly sound mozartiano. Bolton takes a reading full of details and refinement, with his peculiar and enthusiastically directing, while accompanying the key, It makes the music is above the other elements of production, as it could not be otherwise.

Another protagonists of these representations highlight, It is the chorus. Increasingly inspired, both vocals, and interpretive. this choir, hand of its director Andrés Máspero, It seems limitless. No score or scenery can resist them. Sparkly!

Idomeneo, character requires some agility and refinement, She was played by Jeremy Ovenden. His voice is too light for a king. Its small size showed in the set arias, in which he was barely listening.

Elettra ha sido Interpreter por Pleiades Sabirova. precise character of a dramatic soprano of agility. vigorous, for those moments di forza, in fighting for the love of Idamante. The soprano Uzbek, which was the most applauded by the public, he managed to give his character strength and lyricism, with a high volume of voice and dramatic intensity.
Ilia's character was played by the Spanish soprano Sabina Puértolas. The greatest difficulty in this role, for soprano as Puértolas, It is in its coloratura. He knew the character address with courage and with that fresh and elegant vocal line of which always makes gala. His voice is widening, gaining body and sound. Just lacked a bit of volume.

The role of Idamante, Mozart originally composed for castrate, Vienna version and modified it became tenor. El Real has been interpreted by the Italian Zorzi Giustiniani Anicio quite discreetly. It has a beautiful tone but full of strange sounds and, like the rest of the cast, that if this is balanced, the volume is very low.

A good reading of Mozartian Indomeno, musiclamente talking, what is the important.

Text: Paloma Sanz
pictures: Javier del Real

Rheingold 2

Rheingold 3

Rheingold 4

Rheingold 5

Rheingold 6

Rheingold 7

the Rheingold, Richard Wagner, tetralogy arrives at Rheingold Theater RealEl (the Rheingold)
Prologue in four scenes scenic Der Ring des Nibelungen festival
Music and libretto by Richard Wagner (1813-1883)
Released in the Königlichen Hof- and National Theater de Múnich, he 22 September 1869
Premiered at the Teatro Real 2 March 1910
Oper Köln production
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Kinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Distribution: Greer Grimsley, Raimund Nolte, David Butt Philip, Joseph Kaiser,
Ain Anger, Alexander Tsymbalyuk, Samuel One, Mikeldi Atxalandabaso, Sarah Connolly, Sophie Bevan, Ronnita Miller, Isabella Gaudi, María Miró, Claudia Huckle
Titular Orchestra of the Teatro RealWagner had failed as a political revolutionary, but he was willing to be more successful revolutionizing the arts ". Chris Walton describes in the playbill seeking a Wagner already in the epic Norse myths which were not found in the supposed revolutionary epic Uprising May Dresde.Se then proposed to end much of the conventions of opera building a new form of musical drama. He eliminated all the trimmings vocal lucimiento, the division between arias and recitatives, how to write scripts, definitely, He dispensed with all the elements, in your opinion, not served to deepen the drama.

He began construction of a form of musical language much more complex. With an orchestra of dimensions hitherto unknown. But it was not only to increase the volume of sound, Wagner was looking for new colors and musical textures in which support his dramatic speech. He created new instruments, as snorkels Wagnerist, whose new timbre became a hallmark of his operas. All for the sake of building their project "total art" and the orchestra lead to more developments that have taken.

The Wagner of the time was not only interested in some of the social and revolutionary movements of the time. Nature and deterioration were already a concern for the German composer and water, its most inspiring element. It was known to frequent his visits to spas to soothe their numerous ailments. And it was under this influence of water when developing his greatest creative power.

The Royal Theater begins with Das Rheingold tetralogy the ring staged for four consecutive seasons. Wagner conducted this work, casi herculean, during 25 years. The results were 16 hours of music that start with this overture presents a destroyed by the lust for power nature.

Robert Carsen production and emphasizes Patrick Kinmonth, precisely, this nature degradation. I can not say that the scenery of Carsen liked me, quite the contrary, but the bar was very high after his Dialogues of Carmelites (2006), Katia Kabanova his unforgettable (2008), even Salome (2010). Only the beginning of the work, in which they appear characters who throw plastic bottles to Rin under the effects of the haze and then discover that as a dumping ground, They make the speech posed by Carsen credible. We are used to seeing Wagner's operas with gigantic scenography, large aparatajes and effects that try to catch up loudness. This time, Carsen and Kinmonth did not want the sets were the protagonists of production and have put the weight of the drama in the characters and the River. The scenery is embroiled in an absolute pessimism about the destruction of nature. A river polluted and devastated by human action is the main element of this work stress.

The other scenes are composed of blocks of buildings under construction and cranes that do not add too much plot information and some little comprehensible elements, Snow that falls at the end or the golf club replaces the hammer Donner. A very good lighting Manfred Voss complete this austere and cold scenography, but nevertheless, It has an extraordinary quality, It allows the main focus falls on the protagonists, the orchestra and the score.

It is the first time that Pablo Heras-Casado faces of the Ring tetralogy and has proven to be an extraordinary surprise. It takes a few seconds of introspection from the bench, with eyes closed, before launching into the first chords, in just over four minutes initial advance what will be one of the greatest revolutions of music, a new conception of the orchestra and composition.

A huge pit, to which it has been added space of the first two rows and that's where the show is really. Formed by 110 teachers, a group of strings 21 I violins, 20 II, 17 violas, 15 cellos and 8 contrabasses dividing, at the same time, into subgroups to achieve these effects of distance and depth and polyphonic sound that create a sound full of sophistication. 5 of the 6 harps required by Wagner and a set of metals almost construct, by themselves, the dramatic speech.

The address Heras-Casado is very efficient. Good connection with the orchestra note, product of a deep work. Always attentive to every element of the pit and the stage. Perhaps lacked power and showmanship at times, as the crescendo of the overture or the entry of the gods in Walhalla, but their enthusiasm in the direction offered results in a homogeneous solid sound, which it is no small thing to the challenge of this work. With this beginning of tetralogy, the next cycle venturing titles more than interesting.

As for the voice cast the result has been uneven. The best of the night has been, definitely, the Alberich of Samuel Youn. A very good volume and beautiful tone for a superb interpretation of the miserable and petty dwarf Nibelung. Hopefully still heading in the next installment of the ring.

Greer Grimsley has played one Wotan somewhat disappointing. It seemed a small and inconsistent character amidst scenery that naked. her wardrobe, second officer, It did not help much. The character was lacking in presence and voice, with evident vibrato, He was not the entity that the character requires, especially in the higher notes.

Sarah Connolly great stage presence gave her Fricka, but I must confess I expected much more of it vocally, It not in vain was one of the most important names of the cast. Wagner may not be the most suitable repertoire qualities.

Very good also giants Ain Anger and Alexander Tsymbalyuk, They filled the stage with her voice and presence.

Sophie Bevan solvency office with his character Freia, one of the most restless on stage. very well, and so he awarded the public, the Erda of Ronnita Miller.

Also excellent three daughters Isabella Rhine Gaudí, María Miró, beautiful soprano voice, and Claudia Huckle, for the occasion were dressed as beggars.

Joseph Kaiser has a rather small voice, but enough for fire god Loge. A Wagnerian tenor bell, although not volume.

One of the best performances of the night was the Mime of Mikeldi Atxalandabaso. He debuted on the character and excelled, both vocally, and the interpretation.

Four years seems too long to see complete this tetralogy Ring. Hopefully worth and next time we can see in one season.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Adrianne Pieczonka

Schubert writes Winterreise (Winter trip) It is very advanced and syphilis that led to his death shortly afterwards. Lonely and without having had any success in his career, Schubert shells along 24 songs two fundamental themes in the poems of Wilhem Muller, loneliness and the road. And it does transmitting, wrenching way, his own inner winter, full of melancholy, loneliness and fear of death that lurked him.

Winterreise was originally written for tenor voice, well known Schubert. But the baritone voice which most often addresses this repertoire, perhaps because melancholy describe more accurately. But this time, he Lied cycle of Teatro de la Zarzuela and the National Music Center They have surprised us with the voice Adrianne Pieczonka. A discovery hearing the deepest romantic expression hand this Canadian soprano, and experienced on stage. Perhaps thanks to that vital and professional experience, the ability to convey so many different emotions contained in this work is due.. Pieczonka has been bringing, of disturbing way, each time that describes Schubert, through his music, the arrival of the end of the road. Bright, glazed voice when the upward dynamics require, como en Frühlingstraum (spring dream), or able to create atmospheres full of melancholy or tenderness, como en Der Lindenbaum (linden) o The organ-grinder (The hurdy-gurdy).

She was accompanied on the piano by Wolfram Rieger, who scored, with impeccable technique and elegance, Pieczonka the perfect way to travel the romantic melancholy described by Schubert. His knowledge of lieder repertory is impeccable, as his mastery of the instrument. They formed a perfect tandem in coordination and expressiveness that left the audience happy and satisfied.

Turandot 1


Turandot 3

Turandot 4

Turandot 5

Turandot 6


Turandor, Giacomo Puccini look and shadows (1858-1924) lyrical drama in three acts Libretto by Giuseppe Adami and Renato Simoni, based on the homonymous fable Carlo Gozzi D. musical: Nicola Luisotti D. scene and lighting: Robert Wilson Figurinista: Jacques Reynaud makeup and hair: Manu Halligan Videocreador: Tom Jeziorski Dramaturgo: José Enrique D Macián. choir: Andres Maspero D. children's choir: Ana González Cast: Oksana Diving, Raúl Giménez, Giorgi Kirof, Roberto Aronica, Miren Urbieta-Vega, Joan Martin Royo, Stephen Vincent, Juan Antonio Sanabria, Gerardo Bullón Choir and Orchestra of the Teatro Real holders November 1924, Puccini moves to Brussels, Dr. Ledoux is the only one who can deal successfully with throat cancer that has been diagnosed. It carries with it part of the score of Turandot, It aims to finish the final duet and on his return to finish what would be his last opera. Death is surprised at the 29 November and plans and the end of Turandot remain unfinished. Turandot is an opera that does not follow the same coordinates of the works written so far by Puccini. It contains too many unknowns, part of his unfinished final duet. To answer some of these questions, we must go back a 15 years ago… In 1909, Doria Manfredi is a young 24 years working at home Puccini. Elvira, woman teacher, Doria accused of having tried to seduce her husband and says haberles discovered together. Gossip and shame of the family lead to suicide young Doria. After 5 days of suffering and excruciating pain that had given him the poison he had taken, Doria Manfredi dies. The report reveals that death had Doria died a virgin. It is shown that the accusations were false Elvira, even to be arrested during police investigation for incitement to suicide. But Puccini pay a large sum of money to the Manfredi family and accusations do not go beyond. During the 15 following years, Puccini suffers from this event stormily, as it reflected in many of his letters in which he claims not to endure the death of this innocent. When Puccini knows the extent of his illness is when you decide to change the fate of Liu. The last verses of Kalaf and Timur connection with the suicide of Liu, They are the justification of the composer, Apologies throwing the world in his name and on his wife for the suicide who feels guilty. This was a public apology for an event that marked the life of Puccini and lamented just before his death. He 25 April 1926 Turandot premieres at the Teatro alla Scalla Milan with the final written by Franco Alfano, following the directions Puccini had left written. 20 years after its premiere, returns the fantastic tale of Turandot at Teatro Real. Robert Wilson is in charge of dressing, or not, this story and fill, or not, magic and fantastic element. Robert Wilson says that when you are creating a stage you're wondering what you should not do, for, precisely, do what. He considers that the corpus of the work of an artist is always the same and this must be recognized throughout his career. And Wilson's work is always perfectly recognizable. In some productions with more success than others, but is always Bob Wilson. This has Turandot will be more or less empty, escenográficamente talking, Naked scenic elements but with its distinctive and exquisite lighting holding, sometimes almost exclusively, stage drama. Another important element is Wilson scenery no movement. Nor the characters look or touch at any time and just take small steps and mechanical. Leaving orphan of passion and romanticism of some key scenes, as suicide Liu, It is passing almost unnoticed. But all these absences also produce other sensations. Statism of the characters on the extraordinary lighting Wilson, create a truly magical atmosphere, full of shadows that seem drawn and draw you into the story by projecting full attention on music. Figurines designed by Jacques Reynaud provided, the absence of expression in the characters, dramaturgy and theatricality of the work. The overall result is an extreme sophistication, both characters, as scenery, allowing, as he wants Wilson, you have large spaces, apparently empty, for the viewer to recreate their own story. Nicola Luisotti get superb performance of the Orchestra and Choir, which it plays a key role in this work and exercises with great success. Luisotti extracted from the entire orchestral score wealth and manages to recreate the oriental exoticism imagined by Puccini. Your adress, always elegant, It is full of details and colorful, especially in the treatment of ropes. Music fills the spaces that appear widowers scenic drama and puts the sentiment reflected by the composer in the score. Princess Turandot Ukrainian Oksana Dyka is quite gritona, with suspenders sharp voice and a color somewhat yellowish. Large volume of voice, as required character to not be swallowed up by the orchestra. Manages to convey the hieratic attitude and full cruelty of the protagonist, despite not move a hair. The Calaf Roberto Aronica was worthy, without further ado. He also was a bit loud and indelicate and romance. He had to choose between volume or shade and chose the first. he did not favor neither statism nor his character's wardrobe. Giorgi Kirof Timur offered a somewhat loose and dully. Something better was the Emperor Altoum Raul Gimenez, which was believable in his character and not to despise the merit sing about 10 meters high. The most applauded of the evening was the soprano donostiarra Miren Urbieta-Vega as Liu. He filled his character with a passion and feeling powerful voice, good phrasing and abundant fiato. Too bad her wardrobe also favored him. Ministers Ping Pang and Pong, given his character and almost grotesque bufo, were the only characters moving about the stage and almost compulsive exaggeratedly, If we consider that the rest did not move or eyebrows. Well interpreted vocally and, especially, in theater by Joan Martin Royo, Vicenc Esteve and Juan Antonio Sanabria. Text: Paloma Sanz Photos: Javier del Real Videos: Teatro Real
Maria del Pilar

He Teatro de la Zarzuela continues rescuing the Spanish lyric genre titles that for various reasons had been forgotten. Some of these works, as Maria del Pilar, of the teacher Gerónimo Giménez, He not explained that they have lived so long in the ostracism. It premiered at the Teatro Circo Price in Madrid 1902 Y, since then, never again knew. It seems that one of the reasons for these absences may be in some scripts that have been very jetlagged. That of Maria del Pilar, from Francisco Flores and Gabriel Briones, It presents a casposa rural Spain and with many difficulties for theatrical performance. But the Teatro de la Zarzuela has found a good solution to this problem, as it did with "The Tempest".

In the concert version of which two performances scheduled, It has been replaced by an updated text spoken narration correctly by Maria Velasco. The story was in charge of a Mario Gas tempered, whose good work was demonstrated once again.

The score Jimenez surprised by its quality. the influences of his admired Wagner or Verdi noticed in her moments of true verismo. The orchestra, reinforced for the occasion, It sounded like the overture ever since, It is the most intense passages the two arias by tenor and bass or duo of the two sopranos in the second act.

The address of Oliver Diaz, replacing the maestro Jesús López Cobos, whom the representation was dedicated, He was full of intensity and colorful. It directed with suitable pulse firm and all passages of the work, giving each its own personality and nuances, as it evidenced in the Jota or very Verdian bass and baritone duet in the second act.

Section of the voices was very balanced. the soprano Carmen Solis He offered a homogeneous singing a beautiful tone and a voice body, especially in the middle. Your paper, despite naming the work, is not the protagonist or solo arias has, but he shone when he corresponded, Also in the dramatization.

Polish soprano Iwona Sobotka He played the role of Esperanza. It can boast a good diction in Spanish with his dark voice, which provides a good bass notes. Not so with sharp.

Marina Rodriguez-Cusi EARNEST he played Nieves, with his comic partner Jorge Rodríguez-Norton as Almendrita. Both high. She is always a guarantee of professionalism and good work.

Andeka Gorrotxategi, Rafael, He addressed his demanding tessitura with dedication and always beautiful timbre. He had solved a problem that as the work progressed. is not well understood sing all the time crossed arms, as if holding or seeking some support, in any case, It is not the best posture on stage.

baritone Damian del Castillo Marcelino she played a song and serene enough. The bass David Sanchez, as Uncle Licurgo, always solvent with deep and homogeneous tessitura.

Definitely the best of the night and most recognized by the public was the burgalés low Rubén Amoretti. Valentin her character was endowed with an entity much greater than character. His Romanza "What beam me annihilates", It was performed with elegance and trade, clarifying each phrase and filling dramatic intensity.

Is more than likely that the choir has had a brilliant performance, as usual, but whenever they placed upstage can hardly hear him. A shame.

Maria del Pilar has been an extraordinary surprise that we must thank the Teatro de la Zarzuela and, especially, its director, Daniel Bianco, you are performing a task that never thank him enough.

Maxim en el College 1

Maxim en el College 2

Maxim en el College 3

Maxim en el College 4

Maxim en el College 5

Maxim en el College 6

Maxim en el College 7

Are you a big rossiniano interpreter What qualities or technical believes should be to be a good interpreter rossiniano? The rossiniano edge requires a very particular technical; We can call Rossini style "il bel canto fiorito". You need to know to keep the tessitura, which in many cases it is quite high, besides having the vocal agility. It is important, especially, know the style of writing well and know Rossini vary the ridge line where it should. It is about, definitely, a set of very specific things. Ah, I forgot: all this must be done at the same time and with extreme ease.

The last summer, He reprized the Conte d'Almaviva, in the new production The Barber of Seville, Rossini Opera Festival in Pesaro, stage direction of Pier Luigi Pizzi. What are the challenges this role?

Yes, is one of my favorite roles Rossini, and every time I have to sing, I thank this magnificent role Rossini. Even if he might have to thank Manuel García more? Who knows what this great tenor in the past has contributed to the creation of the character of Almaviva! If the role is as in Pésaro, that is to say, Integral with the end rondó, the difficulties are brutal. It's a long role, demanding from the point of view actoral, full of disguises and movements. Is, Besides, a very dynamic role to be crowned with final rondo full of coloratura. But the feeling of satisfaction you get after you did makes you forget any difficulty.

What other roles Rossini would like to do in the future?

Actually, after so many years working in the Rossini repertoire, there are few roles that I debut, but I could point to three I want to do in the future: Le Comte Ory, Corradino en Matilde in Thabran and Ilo, in Zelmira.

If publica ahora "This is Rossini!”, a selection of arias accompanied by piano chamber by Richard Barker, a nineteenth-century piano, similar to that used by Rossini and coinciding with the anniversary of his death. How you have lived this experience?

It is the result of hard research work, but very interesting, I've done with my great friend, Master Richard Barker. The truth is that has always fascinated me chamber music; I think in this genre composers had much more freedom of expression and, especially, experimental. In the chamber music repertoire of each composer we can find real gems, they often fall into oblivion. So with this CD we want to bring to light lesser known works of Rossini and empower them to be interpreted. We used a historical instrument to record this album: Pleyel very similar to that used the same Rossini. The period instrument sound is unmistakable and catapults you, Instantly, to the past, producing an almost magical effect. the touch, we can feel what I felt the same Rossini. We wanted to call this CD "Questo è Rossini"!, (This is Rossini!), but perhaps it would have been more appropriate to call it "E anche questo è Rossini" (And also this is Rossini!), by the amazing variety of music ... from the pathos of an exile in the aria "L'esule" the almost grotesque comedy of "La Chanson du bébé", which features the same glimpse Rossini.

His previous CD "The Ricordanza" was dedicated to the repertoire of chamber Bellini, How this project came?

"The Ricordanza" is a concert-story. The idea came while he was visiting the Museum Bellini in Catania. Among the exhibits, there were two pianos They are belonging to Bellini. They were in a sorry state, And you could hear the sound. But it was there that I got to thinking: How would the sound of these instruments listening Bellini? How does that sound could influence his inspiration? So I began a journey through the history of the life of Bellini, and I understood that his chamber works could illustrate his entire artistic career. And I designed this concert, in which I tell the public about the great composer of Catania, which left us too soon, and illustrate my story singing their arias camera. This concert has had great success in Moscow and Vienna, and soon, we will take, for the first time, to Italy. It is a fairly novel experience for the listener. The public is always happy. also we made a CD, which it is now only available online an iTunes, Spotify o Google Play. It is also available on the web, where we have made a special edition to help collect funds for the German organization Kinderlachen, which helps children with difficulties.

His repertoire is clearly belcantista but also addresses other roles as Orfeo, Gluck, even Mozartian roles. Where he is evolving voice?

Inevitably, the voice changes over time ... I do not notice unusual changes, although obviously the voice grows, acquires volume and color enriched, but still I can not say that, within a year, sing Otello Verdi ... Nothing, I'm happy with Rossini!

Where do you feel more comfortable, performing arias full of ornamentation or more dramatic arias?

I prefer the arias, where they know how best to express the will of the composer. The fact that they are with or without coloratura, unimportant.

From 13 Lindoro in December will The Italian Girl in Algiers, Liceu in Barcelona, How do you approach this role?

Lindoro is a complex character that we perceive today very differently than was created at the beginning of the nineteenth century. Lindoro comedy came from the fact that, in this opera, it is the woman who plays a man: She part of Italy to Algiers, Mustapha seduces, freeing the slaves. But if I had not come to save Isabella, he would have been equally well in Algiers. It was the favorite slave of Mustafa! Also from the vocal point of view, writing is almost feminine, very sharp and full of ornaments. I try to create a very young character, a little naive and dreamy ... one of those people who do not know exactly where they are and escape from danger by the great fortune to have.

We had the opportunity to see him in another The Italian Girl in Algiers in 2009, When can we hear again in Madrid?

moment, I have no other commitments in Madrid, but I remember with great pleasure the period I was there, especially people working in the theater. I've never seen people so passionate opera working in a theater!

Faced with a new role, How do you prepare and what items you consider?

I always start studying first the arias, then the duets, trios, quintets... and so on to reach the final. In this way, I have enough time to mature arias. parallel, I also inquired about the opera: leo, I see things on the internet ... Today, We can benefit a lot from this media.

How is your relationship with stage directors? Do they have much influence on the version of the character played?

Stage directors are now masters (owners) Opera. Sometimes, This benefits the opera, and other times, no. If the stage manager is smart, is given always realize that doing operas of the great composers of the past as Rossini, Mozart, Donizetti, Verdi, Puccini, etc., It is not only to absolute geniuses of music but also theater. Stage director's work involves a great imagination, but it must be combined with a certain humility. The great directors of the past had this gift. Directors today ... not all. Few understand that they must first convince us, the singers, for us to be able to convince the public. I do not believe in set in classical or modern scene, but in those that work or do not work. Normally, from the first encounter with the stage manager, I usually tell if the show will or will not succeed and who will win in the end: composer and stage director.

To end, What are your future engagements?

Immediately after Barcelona, presentamos "The Ricordanza" en Italy, specifically in Cuneo. Then I go to La Scala Cinderella, and the Staatsoper Berlin for The Barber of Seville. In late summer 2019, I'll be at La Fenice in Venice with another Barber shop. However, I have to record my new album. Just I ask the Lord to give me health to do all this!

Bernarda Alba's house 1

Bernarda Alba's house 2

Bernarda Alba's house 3

Bernarda Alba's house 4

Bernarda Alba's house 5

Miquel Ortega being accompanist at the Teatro de la Zarzuela, back in 1991, He began composing an opera based on the work of his admired Federico García Lorca. It was nothing less than "The House of Bernarda Alba". In a few months the first act was finished. From now on, and because of the numerous commitments that he was acquiring the composer, his work went on for 8 More years. It was a chamber opera in its original composition 14 musicians, mode the Britten chamber operas. But in 2007 He came the opportunity to release it with the condition than in version for symphony orchestra in the theater of the Romanian city of Brasov. Then come the Festivals of Santander and Peralada.Llega now the Teatro de la Zarzuela in a new production version for chamber orchestra, as it was conceived at the outset by Miquel Ortega. And for the first time in a Spanish language version. Julio Ramos's libretto is absolutely respectful of the play. Almost exclusively so do not leave time, some scenes and character were eliminated Prudencia.

Ortega creates a score to match the play. Something not easy with such a complex and full text of more wrenching drama of Lorca. Ortega music, does nothing but enhance the drama, creating a distressing and oppressive atmosphere. Giving life to the other main character is the house and the great Ezio Frigerio, Riccardo Massironi, They have managed to capture in a scenario that the applause was nothing the curtain rises, in recognition of the loyalty of that suffocating space where the tragedy will take place. Frigerio describes it: "It has some convent, some prison, something not seen and have to feel. "

The scenery is enhanced by the costumes of Franca Squarciapino you saw all those women tormented describing perfectly by her outfit. Not missing anything left over in an accurate reading that brings credibility to the representation. The same goes for lighting Vinicio Cheli and the great stage director Barbara Lluch. Among the four they compose the perfect scenery naturally, without fanfare or adornment, as only make great.

Nancy Fabiola Herrera is the Bernarda Alba this production, It is delivered to rigorously character, both vocal and interpretative. It is a relentless and ruthless Bernarda. Impress their sentences at the end of the work She died a virgin!, referring to her daughter Adela, to listen to startle.

In this version, Daniel Bianco free to offer the teacher the opportunity to make a change in one of the main characters of the play took. Poncia, the maid of the house which maintains a curious relationship with Bernarda. According to Lorca's own annotations in the work, Poncia is a friend of Bernarda and only able to talk face to face. For this reason Bianco thought that this character needed a powerful record, a baritone.

The chosen was Luis Cansino, who accepted his character honored, "Artists have to have a point in life where we are able to get out of our comfort zone". Cansino is a dramatic baritone with an unknown capacity in our country, where it is required for papers bufos, and building a flawless and full of theatricality PONCIA, taking care of the details in the interpretation. Gorgeous duet with Adele in the second act.

Highlight the performance of the only high-pitched voice, the Carmen Romeu, who plays the youngest of the sisters, Adela, in a resounding performance.

Impressive to see the grande dame of the Spanish scene Julieta Serrano, who plays Maria Josefa, mother of Bernarda Alba and unique declaimed paper. The play begins with its heartbreaking: ¡Bernard!, which you are able to place on your site each stage, including public.

A high rise was the rest of the cast made by Carol Garcia, as Martirio, Marife Nogales as Amelia, Bethlehem Elvia, Magdalena, Berna Beads, Anguish and Miracles like Martin as a maid.

A magnificent production of Teatro de la Zarzuela is putting the bar very high. No one should miss anything of what is happening here. And that miss, worse for him…

Text: Paloma Sanz
pictures: Javier del Real

Only the sound remains-1

Only the sound remains-2

Only the sound remains-4

Only the sound remains

Only the sound remains-5

Only the sound remains
Kaija Saariaho (1952)
Opera in two parts
Libretto by Ernest Fenollosa and Ezra Pound, basado en Tsunemasa
and Hagaromo, two pieces of clásoco Japanese Noh.
New production of Teatro Real, coproduced with De Nationale Opera & Ballet Amsterdam, la Finnish National Opera in Helsinki, the Opéra National de Paris and the Canadian Opera Company in Toronto.
D. musical: Ivor Bolton
D. scene: Peter Sellars
scenographer: Julie Mahretu
Costume designer: Robby Dulveman
illuminator: James F. Ingalls
Sound designer: Christophe Lebreton
Sound engineers: Timo Kurkikangas, David Fishmonger
Distribution: Philippe Jaroussky, Davone Tines,
and the dancer Nora Kimball-MentzosNho means action or talent. It is the traditional Japanese form of theater. Nho integrates singing dance and poetry of subtle and elegant way extremely simple set design, where nothing changes and only appears the figure of a pine tree as the only scenic element. Nothing should distract from what is really important, the expression of human emotions.

Ernest Fenollosa, one of the most important japonólogos, He left after his death in 1908, some unpublished translations of Japanese traditional pieces Noh. American poet Ezra Pound, belonging to the Lost Generation, and staunch defender of ancient poetry put to the service of a more modern and conceptual design, He adapted two of these works translated by Fenollosa, Tsunemasa y Hagaromo, which they have been the inspirational basis of the work of the Finnish composer Kaija Saariaho.

Only the sound remains no es una ópera al uso. It is at the forefront of contemporary music, with all that this implies in terms of experimentation with sound. A conceptual treatment which emulsifies traditional elements Saariaho, as the Kantele, Finnish traditional instrument, and electronic elements to modify or amplify the sound. Saariaho creates an atmospheric music, a sound and philosophical experiment to be abandoned, something that is not always easy or possible.

As in the noh theater, the scenery of Peter Sellars, a connoisseur and admirer of Eastern minimalist currents, He has drawn an extremely simple scenario. Pine sole escenográfico elemente noh, It has been replaced here by two paintings by the artist of Ethiopian origin, Julie Mehretu.

Commissioned for this production consists of two large canvases in which she has drawn a number of brands of ink on different levels quickly give us an impression of Chinese calligraphy or Japanese. He performs his works for several months painting layer upon layer. Only the sound on remains can be seen the evolution of these layers while the work progresses, which deepens their spirituality.

The two stories that make this opera are very simple, but also deep. We speak of loss, Withdrawals and reunions. trail (Sound) it leaves in our lives that we love one day. In the first, “Always Strong”, dead in battle warrior returns as a ghost to try to touch his laud.

The second story, “Feather Mantle”, is a fisherman who finds a beautiful feather cloak owned by an angel who needs to return to heaven. The fisherman returned in exchange for contemplate a celestial dance.

The first is a dark story, anguishing. The second is a bright and captivating story. Both are performed by countertenor Philippe Jaroussky, the young spirit and angel, and bass baritone Davone Tines, priest and fisherman. For both performers Kaija Saariaho wrote these characters. The voice of Jaroussky, which he has lost some of its early Pyrotechnics but has gained in nuance and intensity, It is perfect for the supernatural characters he plays. At times his voice is distorted by computer which provides a surprising effect tímbrico.

More discreet are the vocal performance of baritone Davone Tines, but he addressed his two protagonists with solvency. In the theatrical aspect, not to impute to him statism of his characters, this lack of movement is very great taste of Sellars.

The dancer Nora Kimball-Mentzos, muse and collaborator in numerous productions of Peter Sellars, He filled the stage in the second story with a dance full of sensitivity and delicacy. During the time he is on stage, You can not help but observe.

In an elevated part of the pit are the seven musicians, a string quartet, Meta 4 Quartet, formation for Antti Tikkanen y Minna Pensola, fiddle, Atte Kilpelänen, alto, Tomas Djupsjöbacka, cello, Heikki Parviainen, percussion, Eija Kangas Beach, kantele and Camila Hoitenga, flute. Beside them the vocal quartet Theater of Voices, Trop formed by Else, soprano, iris Oja, alto, Paul Bentley-Angell. Tenor y Steffen Brunn, low. Both ensembles have long been collaborating with Kaija Saariaho. This mutual understanding and virtuosity of all get some surprising sonic results. Emit all kinds of sounds with pinpoint accuracy to the orders of an Ivor Bolton accurate and rigorous in each of its indications, creating an immersive atmospheric texture.

Perhaps these art forms require a more welcoming place, innermost. In any case, It is always a wise program new experiences that would not be possible otherwise.

Text: Paloma Sanz
pictures: Javier del Real

Mariella Devia

coming Mariella Devia at Teatro Real with the intention of saying goodbye, although hardly appreciate her voice indications minor decline. We will not see it in operatic productions, those that require you to spend long periods away from home in Rome, but if we can hear it until late 2019 in some recitals. And he says goodbye to the closing scenes of bel canto operas two were rescued in recent decades to the repertoire, in what is known as a trilogy Tudor. In the case of Anna Bolena, Maria Callas was one who raised. Maria Stuarda A was given Monserrat Caballe brightness or Joan Sutherland. Both works and queens ended up forming part of the repertoire of Mariella Devia also has reigned and as such bids farewell.

He says he does not like talking about herself, who prefers to express singing and, despite its interpretative sobriety, always wonderfully it reflects the intensity of the character represented by a flawless technique. He carefully his voice and his career wisely, no hurry, without forcing the instrument, always playing those roles that fit in your vocal range like a glove. She herself told us: "The choice of repertoire is essential. I have had an evolution in my career, but always keeping me in the field of repertoire I was driving. I have evolved, but always in the same field ".

always contained, no exhibits or extravagances, not need. His refined technique and ease of coloratura and legato have been trademark throughout his career. We could see a couple of seasons ago Norma. A role that most sopranos at his age have stopped playing long, but she has addressed until the end of his career masterfully.

this soprano, light in its infancy, it was expanding the repertoire while his voice, up to give the body today has, He has left us an extraordinary display of bel canto roles, "I would have liked to sing Verdi whole, Don Carlo, which it is a great opera, Otello, I was offered once, but after having considered, heard and read, I know what my means and if it would not be true to what was written or be able to satisfy the public ".

Good company on stage at the Teatro Real by low Javier Franco as Lord Rochefort in Anna Bolena and Giorgio Talbot, Maria Stuarda in. The tenor Alejandro del Cerro as Lord Riccardo Percy and Earl of Leicester. Enmanuel tenor Faraldo, como Sir Hervey. Gerardo baritone Bullón, as Lord Guglielmo Cecil and mezzo-soprano Sandra Fernández, as Smeton and Anna Kennedy. The address was given by José Miguel Pérez-Sierra, I was able to bring to the Orchestra and Chorus of the Teatro Headlines, despite the few tests performed for these recitals.

He leaves one of the last divas, although it is the clearest example of anti-diva, between long ovations from an audience aware and appreciative. We can only feel fortunate to have been able to enjoy his art.

Photograph: Javier del Real

Ballet of the Rhine

Gradually Madrid is going fond further ballet and dance, and more and more shows of this type that are programmed. The Royal Theatre, who started the last day 12 his ballet season, quality makes the difference. Not many, moment, productions offered throughout the season, but if they are extraordinarily outstanding. This time it has tried one of the best dance companies, he Ballet at Thein Süsseldorf Duisbrg, with choreographer Martin Schläpfer to the head.

They presented "A German Requiem", from Johannes Brahms, one of the most famous works of the composer and composed after the death of his mother in 1865 and his great friend Robert Schumann. But, A requiem how you dance?. Definitely, as does the Ballet of the Rhine in one of his most acclaimed and award-winning choreographies.


This peculiar composition of Brahms delves into more philosophical aspects religious, reflects on life and death from a more human point of view that divine. As the director says, Marc Piollet, It is not a conventional réquiem, It is a work of consolation, because it is not written for the dead but for the living, for those who stay. You can not expect less of a romantic as Brahms.

Taking this closeness to the pain of humans as starting point for creating choreography, has wanted to reflect it fragility presenting human barefoot dancers, in permanent contact with the ground. Also in its creation, Schläpfer wanted to run away from any religious approach and has focused on questions, the fears and concerns of human beings, far from any dogmatism and closer to reflection and emotion. To that end beautiful and allegorical, in which the ties that bind us represent those who have already left. Anyone who has had the opportunity to attend one of the four representations, you will have noticed that both planes, reflective and emotional, They are perfectly stimulated.

Interpret this work has its difficulties, for orchestra, for soloists and, especially, for choir. A chorus accustomed to operatic lyric, It is not easy to address a religious work like this requiem overflowing with delicacy and sensitivity. But the choir Intermezzo, Teatro Real holder, Only surprised if fails, and that not happen this time. They sing with exquisite subtlety and dramatic intensity. Y, Besides, in German. Extraordinary!. Very good also the soloists Adela Zaharia Y Richard Sveda.

If you have not yet come to this artistic expression is dance, not any of the four proposals the Teatro Real has lost this season. Of the 3 al 10 of November, The Nutcracker, a classic. Of the 21 al 26 from January Paris Opera Ballet, choreographed by Jerome Robbins, Hans van Manen y George Balanchine Y music of Claude Debussy, Maurice Ravel, Johann Sebastian Bach e Ígor Stravinsky. Of the 31 March to 4 of April, Dido & Aeneas, from Purcell, in an opera and dance, choreographed from Sasha Waltz. The dance season concludes 4 May with Victor Ullate Ballet.







Charles Gounod (1818-1893)
Opera in five acts
Libretto by Jules Barbier and Michel Carré, based on the play Faust et Marguerite (1850)
Michel Carré and the homonymous work (1808) de Johann Wolfgang von Goethe.
New production of Teatro Real , coproduced with De Nationale Opera & Ballet Amsterdam
D. musical: Dan Ettinger
D. scene: Alex Olle (La Fura dels Baus)
Works towards scene: Valentina Carrasco
Scenography and video: Alfons Flores
illuminator: Urs Schönebaumm
D. choir: Andres Maspero
Distribution: Ismael Jordi, Erwin Schrott, Irina Lungu, John Chest, Isaac Galan,
Annalisa Stroppa, Diana Montague.
Chorus and Orchestra holders RealHomúnculo Theater is defined as being with human characteristics, usually deformed and artificially created. It seems that was the alchemist Paracelsus who first used this term for a creature created when trying to find the philosopher's stone. Homunculus theory was accepted until 1827, year in which it was discovered the existence of the egg. Until that moment, it was thought that the sperm hid a homunculus or miniature man for the egg only served alimento.El homunculus is also the element that has inspired to La Fura dels Baus, specifically its director Alex Ollé, to develop the scenery of Faust presents the Royal Theater at the premiere of his new temporada.Son several repertory operas that premiered with failure. But if there is one that takes the cake, definitely, That's Faust, Charles Gounod. Its premiere at the Théâtre Lyrique in Paris 19 of March 1859 It proved a dismal failure. The French public had branded the work of "tawdry" and, especially, little French. All this despite the enormous popularity at the time aroused German culture, Goethe being one of its emblems. Which itself was succeeded from the start in Germany. The adaptation of the librettists Jules Barbier and Michel Carré, He not delved into the philosophical aspects of a cult for German, and also they allowed the luxury of altering the order of importance of some characters, the play was, until not too long ago, with the title of "Marguerite". It was from its premiere in Germany when they started successes Faust. It was represented to satiety, all seasons and in almost all European theaters. Such was his popularity that, a 22 October 1883, a new theater company wanted to release his first season representing opera Faust. It was the Metropolitan Opera it is dual House.Faust. It is a French-style opera also features great German opera, as an important choir, various ballet numbers, the epic of one of his characters or the time left between numbers Gounod for the public to applaud. this detail, very Wagnerian.

But back to the scenery. When it comes to La Fura dels Baus, we know beforehand that other elements like operatic voices, showmanship, even music, they will stay in the background. Sometimes this can be for good or, as in the present case, worse.

Under the homunculus project has placed the scene in a big laboratory where Faust pursues the idea of ​​inventing a computer capable of managing emotions. Frustrated and dissatisfied, accepts the offer of her alter-ego, Mephistopheles, It presented as a necessary evil, the espoleador Faust who rescues his boredom and convinces him to live everything to which he thinks he resigned so far. Mèphisto, appearing first as a rock star, camaleónica is evolving in a way to become a crucified Christ. With them, Postmodern an army of soldiers, plasticized Barbies that look naked, mature women with exaggerated breasts and hooligans with their uniforms football fans. Definitely, many conceptual elements and complex ideas that have little development or lace along the work. A stage that is full of platitudes, The usual.

La Fura no longer surprising and is only able to generate controversy when the function ends and begins its shameful spectacle of pollution, completely oblivious to artistic matters.

The musical direction was provided by the debutant Dan Ettinger Teatro Real. The young Israeli director asserted his Germanic musical training and managed to disappear any vestige of French opera. The sound volume was excessive, perfect for Wagner, but not for Gounod. It lacked delicacy, especially in the overture and arias set, where some chaos generated. that if, It is an extraordinary director for singers.

This second distribution was balanced. Faust is not an easy role for a tenor. It has two distinct parts that seem to have been written for two tenors of different characteristics. The first is a mature and dramatic Faust and the second one young Faust lighter. Ismael Jordi addresses carefully the character in the first part, for its drama and voice require a larger. It is in the overture where the tenor has more difficulties jerezano. The rest of the play takes place in a more comfortable frame of mind for him. It has moments of tension that solves correctly, as the cavatina or the beautiful duet with Marguerite. Jordi is an extraordinary moment vowel, always elegant and with a remarkable stage presence.

The Mephisto Erwin Schrott was a great theatricality, a must in this character and this production. Whenever he was on stage was the protagonist. His voice does not reach the required frame of mind for this role, but they are not easy to find baritone voices let them know. Its volume is very noticeable and pleasant timbre, but some nasal sounds a bit afearon participation.

La Marguerite Irina Lungu, character in the opera somewhat blurred on the text of Goethe, It is a delicate and innocent young. From this point of view was well played by Lungu. His voice is not large, but enough and well timbrada.

John Chest, as Valentin, It was one of the great volume affected by the sound of the orchestra. Just he was heard.

Siebel, youthful and romantic character, It was very well played by the Italian Annalisa Stroppa. Beautiful timbre and an enameled and smooth voice that the audience liked, sobre todo en su aria "Make her my confession".

The veteran target Montague built a sympathetic character and Marthe. The perfect complement to a Faust with comic aspirations.

The choir had a stellar performance. If the season begins, not going to leave for the ring. Fantastic!.

Initially somewhat irregular season. But this has only just begun.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real












Live excited by a profession for which has been prepared respecting the times. No hurry, as do those who know and love lyric. Its smooth and glazed voice and expressiveness on stage, They have made it increasingly claimed in the scenes and the most important directors in the world. extraordinarily nearby, Annalisa Stroppa enchants with its charm and energy, inside and outside escena.Brío Classic: Tell us a bit how they started in the world of opera.

Annalisa Stroppa: The truth is that since I was a little girl had pretty clear ideas: most he wanted to be a singer!!

But actually it has been a gradual way and a goal that had never imagined getting; dreamed, he wanted, expected, but finally he arrived!!! I entered the world of opera step by step, after getting my diploma first in the conservatory and after winning several singing competitions in Italy and international, which for me was very important because it confirmed that going in the right direction and in turn encouraged me to continue on the same path. I started singing chamber recitals, small operatic roles and then gradually more main characters and contexts, theaters and productions increasingly important. I also began to make my first auditions in theaters, but the real springboard was undoubtedly my first leading role internationally, I was Cherubino in Figaro due, Mercadante, under the direction of maestro Muti ... Soon they offered me the opportunity to debut the Rosina in Il Barbiere di Siviglia at the Rome Opera with Maestro Bruno Campanella address, and then I was in the best theaters in the world A dream come true!

B.C: How was the time when he discovered he had a proper instrument?

A.S: I began to approach the lyrical thanks to my grandparents, with whom I spent many afternoons after school; they listened to the three tenors (Sunday, Pavarotti and Carreras) and Mario del Monaco. Yes, all tenors! Thanks to them I began to discover the great arias and tried to imitate. So I discovered I had an important voice, special, and hence he was born the desire and willingness to be a singer. I remember at the age of 8 Y 9 years sang "Nessun dorma", "O sole mio","Whiskey facile", "A love so great"!!! There I discovered that nature had been generous to me and I had a special voice; I had within me a treasure that could not spoil but learn to use it in the best way. My paternal grandmother I inherited voice and the maternal grandmother, passion for opera. I had to build my voice; the voice was there naturally, start and placed, obviously to develop; so I studied a lot and worked a lot voice even today, because you never finished studying, but I have to say that I was lucky to have a voice, I have always considered a great gift.

At first, It is almost adolescent, I was told to study singing was still very young, my voice was not completely changed to the adult voice, and so I started studying music; I was admitted to the Conservatory to study piano and then, around 20 years the voice was finally ready and mature to face the studio singing, In addition already I had behind me a good musical preparation in which I could support me and I began to study singing at the Conservatory of Brescia, my hometown (near Milan).

He studied at the Conservatory and at the same time preparing exams college and worked a few hours teaching music at a primary school. When I think about it even could not understand how yet; I think it was because I had a strong will to bring energy to face all. I have to say I've always had the good example of my family; They taught me the spirit of sacrifice and work to get what he wanted. Although it was hard and very tired loved everything he did, teaching children, my studies at university and especially singing!!!

I love this profession; Singing is not only part of me, but involves my life 360 degrees and it is wonderful to have been able to realize my dream. I could not imagine it because you can not understand a thing until we live it in first person; even with all the difficulties and the remoteness of my loved ones (this race requires you to be many months away from home), when I go on stage and I know I've given it my best, the audience's applause reward all the effort. After years of study I look at the posters of the best theaters in the world and that's a great satisfaction. I feel really very lucky because I managed to, my passion, my job, and I thank you for it. I feel fulfilled, I am very happy and I hope to move forward and for many years.

B.C: How did your selection by Muti to debut at the Salzburg Festival? Was this a turning point in his career?

A.S: Yes. I had the wonderful opportunity that I heard in a hearing Mrs Cristina Muti and director of the Theater of Ravenna Angelo Nicastro. Until that time he had sung solo concerts and some small roles. The audition went well and I set out to make "cover" in the production of Betulia Liberata di Mozart (Carmi) directed by maestro Muti in Salzburg. Right after I was asked to study the role of Cherubino in I due Figaro to introduce myself to auditions for that specific character in which also the master Muti and Emilio Sagi régisseur were present, and I was awarded the role!!

A) Yes, I due Figaro Mercadante coincides with my first leading role internationally. A wonderful role in transvestite. Staged the premiere took place in Austria, in the prestigious setting of the Kleines Festspielhaus in Salzburg 2011; after the show was replenished in Alighieri Theater Ravenna, in 2012 at the Teatro Real in Madrid and the Colon of Buenos Aires.

It was part of an absolute premiere of a rediscovered opera and never displayed so far in the prestigious Salzburg Festival, an event that were pending around the world of opera!!

Naturally I was very excited because I felt that the time represented my starting point; It was absolutely unknown and I had hit on the international scene. The truth is that I am very grateful to Maestro Muti and all those who contributed to be chosen because it gave me the opportunity to learn and grow a lot as an artist. I have a very nice memory of the end of the first function, with enormous satisfaction Whatever had gotten! Say was able to break the ice with strength and firmness.

After years of study and a lot of sacrifice I am here, in major theaters, as in the wonderful opening of the Scala conducted by Riccardo Chailly and now at the Royal Theater; in Spain I have also been fortunate to singing at the Liceu in Barcelona, in Bilbao, in Valladolid, in Manorca and Las Palmas.

B.C: How would you describe the characteristics of your voice?

A.S: I'm a lyrical mezzosoprano. I face mainly roles of bel canto and French repertoire. I think this repertoire is perfectly suited to my vocalism and my character. I like to spread among authors to make my voice fits well to the vocalism and writing each composer.

B.C: Their repertoire is very wide. It ranges from Rossini to Verdi, through Mozart. Rossini requires agility, Verdi, drama and Mozart, a bit of everything. Which of them feel more comfortable in the interpretation?

A.S: Authors of the eighteenth century, as Mozart, or that is later Rossini, They have been a balm for my voice, especially during the study period and the early career. If he aprende to sing "on the breath", to recognize the importance of the word recitatives, phrasing, the "legato"; all these elements are also part of the styles that followed later and so back now and then to Mozart and Rossini's always a pleasure. As for Verdi at the moment I approached only with Meg of "Falstaff" and Fenena in "Nabucco". I feel very comfortable with the characters that have been incorporated, as I said before about the nineteenth-century French repertoire.

But if I had to pick a composer at this time I would go for Bellini because his music expresses something superlative combining few notes in a masterly way. Bellini loved and knew the voices and had an inimitable ability to appeal to the great feelings: It is pure poetry that takes shape thanks to "legato", the purity of sound, art declaimed, allowing the performer to use a wide range of vocal colors. Romeo roles as Adalgisa or vocally cover a very large area, requiring uniform voice from the low notes to the extremely sharp; Besides, excellent "legato" demanding much mastery of agility. I love the purity of its melodic line and richness of feelings that transcends each of the notes of his works. I try to cherish this writing valorising the fraseo, and "tied" y "Voice setup".

B.C: What technical characteristics best about each of the composers mentioned when addressing his music?

A.S: All kinds of repertoire is faced with the same basic technique, but other than that there is in each case must be used in different ways our instrument. Verdi requires decidedly more "pulp" -o specific-weight and have to pass a very different orchestration of a Mozart or Rossini, for example. The same discourse is valid for the bel canto or the "verismo". The voice is like a glove to suit different requirements. Rossini, Bellini y Donizetti, with types of writing and different styles, They have in common the fact that they love and value the voices and leave the performer great freedom to accommodate the orchestral accompaniment that sustains. The singers are like athletes in this repertoire which must take everything with purity of sound, aspect that is not as evident in other composers. Everything is in the fraseo, in the "legato", en the "Voice setup", the importance of the word: Rossini is distinguished by declaimed and coloratura, Bellini per unmatched purity of melodic line and Donizetti per dramatic cut, the psychological depth of his characters-and pathetic acting with a new romantic sensibility. Donizetti was the direct precursor of Verdi.

B.C: How do you prepare Annalisa Stroppa a new role and what are the selection criteria?

A.S: I think to choose new roles or authors just need to hear your voice and respect the possibilities of voice at all times: voice guides you and tells you the most correct and healthier repertoire to deal.
I've never had the pretension to be able to sing all because I think knowing well your voice is when you require an effort and give you the maximum.
When you study a new role I get involved fully in the study libretto and score finding my own way of playing the character.

As for the frames based on historical themes, such as Anna Bolena, I document everything I can to get an idea of ​​how accurate was the historical character and which character was in order to give my own characterization, whether that voice interpretative.
I think this is a wonderful aspect of my work, that is to say, make my mark and doing my part of my character that I face every.

B.C:- It is in Madrid to participate in Faust, Gounod, in the premiere season of the Teatro Real. Tell us about this work and his character, Siebel, it has moments of great beauty and lyricism.

A.S: Gounod catch you and you fall in love with an extraordinary melody, hypnotic, sensual, irresistible; French music starts prosody in a sublime way. Faust is an opera of extraordinary beauty, rich in various aspects: in it are a mixture of narrative singing (almost declaimed), choral waltzes, poignant moments, a great expressive intensity and lyrical intimismo; why so many composers of the second half of "Ottocento" were inspired by him: between ellos Massenet, Bizet, Debussy o Ravel.

Gounod is based on a story that for centuries has inspired not only musicians and librettists, but also poets, novelists and painters. The fascination of this story is probably linked to the universal themes addressed, as the struggle between good and evil, la fe, love, the transience of earthly life; definitely, true motives, of our culture and are masterfully treated by the composer.

Siebel in the opera, the character that I interpret, It is beautiful and positive, leal, with a constant and sensitive presence with Marguerite; He has promised his brother, he had to go to war, to ensure his and Siebel is actually the only one who supports to the end. Faust seduced and abandoned by, Scorned by all, and cursed by his brother Valentine, Siebel will only remains true and it only comforting faith. Siebel meanwhile try a pure love for Marguerite, in fact he devotes the first aria, which it is lovely: "Make her my confession", in which he transferred his romantic and youthful character with the enthusiasm and joy of a young man who defeated the curse of Mephistopheles, who after wetting his hand in holy water, You can pick flowers for your beloved without these wilting.

Among the roles I've faced, I've been fortunate to play several in transvestite.

For a woman playing a male role is a challenge as an actress. I always try to observe as much as possible the attitudes and movements of men, from children (I think of Hänsel) to teens (for example Cherubino or Romeo), or more mature men (as Ascanio or Orfeo), and I try to find ways to immerse myself as much as possible in the role I should play. It is not easy, but it is possible! The important thing is to identify with the character and everything else, the movement, voice and indications of stage director, is only a little.

My first role was in transvestite I due Figaro Cherubino in Mercadante, and then I could get into the skin of Cherubino mozartiano, Orfeo in Orfeo ed Euridice,Gluck, the Stéphano s Roméo et Juliette de Gounod, and Hänsel in the charming tale of the Brothers Grimm Hansel and Gretel Humperdinck music. The interpreter pasada temporada Ascanio in Benvenuto Cellini by Berlioz and Romeo in I Capuleti e i Montecchi.

Siebel sing in the Teatro Real de Faust, so we could say that I already have eight roles in transvestite in my repertoire.

I am very excited because next season will debut Nicklausse of The Tales of Hoffman at the San Carlo in Napoli.

B.C: The scenery of Faust is run by Alex Olle, in front of La Fura dels Baus. The sets of Olle usually very potent, What do you think and how it unfolds? In general, How it is worn with stage directors?

A.S: It is a staging non-traditional, but modern, innovative and very interesting. Faust is not a doctor in search of eternal youth, but a scientist working in a research center. The first stage is a laboratory with a sterile chamber behind glass in which scientists are in tight suits that are floating between tanks and containers in which human figures loom. Doctors and nurses constantly cross the stage. Siebel is a young medical intern. When the project comes to a standstill and frustrating, Fausto uses Mefistofele and in the next scene the scientist's life gives way to his adventures with demonic contrafigura.

Faust reading La Fura dels Baus makes you reflect on the understanding of the contemporary era and shows the reflection of the inner desires of the individual, balanced between desire and frustration, between self and unit; is not only the struggle between good and evil as external realities, but among these inherent pulses within one person. Faust, in fact, coexists the same Mefistofele. At the end of the opera, Mefistofele wear the same clothes Faust, thus revealing the nature of alter ego of the protagonist.
It must emphasize the crucial importance of video projections and lighting; the dominant color is red, which represents passion, the blood, the wine, the miraculous transformation of water into wine, here is reversed sacrilegious, etc…

Today's stage direction has become increasingly important; I am lucky to work with directors always fantastic scene.

Overall I am always well prepared because I think the stage directors can get useful information to better your own expressiveness. For me a good stage manager is one who knows that music and singing have to respect and adapt its leadership in the service of music and song, putting interpreters in the best conditions to sing.

Today there is no longer the idea of ​​a static stage direction; you have to keep alive and present opera to capture public attention, and I think this is the winning formula.

B.C: Where his repertoire goes?

A.S: For the moment would follow in my field, which it is the bel canto and French repertoire of "Ottocento". I feel my voice is expanding and is becoming more weight and maybe in the future I can also face the great masterpieces of Verdi. We will see! Time to time. I do not want leapfrog if not taste all the beautiful repertoire of my vocalism to give the best of me right now.

On the other hand I always make the comparison with the dressing, that is to say, If I have a size "M" I can not get an "S" or "L". The same goes for the choice of repertoire. We need to know just wait and change size when the voice suggests you.

B.C: Although this is a very demanding and absorbing career, a non-dedicated only to her, What do you like to do when not working?

A.S: My passion coincides with my job and that is priceless!
My free time to devote to other activities is somewhat limited, but when I have, I like to spend with my loved ones.

I travel a lot and during productions am much time away from home, so I take the moments of pause to enjoy the beauty of the cities I visit, appreciate cultural differences, I savor the local cuisine ... I enjoy it also in the kitchen, so I experiment with new recipes.

B.C: You have very good dramatic skills on stage, How important is for you the dramatic part of a work and how to channel all that energy into the public?

A.S: For me it is essential that an artist of his personal seal when interpreting a character to try to make him his; that is to say, study the character in depth to reach deeper details and nuances. And can provide a reading that reflects our personality and sensibility as artists. When I play a character I try to internalize it and get into it as much as possible to feel on stage their same emotions. It's wonderful to get into different characters, each with its own personality and character, and hacértelos yours.

My studies have helped me not to stand on a superficial view of the role I play, If you do not enter fully to understand its complexity and character, psychology, its relationship with the other characters in the opera; I try to offer a "soul" rather than a body the character I play. It is only with a careful analysis when we get this takes shape. further, I am excited to understand the opera I play a three-dimensional shape, from the script, texts, its historical context and setting. Only then the role will you do yours.

I also think about people and public. Interpreters have an important role in this, because we must move, enthuse and to understand who we listen to what the character says, your mood, etc…

Among other things we have ever wider duty to bring opera to a public; education and public awareness of today and tomorrow especially when it is essential. In fact, It is vital!

It is also important to emphasize in music education in schools; It needs to sensitize children to appreciate and know our musical and operatic heritage; They must learn to enjoy it and love him.

On the other hand, I love the contact with the public because it is what gives you the strength, energy, the heat I need when I'm on stage. The public is my engine, a living and integral part of the show.

Interview: Paloma Sanz

Gerhaher y Huber

It started in the Teatro de la Zarzuela the celebrated Lied Cycle which jointly organizes with the National Center for Dissemination of Music. This season, Besides, celebrates 25 year cycle. And to start in style, Christian Gerhaher and his alter ego at the piano, Gerold Huber, have delighted everyone with swansong, Franz Schubert.

swansong (The swan song), It is made up of texts by different authors and they have nothing in common between them, unlike the other two Schubert cycles, the beautiful Miller (The beautiful molinera) y Winterreise (Winter trip), that we have had the opportunity to hear in previous seasons in the voice of Matthias Goerne and Gerhaher himself. The one that concerns us today was published posthumously by editor Tobias Haslinger who, after the composer's death, negotiated the purchase of the drafts of the last songs composed by Schubert with his brother Ferdinand. 14 unreleased songs with piano accompaniment that do not form a corpus, like the two previously mentioned, but whose quality leaves no doubt.

Gerhaher and Huber form a perfect binomial for the nostalgia from which to start towards the texts of Fridrich Rückert and Heinrich Heine. Two of the main romantic references of the time that were put to music by an already knowledgeable Schubert, at that time, of the proximity of his death. The swansong son un set of songs that pass between joy and sadness produced, mainly, for love situations enjoyed, as Love message, (Love message) or torn, as The Atlas (The atlas).

Gerhaher flees any expressive eloquence. Only give up discretion when her voice rises, firm and resounding, carried away by the drama of the moment, like in stay (Resting place). But always from an elegant and unalterable interpretive hermeticism that does not need to convey the eloquence of Rükert's texts, Ellstab, Heine y Seidl.

Gerold Huber, who handles the pedal like nobody else, always walk parallel to Gerhaher, recreating a nuanced atmosphere and precisely linked to the baritone voice. Between the two they form an indissoluble tandem.

A romantic and exquisite evening at a Teatro de la Zarzuela that this time hosted a large number of young fans. Let's hope they consolidate. Not in vain, the Teatro de la Zarzuela is making a notable effort to make this happen.








With his deep voice and a smile sunny eternal, Spain returns to the mezzo-soprano Marianna Pizzolato to play the title role of L'Italiana in Algeri by Rossini, Summer Festival of El Escorial, and the San Sebastian Musical Fortnight. Passionate about belcanto, We will surprise with his Mistress Quickly of Falstaff verdiano, next season in the Classical Theater Real.Brío: You are a very determined woman. In his professional life, What were these decisions made today is where it is?

Marianna Pizzolato: Rather than making, I would like to talk about the choice that music has done for me because, Really, I have to say it was the music that chose me, not vice versa, and little by little, it was my love for her; that is to say, that came gradually. So it has been a choice of life, in some way, It has taken place, mutual and jointly; Of course, since it has emerged this love, no longer it has never stopped ...

B.C: What differentiates a Mediterranean voice of another who is not?

M.P: I think a very nice question (laughs). I'd say that what differentiates a Mediterranean voice of all others is the climate and geographical factor. Como Sicilian, Let's say I find myself in the midst of a cultural crossroads, and therefore what might characterize a voice Mediterranean, It could be probably the mixture of cultures; definitely, the earth and the sun that characterize our area, much influence, because both give life to all those minerals and all these climatic factors that will surely serve to get a vocal projection and actual sound vibrations Mediterranean.

B.C: You affirm that, "Bel canto singing voice must not force, but accompany the fiato ". Can you develop a little more this interesting technical issue?

M.P: Let's say I have become an idea of ​​what these years, somehow, It means the belcanto, and I tried to experience it myself. I think in any form operística, either belcanto, whether or baroque verismo, You not ever have to strain your voice; This is the base that can accompany any style and any operatic era. What I mean? For accompanying the voice with fiato means putting the fiato as absolute right to leave the correct sound, designed and clean, because it is important to sing healthy and beautiful. And for healthy singing voice must be supported in the fiato. The fiato that runs through our body and thoracic spine; In my opinion, there are no large or small voices, but there are voices projected, and it is precisely fiato determines the frequency of a voice. If it used well fiato, the sound vibrates in the most natural way and walk as long as possible. Definitely, the voice has to run through fiato, as we say in our jargon; and this is what allows even very large rooms, the voice can also "travel".

B.C: Are you a performer Rossini, Do you think the song rossiniano requires a specific technique?

M.P: To me, the truth is that I really do not like rankings and I do not mind saying, although in recent years he has done a lot Rossini, but I argue that there is only one technique. More than one technique, to face the repertoire rossiniano, I talk about that a certain innate characteristic is required; I mean you have to be born with a predisposition to certain coloratura, the elasticity and speed; as stated before, through fiato and technical, you can highlight all these features, which they are typical of edge rossiniano.

B.C: Many of the characters are transvestites Rossini for Mezzo, How scenically prepares these roles?

M.P: Sing a role in transvestite is a very interesting thing, because one changes a little with that kind of role. Not that you have to change the body, even if they adopt certain attitudes, it is a change of mentality. It may seem a joke, but when a role is sung in transvestite in a production, one strives to think like a man, and move like a man; I think here lies the success of a transvestite role in. In any case, it is necessary to get carried away, because especially in Rossini, with respect to music, is all written. So he carried away by the music and thinking a little is not a too difficult task but rather the contrary, It's very exciting.

B.C: Some current approaches may be peculiar scenic or, even, eccentric, Have you ever said no to a role for its scenery? I would?

M.P: Yes, indeed it is a very thorny issue. Nowadays, stage directors make some opera padroni. What if, I once had to give up a role, I even went in the course of production. You can do everything, and everything can be beautiful; I like modern productions, I love modern directors, especially when I teach new things, but when the idea stage manager exceeds the composer and does not highlight the composer but himself, putting the singers in second or third level as we see very often in some productions, I think is disrespecfull. It has happened to me, I said no and I would do if necessary, because in my opinion, music and voice have to defend beyond all this, and they have to take first place; on the contrary, the opera itself would have no reason to exist.

B.C: His repertoire is clearly belcantista but his voice is very versatile. To what roles or codes you can evolve their voice?

M.P: Fortunately, the world does not stop with Rossini and I'm very happy about it. I am preparing to address the role of Mrs Quickly, in Verdi's Falstaff at the Teatro Real in Madrid; I will also many Requiems by Verdi, French repertoire, not forgetting of course the symphonic repertoire for mezzosoprano, which it is huge, and I like it because it allows me to express myself differently. The concert world is a world that puts you in touch with the composer and the audience differently opera, and I have to say that this form of expression and contact with music and public interests me very much.

B.C: Among his repertoire it is also the German Lied. How's that moment of introspection that requires this kind, in a small room, with the audience so close and accompanied only by a piano?

M.P: Recently I'm addressing the lieder repertoire and recital, but as stated above, contact with the public is completely different because a more direct contact is given, and no other filters such as scenography, or orchestra, or the language of the opera. In this case, We speak another language, and other body language also. It is very interesting and perhaps more difficult because it offers you the chance to express more directly but like all relationships of love, when nearby they are dangerous.

B.C: Next season we hear in the Falstaff of the Teatro Real ...

M.P: Yes, What I can say Quickly? Well, that is a wonderful character Quickly. I am preparing now, and I'm having so much fun while you study. As in all Verdi's operas, there is always a contrast between sweet and sour. Quickly is a character of ironical nuances but with a touch of acidity, so I hope to do well and have fun.

B.C: Of all the stories or events that have happened in her profession, Is there any particular remember?

M.P: I tell you something funny that happened to me years ago in Pésaro, who was signing autographs in place of my colleague because fans were convinced that it was I who had played that role on stage, and my colleague had played another role. Actually, We exchanged fans and we continue like this throughout the evening until we reveal the secret and everyone started laughing. It was one of the funniest moments. I remember also when, for example, once on stage I dropped the sword role in making a transvestite and was alone with the scabbard, so I started to fight alone with pod, and the public logically began to laugh during a serious opera (laughs).

Interview: Paloma Sanz
pictures: As Isabella in L'Italiana in Algeri at the MET
(c) Ken Howard/Metropolitan Opera
Como en Isabella The Italian Girl in Algiers en el Maggio Musicale Fiorentino (c) Simone Donati

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In the second half of the eighteenth century Benjamin Franklin, as fond of music as science or politics, polished and sophisticated instrument formed by crystal glasses joined to a wooden base and emitting a distinctive sound when touching the edge of the cups with the fingertips. He had created the glass harmonica. Quickly use of this new instrument was extended by the European salons interpreted, mainly, by mujeres.La melody and atmosphere creating, They did the imagination of many who listened fly. For some it was soothing and others, exciting, so much so that some players and fans began to feel affected their nervous system, arriving itself even ban the use of glass harmonica in some German towns.

During one of his trips to Naples, Donizetti had discovered this new musical artifact, He is fascinated by its sound. A few years later, when initiated composition Lucia di Lammermoor, he thought that this would be the only instrument that could reflect the anguish of the protagonist on the scene of madness. It was said then that some viewers, especially susceptible or sensitive, They could get to go crazy to hear the sound.

In light of what happened these days at the Royal Theater, While it could be said that the influence of the glass harmonica has had its effects. But rather it has been the effect of voices, two casts of the highest level, those who have unleashed madness or, at least, a special excitement among the public. 17 years after the last Lucia who played Edita Gruberova in this same theater.

In this production Inglés National Opera we have been able to enjoy the score almost entirely. They have included the aria of the tower and the beautiful finish solo Edgardo. The operas of this period were often mutilated when being represented. According to Daniel Oren, because of the genius of Verdi, "Which arrived with such withering effect on their scores that made other composers were relegated". Lucia was one of the few works of Donizetti who never ceased to be in the repertoire.

The scenery of David Alden is located in the Victorian era, when the work was written. In a paternalistic society and heavily dominated by men. Where the female figure hardly any presence. Lord Enrico Ashton has such economic desperation, which he is able to sell his own sister in marriage delivering it and save the family heritage.

Alden has presented an overly dark scenery, very cold and dark. Sometimes too minimalist. Alden is a man of theater and has resorted to the effect of placing a stage within the stage. In it some of the most important moments of the play are represented, as the scene of madness, which it occurs in the middle of a representation. Only the play of light of Adam Silverman rescues the viewer range of grays that dominate the work, creating an oppressive environment, next to the small dimensions of the scenery. Brigitte's wardrobe Reiffenstuel puts the romantic and elegant spot in a heavy and oppressive scenery.

Two distributions have been responsible for this production. In the first, Lisette Oropesa surprising given life and sparkle to Lucia. A role not easy, not only because of the difficulty of a score of great vocal exigency, also by dragging a paper weight represented by the greatest opera divas. Oropesa handles flawlessly times, vibrato, trills, legato, the piano ... If there is something that should deepen is the theatricality, because the role of Lucia is an extreme drama.

Edgar Javier Camarena had a successful plus romance. He shone in acute, which it is his strong point, and the beautiful legato. The last act, where is the protagonist, already dead Lucia, It was a poignant lyricism. It maintains a permanent honeymoon with the public in Madrid and the final standing ovation was well deserved.

The second deal was in charge of Venera Gimadieva as Lucia. It has an impeccable technique, a beautiful timbre and a powerful center. Not so the treble, they were forced. Pretty well in the aria of madness. It was low to a very good performance. Le overran some frildad prevented connect with Edgardo.

The best of the night was Ismael Jordi, Como Edagardo. His voice has evolved in volume and musicality. Dominates the belcanto, It moved with the delicacy of his pianos and his romantic fraseo. A little stiff and static stage.

Enrico Simone Piazzola sounded a bit tight and leñoso. Well in the interpretation of authoritarian and selfish brother.
The chorus, in its line of brilliance. Also on the interpretation which is always an essential character.

Directed by Daniel Oren, great connoisseur of Italian repertoire, It was a bit heavy at times, despite his energetic movements at the lectern. He could be heard humming as he jumped in the final act. Well in concertantes as it demonstrated in a magnificent sextet. exceptionally directs the singers, of which it is pending without agobiarles.

Excellent season finale that leaves the audience a very good taste. After a season in which the winners have been the lesser-known operas, This Lucia has been, definitely, the best in the classical repertoire, well above the preciosista La boheme and clumsy Aida.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Entrevista Ottavio Dantone1


Entrevista Ottavio Dantone2


Entrevista Ottavio Dantone3


Entrevista Ottavio Dantone4


Entrevista Ottavio Dantone5



His project is called "Revolution". What is the real revolution of Baroque music?

Revolution Baroque music in the last fifty years has experienced various stages, as the stage of rediscovery of ancient instruments, the language and its communication to the general public. Our project wants to extend the temporary space of early music this term extending until the nineteenth century, in order to show that the music of the nineteenth century is still nourished by many gestures and expressive codes from centuries past, that the listener can reveal today still hidden aspects and details, capable of producing new emotions, already forgotten.

Venetian composers Albinoni, Marcello, Vivaldi y Galuppi. What each brings special baroque?

All these composers, along with many other, They have helped create a style that in the eighteenth century Venice attracted musicians and music lovers from all over Europe. A rhythmic style that presents solutions, melodic and harmonic characteristics, product of influences from the many cultures that crisscrossed in a multiform and multifaceted city as the Venice of the time. A style, Besides, who has had a great influence on many musicians; first of all, J. S. Bach.

Why express baroque music in such a precise feelings and passions?

The link between the composer of Baroque music with the executing agency and ultimately the listener is characterized by an aesthetic that conceives emotions and passions in an order that determines the moments, in certain sensations are experienced. Definitely, we are talking about musical rhetoric, whose application enables us to understand this time and relive the emotions and passions stronger and sincere.

Do you think the codes currently used to transmit and receive baroque music are different from those used at the time of its composition? How it is evolving musical language?

In my opinion, Today is absolutely necessary to use the same codes then, because it is the only way we have to get as close as possible to what was in the mind of the composer and getting, so, the musical and emotional result is stronger and more communicative. What changes today from the past is perhaps the sound perception in relation to the spaces, with the consequent risk of distorting the meaning of the musical material.

Delving into the knowledge of Baroque music opens an infinite universe of communication and knowledge, no solo musical. After many years of career and a thorough study, semiotic cases, Baroque music, What is your diagnosis for this genre today?

I have spent over forty years studying ancient music and all aspects that characterize, not only music, but also historical, philosophical, sociological, etc. All this has allowed me to understand how much remains to be done to understand and learn new things that can be transmitted to others. It has also helped me to realize that this music still gets talk, and now seem despite the passage of time.

What we can expect is his new album: "Concerts for Strings III and concertos for viola d'amore" para prestigious Vivaldi Edition (classical naïve)?

Our last recording aims to highlight the extraordinary ability to tell Vivaldi always something new and original, albeit through a brief and seemingly stereotyped as Concerto for Strings. We wanted to delve, in deep, in the details, sometimes, hidden, that make these wonderful "miniatures", to make emerge the thousands of different solutions that are able to implement this great composer, while maintaining its recognizable and unique style. The Concertos for Viola d'amore They represent a body of work unique in its kind, allowing us to better understand the timbral and expressive possibilities of this mysterious and little-known instrument.

Through videos of his latest work we realize the importance of image and staging. How important is the aesthetic audiovisual communication as an element of his art?

I believe the visual element is, definitely, important to communicate and convey emotions quickly and effectively at all listening levels. Let us not forget that at the time baroque, the look "synesthetic", even music, It was very important. sounds, colors, effects, choreography or visual spectacle fascinated the listener and strongly conditioned the perception.

Is it a contradiction to say that Baroque music takes us back to the future?

Modern man, unlike previous centuries, look at the art and so also the music, moving elements of the past to contemporary aesthetics and sensitivity. Y, evidently, past and future are intertwined with researching their roots, and aesthetic requirements and future.

What makes Ottavio Dantone when not making music?

I relax in my house with my family, although the music does not leave me practically never.


Die Soldaten at the Royal Theater

The soldiers en el Real Teatrom

Die Soldaten at the Royal Theater

Die Soldaten at the Royal Theater

the Soldaten5

the Soldaten6

the Soldaten7



There are many artistic expressions that have tried to reflect one of the main features of the twentieth century in its most negative, the horror, aberration and evil man is capable of generating almost infinitely. And there have been many artists, tragically influenced by having lived firsthand the cruelty of World War II. One of them was the German composer Bernd Alois Zimmermann is, definitely, one that has best reflected the vivid violence.

Zimmermann received direct influences of the musical vanguard that was haunting Europe. Entre ellos Schoenberg, Bartok, Webern, Stravinski o Kagel. Die Soldaten has as great inspirational source Alban Berg's Wozzeck. Both start from the same literary origin, the play by Jakob Michael Reinhold Lenz, poet and writer of the eighteenth century and one of the greatest exponents of Sturm und Drang movement. Lenz committed suicide with just 23 years after a troubled and full life imbalances. Zimmermann also ended up committing suicide, just five years after the premiere of Die Soldaten.

The similarities are evident Wozzeck, not only in the origin, Also in the musical structure and, as base, dodecaphonism. Die Soldaten is dotted with lyricism and jazzy moments. This mixture of styles Zimmermann called “pluralistic approach”, which it is nothing but a collage made up of different musical concepts and structures.

Upon entering the room we expected the projection of a giant portrait child. It is the innocence of the protagonist, Marie, before falling prey to the tragedy and the moral degradation of other characters. The girl will reappear at the end of the work, dead after a heartbreaking end that shows the annihilation of innocence in a sleazy and destructive world.

Behind the curtain a huge ready industrial architecture appears in several planes in which are housed the 120 Teachers Orchestra. All in uniform and militarized for the occasion. 18 drum sets and 25 timpani fall within this orchestral mechano thunder, which it occupies almost all of the stage dramatically, leaving little space for the singers in the place normally occupied by the moat. This provision so far from some instruments has led to its amplification with mixed results, because it ends up not listening, for example, the harp.

On the other hand, the proximity of the singers to the public creates an effect close-up that enhances the vocal result and, especially, theatricality. The fact that the singers are outside the visually director requires only have a repeater manager to input voices. A complicated task that Vladimir Junyent performs with reliability and precision.

It is not easy to create a work that produces stupor, restlessness, and unrest and tear, both, the feeling of having witnessed a colossal work. The unique and compelling description of human gap through a score and a booklet that has passed, to be an impossible work, to be one of the references of twentieth century music. All thanks to the joint effort and herculean all who participate.

The scenery of Bieito do not need in this production of the excesses that both like and characterize this controversial director, whether or not justified. This time, excessiveness of the work exceeds the set designer, that's saying. But any more hype would have collapsed scenery overload.

It has placed the orchestra on stage to give it the prominence it has, all. A music that literally crushes the characters by dragging them to exhaustion, using the instruments almost as ammunition in the middle of this musical and scenographic violence.

Pablo Heras-Casado gets a performance of extraordinary orchestra. The arrangement of the musicians makes his very complex work. Zimmermann included in this work all unimaginable difficulties taking it to the limit. The Heras-Casado himself warned: "Die Soldaten is the most extreme challenge that any musician can face". Listen this score is not easy, but getting materialize reading with a huge orchestra, He is fronting the work for the first time in the scenic provision has been raised, It is almost miraculous.

As for the vocal score, Die Soldaten is an extraordinary demand for its extreme tessitura. Susanne Elmark plays Marie. A complex and diabolical character in his vocal and interpretative difficulty. Starts being naive and a bit naughty to transform, as they move tragedies, a woman destroyed after being brutally raped and turned into prostitute of the soldiery. Elmark perfectly reflects the emotional and psychological depths of Marie. vocally impossible, Danish soprano gives everything on stage.

Leigh Melrose's Stolzius is the perfect replica for Marie. We could see recently in Britten's Gloriana and both shows his great vocal and dramatic ability.

Uwe Sticker brings to life a highly complex Desportes vocals, full of treble, Rushing to safely Sticker. He had a major role in this impossible score.

Julia Riley as Charlotte, Iris Vermillion as Mother of Stolzius and Noëmi Nadelmann as Countess de la Roche, They showed his good acting skills, in this work that requires best actors singers.

The surprise of the evening was the great Hanna Schwarz. This veteran interpreter, their 76 years, He filled the stage with his deep bass in an unforgettable performance. His characterization of the elderly mother of Wesener, connected to their serum to demonstrate the weakness of character, filled with concern the whole plot.

Stellar, once again, the choir Intermezzo, choir for the Teatro Real, under the direction of Andrés Máspero.

The musical language of this work is not for everyone, bold and adventurous ears are required, but these qualities can also be trained. That is why Die Soldaten is a necessary work, almost mandatory, and not well understood that there are still large audience that takes advantage of breaks to flee when they represent some of these contemporary operas. Patience has its rewards, and this premiere at the Royal Theater, it has been expected, but it's very worthwhile.

Matthias Goerne

With swansong (Swansong) It ends the cycle this season has offered Matthias Goerne on Franz Schubert. The whole universe of Schubert Lieder with The beautiful Miller (The beautiful molinera) Y Winterreise (Winter trip).

He 30 April Goerne and Hinterhäuser addressed Winterreise. A cycle of songs compounds initially tenor, but leaving open the possibility of being interpreted by most serious voices that can provide greater intensity and darkness each song. Sometimes also it is interpreted by female voices. And is that Winterreise, unlike other works, through its dynamic, times the phrasing, It provides an almost endless variety of interpretive possibilities.

And Matthias Goerne is of those interpreters who gives Winterreise of life. Goerne delves into the intimacy of this winter trip like no other. The flexibility of his baritone voice, always discover new nuances in this set of songs so you never get tired of listening. This dramatic journey to the solitude of verses Wilhelm Müller, describe the emotional moment of a Schubert abandoned by a woman. The songs are shelling, by hopelessness, Roving for that trip to melancholy.

Just one week later, he 8 of May, Goerne, this time accompanied on the piano by veteran Alexander Schmalcz, which he replaced a sick Hinterhäuser, he offered swansong. Poems that make up this cycle of songs, unlike the other two cycles, not belong only to one author. In this case there are three poets chosen, Ludwig Rellstab, Heinrich Heine and last Seidl which it has been omitted in this recital. It seems that was not part of the initial body and was only added by the superstition that they were not 13, if not 14, the songs that make up this cycle.

This latest collection of songs was made by the editor Hanslinger and Schubert's brother, after the composer's death, to the enormous production of songs he had composed, almost compulsively, before his death. Less well known than the two previous cycles, swansong not only is a matter. These contain themes dedicated to love, lost love, mythology and, one of the favorite themes of Schubert, trip, of dealing stay (Resting place).

Goerne has used almost all of the resources you have, which they are few, Shelling each parts forming this cycle. From vocal exaltation, perhaps somewhat exaggerated The Atlas (The atlas), the disturbing drama of The lookalike (The double), with which Goerne is capable of transmitting the most profound and wrenching psychological tensions. The execution of Alexander Schmalcz the piano, It was the setting and the perfect way for the interpretation of Goerne. Subtle, energetic and delicate. All at the moment and just measure.

Gloriana 1 Real

Gloriana 2 Real
Gloriana 3 Real

Gloriana 4 Real
Gloriana 5 Real

Gloriana 6 Real
Gloriana 7 Real

Daughter of Henry VIII and Anne Boleyn, Elizabeth Tudor was dispossessed, with her sister Mary, their dynastic and secluded life rights in court. It was Catherine Parr, last wife of his father who, In addition to addressing humanistic training, Henry VIII got signed before dying the Act of Succession by the two sisters regained their rights to the throne behind his brother Eduardo. After the death of Edward VI, with scarcely 15 years, and Mary I childless, Elizabeth I was crowned Queen of England 15 January 1559.Estos English have very peculiar customs, celebrate all kinds of events, even the state, with cultural events. This was the proposal Britten to the British Royal Family, compose a grand opera about Elizabeth I to celebrate the coronation of Elizabeth II. But make a request to Britten had its risks. The characters of his works were not exactly friendly and the end result could not be more inappropriate for the time and the type of audience.
Eight of June 1953 everything was ready at the Royal Opera House in London before an audience of politicians, aristocrats and diplomats. Gloriana opened between the cold and the bad reviews to a composer who, by then, and thanks to the success of previous works, She had awakened envy of much of the British art world, besides homophobia in a society where homosexuality was not allowed. An England national exaltation lived after the victory in World War II and saw the coronation of the new queen slightly less than the beginning of a great new Elizabethan era, He did not understand the keys that Britten had used for the composition of this work. They are expecting a superficial music, pomposa and laudatory character and what was Britten composed a dark and complex work, a psychological reflection of a love story between an aged woman, she had 67 years, and a young 32 and the loneliness of the one who holds absolute power., which it was made very quickly for release, He took care of every detail, even match the English pronunciation of the time. It is filled with moments of great inspiration, as the magnificent, though brief, orchestral overture or subplots that shows the darkness that hides the time.
Gloriana is not a cordial work. William Plomer's libretto is based on the work Elisabeth & Essex. A Tragic History, de Lytton Strachey, that does not offer a banal but quite complex portrait of Queen. Elizabeth is presented by Britten very laudatory way, It is smart, sly, and refined, great hunter and lover of the arts, that proliferated during his reign, ambitious, strong-willed and brilliant mind and exerts a stranglehold of the male world around. But it is also a frustrated character, jealous, envious and angry.

The scenery of David McVicar presents an allegorical symbolism and full of allusive stage plot. All the scenic elements, costumes by Brigitte Reiggenstuel, inspired by the costumes to the last detail and an extraordinary wealth, Adam Silverma lighting and set design by Robert Jones, They act as enhancers of a score that can be at the level of Peter Grimes or Billy Budd. A perfect combination of tradition and modernity, Also in music.

Ivor Bolton says he is director of composers but works that excite him. I think you can say that it is excited Britten, Billy Budd brand after last season, reading that makes this work makes him a specialist in Britten. The score is full of music and dance reminiscent of the Elizabethan period. Purcell recall or Dowlan, what makes Bolton, great connoisseur of these Renaissance music and able to shred important orchestration of the work, the most appropriate baton to conduct the Orchestra of the Teatro Titular. Get teachers drawn from brilliant moments and great expressiveness, both the innermost passages and the most dramatic intensity. He directed with great precision and is the final, in that long parlato queen in which he says goodbye without singing, one of the moments of greatest intensity and emotion.

To play a character of Britten must be almost more dramatic vocal powers. Anna Caterina Antonacci makes a great effort to give life to a historical figure of such character. His voice no longer has the volume and brightness before, but its scenic resources are almost endless, masterfully exposes the different emotional and vital moments of a character full of edges and folds, so this Elizabeth is more than enough and perfectly portrayed with his performance.

Leonardo Capalbo played a Robert Devereux Count of Essex quite correct. His voice is pleasant and his character was convincing enough.
The rest of comprimarios were at a good level. Highlight interventions Sophie Bevan, as Penelope, Duncan Rock, Lord Mountjoy in a lively and splendid Elena Copons.

Choir flawless performance, imposing maximum in the passages and exaltation, especially, in difficult times like the scene Masquerade. also magnifies the participation of the Little Singers of JORCAM.

A more successful Teatro Real has is these lesser known works, its greatest strength and classical repertoire, which they are less enthused the public.

Florian Boesch

Last 9 April we were about to hear in the Teatro de la Zarzuela the recital 6 of the Lied to the National Center for Dissemination of Music organizes every year. Antonio Moral, director, He came to the microphone stage at hand to explain the events that occurred during the weekend and alter the representation. Let's start thinking that the proposed merger between the Teatro Real and the Teatro de la Zarzuela in the latter triggered a series of mysterious events, although duly justified, they will need the work of an exorcist more than a few ministerial interventions.

Del Moral explained that the holder of the concert, Anna Lucia Richter, He had canceled their participation due to illness and became replaced by Julia Kleiter, and another young soprano located on the immediate horizon Lied Cycle. But Friday also suspended due to illness, which he left Antonio Moral a narrow margin for maneuver solved, as he himself said, pulling your friends. This is where it appears Florian Boesch. Austrian baritone is well known in this cycle and their makeshift, but very well chosen, Program, He was accompanied by Justus Zeyen on the piano, whose mastery at the keyboard contributed to the success of the recital.

The first part was devoted to Schubert poems by Goethe dedicated to the mythological Greece, Prometheus, D 674, Group from the tartar, D 583, Grezen of humanity, D 716, There Pilgrim, D 794, Calm sea, D 216 y The gods of Greece, D 677. He finished the first half with Gesänge des Harfners, D 478, Harpist songs that Boesch narrates with great expressiveness and Zeyen accompanies the piano as if it were the sound of a harp.

The second part was devoted to Schumann and three groups of songs on texts Heinrich Heine. Poor Peter. On. 53, song cycle, on. 24 y songs of Harfners, on. 98a. Boesch has an appreciable volume of voice at the service of its serious, which gives depth interpretation. Perhaps the nuances worst off, but it compensates with great interpretive sensitivity.

A recital, after the first surprise cancellations, was a success. And some performers who did enjoy an audience who thanked effort.

Aida 1

Aida 2

Aida 3

Aida 4

Aida 5

Aida 6

Some of the most famous operas and performed the repertoire, They are not exactly the easiest to upgrade. We are used to seeing almost every major opera houses situated at different times, places and times. All but one, Aida. Almost impossible to place it in a different era referred to, much less change their location and removed from the banks of the Nile, where Verdi placed some of his most brilliant and intimate escenas.Lejos and overwhelmed and sad years of galleys, Aida (1871) It is one of opera Verdi maturity before its two final compositions, Otello y Falstaff. It had been four years since Don Carlos and Verdi had gathered fame and enough wealth to make up for no reason not stimulating enough for him.

Ismael Pasha, viceroy of Egypt, he was about to celebrate in style in 1869 the opening of the Suez Canal. He commissioned the Italian architect Pietro Avoscani the construction of a great opera house in Cairo. And of course, for the opening of this theater Pasha wanted to have the participation of the famous Italian composer. Verdi and again rejected the offer of pasha who thinks try their luck with other composers like Gounod or Wagner. At that time, one of the employees hired for this project, the director of the Paris Opera Comique, Camille Du LucThe, He sent part of the argument Verdi Aida. At that time Verdi accepts the offer to compose this work and chooses as librettist Antonio Ghislanzoni. One of the decisions taken on the libretto was to replace the "t" of Aita, original name in Egyptian, the "d" of Aida, to facilitate the diction of the singers. He 24 December 1871 It opens in Cairo with extraordinary success. Interpreters were Antonietta Pozzoni Anastasi as Aida, Eleonora Grossi, as Amneris, Pietro Mongini, as Radames, Francesco Steller, y como Amonasro Paolo Medini, como Ramfis. The lavish decorations, also they contributed to the success, They were led by Philippe Chaperon, Edward Desplechin, Jean Baptiste Auguste Lavastre and Rubé.

Verdi did not travel to the premiere of Aida in Cairo, not bear boat trips, but he enjoyed tremendous success with (He came out to say hello 32 times) two months later he assumed its premiere in Milan Scale. This time the protagonist was Teresa Stolz, not in vain was at that time the composer lover.

Many Aidas has been since. Any, like the one shown at the Royal Theater these days, repeat. Production that Hugo de Ana created for the premiere of the second season of the Teatro after reopening, It has been revised for this season of celebrations. They want with it, as its director says Joan Mataboch, look at the past to reclaim its history. This update has used the video trying to give a three dimensional appearance to images. For it has been placed as always that sort of veil that proscenium, somehow, Dimming projection voices. The details of the scenery have been kept scrupulously, especially in reproductions of some elements such as columns or pyramids. But the end result is a scenic variegation that is overwhelming at times. There is an excess in everything that requires finesse as the scenery, the decorations, costumes or makeup. All this instead of upgrading aging production.

Poor direction of actors contributes to the confusion seen in scene. Do not know why this effort to fill the stage with hundreds of players simultaneously, without reason or obvious criterion to justify. dancers, choir, slaves and singers tried to move with the resulting noise on a floor full of pitfalls. Also they helped keep the pace of the work breaks scene changes. Even the most intimate moments got an atmosphere of recollection.

The musical direction of Nicola Luisotti was full of theatricality. his deep understanding of the work and the composer's note. It is very worthwhile to keep the balance between orchestra and singers with so many distractions by.

There are three deals that have faced these 17 representations Aida, with occasional replacement, They have generated many combinations. Which touched us luck can not be said to have its night, but they saved the situation with dignity, which is appreciated. Ana Lucrecia García, Spanish-Venezuelan soprano as Aida had to replace the Armenian Lianna Haroutounian, It was not an easy ballot with his Radames, Fabio Sartori. Both they met, difficulties, their respective roles.

Daniela Barcelona's Amneris us knew little. Not long ago that we heard at the Royal Theater. He left flashes of his powerful center and treble vigorous. It was the most inspired dramatic look, especially in the last act full of dramatic intensity.

Amonasro highlight the Angel Ódena that was high and was, with Barcelona, most applauded by a public cold, maybe, I had higher expectations for this Aida so full of excesses.

Elina Garanca

Public! public! public!, It was the cry of Teatro de la Zarzuela stood on Sunday 11 during the emotional statement he read the director Karel Mark Chichon on its behalf and on behalf of Elina Garanca: “Amado public, both Elina and I are here because we love Spanish music, especially zarzuela, and that's why we took her to all over the world. And it is our hope that this great theater continue to defend this genre so Spanish and so unique that is the zarzuela. All our support to this theater and its staff who have treated us like family throughout this week. This theater remains a public theater…”.

It was the culmination of a concert of Spanish music, of both, director and performer, They are connoisseurs and ambassadors. The first part was devoted entirely to "Carmen", which it is not Spanish, but it seems pretty and this is a character who has Garanča well internalized and which is at present one of the best interpreters. The second part, with the participation of the Choir, he devoted himself completely to the Operetta, genre that approach with respect for who knows and values ​​and not the others do floclorismo the gala.

Elina Garanca has a special magnetism on stage. It exhibits a great expressiveness without ostentation. His vocal technique is, simply, perfect. It has all the qualities that a singer can have and have them all at once. She sings with the same ease as others speak. His voice is supremely powerful and agile than enough. Enameled bright and sharp and sturdy and clean dark tones. Masterfully controls regulations, apiana and grows with the same ease and playfulness and intention expressed what the score says. A singing lesson. The Garanča play in another division.

The replica came from a esforzadísimo Andeka Gorrotxategi, I had to put a lot of effort to keep up with such a scene partner. Duos apianados better than trying to match the volume of a voice that Garanča, a difference of Gorrotxategi, He did not show the slightest difficulty.

At the news of the impending "fusion" between the Royal Theater and the Teatro de la Zarzuela, and uncertainty that has been created in the world of opera and fans, just wait the outcome in next dates. Feelings among the public and criticism are of concern and a certain uneasiness. Hopefully it will not jeopardize the good work that the current direction of Teatro de la Zarzuela, Daniel Bianco to the head, It is carrying out since his appointment in 2015, placing value on our lyrical genre and placing it in the XXI century.








Street scene, one of the great masterpieces of American musical theater, It began as a play by Elmer Rice awarded the Pulitzer in 1929.Y ended up falling to a Kurt Weill who came to the United States fleeing from Nazism and World War II. The German composer was fascinated by the text, new rhythms found in their host country and forms of expression, absolutely free stop writing and use resources.

Directed by the author Elmer Rice and collaboration of one of the most important poets of the moment, Langston Hughes, Weill began the composition of an opera and, with her, creating a new genre he himself called "Opera Broadway". It used all resources and techniques at your fingertips, at that final moment of his career, and there were many. A previous experience of the Berlin cabaret and European lyric, They joined new American influences, Jazz, blues, swing o foxtrot, creating a choral work in all aspects, not only in the musical. The characters that make up the work have origins, religions and cultures very different, which could be found in the New York of the time. also introduces dance numbers, songs, modes of expression of spoken theater. All with parts of verismo perfectly integrated. Thanks to the powerful and coherent compositional structure of Kurt Weill more mature, harmony between different elements is achieved as originally.

All this musical conglomerate has led to perfection Britain's Tim Murray, who already he headed in this Theater "Porgy and Bess". He knows the difficulties of a score like this very well and knows how to convey to the orchestra the character that dominates every moment effectively.

The scenery of John Fulljames perfectly reproduces one of the typical neighborhoods of the Lower East Side of Manhattan. Weill expresses the drama of the lives of all these characters, about thirty, subject to problems of coexistence, job insecurity, lack of resources or evictions, where gossip and meanness are also players. For it puts the focus on different characters without judging, showing the circumstances that can explain their behavior.

One of these characters is Anna Maurrant, the dutiful wife splendidly played by a Patricia Racette with experience in the American cabaret, along with a brilliant lyrical path. Good neighbor, always looking to help others and, Nonetheless, no longer the target of gossip by the fact of having a lover. This circumstance is the trigger for all the tragedy that occurs at the end of the work and, but nevertheless, the lover, is a character who only appears, It is Episodic. As Joan says Mataboch, theater director, "a character irrelevant in the relentless chain of events that will develop equally whether or not.

Patricia Racete, like other protagonists, they would have needed no amplification that has made their voices, Hopefully this time only, with the excuse that many of the characters are not opera singers and may have difficulty projecting the voice in a theater like Real.

Paulo Szot, with also a remarkable experience in the Broadway musical, es Frank Maurrant, the husband clung to the most ancient traditions, unfriendly and rigid with his wife and children and with a degree of violence that leads to murder his wife and her lover. Thanks very good interpretation, among other things, its imposing stage presence. Another that it was not necessary amplificarle voice. to spare.

Joel Prieto was the mystery of the night, at the end of its first aria her voice cracked and had to be excused and replaced in singing, not in the interpretation. Too bad not being able to check your progress and enjoy its beautiful timbre. He built right to strike a Sam Kaplan in love with Rouse Maurrant from his immense shyness.

Very good performance of the helpful doorman Henry Davis by the American baritone Eric Greene.

Highlight the good performance of Geoffrey Dolton, como Abraham Kaplan, Veronica Polo, como Shirley Kaplan, Gerardo Bullón, George Jones, Lucy Schaufer, Emma Jones, are Bern, as Greta Fiorentino, Vicente Ombuena, como Lippo Fiorentino and Scott Wilde, Carl Olsen.

The large cast was made, not only for opera singers, They have also participated artists who should know how to combine the song with dancing and interpretation, as babysitters hilarious Sarah-Marie Maxwell and Harriet Williams.

The choir had an outstanding participation. He maintained his flawless line under the direction of Andrés Máspero. With some solo presence demonstrated its high quality. The choir of young singers of the JORCAM played a leading role in this production, both vocally and in the interpretive part, thanks to the good work of its director Ana González. They noted two small stars that, despite his youth, and they gain experience in the art world, Matteo Artuñedo, Willie Maurrant and Diego Poch, in the role of Charlie Hildebrand.

Another success this season of celebrations. Season is delighting all amateur, from the purists, the less.

The Tempest

The Teatro de la Zarzuela continues its work to rescue the Spanish musical heritage so underrated. This time, and following Maruxa, arrives “The Tempest”. Master's work Ruperto Chapí which it premiered at the Zarzuela 11 March 1882. For twenty years he was scheduled regularly before disappearing, to this day. One of the main reasons for this absence on stage may be in the need for this work, because of their vocal demands, six great interpreters. And here is the first effort and success of Daniel Bianco, director of Teatro de la Zarzuela. He has gathered for this storm none other than Carlos Alvarez, José Bros, Mariola Cantarero, Ketevan Kemoklidze, Carlos Cosías and Alejandro López.

The next challenge came from the need to offer Tempest concert version as, as Bianco himself says "we do not always have the budget or to schedule enough time what we want". But, How is a zarzuela is done in concert version? Dialogues that characterize this genre scene, in which not only is sung, They are meaningless in a concert version. And this point has also been well resolved by Bianco. He commissioned the renowned playwright Alberto Conejero a version of the text Miguel Ramos Carrión. The result could be more effective. Conejero has moved the explanatory weight of a narrator talks, the best. Juan Echanove It tells the story from the inside of one of the characters, Mateo. It does so by creating a dramaturgical atmosphere in which the scenery appears to the viewer without more elements than her voice and her way of narrating, "It's not recite, It is not to interpret, not that way but I have to sing ". And his voice sounds like music next to the rest of the cast.

To complete the successes of this storm has had the greatest expert chapiniano today, director Guillermo García Calvo. A score like this, which already has the musical influences of the time and clearly detected in some of its passages, It requires accurate knowledge and reading. The beginning of the work has inspired instrumental effects in Wagner, specifically in the Flying Dutchman, with string tremolos and lightning. The saxophone, a novelty at that time, It is clearly French influence. As the arias of Verdi baritone inspiration or final sextet. All without a Spanish musical score no longer recognized. it, along with the theatrical capacity Chapí, are the values ​​that García Calvo has managed to read this score and the orchestra achieved a homogeneous sound, full of detail and fluidity between orchestra, narrator and singers.

Carlos Alvarez Simon plays the villain in this mysterious zarzuela. Generous and deep bass created the Simon evolving towards the torment which the author describes. The baritone is an extraordinary moment vowel. His Verdian timbre is like a velvet glove in this work. The public vibrated with its interpretation.

the tenor José Bros, as Beltran, He demonstrated the quality of his instrument from his first aria, "Salve coast of Brittany". The extraordinary agility of his voice, although he says and be closer to the light lyric tenor lyric, still intact. He seduced with its polished timbre and phrasing and line of exceptional singing.

We looked forward to hear in Zarzuela Mariola Cantarero. Her character Angela, Simon evil stepdaughter, He was full of intent and delicacy. Its warm timbre and elasticity of your voice to filar and grow to the delight of the public.

the mezzosoprano Ketevan Kemoklidze is the first Georgian singing at the Teatro de la Zarzuela. It is increasingly common for foreign singers are interested in our repertoire. Roberto plays the character and full of nobility and interpretive force.

the tenor Carlos Cosías is Matthew. A vivacious young man who plays with decision Cosías, grace and good taste, and an enviable diction.

Mexican low Alejandro López He gives life to judge, solemnly, It is responsible for unraveling the mysteries of the work.

Another main character of this storm is the chorus. Chapí handles very well in all his scores choral part. This book describes all the dramatic atmosphere and takes a leading role interacting with the singers, especially accompanying the concertantes who were cheered by an audience at this point delivered. Always plastering and showing women's chorus optimism reigns after the storm.


<"Dead man walking" is one of the clearest examples of that opera serves, mainly, to tell stories. And it tells a story that sends us all into thinking corner. This is a work to reflect on many issues, the pain, the forgiveness, justice and the exercise by the state, the human condition, repentance and, especially, the universal theme in the opera and in all artistic expressions, love. With the dramatic potential of all the elements that are handled in this work, the intensity is ensured, and with her, éxito.El outstanding libretto by Terrence McNally, based on the text of Sister Helen Prejean, which also inspired the Oscar-winning film "Death penalty", Tim Robbins, Sean Penn y Susan Sarandon, It has been turned into opera by the composer Jake Heggie and released in the year 2000 Opera in San Francisco. After his American success came to Europe 2006 to achieve success with critics and audiences. Heggie's music has, like is logic, cinematic influences, musical and composers like Gershwin. From the first moment the story captures the audience's attention very cinematic way.
Neither the pace nor the plot decay at any time and tell the story smoothly and without complexities. All this with a conventional music, no stylistic fanfare that we have used contemporary compositions, but with a rhythm and descriptive powers that make no missing or on any functional elemento.La staging of Leonard Foglia it is very effective. It revels in all the little details that can accompany such a terrible situation and, both, so full of simple elements and everyday. Create different atmosphere through color, videos of Elaine J. McCarthy and Brian Nason magnificent lighting. also highlight the work with actors Michael McGarty and Jess Goldstein.La score also allows lucimiento, especially dramatic, Singers. The weight of the work rests with the two protagonists, Sister Helen Prejean, played by Joyce DiDonato, which is involved in almost every scene and makes it masterfully. The dramatic falls level reached at any time. It offers a spectacle of intensity that justifies its position in the international art scene.
The other protagonist is Michael Mayes Texan who plays the doomed Joseph De Rocher. rudeness, also vocally, It is perfect for the character and helps identify the nature of the work.
Sister Rose, which is responsible for putting the protagonist to possible contradictions in his behavior, It is interpreted by the Canadian Measha Brueggergosman.
Definitely, one of the protagonists of the play is Maria Zifchak, playing the Lady of Patrick De Rocher, mother sentenced to death. His moving portrayal of a mother, at the time of farewell, sees in his son the child that faith, It is colosal.El rest of the cast is a very great height. All Spanish and English with an impeccable diction. Damian del Castillo, Roger Padullés, Celia Alcedo, Maria Hinojosa, Toni Marsol, Marta de Castro, Was VICENÇ, Enric Martínez-Castignani, Marifé Nogales, Tomeu Bibiloni, Pablo Garcia Lopez and Alvaro Martin.
Impressive as always the Intermezzo Choir and also the musical director Mark Wigglesworth JORCAM.El able to maintain tension and narrative sense throughout the play, getting the best of success Orquesta.Un Teatro Real opera programming, one more. Mataboch also has the gift of opportunity to schedule operas at the current time opportune.

I returned to Maruxa home, he Teatro de la Zarzuela, almost 47 years later. It was in this theater which premiered at 1914 when its composer, Amadeo Vives, He was artistic director of the Zarzuela. And back in style. Upon entering we waited for the sound of a bagpipe that is creating the right environment to hear that, by musical director, José Miguel Pérez-Sierra, "It is a great Spanish opera of his time, and even more, It is a great European opera of his time. Vives, in the wake of Puccini, used as setting folklore, but with a completely orchestration Central, between the German and French traditions ".

When Daniel Bianco, director of Teatro de la Zarzuela, He commissioned Paco Azorín, take charge of the scenery became Maruxa, This asked him to do what he wanted. Y, of course, He has done what he wanted.

With the excuse, some, that the libretto Luis Pascual Frutos It is more than regrettable, so naif passages that do not exceed the most childish tales, Azorín has been allowed to build a new story. He wanted to pay tribute to Galicia and has adorned with verses of this Maruxa Rosalia de Castro and the elegant dance and live Maria Cabeza de Vaca, who embodies the character of Galicia as a goddess. It has created an atmosphere of mystery and meigas creating a forest full gauzy curtains moving and mist on a slate floor. All it enhanced with a successful lighting Pedro Yagüe.

But the second half came and with it the "do what I want". On battery images Urquiola disaster occurred in the seventies, He came the chorus, yes, in a memorable performance, dressed in overalls volunteers who cleaned up the spilled by the Prestige oil slick. A strange mix of events linked intentionally and stuffed with a shoehorn that generated some perplexity in the public. The end result was so strange forced the new argument. Only it served to detract prominence to a work and, especially, a music that deserves all the attention.

The direction of José Miguel Pérez-Sierra is very solid. Perfect knowledge of the score and the nature of the work, He maintained the tension from start to finish and got the better of a pit that increasingly sounds more roundness and solvency.

The vocal quintet was quite balanced. This work is an extraordinary vocal demands, both technical, and in sufficient volume to rival guarantees a powerful orchestra. He was noted for his vocal qualities and his stage presence, baritone Simon Orfila, in the role of Rufo.

A high altitude also shone the pair of protagonists Maite Alberola (somewhat old-vocal volume), and as Maruxa Rodrigo Esteves, in a remarkable Pablo.

Carlos Fidalgo he played a convincing Antonio and Svetla Krasteva He replaced in the character of an indisposed Rosa Ekaterina Metlova.

Curiosa Maruxa to be missed if you want to review first hand. a version, Paco Azorín the, for music lovers of Amadeo Vives but, especially, for theater lovers.


White Angels2


Brío Clásica: In January he interpreted in La Monnaie in Brussels, Mother, from The Prisoner, y The woman, in The enclosure. Both characters of great difficulty, both vocally and in the interpretation and also with significant psychological burden. How do you approach this challenge?

A. B.:Angeles Blancas: The truth is that With great sense of humor! And with hard work, It is a challenge… In addition to full confidence and with love for the opportunity to face new challenges.

B. C.: This year also involved in Jenůfa de Janacek. After seeing his immediate agenda, the conclusion is that he likes the risk.

A. B.: Debut in Jenůfa Kostelnicka the character was in the 2015 Teatro Comunale in Bologna (Italy). I do not really consider it as a risk because the character is within my vocal possibilities and dramaturgical. Unlike, I think it's a great chance to do this kind of operas, so full of dramatic force and musical beauty. It is a repertoire that I love.

B.C.: It has an extraordinary ability and proves dramatic with these roles so characteristic of contemporary operas. ¿Made less roles in classical repertoire works more or emotionally easier?

A. B.: Yes, although nothing is ever really easy when you're onstage and at a score of any composer. You are right, I like to sing occasionally more traditional operas. They make work does not become monotonous, although this profession does not exist monotony.

THE ENCLOSURE Premiere: 16.01.2018
Musical direction / Direction musical: Franck wasn '
Regie / directed: Andrea judge
Decorations / Deecors : Martin Zehezgruber
Costumes / costumes: Nina von Mechow
Èclairages_Belichting: Alexander Koppelmann
Photo shows: Angeles Blancas Gulin, Georg Nigl


B. C.: How mimicked get that way with his characters when interpreted?

A. B.: loving them! Working to get to know in depth and even the smallest detail, not only in the musical aspect, also psychologically or the historical whether the case is given, always dialoguing with them and without resistance. I enjoy that process of mimicry.

B. C.: Not always extraordinary singers were underappreciated in Spain, such as the case of parents. Why do you think that sometimes we refuse to recognize the best of what our?

A. B.: Do not you think that this trend occurs in all professions in our country, not only in the artistic aspect? I love our land, but I know that with your kids sometimes is cruel.

B. C.: The characteristics of his voice did not have much to do with his mother had, but nevertheless, it seems that evolution is approaching toward a similar repertoire, Is that?

A. B.: it's possible… Even so, My voice will remain different from my mother. I never thought I could get to sing the repertoire that I'm doing now, that's true. Time and good vocal work over all these years have allowed me to get here. I see it as a gift.

“… monotony does not exist in this profession”


B. C.: You have known the operatic world at different times, one through your parents and you live today. It has changed a lot? What differences found?

A. B.: The media quickly today to which we are all subject makes all the difference. Before the pace of work of a professional opera was different, slower, less demanding in some ways as the dramaturgical, but perhaps more powerful vocal and musical level. Singers today "consumed" long before, racing seems to be shortened. Life today seems to demand urgency around, and our virtual life that adds, Internet and social networks, aspect that also influences races like ours, always exposed to the public.

B. C.: What is for you the victory?, How do you measure success in your profession?

A. B.: The triumph? For me it is a dream. Success for a singer, according to my point of view, It is to have good production on the agenda, interesting projects with good stage directors and music. Y, Of course, have time for family, to live… Therein lies the success for me, in such details.

B. C.: What music do you like listening?

A. B.: Opera, never! 😁 But I listen to everything, Even electronic music! I really like all kinds of music, Opera also, Of course, but I prefer to leave a little apart when I'm not studying, because I relate to the work.

B. C.: How do you feel more comfortable, in an operatic production or in the privacy of a recital Lied?

A. B.: In both. They are two very different worlds, and complementary. Introspection of chamber music helps concentration and targeting the operatic repertoire and vocal expressive expansion of the development of the first. In my case I need them both.

B. C.: How do you get along with stage directors? Have you had to spend some trouble or difficulty to realize a scenography?

A. B.: I do not usually have problems, I like to try new things and I think, even learn from the experiences not as rewarding. Everyone can learn something, as life itself.

B. C.: We miss him a lot in Madrid. When are we going to listen to him again??

A. B.: Soon! 😁 And surely with something complicated…



The Wildcat 1

The Wildcat 2The Wildcat 3The Wildcat 4The Wildcat 5

He came back the Spanish opera "El Gato Montes" to the stage of the Teatro de la Zarzuela to celebrate the centenary of its composition. And he did under the direction of José Carlos Plaza scene and the music of Ramon Tebar, para dar life to the music of Manuel Penella.

Undoubtedly the most valuable of the work of Penella is a music full of nuances and a dramatic charge which enhances the strength of the characters. All very Spanish: toreros, highwaymen, Romany, sorceresses ... A set of personalities that describe, along with music, the most recognizable Spanish folklore. Not easy to interpret this work, great vocal demand for singers. And it's not easy for stage directors.

This time, production of José Carlos Plaza has been enriched with choreography by Cristina Hoyos, which has not only created the steps of the dancers, He has also filled life movements singers. What it has endowed all representation of elegance and Andalusian flamenco tradition that oozes work Penella.

The scenery of José Carlos Plaza, which it was awarded in the missing Campoamor Awards, It may be too austere. Except exaggerated and rich elements, like a huge baroque mirror, that looks more like a large funerary sculpture, with bull and matador included. Or the huge face of a painful at times occupying the top of the stage. The rest of dark scenery compose successful, although poor, Francisco Leal and lighting, outstandingly, Pedro Moreno's wardrobe. All this to show the deepest, darkest side of the work represents Spain. It is interesting to note the similarities El Gato Montes has with the opera Carmen, Bizet. Namely the Carmen de Calixto Bieito we've seen recently at the Royal Theater and this wildcat agree more than the darkness of her scenes.

The role of Solea is represented in this first cast by the German soprano Nicola Beller Carbone. Sand note the effort to offer a flamenco Solea, with the help of Cristina Hoyos, but his character fails by poor diction. Almost impossible to understand what he was saying, despite having grown up in Spain. But his performance was very commendable.

Baritone El Gato Montes Juan Jesus Rodriguez He had all the attributes of the Andalusian bandolero. A brave and able to kill and take to the mountains for the woman who loves man. All it adorned with an interesting point of nobility that gave the character a special appeal. His round voice, powerful and warm clothing ended character.

Rafael Ruiz, "The Macareno", She was played by an expert on this role, Andeka Gorrotxategi. Basque tenor, Decorating almost all registers with a beautiful metal, He tackled with ease and robustness acute and central zones of a somewhat static Macareno on stage.

Comprimarios box was at high altitude. Desatacar exceptional Miguel Sola, in the role of Father Anton, both vocally as, especially, in the interpretive part. impeccable also, in the role of Frasquita, hope Mentxaka Y Gerardo Bullón, as concrete. They are always a guarantee on any production that address.

Highlight the performance of the choir. Not only for his craft, I knew also offer moments of great lyricism and beauty were widely applauded by the public.

Topping the Community of Madrid Orchestra Manuel Tebar one who knew how to deliver the best version of a limited orchestra. He managed to recreate the desired atmosphere by the composer and gave a bright version of its known fragments, as the pasodoble the second act.

A beloved Spanish opera by an audience that fills the Teatro de la Zarzuela in this new and exciting stage.

After a successful debut with critics and audiences at the Salzburg Festival 2005, Maite Beaumont has not lowered of the most important stages in Europe, as Opéra national de Paris; Royal Theater of La Monnaie; Bavarian State Opera; Staatsoper Unter den Linden in Berlin; Capitole in Toulouse Theater; Teatro Real in Madrid; La Scala Milan en; Municipal Theater of Santiago de Chile; y Lyric Opera Chicago. The next 1 Y 3 December we will be able to hear it again in the Gran Teatre del Liceu as Ottavia, from The Coronation of Poppea. A repertoire, Baroque, for the depth and warmth of her voice, accompanied by stage presence, They have made the Spanish mezzo-soprano, one of the most sought after singers of his rope.

Brío Clásica: It is increasingly national and international presence and there are many times we have to enjoy their art, but we would like to know more about you. Tell us about your beginnings, Where your hobby is music and singing?

Maite Beaumont: I come from a family of musicians. My mother was choir director, Professor of Music Pedagogy at the University ,my father amateur singer and my sister professional singer. I have been fortunate to have musical education from a very young, breathing the passion for music that was in my house. I was able to attend many rehearsals choir from very young, where my mother ran and my sisters and father were singing.

My father always took home Vocal music: He is passionate about singing. He has an exceptional voice, but it has not been dedicated professionally. We were two of the four daughters, we have dedicated to it. My sister has been able to help and advise me on the most important moments of my life.

B.C.: Once awareness is taken to devote himself to music professionally, How do you plan a career like this?

M.B.: With 18 years, I could not imagine that I could devote a future singing professionally. The good thing was, It is that the musical base was. I always studied music and singing. My sister was my role model: was she who went to study in Germany and, After studying Sociology, I encouraged her to go. And there, This is where it all began.

B.C.: Soon he moved to Germany. There they are common ensemble operatic. What is the difference between being part of a ensemble And be Freelance? What advantages and disadvantages have each?

M.B.: For me, how good of a Ensemble is that you build a good foundation that will serve your entire career. To test small, medium, large papers with good supervision, It's essential. Power sharing cartel with highly experienced professionals and gives you a lot of motivation and know the daily life of a singer, with trials, study, functions… It is important.

The only drawback I see, is that age is good it come out, meet new people, other ways to, working, to make music… That has to choose each, It is according to his character and stage in life.

B.C.: We are celebrating the 450 anniversary of the birth of Claudio Monteverdi and, precisely, he 1 and the 3 December interpreted in the Gran Teatre del Liceu in Barcelona to Ottavia, from The Coronation of Poppea, a character who knows. we can not forget your Sesto clemency Tito, Mozart, last season at the Teatro Real. It is not easy to address these repertoires. How you reach the Baroque? What demands have?

M-B.: I had very early a very special affinity with this repertoire.

The biggest demand I see, It is the style.

B.C.: You have great importance for the recitatives, something that some managers often modified to accommodate certain productions. Do you think that today are essential? why?

M.B.: For me, recitative matter if it serves to better understand the plot of the opera, If you give us information about what is happening or will happen. I conceive it as pure theater, talk singing.

Not that they are more essential now than before. The difference is that now part theatrical works more. The stage direction has evolved so much, not just have to know sing well, also interpret.

For example, Mozart recitative is a treasure worthy of a play.

B.C.: Baroque music has ample room for improvisation, especially the Italian Baroque. The decision to vary or decorate an Aryan From the beginning, Singer owns or principal?

M.B.: Actually it belongs to the singer. He suggests director and singer who ultimately decides which ones are best.

The important thing is to be in style, This is learned like anything else. There are others who like to have everything more controlled. Everything depends on the singer and director. For me , It is a teamwork: a mixture between what like the director and ornaments that go well with your voice.

B.C.: Following the baroque repertoire, What technical difficulties can be found in a score that, in its origin, It was written to the physical characteristics of a man?

M.B.: La voz de mezzo-soprano , its timbre and color, it resembles more or evokes a male voice. For me, physically we have the same force that could have a castrato. Even more, I would say. It depends on the temperament of each, regardless of being male or female. Under the vocal point of view, women can use more chest voice, obtaining more power than a castrato. but hey, it all depends. Now there are many countertenor with very good technique.

B.C.: Although increasingly baroque works are scheduled, What do you think are the reasons why remains scarce presence in the Spanish programming?

B.M.: It is a very specific audience that likes the Baroque. I think the operatic culture in Spain is increasing. More and more people dare to go to a function. It is best to start more traditional repertoire, then create taste and attract more special titles like Baroque.

B.C.: His repertoire is not limited to the Baroque. We can hear their interpretations of Lied, the works of contemporary composers such as Kurt Weill. We also know of his love of Bel canto, How the transition is made to these styles?

M.B.: As the voice unfolds, It will be facing new repertoire that requires more mature voice, such as Bel Canto.

B.C.: He is inspired by a singer when preparing a new role?

M.B.: There is always a singer who would you like parecer.Primero study the role and then compare different versions to get an idea of ​​how you want your own version.

B.C.: How do you see the evolution of his voice? What repertoires is singing in a more distant future?

M.B.: I am in a moment, where I feel safe and to address the bel canto repertoire. So far I've done a lot of Baroque and Mozart , among other things, but it is now when I am at the right time to sing Isabella, Adalgisa, Elisabetta, Giovanna Seymour… After having been so long in Germany, I also feel prepared for the roles of the German repertoire for mezzo-soprano and lyrical as Oktavian Composer.

Within ten years, I'll see how I develop and where.

B.C.: When can we hear again in Madrid?

M.B.: At 2019 I will sing in Verdi's Falstaff Meg. After, I hope that many more interesting roles, where I can teach all my facets.

Javier Camarena

Who was not afternoon 19 November in the Teatro de la Zarzuela, You may have missed one of the lyrical events of the season. It was the first time the Mexican tenor boarded a recital composed entirely of zarzuela. A genre that is historically considered "minor" Javier Camarena was in charge of denying: "I do not understand this tendency to make the zarzuela a minor genre, Does not have it, I can not find it, I don't perceive it like that and I'm not going to project it like that. Singing Red Flower is as important to me as singing A furtive tear ".

Greeted on stage with a standing ovation, started nervous, as he himself recognized, "I have left my comfort zone and I want to do my best". And I already think it did. It was demonstrated in each of the eight romances he performed, that this is a genre for seasoned. It requires a quality instrument, as is without a doubt that of Camarena, domain of dynamics, taste in the interpretation and an appropriate reading of the strength and tradition that this genre contains. His lyrical-light tenor voice offered versions full of originality. Solving the difficulties that these seemingly affordable arias undoubtedly have, giving everything in the interpretation. Going through different registers without losing metal, shining in the treble, with a phrasing loaded with intention and a smooth line of singing.

He began with bravery interpreting "From this peaceful corner of Madrid", by Luisa Fernanda and "You know through the smoke", by Doña Francisquita, to continue with one of your favorite works in this repertoire, "Red flower", by Los gavilanes. Before interpreting it, he warned the audience that he had "something scratchy in his throat". It was noticed at some point, given the difficulty, for the subtlety in the interpretation, that treasures this romance. Hope it rains soon, or many singers will stop coming to Madrid.

The second part began with a "Goodbye Granada" full of feeling and emotion that he dedicated to "Paquita", tenor wife Pedro Lavirgen, recently deceased, since it was the version of Lavirgen in which he was inspired to prepare the romance of the Emigrants.

It ended with “Paxarín, you who fly ”and“ It can't be ”, that ended with an over-treble that led the audience to delirium. At the head of the Orchestra of the Community of Madrid the young man Iván López-Reinoso. He conducted with ease and rhythm the Prelude to La revoltosa and El Drum de Grenadiers, the Interlude of The Wedding of Luis Alonso and the Intermission of The Legend of the Kiss. Brilliant was also the tip of the Mexican teacher Arturo Márquez, Danzón no. 2.

The recital ended with another two tips, a "Granada", from Agustin Lara in which he wasted qualities and treble and the repetition of the “The Trust of the Tenorios”.

Extraordinary evening that ended with a very long standing ovation from an enthusiastic audience that was reluctant to leave the room. We hope to see Javier Camarena soon performing an opera or zarzuela from the Spanish repertoire in this same Theater.


Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

El Cantor de Mexico

He came to Teatro de la Zarzuela the operetta El Cantor de Mexico. composed in 1951 by the French, but Hispanic American, Francis Lopez, and written to be interpreted by the famous Luis Mariano, who came to interpreting in more than 850 occasions.

His stage manager, Emilio Sagi, He adapted and updated the initial script, somewhat outdated, for release 2006 at Théàtre Châtelet. Production has arrived in Madrid under the stage direction of Daniel Bianco is, as the composer called, a operetta extravaganza. A bright and spectacular scenery, where scene changes occur constantly and with great dynamism, recreating the atmosphere of the clubs of the time and shows Carmen Miranda.

Very important is the job of musical director Oliver Diaz in front of the Titular Orchestra of the Teatro de la Zarzuela. A work like this, near the magazine and melodies filled with completely different repertoires that usually, like jazz, mambos or boleros, not easy to handle the variety of musical material. The result is an undoubted quality.

Leading the cast includes the tenor José Luis Sola, evoking Luis Mariano, but with difficulties. Low volume of voice and no sound, except in the treble, where the brightness and color have a strong presence.

Cricri character is performed by soprano Sonia de Munck. Get a good interpretive level, but he can not get your voice heard. Much less when accompanied by other singers or increases the volume of the orchestra.

experienced Luis Álvarez He plays brilliantly to empresario Ricardo Cartoons, accompanied by a spectacular Ana Goya, that brings to life the hilarious Miss Cécile. Leading the cast is theater Rosi de Palma, as Eva Marshall, diva kitsch that rises with the prominence of the work thanks to his personality and powerful stage presence.

The Teatro de la Zarzuela season begins with a different work, a show that is pure divertimento. You want to with it a message, la Zarzuela wants to reach all audiences and open to society.

Magdalena Kožená

He Teatro Real Friday was another attempt of fusion between Baroque and Flemish. Entitled Love: between heaven and hell, works presented, among others, from José Marín, Juan Serqueira of Lima, Jean Battiste Lully, Juan Hidalgo O Sebastian Duron. I must say that the result of this merger attempt has been nil. Gerard Mortier He said that flamenco should be on stage at the Teatro Real, as it befitted a high art like this. But I think Mortier did not mean exactly that. Endeavor to merge Flemish Baroque and requires, To my humble opinion, further elaboration and fluency so that the result does not seem forced.

The great demand for this recital has been the Czech mezzosoprano Magdalena Kožená, and perhaps this has also been the biggest disappointment. The repertoire was totally oblivious to it. Like the language, a bad phrasing barely understood nothing of what he said, supposedly in Castilian. Static on stage and with a planar edge, as continuo, They marred a Spanish baroque repertoire on paper appealed. All it adorned in an awkward, although commendable, I wanted to attempt apparently flamenco dancing.

Yes include the performance of Baroque group Private Musicke, Villas of Manuel Rodriguez, Spanish harp, Jesús Fernández Baena, Tiorba, Richard Myron, viola da gamba, Pierre Pitzl, Spanish baroque guitar and address and percussionist David Mayoral, which he contributed to the interpretation of fantasy set.

The following complaint of the evening was the choreographer and dancer Antonio El Pipa. Accompanied on guitar by Juan José Alva and Daniel Ramírez, and singing Toñi Nogaredo, Sandra and Estefanía Zarzana. Impeccable in the accompaniment of Antonio El Pipa to which cost the public cold heat of the Royal Theater, unaccustomed to these spectacles. Elegant gesture, Pipa also had the mission of clothing in the Kožená dancing when she tried to accompany him.

An interesting at times and dull night in what the main attraction of a show that has visited the main European theaters were supposed. But do not lose hope to see this repertoire of Spanish courtly song performed with greater success.

Lucio Silla

With only 14 years, and during a tour of the then kingdoms of Italy with his father, Mozart the first serious opera premieres of his career, Mitridate, kings of Pontus. Such was the success that the young Mozart received another custom Teatro Regio Ducal in Milan, an opera to celebrate, Two years later, Winter carnivals the Lombard capital.

Lucio Silla It is a crucial work in the evolution of the musical language of Mozart. While it is retaining many of the conventions of the operas of the eighteenth century, as the role of a character followed historical and endless endless recitative arias. But nevertheless, and we find some new elements, as the orchestral accompaniment of recitatives. This new musical structure anticipates changes that will be consolidated with Idomeneo and be part of the unmistakable style of his operas more mature, as Don Giiovanni O Così fan tutte.

Mozart worked with great discipline and with little time. He had summoned the most talented singers of the moment 6 weeks of the release to begin rehearsals. As was customary at the time, the particelas They were composed thinking about the vocal characteristics of each performer, taking them to the limit of its capacity. This made it almost unfeasible than any other singer could address the role. Main reason why Lucio Silla, once released, tardase 200 years back to be displayed.

The main roles was in charge of the great tenor Archangel Cortoni, as Lucio Silla, and castrated Venancio Rauzzini, in the role of Cecilio and soprano Anne de Amicis, as Giunia. But the best proof of the genius of Mozart teen came when there were only 6 days for the premiere. The Cortoni protagonist fell ill and had to be hastily replaced by another tenor. No one dared to take on the difficulties of that paper was a mediocre singer who oratorios, scared by the difficulty of the character, He dared with. For that, Mozart had to seriously maul the score of the dictator adapting to the vocal possibilities of the singer. Although only reduce their intervention 2 arias, Mozart manages to convey the psychology of the character, complicatedly hesitant and unable to express what he feels, leaving the responsibility to express the feelings of the orchestra chair.

A theatrical scenery high voltage

For a stage director, Lucio Silla is a poisoned gift. Throughout history it has been considered an impossible work for its statism. Baroque works arouse suspicion among not a few stage directors for their arias

dacappo and the difficulty of this musical structure when providing the desired fluidity scenery. Lucio Silla is scenically as later works of Mozart, plays in themselves. The spirit of the characters have more weight than his vocalism, although this is endiablada for singers.

this opera, almost contemplative, also it has a great dramatic burden Claus Guth He has captured perfectly. It has created a stage where the pictures flow before the public with pace, beating statism with an almost cinematic continuous motion effect.

As is customary in Guth's stage development, a psychological X-ray of the characters and their feelings is presented. This journey to the introspection of the protagonists is achieved through the atmospheres, always oppressive, that describe with great accuracy the intention of the protagonists. A good direction of actors and a revolving architectural structure with underground tunnels stand out. An underworld in which dreams and nightmares unfold. It is here where the plays of light and shadow of Manfred Voss, that have been updated for the occasion by Younger Hoffmann, acquire great beauty and prominence.

The cold desolation that accompanies Lucio Silla is also successful. A room that deciphers the complex psychology of a fickle character dictator, hesitant and unpredictable. Chair appears in a room of decaying white tiles that are staining with the blood that spills. It seems to stay a butcher.

The direction of Ivor Bolton

Lucio Silla is an improper score of a teenager 16 years because of its complexity, for their maturity and being so meticulous in details. They have maintained the original arias with minor adaptations to improve tempis, which has facilitated the flow in the direction of a Ivor Bolton that continues the path marked extraordinary last season Billy Budd Y Rodelinda.

This time, and since the long overture, strikes a perfect balance between brass and strings. His reading of the work and the work done with the orchestra, taking the letter and not the music as a starting point, He gave sound vibration and precise pulse score. Especially in times when the orchestra broke in pieces the ins and outs of the main character. Recitatives are accompanied by the proper key Bolton, allowing a greater connection with the orchestra. Always attentive to detail and outstanding singers, which greatly facilitates the work, along with a set that facilitates voice projection and singing in proscenium.

A very balanced distribution

Lucio Silla requires equally vocal and dramatic qualities. And in that line are the protagonists of this production, Kurt Streit y Patricia Pertibon.

American tenor Kurt Streit, responsible for giving life to the protagonist, It is a great connoisseur of the Mozartian style and excellent Actor, something very important in this production. Lucio Silla presents a little hesitant and entity, insecure and characterless. At the end of the work, when it transformed into magnanimous and leaves the throne, a successful histrionic appears intent. Its excellent performance and compensates a voice in decline.

Patricia Petibon is pure theater. Expressiveness and personality on stage had deserved response from the public. He had a difficult time in the aria ¡Ah, when the cruel peril! where coloratura becomes impossible, but more than it offsets a large repertoire of gestures that describe the anguish of the character. The dramatic intensity of Petibon, above the vocalism, not detract neither the character nor the score, especially after improvising a wrenching passage to the end of the first part.

A Silvia Tro Santafe he had to give life to the role complex Cecilio. An almost impossible score that Valencia resolved with impeccable professionalism. His initial aria "The moment tereno", an extreme difficulties registry changes, It was resolved with a single solvency surpassed by the virtuosity. High volume voice and expressiveness, a phrase in Italian and a line of impeccable singing. The duet with Giunia was a moment of great beauty and delicacy. Mezzosopranos being one of the most prominent and valuable right now, surprising that no more presence in national settings.

María José Moreno It was another of the joys of the night. His character does not reach the vocal demands of the protagonists, but it has a treble that Granada soprano issued no muss. Cecilia's role is somewhat finicky, but his three interventions (It has been removed of its Aryan) They are bright. He brought freshness with its beautiful Mediterranean timbre and perfect diction.

The mezzo Letona Inga Kalna in his role as Lucio Cinna, a bit exaggerated masculinity of the character and was somewhat rough. Sound good volume but unsophisticated. But he knew keep up with the cast.

No doubt this has been a good start to the season in an important year for which celebrates its Teatro Real 200 anniversary. The season looks very attractive and opera is one of those places where dreams find refuge. Surrender to art.

dramma per musica in three acts
Wolfgang Amadeus Mozart (1756-1791)
Libretto by Giovanni de Gamerra
First performed at the Teatro Regio Ducal in Milan 26 December 1772
New production of Teatro Real
Headlines Choir and Orchestra of the Teatro Real
D. musical: Ivor Bolton
D. scene: Claus Guth
Replacement: you Buyse
Scenography and costumes: Christian Schmidt
Lighting: Manfred Voss
Dramaturgy: Ronny Dietrich
D. from the choir: Andrés Máspero
Distribution: Kurt Streit, Patricia Petibon, Silvia Tro Santafe,
Inga Kalna, María José Moreno, Kenneth Tarver

Madama Butterfly

Toward 1850 and after two half centuries of isolation, Japan is obliged to open to the world. It counts at the time with two important showcases, the Universal Exhibition in London (1862) Y, especially, the Paris (1867). In this last, draws the attention of major artists who are influenced by Japanese cultural imprint and are, at the same time, who first spread these new trends.

Artists like James McNeill Whistler, Edouard Manet or Clode Monet in Paris, and Mariano Fortuni or Raimundo de Madrazo in Spain, were some of the first to feel the fascination of Japanese culture.

These oriental influences also arrived in Madrid. The upper classes immediately showed their interest, not only for artistic expressions, also for objects and decoration elements. Japanese cabinets and salons became fashionable in palaces and mansions of the nobility of that end of the century. The residence of Cánovas del Castillo or the Infanta Eulalia de Borbón had a Japanese room. This is the case of the Lhardy restaurant, whose salon can be enjoyed today.

So much oriental influence had among its consequences the premiere at the Teatro Real in Madrid, in 1907, de Madama Butterfly, the opera that Puccini had composed fascinated by the chinoiserie and all its evocations. The premiere was in style, the role of Cio-Cio-San was played by Rosina Estorquio, legendary soprano at the time and had premiered the role in 1904 Scala in Milan.

On this occasion, the Real presents us with the revival of Madama Butterfly that Mario Gas and Ezio Frigerio designed for this same theater in 2002.

After 15 years there have hardly been any updates to the scenery, something that says a lot in favor of this work. Establishing a relationship between opera and cinema, two genres well known and loved by the composer, the scenography takes us to a Hollywood film set from the thirties, using the resource of a theater within the theater. Filming can be viewed in real time on a screen above the stage, thanks to a very good editing that allows you to appreciate the close-ups of the singers, what enhances the dramatization.

The story starts from a European tradition, from when, first the Dutch and then other Europeans, traded through the Dutch East India Company. For that, they inhabited the island of Dejima, in which they spent great seasons. Not being able to carry their wives, performed a wedding ceremony and supposedly married young Japanese women, whom they later left. All this facilitated by matchmakers, like Goro does in Madma Butterfly.

This is the drama of the young Cio-Cio-San, played on this occasion by the sopranos Ermonela Jaho and Hui He. In the words of stage director Mario Gas, “An excess of passion leads to blurring, and an absence of passion, leads to coldness ". There has been no lack of passion in the performances of both sopranos, but the dramatic ability of Ermonela Jaho, of which he already left a good sample in his Violeta de La traviata, and this season with his Desdemona in Otello, surpasses any interpretive record. Mirellla Brakes, which was a great butterfly, He could not sing it on stage because the emotion made him cry and the crying dislocated his voice. Hermonela Yaho is capable of crying while singing. Is able to abandon the technique to emit a cry without appreciating a loss of position. The ability for phrasing, its delicate edge line that gives the character a fragility that overwhelms, keep audiences trapped and shaken. Everybody knows what's going to happen, except for her ... She transmits emotions like few others. Even if your voice is not perfect, although its bass is deficient, although I abuse a little of the rows that, on the other hand, they are wonderful, but, What is opera, but emotions?

As it is very difficult to choose a version, we have chosen to put both, Ermonela Jaho y Hui He interpreting "A beautiful we'll see", at the beginning of the second act. Two different ways and techniques of approaching the same character.

Hui He has been the Butterfly of the second cast. The second thing in this case does not refer to a lower quality. Without a doubt, his lyrical-spinto tessitura is the most appropriate for this role.. It has a beautiful, penetrating timbre and a powerful center register, solid bass and extraordinary projection, next to a homogeneous edge line. It started off without major dramatic outbursts but got into character as the play progressed.

She was not well accompanied in the replica by the Pinkerton of the young Vincenzo Costanzo. He has a fresh voice and a beautiful timbre is aimed, but it is still far from an adequate technique for these characters. Your dull, white voice needs time, study and calm. Instrument seems to have, let's hope you don't lack patience.

Better the Pinkerton of Jorge de León, with full and bright highs. Although with a certain roughness, considering the delicacy of Butterfly de Jaho. The character of Suzuki played by Enkelejda Snkosa and Gemma Coma-Alabert. Both are the perfect vocal company of their respective Cio-Cio-San.

Ángel Ódena composed a Sharpless Consul with authority and nobility rightly distributed. Contributed to the magic of representation. Vladimir Stoyanov's Consul is always a baritone with guarantees and he complied with solvency. In the same way that Francisco Vas's Goro. With a very good acting and a histrionic point that rounded off the matchmaker character.

The rest of the repair was at great height, including the chorus that demonstrated a beautiful delicacy.

Marco Armiliato conducting shows his great knowledge of the score and the composer. Great theatrical ability and exquisite care of the singers, modulating at all times to facilitate your work with a score that always poses the problem of sound volume.
He got a varied palette of colors mastering the changes of emotion contained in the score and each of the character moments. Like the entrance of Cio-Cio-San, so delicate and transparent, as befits an innocent woman of 15 years. The orchestration of the second act is difficult for the singer due to its drama and the demand for a very solid technique to sing above the orchestra. But Armiliato gets the balance. Always aware of the singers and a score that marks the itinerary with all kinds of details. Music of heartbreaking dramatic potential, from which the Italian master extracts the most.

A good end of the season and an opportunity to get closer to the opera through the broadcast of the day 30. Who does it for the first time, with this Butterfly you will be captivated forever.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Madama Butterfly
Giacomo Puccini (1858-1924)
Giapponese tragedy in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the play Madame Butterfly, by David Belasco,
inspired by the story of John Luther Long
D. musical: Marco Armiliato
D. scene: Mario Gas
Scenography: Ezio Frigerio
Costume designer: Franca Squarciapino
illuminator: Vinivio Cheli
D. choir: Andrés Máspero
Distribution: Hermonela Jaho / Hui He, Jorge de León / Vincenzo Costanzo, Enkelejda Shkosa / Gemma Coma-Alabert, Angel Ódena / Vladimir Stoyanov, Francisco Vas, Tomeu Bibiloni, Scott Wilde, Igor Tsenkman, Elier muñoz,
Jose Julio Gonzalez, Marifé Nogales, Rebeca Salcines, Maria Fidalgo, Miriam montero.


Marina Spanish is one of those reference works that all fans have recorded in its memory. Who does not sometimes hums his conocidísima "A drink, let's drink". It has also always been one of the most scheduled. The last time just four years ago in this same theater. Although previously Twenty years had elapsed, since Alfredo Kraus Jorge played.

Teacher Emilio Arrieta, transformed the Marina zarzuela opera to be premiered at the Teatro Real. Event happened in 1871.

This opera in three acts, directed by Ramón Tebar and stage direction Ignacio García, He has had a young cast and almost unknown. Marina's main role has been interpreted by the Ukrainian, with Romanian passport, Olena Sloia. This young soprano based in Madrid for years, It has a curious history. He sang in various locations and streets of Madrid, until one day, near the Opera Square, It was discovered by the teacher Miguel Ángel Gómez Martínez, present in the room at the premiere. From there, and the invaluable teacher recommendation, has started what we hope will be a brilliant career in the world of opera. Qualities not lacking. It has a pleasant and vigorous high register with which he could not excess volume of the orchestra. He won expressiveness and support in the third inning and got a deserved ovation.

Jorge's character was played by tenor Alejandro del Cerro. He started something intemperate or nervous, which it did not prevent him addressing his complicated arias with courage. In the third act he came up and offered moments of great lyricism.

Damian del Castillo, as Roque, It was too low to. Something past impost and coarseness at times.

scenography, Navy replacement four years ago, This time it is more evocative night thanks to the lighting Paco Ariza. The sea and sailors are very present throughout the play. Also a part of the pier, which he occupied the middle of the stage and the chorus limited movements.

The orchestra, Strongly directed by newcomer in the Zarzuela Ramón Tebar, at times it reached a volume of sound that got in trouble singers. Much tighter in the second half, He highlighted its dynamism.

A good end of season for a Teatro de la Zarzuela in which you begin to notice the deep work of the new team, and projects and the illusion of the immediate future.

Jessica Pratt

They say it is the natural successor to Joan Sutherland. Not in bathroom, Australian soprano is considered one of the best international performers on his rope. Now comes to Spain, Palau les Arts Reian Sofia of Valencia which debuts, and he does so with paper Amenaide, Opera Tancredi Rossini. A great opportunity to listen to songbirds skills of this great performer.

Brío Clásica: If I'm not mistaken, You tenor and daughter, somehow, He has always had links with lyric. What time he was aware of to pursue singing as a career and at the beginning of this planned?

Jessica Pratt: My father taught us all about music and my mother all about the visual arts; I think it's natural for parents to convey to children all their knowledge and passion for the things they love. In my case both my sister, my brother and I have benefited from a childhood filled with music and art. I decided to try my way as a singer when he was twenty and few years and I decided to move to Italy to expand my singing studies. In Australia I worked as a clown, as a secretary, as a clerk and even the McDonalds to pay for singing lessons, travel and all that meant starting a career as an opera singer; later in Europe I won a scholarship that allowed me to focus only on the study. I took all the opportunities that were put in my way, replacing colleagues who canceled several times; then it said that this was my big chance. I think we live in a world where we expect it all happen very fast and actually in my case I think it took a long time to stabilize my career; that is to say, there was a turning point that changed everything, They were just a cluster of small things, opportunities, that eventually, constancy and perseverance built my career.

B-C: No doubt the bel canto in which his voice feels more comfortable. Does this same sense from the point of view dramatic and interpretative?

J. P: Fortunately I love the bel canto; I find it extremely grateful both from the point of view of a spectator as interpreter. So actually I say that I feel at home in this repertoire from every point of view. I spent a lot of time reading romance novels that were developed in the Tudor period, an era that I love, and I really enjoy exploring this time through the bel canto operas I play.

B.C: In one occasion he has had to say no to a job or project?, for what reason?

Many times, usually because I am not free on the dates proposed if I'm working elsewhere and sometimes because the role is not suitable for my voice. There are young singers who have a certain haste and sometimes accept roles inappropriate. Thus, It is very important to know what your limits are and know how to fight for your future, saying no when you know that what you propose is not for you. Early in my career I had to deal with important people in this business for this reason and was complicated and difficult to say no when I had no money. The most memorable story was during a fight with an agent asked me who or what gave me the freedom to reject a very important contract that I was offering. When I made my debut at Covent Garden with the Queen of the Night, at the beginning of my career, I had so many offers for just that character that limited me for a while debuting other roles, so I decided to remove the repertoire. He was very young at that time did not want to pigeonhole, however I returned to play the role last year at the Metropolitan Opera. Now I feel that my career is established I love coming back to sing occasionally, although I prefer the heroines of bel canto.

B.C: In a preferred representation, What the stage director will all guidelines for interpreting or have some leeway on stage?

J. P: I do not think anyone likes to be used like a puppet that move around the stage. We interpret the opera jointly wrote the composer and librettist in collaboration with the management team chosen by the theater scene. It is fantastic when the stage manager has a clear and consistent idea how to tell the story, but definitely it has to be a team effort and collaboration among all.

B.C: What it does play an almost fetish character for you as Lucia?

J. P: Lucia was the first character I played and certainly the more times I've sung. When I sing I feel like I get home. Lucia is fantastic both dramatic and musically; a lot of demands at all levels; It can be interpreted in so many different ways that every time I sing encounter new details, nuances I had not seen before; all this is a role that fills me with satisfaction. On one occasion I had to sing at La Scala and simultaneously in Amsterdam; productions were so utterly different from the point of view scenic as vowel came a time when he thought he was singing two different operas, but the truth is that I liked both. Wagemaker in Amsterdam Monique had created a fabulous version in which Lucia had a horrible nightmare; all the action took place in his room full of broken dolls that come to life, everything was dark and culminated in his suicide, while in Milan Mary Zimmermann he had created a much more traditional Lucia; the character lived in a large manor house cut off, howsoever half and suffered a nervous breakdown; after having injected a sedative just off stage after the mad scene. Both productions were opposed but the fantastic and exciting time, each focused on his speech.

B.C: How do you see the evolution of his voice with a view to addressing new repertoires?

J. P: True, the voice changes over the years, mature and can cope with a heavier repertoire. At the moment I do not intend to change; I have debuted over 35 roles with which I still feel very comfortable. This year finally add some new comic opera character and I like to have fun on stage for another record; I even like to sing some zarzuela someday. Le Comte debut just Oryy Don Pasquale will debut in Bilbao and Barcelona this year. Soon I will sing first Zerbinetta and a couple of more dramatic roles donizettianos I really want to sing.

B.C: How the life of opera singer harmonizes with personal life? What would you like to do when their work permits?

J. P: This year I'm away from home since last February to August, jumping from one production to another. I feel very fortunate to have a partner who has his own business and is happy with having to travel often. When I have time to go home take the opportunity to spend time with our dogs and cats, paseándolos, reading, improving things around the house and my partner going crazy because I leave things half done because I have to travel for months.

B.C: Why do you think it is so difficult for young people interested in opera?

J. P: I do not think it at all difficult; I think young people simply do not offer opportunities to enjoy opera. Every time you go with a friend or young friend to the opera eventually become passionate about gender. Children, and adolescents are usually people with a very open mind, more than we, and they love to do adult things. You just have to let them accessible. I have seen in many places that encourage youth deals, as two tickets for one to certain ages, etc ... and the theater is filled. Whatever always take advantage! The reason why we see elderly people in the theaters is because when you go to the opera, this grabs you and you can not stop going in your life, and that is something very positive.

B.C: When can we see her perform in Madrid?

J. P: This summer I'll be rehearsing in Madrid for the production of I Puritani the Teatro Real take the Savonlinna Festival in Finland and I hope to announce soon my debut at the Teatro Real!

Carmela Remio

Since in 1996 was called by Claudio Abbado to represent the first time the role of Donna Anna, in the opera Don Giovanni, from Mozart, Carmela Remigio (Pescara 1973) He has played in more than 350 occasions, becoming a reference for this character. From the 19 Debuts in June Liceu Barcelona Donna Anna junto a Marcusz Kwiecien. Before the premiere talks about his career and concerns before this Don Giovanni.

Brío Clásica: After playing more than 350 Sometimes a role, such as Donna Anna in Don Giovanni, How the freshness of the character remains and avoid falling into a rut?

Carmela Remigio: I have to confess, that is a role that never ceases to amaze. Whenever I interpret, meeting new details, because Donna Anna is a very rich role, from both musically and theater. Each note is intended to emphasize the psychological character. Y, Fortunately, I have had the opportunity to learn from great teachers. We can not forget that every night you get on the stage with different colleagues who play Don Giovanni, Don Ottavio, Donna Elvira ..., and relationships and energies are different. Y, Of course, are also different readings of the work from the point of view scenic. All this makes, As much as you interpret that role, never fall into the routine, because it is practically impossible to always do the same Donna Anna.

B.C. How a character is built like this? How is Donna Anna Carmela Remigio of?

C.R. I try to be as faithful as possible to score, both the text and music. So I worry a lot to interpret each and every word accent to stay true to the character. For me, Donna Anna is a young woman, repressing their sensuality and passion for a man to her as fascinating as Don Giovanni, a passion that burns inside and that will not heal in his life. He wants revenge because Don Giovanni has betrayed her with other women and do not know how to survive the pain of having lost a parent and have discovered that the man she feels an inordinate passion, It is not only yours, but also men from other women. He shouts revenge because he can not have Don Giovanni, the love of his life. Donna Anna is a very complex character from the psychological point of view. The women mozartianas, In my opinion, They are one of the best gifts that made us Mozart sopranos, because they are full of wonderful arias that perfectly describe the emotional state, moral and social of all the characters. I think Elvira is a Baroque character, a character more closely linked to the past; instead, Donna Anna represents the future: "Non mi dir" may be the first bel canto aria with recitative, one cantabile that approximates a "Casta Diva" or "Al dolce guidami" of Anna Bolena ... is a final cabaletta with a stratospheric agility ... Mozart, Really, has left us an extraordinary music to discover all these women so different from each other ... a hundred years later this is what will make Verdi with music and Parola…

B.C.:What does having a new character to become part of his repertoire?

C.R. Well, especially, It must be suitable for me from the vocal point of view. Secondly, the voice has to be able to meet the temperament of the character and then everything else develops work, theatrical technique and interpretive Ideas. But as I say, for the election of a new role it is crucial to be vocally appropriate.

B.C.¿Cómo recalls his experience with Claudio Abbado? What did you learn the Italian master?

C.R. For me it was very important because it happened early in my career. A great teacher as Claudio Abbado, I learned what the musical rigor, that is to say, to read music with rigor. He taught me that Mozart should be clear language, transparent, energetic, and the musical language of Mozart is synonymous with rigor ... In addition to Mozart, I also sang Verdi with him and I can confess that his Verdi was equally rigorous. When you look at great directors like him, really learn that above all as the first rule is put at the service of music.
B.C.¿Qué can tell us about high-tech production platforms and stairs impossible presenting Kasper Holten?

C.R. In my opinion, It is a very interesting proposal, because it is very well worked from the point of view theater; There is a great dynamism and a clear psychological differentiation of characters, without falling into bad taste and without transgressing the text. In fact, when you read the script you realize that everything you do makes sense. It is a very elaborate reading. And the staging with the house tour, somehow, It symbolizes a bit this tangle of feelings in the characters.

B.C. Opera is a multidisciplinary art, not enough to have a good instrument. How a career that requires many disciplines master prepares?

C.R. Nowadays, the singer is demanded not only who can sing, but recitare and that its interpretation is credible; the acting interpretation is as important today as vocal. I have not studied to be an actress, but over the years I have observed a lot to my professional colleagues and I have tried to learn noticing theater actors, I often go to the theater and try to learn from all theatrical shows, I also go to the cinema ... In addition, I also learn from the stage directors, I always ask them for advice and talk a lot with them. The fact that I had the opportunity to work with great directors like Peter Brook, David McVicar, Graham Vick, Pier Luigi Pizzi, Robert Wilson, Mario Martone and Damiano Michieletto, among others, It has allowed me to grow and mature as a performer. For me, talk, discuss positive and talk to the stage manager is a good school to learn and grow as a performer.

B.C. You're a very expressive and powerful woman on stage, What does it mean to you sing?

C.R. It's my way of expressing myself emotionally, as a human being. I like to show that emotional part besides the artistic.

B.C. It started in music through the violin, the song came almost by chance. When it was decided to develop an operatic career, What is expected and what is finding?

C.R. The truth is that I had never imagined a life and a career as a singer, but as an instrumentalist because I was studying music ... and if I'm honest, I that's Lyric Theater, initially, I took it as a game ... I did not take it seriously, but then I realized that through song could better explain music ... Actually, we can say, that rather than my choice, It was fate that chose me.

B.B. Why do you think that, in general, so few baroque works are scheduled?

C.R. Well I have no idea ... say, which it is a baroque mystery. To me I love the baroque. I do not know why not show more, but when we do a baroque title always seems to fill the room. There is an audience that loves the baroque and complains that there is hardly Baroque opera houses. I sang Gluck's Alceste in Venice and I remember every night we hung the sign "no entry".

B.C. We miss to hear it again in Madrid, Are you planning some work soon?

C.R. Just after Don Giovanni in Barcelona, I'm going to Madrid to do the Contessa of Le nozze di Figaro at the Summer Festival of San Lorenzo de El Escorial, the days 20 Y 22 of July, and I will be in San Sebastian Musical Fortnight day 13 Y 15 August and December ..., I will sing Verdi's Requiem with the Tenerife Symphony Orchestra under the baton of Michele Mariotti ... also return to the Campoamor Theater in Oviedo to sing Mozart ...


Interview: Paloma Samz

Juan Diego Florez

Last 13 June finally put this season cycle Real Voices. And he did it in style, with a recital by tenor Juan Diego Florez. lavishes not excessively Peruvian tenor, still less it does in operatic performances, and his last appearances at Real had not left a mark too deep.

Flórez has some vocal characteristics that can be addictive, at least for the vast majority of fans who filled the theater. And this time, You can say that Juan Diego Florez, he's back…

This time the repertoire was peppered with difficulties and composers who had not been addressed so far. He has lost the freshness and naturalness of its beginnings, In return, His voice is denser, continues to dominate anyone the agility and is very difficult to compete with their sharp. However, increasingly, You must compensate the center. He perfected almost to the end his breathing technique, as befits the heir of classical school Garcia. The result is a seamless ridge line, a well-defined bound and that beautiful, sunny timbre that is trademark.

No es Flórez a Mozart tenor, but this time I was surprised performing two arias full of difficulty, “I rely completely on your strength ", from The Entfübrung from the Seraglio (The Abduction from the Seraglio) Y "I'm going to meet the ultimate fate", from Mitriadate, re di Ponto. Both showed his extraordinary facility for agility. Too bad that his relationship with the German language subtract brilliance in the fraseo.

The first part ended with "What do I hear? Alas ... Ah, why does not he heard ", de Othello, an elegant and spirited aria with numerous sharp.

After the break, He continued with three works Leoncavallo, including the beautiful Morning. He followed with Puccini and the "You are wrong ... Florence is like a tree florito", de Gianni Schicchi, where exquisite phrasing completed a magnificent dramatization of this character who commends himself.

The other surprise came with the also puccuniana La Bohème, in which he played "How cold your little hand", transparent and easy issuance, and seemingly effortless elegance that remained until the end do chest.

To end, Verdi, two R ary lombardi and Traviata. From the first "My joy ... How could an angel", delicate and nuanced. De La traviata "Lunge from her ... hot De'miei spirits ... O my remorse", which he repeated at the end do not be satisfied with the first.

Once they concluded the recital came the numerous encores. He appeared with guitar, something that has already become a tradition and that the public held, for who it is. "Contigo Peru", "I only ask God" and "Cucurrucucú Paloma" were chosen, once again.

He finished with essential do breast Daughter of the Regiment from Donizetti and Granada, Agustin Lara, who they put the finishing touch and the public standing.

The Golden Cockerel at the Teatro Real in Madrid

Often children's stories serve to present so candid situations or unsavory characters, which they are used to provide a reflection or critical moralizing purposes.

This is the case of the story The Golden Cockerel, written by aleksandr Pushkin, inspired by the Tales of the Alhambra Washington Irving, and that the librettist Vladimir Balsky adapted so that Nikolai Rimsky-Korsakov compose his fifteenth and last opera.

Rimski's initial ambiguity with the tsarist regime, it became clear rejection after the so-called Red Sunday massacre, in 1905, when the government of Tsar Nicholas II ordered the army to open fire on the citizens, including women and children, who had peacefully demonstrated to ask for better living conditions. The trauma that caused this massacre, not only did it stimulate subsequent revolutions in Russia, also mobilized many intellectuals who, as Roman, were censured for expressing their opposition to the regime through their works. This was the reason why El gallo de oro was not released until after the death of its author..

In this new production of the Teatro Real, in co-production with the Théâtre Royal de la Monnaie in Brussels and the Opéra National de Lorraine, its stage director, Laurent Pelly, performs a brilliant interpretation of the composer's idea in this work, turning criticism into satire to masterfully ridicule the tsarist regime, to the army and the people, that passes from the servitude of one regime to another, with disciplined docility. The successful scenography does not change anything of its fabulous character that is, definitely, which allows the work to have a powerful charge of intelligent and timeless aggressiveness. Pelly wants to convey the fear that ran through those historical moments and wants the public to make their own translation. The figurines, pelly design, contribute to give the magic and burlesque touch of the story.

The scenes unfold on what looks like a large mountain of rubble., those of the regime itself, about which the grotesque Tsar Dodon, always in pajamas, appears in a big bed, a way of the throne, from which she directs between dreams the destinies of a very little intrepid people. His inability is ridiculously reflected in a scene that shows his clumsiness in singing and dancing.. Next to him, her two sons, Zarévich Aphron and Zarévich Guidón, two simple and clumsy characters with a very good interpretation of the baritone Iurii Samoilov and the tenor Boris Rudak, respectively.

Governor Polkán, is another useless character, comfortably seated in office, of which the bass gives a good account Alexander Vinogradov.

The only character with a certain amount of authority is Amelfa, the housekeeper brought to life by the Polish mezzo-soprano Agnes Zwierko, that strengthened the character with its dark tones.

The Armenian soprano Nina Minasyan gave life to Tsarina Shemacha, owning the second act. A beautiful voice, full of agility and sensuality to play the mysterious character.

The bass Alexey Tikhomirov he was an excellent Tsar Dodon, clumsy and ridiculous. His powerful voice reminded us of those deep voices that are increasingly scarce.

Extraordinary work of the choir, both in the vocal and in the interpretive aspect. Highlight the group of noble boyars, superbly performed.

The young soprano Sara Blanch was the golden rooster from the pit. Small but important role that she bravely solved, power and better voice than some of those who were on stage.

the tenor Barry Banks played the whimsical astrologer. An interesting figure thanks to the peculiarity of his voice..

Ivor Bolton, whose work with Billy Budd is not forgotten, offers a magnificent version of this score with oriental overtones, to the taste of the time, full of bright and intimate moments. His connection and ascendancy over the orchestra is evident and the result is an undeniable solvency. He highlighted the interlude that Bolton himself interpreted after the second act, the piano, and one of the violinists in the orchestra, of the composers Efrem Zimbalist Y Fritz Kreisler, based on the opera itself.

A more than pleasant function with an interesting background that makes you think. Although Pelly himself said at a press conference: "I don't like to reduce a work to today", it is impossible not to move to the present. Examples are not lacking.

The Golden Cockerel
Nikolai Rimski-Kórsakov (1844-1908)
Opera in three acts with prologue and epilogue
Libretto by Vladimir Belsky, based on the poem The Tale of the Golden Rooster by Aleksandr Pushkin
Premiered at the Solodovnikov Theater in Moscow in 1909
D. musical: Ivor Bolton
D. scene and costume: Laurent Pelly
Scenography: Barbara de Limburg
illuminator: Joél Adam
Choreographer: Lionel hoche
Responsible for the scenic replacement: Benoit de Leersnyder
D. choir: Andrés Máspero
Distribution: Alexey Tikhomirov, Boris Bars, Iruii Samoilov, Alexander Vinogradov, Agnes Zwierko, Barry Banks, Nina Minasyan, Sara Blanch
Choir and Orchestra of the Teatro Real holders

Text:Paloma Sanz
pictures: Javier del Real
Video: Teatro Real

Joyce DiDonato

one patient Joyce DiDonato notes, sitting from the back of the stage, as the audience enters the room and takes a seat. It is becoming fashionable this entry brings gayola, it requires some courage to tear sing if you previously have warmed.

American mezzo presented in the Teatro Real Madrid his new show (and disco) "In war and peace: harmony through music ". A project full of good intentions in which DiDonato has put all his energies. Seek peace and harmony through music and make it a humanitarian project. This is the great challenge of his new show DiDonato.

The program is divided into two distinct parts, the first dedicated to war, in which works are interpreted G. F. Händel (1685-1759), Leonardo Leo (1694-1744), Emilio de Cavalieri (1550-1602), Henry Purcell (1659-1695) Y Carlo Gesualdo (1566-1631). The second part, more coherent, He was dedicated to peace, with works by Purcell, Handel y Arvo Pärt (1935), the shattering of work performed Da pacem, Dominated. Composition was commissioned by Jordi Savall in memory of the victims of the Madrid bombings 2004.



The performance of Il Pomo d'Oro was, simply, masterly. It is definitely one of the best formations that can be heard today. The great address Maxim Emelyanichev, also the key, They filled with energy and musicality a recital in which the musical accompaniment was above the interpretation of a DiDonato that has great magnetism on stage, but yesterday managed to convey not so dramatic charge. Perhaps the excessive visual elements prevented the gathering requiring works.

This is a visual spectacle, with light effects and video projections and choreography performed by dancer Manuel Palace, accompanying the interpretation of DiDonato. When the elements that accompany this kind of shows do nothing at the same, simply, They are unnecessary. That's what happened last night in this war and peace. the simple, yet elegant, choreography Palazzo, He added nothing to the show. Nor video projections Alexander Yousef, although they not therefore ceased to be beautiful. Baroque music needs no adornment or additives beyond their own interpretation. And if this, Besides, is done by Tomato, nothing can take missing.

The concert ended with a grateful speech Joyce DiDonato and two excellent tips, the aria It seems that the guibilo, from Regulus, from Jommelli (1714-1774) and intimate morning!, from Richard Strauss (1864-1949), to end a night in which he received the warmth of the audience of Madrid.


About two hours drive north of Rome, It is the charming little medieval town of Viterbo, in the region of Lazio. On the outskirts of Viterbo, Bomarzo en, if levanta and Castello Orsini. Belonging to the Orsini, one of the most ancient and illustrious families in medieval Italy. Pier Francesco Orsini, hijo de Giovanni Corrado Orsini y Clarice Anguillara, managed to inherit the duchy years after his father's death. In 1550, after the death of his wife, Giulia Farnesio, Duke Orsini retired to live in Bomarzo surrounded by artists and literati, and was dedicated to the construction of the so-called Parco dei Mostri or Sacro Bosco, the garden of Bomarzo. A space in which the enigmatic and tortured sculptures that are hidden in the lush vegetation stand out. The opera Bomarzo chronicles the delusions of this extravagant duke, hunched to deformity and haunted by immortality. His dreams show the life of lust and corruption of the noble families of one of the most attractive times in history, el 500 Italian.

This garden of monsters was the inspiration of Manuel Mújica Láinez for his literary work Bomarzo and the libretto for the opera of the same name, to which Alberto Ginastera put music.

It is not easy to enter this production without having the keys that the reading of the work provides. The first thing that surprises is the absence of baroque style in Láinez's book. This creates a huge chasm that does not allow to fully connect with history. This Bomarzo by Pierre Audi appears naked before the public from the first scene. A large black hole dominates the entire scenario in which the different ages of the Duke of Orsini wander between dreams and nightmares. While, Jon Rafman's videos are shown showing sculptures from the garden of monsters and an approach to his dream world.

The scenography perfectly translates the oppressive and claustrophobic character that the protagonist suffers, but the literary ornaments that best connect with the time it relates are absent from it.. The result is haunting and Ginastera's score, master at describing the lowest instincts through music, it does nothing but enhance that concern. If it was about getting this effect, is fully achieved.

The musical version offered by David Afkham was brilliant. Millimeter precision for percussion that fills the score. How successful was the intervention of the vocal cast, very adjusted each one to his character. Too bad for an opera sung in Spanish, hardly anybody understood.

The choir performance, located in the pit next to one of the JORCAM members, offered some of the highlights of the performance. Especially the young Patricia Redondo in the song of the shepherd boy. Magnificent direction by Andrés Máspero and Ana González.

This Bomarzo is more theatrical than operatic. For this, we only have to highlight the good performance of John Daszak playing Pier Francesco Orsini. His character does not rest throughout the work and he managed to convey the true torment of Orsini through his dramatization and his heartbreaking voice. Despite being british, his diction was better than that of some nationals.

The young baritone Germán Olvera was a perfect Girolamo, frivolous and contemptuous. He had no problem singing completely naked on a platform. Courage is not lacking.

Alto Hilary Summers played Diana Orsini. The peculiarity of her voice gave the protagonist's role of grandmother a lot of character. A voice that notices the passage of time and that was very appropriate to the character.

The soprano Nicola Beller Carbone, as Julia Farnese, He fulfilled his role very well with a more than pleasant voice.

Interesting and powerful was also the voice and interpretation of the baritone Thomas Oliemans as Silvio de Nardi.

Milijana Nicolic is the mezzo-soprano who gave life to Pantasiela, one of the longest roles in the play that he defended with ease, both in the vocal and in the interpretation.

Contradictory feeling that Bomarzo leaves that was, Nonetheless, essential in the programming of a Royal Theater that this season is paying off some historical debts with the programming of certain works and authors.

Text: Paloma Sanz
pictures: Javier del Real
Video: Teatro Real

Music by Alberto Ginastera (1916-1983)
Opera in two acts, Libreto by Manuel Mújica Lainez, based on his homonymous novel
Premiered at the Lisner Auditorium in Washington D. C. he 16 May 1967
New production of Teatro Real, in co-production with De Nationale Opera de Amsterdam
D. musical: David Afkham
D. scene: Pierre Audi
Stage designer and illuminator: Urs Schönebaum
Costume designer: Wojciech Dziedzic
Playwright: Klaus Bertisch
Video-Maker: Jon Rafman
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: John Daszak, Germán Olvera, Damian del Castillo, James Creswell, Hilary Summers,
Milijana Nikolic, Nicola Beller Carbone, Thomas Oliemans, Albert Casals, Francis Tójar


"A real eye opener". This is how the young master is recognized Francisco Valero-Terribas after having successfully participated in some of the most prestigious international competitions and specialized festivals such as Nikolai Malko Competition, Lucerne Festival, Cabrillo Contemporary Music Festival y Järvi Suvefestival.

Its versatility has allowed him to develop a comprehensive program ranging from Baroque to the twentieth century. This is, precisely, a constant in the career of the young Valencian musician, a restless spirit that has forged an eclectic repertoire and innovative. He 21 April the teacher will conduct in Madrid, at the Monumental Theater and before the RTVE Symphony Orchestra, Copland works, Ponce and Bizet, counting on Mabel Millán on guitar. Conduct a Stravinsky program with the Balearic Islands Symphony Orchestra in Ibiza (28/IV) and Palma (30/IV).

Among other actions, this year the maestro Valero-Terribas also conducts Verdi's opera La Traviata and a Lyrical Gala with outstanding students from the Center de Perfeccinment Plácido Domingo of the Palau de Les Arts de Valencia, as well as several orchestras in Brazil.

Brío Clásica: Lorin Maazel said of you that you were one of the directors of the 21st century. What qualities does a director of the 21st century have different from those of other times?

Valero-Terriba: The truth is that Maazel was really generous in his qualifications towards me, what coming from a genius like him is doubly valuable.

Truly the role of the current Director is an extremely complex role. Currently sources for information on music, interpretation, compositional and musicological techniques are very broad and require a great capacity for study and assimilation. It is an intense and meticulous work that constitutes the Corpus of the director's work. But nevertheless, there is a lot to do also outside the score. The orchestras have highly qualified staff and the maximum performance of this human entity must be obtained.. Developing effective testing techniques, interpersonal relationship, motivation, Empathy and global growth are also vital for working with these groups.. On the other hand, the global vision and advice, planning, programming and structuring of the seasons, optimization of human and technical resources, contact with the public and development of new audiences, educational and social programs, feedback with subscribers, promoters, the society, media… I think our work has evolved a lot without losing its essence, which is to defend the work of art.

B. C.: What is a faithful recreation of a work for you?

V-T: Good, is a somewhat ambiguous term. Finding the true spirit that the composer tries to convey through the musical message is one of the fundamental concepts of performance. But nevertheless, we have to try to adapt that message to the medium with which we communicate it. That is to say, in rare cases we will have the same means with which the composer conceived the work but we must provide the original meaning through current means. A clear example would be Beethoven's symphonies. They were designed for instruments that we do not usually use today, unless it is a specialized group. But also, the premieres produced in Beethoven's time were much more rudimentary than the structural planning reflected in the score. We have to adapt the message, media, aesthetic criteria, interpretive, etc, reading between the lines (or better between staves) what Beethoven really wants to convey.

B. C.: How do you approach the work of a new work alone until the premiere in which, by the way, does not usually use sheet music?

V-T: As I have explained previously, it is a process in which all sources must be studied and contrasted, so it is laborious but exciting. You gradually find an explanation for everything, what is reflected in the score, as intended by the author, the aesthetically and structurally required. In this way and synthesized in your own mind, a single criterion flows that is the closest to that original message that it is intended to convey and that you have managed to make yours through great elaboration. Directing from memory should be a means to improve performance and never an end in itself. It also depends on many factors intrinsic and extrinsic to the score.. It has absolutely no importance.

B. C.: When you start work with a new orchestra, How do you establish communication, He is one of those who talks a lot during rehearsals?

V-T: On a stage, everything that can be expressed through the gesture should not use the word. In addition, any musical example is more interesting than the linguistic one when we are rehearsing. Musical groups must work by being very precise in verbal instructions and optimizing time and resources. Telltale details can be indicated in 30 seconds or spend five minutes talking about something that ends up not interesting to anyone. In any case, it is important to have excellent communication and pay attention to all the “non-musical” elements that happen during a rehearsal.

B. C.: What do you consider to be more successful, that an orchestra has a permanent musical director or that specialized directors are hired in different repertoires?

V-T: It seems to me that virtue is in weighing both figures. The stable musical director should be the one who will musically guide the entire entity but with a not excessive presence in front of the orchestra, no more than 50%. For the rest, well structured work, Guided and specialized guest conductors means extraordinary growth for any orchestra.

B. C.: To conduct a large orchestra with your teachers, do you need to be more authoritarian or more flexible??

V-T: Authoritarianism does not work in any case. To conduct an orchestra requires leadership skills but without any type of authoritarianism or selfishness. Only common sense and a vocation to serve the orchestra, to the musicians, to the music and the public.

B. C.: Are there many differences between conducting a chamber or symphonic concert and an opera with its choir and singers??

V-T: In essence the musical concept is the same. Although it is evident that the increase in numbers proportionally increases the technical and material difficulties for its correct preparation. The chamber music required by a director is extremely difficult. Likewise, work in an opera house is complex with singers, choir, orchestra, scenography, dancers, etc Ultimately the responsibility of a director is to make everything look simple.

B. C.: An opera sometimes has numerous performances over the course of several weeks.How is the tension and freshness of the performers maintained each night??

V-T: Excellent question. When you really feel passion for what you do, is transmitted to the group. It would be part of the leadership capacity that a director should have. Avoiding routine approaches is helpful.

The public deserves it all, both the premiere and the last show, going through didactics, specials, family, social projects, etc. Not living up to your expectations is a serious mistake. The manager knows what to do to motivate the entire company.

Taking into account the importance that stage directors have acquired, What aspects do you consider important to maintain good communication and relationship?

The stage manager's job is extremely complicated. They need a lot of attention to their ideas and approaches. Thus, I believe a great complicity between both, respecting their approaches and needs. From now on, technical modifications may arise that help the vocal or musical performance to a better degree and that respect the idea of ​​the scenic creators. Common sense solves most problems, inside and outside theaters.

B. C.: Their repertoire is very wide, ranges from baroque to contemporary music. If you were asked to choose a program, What criteria would you use for choosing?

V-T: They are many and very varied. It will depend on the orchestra, city, template, target audience, soloists, facilities, past and future schedules, etc. Once these factors are balanced, the musical content must also be consistent. It can be by very different means but the approach must be clear.

B. C.: Has worked with Lorin Maazel, Haitink, Zinman, López Cobos and Kurt Masur, What stands out from each of them?

V-T: I could tell you countless aspects to highlight about each of the teachers you ask me about… It could even tell you that qualifiers could be common to everyone, they are referents of the orchestral conducting.
From Maazel his clairvoyance, musicality and prodigious mind.
From Hatink his humility, elegance and charisma.
David Zinman's simplicity, empathy and common sense.
Of López Cobos his humanity, his methodical work and ability.
From Masur his lyricism, his passion and his vocation.

B. C.: What stands out about you? What do you consider your best quality as a director?

V-T: I think it is better that the musicians or the public rate me. Before being a director I am a musician and before anything else a person. That is why personal and human growth is vital to me. Development as a musician is vocational and even passionate. The director is circumstantial. It is empty if the previous two do not grow exponentially. I don't consider myself special at all. I also learn a lot every day from both the orchestras and the musicians, of the scores, of what I see and hear here or there. I feel privileged learning and I do not consider myself a teacher of anyone or anything. I am passionate about music and I enjoy directing, listening, playing, recreating, imagining.

B. C.: You work on projects with young orchestras and performers, How do you see the future for them?

V-T: Labor insertion is a problem for a series of promotions of musicians who need an exit and continuity for their aspirations. But nevertheless, we have a generation of young people that is the best formed in the history of our country, perfected abroad and with experience in young orchestras from multiple fields. But it is also, they have exceptional talent. It is a moral and human obligation to allow the professional and human growth of all these generations not to be diminished by the limits that our society imposes. My work with young orchestras and young musicians is very rewarding. Sometimes a small change in mentality makes young people with an enviable technical level and preparation take off.
Interview: Paloma Sanz


Rodelinda, one of the most beautiful operas of Händel first came to Real in what is now the season of big releases.

The London 1725 It is the most cosmopolitan city in Europe. With more than one million inhabitants and outside the conflicts that occur in the continent, enjoys a remarkable artistic activity. Händel, the greatest exponent of Italian opera in London, not only works as a composer, but also as an entrepreneur, directed at those moments the Royal Academy of Music, company dedicated to operatic activities. Years 1724 Y 25 They were the most creative activity of the composer. During these two years and at full speed, He composed three major works, Julius Caesar, Tamerlano y Rodelinda. He had to do with the virtuosity of the best singers of the time.

The main character of Rodelinda, Bertarino, She was played by the most famous castrati of the moment, Senesino. Rodelinda commissioned the great diva Francesca Cuzzioni, not very graceful and terrible actress, but with a voice and magnetism on stage that mesmerized the public. Francesco Borosino was also considered the most important tenor of the moment, He was responsible for giving life to Grimoald. It was not unusual to find tenors in the compositions of the time, and less on paperwork so extensive, but Borosino had triumphed with Tamerlano and Handel composed for him an important role.

Despite being a masterpiece, Rodelinda had a modest success at its premiere and just a few times recovered more. The difficulty of finding tenors of importance can be one of the reasons for his few performances at that time. Nowadays, Baroque seems that resists part of the standard repertoire. This may be due to the long duration of these works, since in the seventeenth and eighteenth century music was a complement to public recreational activities developed in the theaters, and "fear" of some managers scene arias and recitatives those dacappo, that put in difficulty the pace of construction. The fact is that Rodelinda has survived to this day remains a great unknown.

To remedy this absence has presented a new production of Teatro Real, in co-production with Opera Frankfurt, the Gran Teatre del Liceu in Barcelona and the Opéra de Lyon. Under the stage direction of Claus Guth, that following its architectural style, which already he gave a good account its extraordinary Parsifal, He has recreated, by the set designer Christian Schmidt, a palatial home inspired by the period in which Handel lived in London.

To unravel the complex web of Rodelinda, by the opening and by way of introduction, Guth uses a small genealogy and a silent slow-motion scene gives us enough background. The large revolving house, divided into rooms that lead to various stairs, It is the best scenario to represent the family intrigues.

Guth's approach to boost knows all important elements of the work. It provides different dimensions to dacappo ary and uses parallel action to break the static Repeats. It is here that becomes very important one of the main characters, curiously, not sing. It is the small Flavio, son of Rodelinda and Bertardio, Colombian actor who plays Fabian Augusto Gomez. It was providing the keys to work with his magnificent performance. Flavio live with all family drama intrigues and reflected through his drawings, which they are projected on stage. Live a parallel reality, only he sees, and that torments.

Ivor Bolton, still savoring the success of Billy Budd, It has reduced the size of the orchestra and has incorporated period instruments, as chitarrón at the hands of Michael Freimuth, the flute or fallopian. Very important to involve the harpsichordist David Bates, whose connection to Bolton, also the key, It was clear and full of energy. The orchestra was less to more and achieved some brilliant moments. Always outstanding singers, Bolton takes a very accurate reading score.

The protagonists of the baroque works have very different roles to those of nineteenth-century Italian opera. Rodelinda is a strong woman and heroic that has nothing to do with the delicate Italian star. The male star here is the counter, much more subtle than the gallant nineteenth. Conversely, the tenor, protagonist in Italian opera, in the Baroque is secondary.

This second cast, very Spanish, He has defended the work splendidly. Xavier Sabata, as Bertarido, perfectly fulfilled the role. But at some point it had to compete with the volume of the orchestra, his performance was inspired, especially in an emotional With rauco mormorio.

The soprano Sabina Puértolas played a brave and full sensitivity Rodelinda. It has a beautiful timbre, comprehensive and consistent fluids and sharp grew up with it as it advanced the work center. He used elegantly coloratura, for having a great facility. Out of Shadows, pianre, urne funeste and expensive mio bene were full of intent and delicacy.

The Grimoald evil has been interpreted by tenor Juan Sancho. His timbre is polished and sunny. Dramatization very well in creating a twisted and superficial at first and noblest Grimoald when he was disarmed by events. It misses a more voluminous voice. He shined in the arias of the third act.

Lidia Vinyes Curtis surprised by his fabulous stage presence. He recreated a frivolous and cunning as befits the character Eduige. It has good volume and voice recording changes with ease. Very good Real to bet on new voices have a very interesting projection Theater.

The Ununlfo countertenor Christopher Ainslie South African began unsafe but was settled to reach a good level, both the volume and quality of interpretation.

Garibaldo was played by the Spanish baritone José Antonio López. His performance was convincing and proper timbre, but the volume was excessive moments and unsophisticated.

No doubt this Rodelinda has been more successful this season, what should be an incentive to schedule more baroque works (We will not consider the past seasons Alcina). Three hours in this case have known a little.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Opera in three acts
Música de Georg Handel Frirdrich
Libreto of Nicola Haym Fracesco, libretto adapted Rodelinda, regina'Longobards Pierre Corneille.
First performed at the King's Theater in London, he 13 February 1725
Premiere at the Royal Theater
Director musical: Ivor Bolton
Stage-manager: Claus Guth
Escenógrafo y costume: Christian Schmidt
illuminator: Joachim Klein
Video-Maker: Andi A Müller
Playwright: Konrad Kuhn
clavecinista: David Bates
Organist: Bernard Robertson
Chitarrón: Michael Freimuth
Distribution: Xavier Sabata, Sabina Puértolas, Juan Sancho, Curtis-Lídia Vinyes, Christopher Ainslie, José Antonio López, Fabián Gómez Augusto
Head of the Royal Theatre Orchestra

Franco Fagioli

Despite living in Madrid and one of the voices of countertenor most claimed today, the Argentinian Franco Fagioli He had not yet made his debut in this city. That may be one reason why there were so many empty seats. And it was Fagioli, at least until Wednesday, unknown to the general public. Who did not attend the 22 March to Fagioli in recital Teatro Real just one of the surprises of the season was lost.

It was presented in Madrid with a program fraught with difficulties, as arias written for Caffarelli by the Italian poet Metastasio They are extraordinarily complicated. He played works Domenico Sarro, Nicola Antonio Porpora, Johann Adolph Hasse, Leonardo Leo, Leonardo Vinci, Giovanni Battista Pergolesi, Angelo Boys, Pasquale Cafaro Y Gennaro Manna.

Fagioli's voice is different from any other singer of her rope. More search a contraalto that a counter. Able to reach three octaves, He gave a recital that was less to more, virtuosism reaching the apotheosis of the second part, where he reached the sobreagudo. His technique is accurate, breakneck coloratura. His voice has an elasticity that allows you to move from severe formidable easily treble, and always generate a shimmering sound, thanks to a beautiful timbre. Charismatic on stage, It was feeling comfortable as he went into the program and offered several tips that concluded with 'Ombra mai fu’, from Händel, which they caused the delirium of the public. It has a serious problem with diction which should solve. But his lousy fraseo not spoiled at any time two and a half hour concert which was accompanied by Dimitry Sinkovsky, in front of Tomato, who were the perfect companion for vocal pyrotechnics Fagioli.

Cecilia Bartoli

Baroque lovers are celebrating with the programming that the Teatro Real has prepared for this spring. Cecilia Bartoli Y Franco Fagioli in its cycle "Voices of the Real", to prepare the premiere of Rodelinda, the work of Händel who comes to this theater for the first time.

Cecilia Bartoli arrived accompanied by the always original Sergio Ciomei the piano. “A journey through 400 Years of Italian Music” is the name of the tour that the Italian mezzo-soprano is doing these days in Spain. It is not easy to make a selection of 20 works from such a long period, far from having the ability to interpret such a varied repertoire. But Cecilia Bartoli has the power of versatility, among others.

He has shown it once again this Sunday at the Teatro Real, offering a long-distance recital that had as protagonists Giulio Caccini (1551-1618), Alessandro Scarlatti (1660-1725), Antonio Caldara (1670-1736), Antonio Vivaldi (1678-1741), georg Friedrich Handel (1685-1759), Mozart (1756-1791), Gioacchino Rossini (1792-1868),
Vincenzo Bellini (1801-1835), Gaetano Donizetti (1797-1848), Giacomo Puccini (1858-1924), Francesco Paolo Tosti (1846-1916), Stefano Donaudy (1879-1925), IT'S AT. Mario (1884-1961), Salvatore Gambardella (1871-1913), Ernesto de Curtis (1875-1937) and the very Domenico Modugno (1928-1994).

La Bartoli tackles this varied program, giving each work the character and personality that corresponds to it.. And he does it like always, masterfully and without apparent effort. Delve like nobody else in dramatic arias and intensify brave ones, in that baroque repertoire that he knows perfectly.

Cecilia Bartoli's qualities are not only vocal. The uniqueness in his way of interpreting, her ability to transmit and communicate with an audience that adores her and whom she kept in effervescent tension during the two hours that the recital lasted, They are skills that the Roman singer manages with the same dexterity as coloratura or some very pianísimos that dazzled everyone.

The audience asked him to see her in a complete opera. Hope so.

Natalia Together

On Wednesday he sounded at the National Auditorium Mahler's Fifth Symphony. That Symphony with which, apparently, Mahler was never entirely satisfied and amended on several occasions. Perhaps the version of this work offered Natalia Ensemble departs from the spirit of experimentation author. And the result is fascinating.

The 17 Ensemble musicians are Natalia had agreed on the Gustav Mahler Youth (GMJO). After this experience in common and already dedicated their careers in some of the most prestigious European orchestras, decide to join again to continue making music and working on the repertoire they most enjoy. It begins the first major challenge, adapt Mahler's Fifth Symphony to be performed by 17 musicians without a conductor. Which it requires concentration and extraordinary camera work.

And on Wednesday 1 of March Luis Esnaola (fiddle), Oleguer Beltran (fiddle), Behrang Rassekhi (viola), Raul Mirás (cello) Y Jose Andres Reyes (Double bass), André Cebrián (flute), Miriam Pastor (oboe), Darío Mariño (clarinet), María José Rielo (fagot), Maciej Baranowski (horn) Y Jonathan Müller (trumpet) Natalia (percussion), Actea Jimenez (timbales), Sabela Caridad (percussion), Hector Marques (percussion), The Bleuenn Friec (barley), Irene Alfageme (piano) Y Esteban Dominguez (harmonium), They took the stage of the Chamber Hall of the National Auditorium and performed Mahler's Fifth Symphony. And it sounded like it, powerful and delicate, with its evocative Adagietto and his prodigious Finale.

Stay with this name, Natalia Together, and if they have occasion, Do not miss it.

Billy Budd

Didficil to understand that one of the most important works of the twentieth century had not represented today in Madrid. Billy Budd, the most colorful work of Benjamin Britten, came to Teatro Real from the hand of one of the most prestigious stage directors, Deborah Warner, who has filed a perfect radiography of the intentions of a Britten dealing with subtlety one of his most recurrent themes, that duality that for him exists between good and evil.

The second revised version has been offered consisting of two acts plus a prologue and epilogue. This version was always the composer's favorite. After watching this production, without a doubt it is also our favorite.

After the Flying Dutchman, where the bow of a ship starred in the scene, we arrive at a Billy Budd in which the approach is much more evocative. The indomitable, an 18th century warship, fill the stage with ropes, ropes and water. Where the sensation of movement is permanent and sometimes real, as it happens in the last act. And is that for Deborah Warner the theater and the sea are connected, "When the boats stopped being sailing and the ropes disappeared, appeared in theaters ".

Britten it, definitely, a great composer, but above all he is one of the greatest dramatic geniuses in operatic terms. His sensitivity when it comes to capturing the depth of the human being and building characters is extraordinary, and Deborah Warner is her best performer. He has scrutinized each of the layers with which Britten has covered his characters to present them to the public as the composer designed them and without making judgments about them. The result is not a complex production, unattainable in the eyes of the beholder that some stage directors like so much, but a genius far from superficiality and loaded with just and essential elements.

With mobile platforms that delimit the spaces through complex seemingly simple scenic mechanisms. With characters that describe themselves through intimate dialogues and with a group of singers whose interpretive level is above that of their timbre, something that this time, it's almost the key to success.

The play begins when the audience has not yet finished taking their seats. The first of the three main characters appears in the prologue and epilogue, an elderly Captain Edward Fairfax See that, a modo de flashback, tells the story. This role was written by Britten for her partner, Peter Pears. And it might not be the best role for him, as it requires a more extensive and lyrical tenor voice than that possessed by Pears. Here he is played by the British Toby Spence, that builds an anguished and inconsistent character martyred for having unjustly accused an innocent. Well in its most heartbreaking and deepest arias.

The second protagonist is the young and candid Billy Budd. A sailor full of attractions that dazzles his colleagues and superiors. The character requires a baritone with some agility. Maybe not the case with Jacques Imbrailo, that gives life to the protagonist. But his dramatic ability, even athletic (he was able to freehand the rope while singing), served to offer some of the most lyrical moments of the night. His last aria before he died is like a lullaby, evocative and simple, deep draft that overwhelmed the public.

The third protagonist is the evil John Claggart. A character full of intricate edges brilliantly played by Brindley Sherratt. This British bass player defended with ease a man who was tortured and fascinated by Billy Budd, whom he managed to destroy based on lies. Has memorable scenes, in which perfectly transmits the drama of a dark individual full of contradictions.

The set designer Michael Levine has done an extraordinary job, powered by lighting Jean Kalman and the fantastic direction of actors, with more than a hundred characters on stage, all men. A boat, the Indomitable, in which a suffocating atmosphere loaded with testosterone and aggressiveness has been achieved in which female voices have not been missed. Perhaps because of the enormous emotional charge that the work possesses and the tenderness that some of its characters share, or because of the tremendous orchestral richness that the score has, with a great variety of colors in numbers and solo voices.

The choir's performance deserves a special mention, one more. Their professionalism and the quality of their voices is known and indisputable, but they still have the ability to surprise and delight. Dozens move around the stage with rhythm and ease, with a dramatic ability Essential to create the atmosphere achieved in that prison ship, to generate movement, to believe the work and so that the energy produced by the power of their voices accelerates the pulsations of the stalls.

His musical director finally appeared at the Theater Ivor Bolton, and he did it to offer a brilliant version of a work he knows well, if only by language. It is a score with a very tight writing, high density, with many ensemble details in a large orchestra in which soloists are given great prominence.

Bolton establishes a perfect communication between the pit and the stage and the result is brilliant. Go from orchestral moments of great intimacy to others characterized by intensity and orchestral power, like the moment they prepare for battle. The orchestra is also in charge of narrating some of the most important moments of the work. When Captain Vere communicates his sentence to Billy Budd, the story is entrusted to the orchestra that performs it through 34 repeating chords in which major and minor modes have an astonishing and revealing narrative effect.

The play ends almost as it began, connecting the epilogue with the prologue through the memory that Captain Vere has of history. The end is diluted and seems to want to start over in a permanent bonnet day. It's a real feeling, wanting to see again this unsurpassed Billy Budd that is, definitely, the best i've seen in this theater in a long time.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Benjamin Britten (1913-1976)
Opera in two acts with libretto by Edward Morgan Foster and
Eric Crozier, based on the homonymous work by Herman Melville
New production of Teatro Real, in co-production with
Paris Opera, National Opera of
Finland (Helsinki) and the Teatro dell´Opera di Roma
D. musical: Ivor Bolton; D. scene: Deborah Warner
Scenographer: Michael Levine; Costume designer: Chloé Obolensky
illuminator: Jean Kalman; Choreographer: Kim Brandstrup
Video: Álvaro Luna; D. choir: Andrés Máspero
D. young singers: Ana González
Choir and Orchestra of the Teatro Real holders
Little Singers of the Community of Madrid
Distribution: Jacques Imbrailo, Toby Spence, Brindley Sherratt,
Thomas Oliemans, David Soar, Torben Jüngens,
Christopher Gillett, Duncan Rock, Clive Bayley,
Sam Furness, Francisco Vas, Esteve Manel, Gerardo Bullón,
Tomeu Bibiloni, Maybe Borja, Jordi Casanova, Isaac Galan.
Teatro Real in Madrid 9 February 2017

Christian Gerhaher

offered Christian Gerhaher its traditional recital in the Lied cycle CNDM at Teatro de la Zarzuela. He did, also as always, accompanied by his faithful Gerold Hubert. This time a selection of works Schumann of the song book (Book of songs). Schaumann works composed in 1840, its most fertile year in composition of such works, how good commercial acceptance had at the time. Schumann happy marriage, despite economic woes, He meant a mighty source of inspiration in this type of repertoire.

Considered one of the best lieder today, Christian Gerhaher in each performance confirms the quality of his instrument and its technical. Without apparent effort he is able to move the piano to the middle voice and this to a strong full voice overwhelms for its intensity. The clarity of timbre, unusual in a lyrical baritone as he, oozes hues. His diction and phrasing are impeccable and elegant singing its line. Passes the drama more content to more overwhelmed and always with remarkable expressiveness. The most trivial text will always full of content.

Pianist Hubert Gerold, always aware of it, in that tandem perfectly attuned both have built, they have the capacity, one voice and one piano, accentuating each sentence with the appropriate character. always offering a work of extraordinary thoroughness.

the villainess

Thirty-three years have passed since the last performance of the villainess at Teatro de la Zarzuela. And it not explained very well that much time has elapsed in the case of a work of so much substance in the genre boy. And even less is understood if we take into account that the music belongs to the teacher Amadeo Vives, and that is based on the work Peribáñez and the Commander of Ocaña, from Lope de Vega.

It is therefore a work that has all the elements to undertake a plan more ambitious than a zarzuela. But maestro Vives remained halfway through that Spanish operatic dream. And not for lack of quality in the score, quality has, and a lot.

She is such a villain, beautifully made, contains some moments of delicate lyricism that the master Miguel Ángel Gómez Martínez manages to extract from an Orchestra to which the work is something great. Even so, the orchestra sounded homogeneous and more elaborate than on other occasions.

The difficulty and demands of this work for the main roles are noticed from the first moment. Important voices are necessary to cope with a well-elaborated score with great vocal and dramaturgical demands.. The Theater has counted on this occasion with two castings. Without detracting from the first, maybe it was the second cash who has been most successful in the general reading of the work. the soprano Maite Alberola, with a round and voluminous voice, He knew how to fill the character of Casilda with the Castilian character of this prudent woman. He offered some moments of great beauty interpreting the romance "The brown cloth cape", or his beautiful duet with Peribáñez.

baritone César San Martín played a static, but full of nobility, Peribáñez. He participated with elegance and feeling in the most beautiful duets with Casilda.

The Don Fadrique of Andeka Gorrotxategi it was a big surprise. This young Biscayan tenor has a vigorous instrument, of attractive timbre and taste in interpretation.

The rest of the tablets composed of Rubén Amoretti, Manuel Mas, Javier Tomé, Ricardo Muniz, Carlos Lorenzo, Rodrigo Garcia, Roman Fernández-Cañadas, Daniel Huerta Y Francisco Jose Pardo, maintained a high level that rounded a height cast.

The theater choir, well stamped and pasted, had a relevant performance, becoming a main character.

Also noteworthy is the corps de ballet that completed the simple but beautiful scenography of Natalia Menéndez. With the evocative field of spikes as the protagonist throughout the work. Very successful lighting of Juan Gomez Cornejo, creating different atmospheres with the same scenic elements. And a good direction of actors who made more than seventy people unfold on stage in a coordinated and graceful way.

We must thank the bravery and effort of the Teatro de la Zarzuela offering such a high-level work in this ambitious season. Great evenings of good music are expected.

The Flying Dutchman

“Hell on earth ", well it is known to the city of Chittagong, en Bangladesh. Place where is the biggest shipbreaking the world and where work is done very precariously. Where human life has value only but, at the same time, It is a tremendously spiritual society, who believes in reincarnation and in the more traditional legends permanently entering contradiction with the most ruthless materialism. And this is the place where Alex Ollé (La Fura dels Baus) Y Alfons Flores have set the scene of this Flying dutch. A current location capable of hosting a script like this. A place where a man is able to sell his own daughter to the highest bidder.

it Wagner, considered his first mature work, evidences a new creative language that will have a complete development in his later works. With clear Italian reminiscences still, start using building blocks in Wagner, Like the live motive and the creation of continuous musical discourses. A music in which they are clearly appreciated, and from the inclusion of these techniques, three very different moments, an unreal or fantastic part, represented by ghosts; a real part in which the daily scenes of the main characters of the play unfold, and a more spiritual part, showing the relationship between Senta and the Dutch. Three essential dimensions that feed into each other and are perfectly portrayed through the successful scenography and the extraordinary direction of actors.

The scenic bet of Alex Ollé and Alfons Flores is spectacular. Unlike other Ollé scenographies, this is perfectly descriptive and understandable to the eyes of any viewer. Using the elements of the traditional stage of the theater and the projections they have achieved extraordinary scenic effects that reach their maximum expression already in the overture, where the challenging prow of a ship sails in the storm thanks to the effects in a hymnotic movement that accompanies this the beginning of the work. After landing on the simulated Chittagong beach, the magnificent theatricalization of an up-to-date Dutch begins whose lack of romanticism has not altered its dramatic charge.

He was the first Wagner the master faced Heras-Casado. The feeling caused from the moat is hopeful. But the momentum of some moments printed a times too hasty sometimes. It was especially noticeable in a somewhat thunderous and dramatic overture. Improved throughout the play, but the end result was somewhat superficial.

Russian bass Dimitry Ivashchenko it was a more than correct Daland, although on occasion it was covered by the orchestra.

Benjamin Bruns had the complex task of being Erik in the second cast and helmsman in the first. His character of Erik lacks the lyricism it requires and suffered on some high notes.

Ricarda Menzer it was the best of the night. His Senta was full of drama. His lyrical voice and has the characteristics that you would expect from a Wagnerian voice, wide and bulky. With good phrasing and a defined singing line, but with improved delicacy.

The Dutch of Samuel One it was at a very good level. Elegant and good dramatization. It was improving until it culminated in the third act.

The chorus shone and was another great protagonist. In addition to singing, dance. Serious mistake to have offered the choir of ghosts through a ruinous recording. The result was not understood.

A spectacular and excessive production that, in the case of Wagner, it does not serve to hide the deficiencies of romanticism that the work presents and that do not allow immediate evocation. The feeling coming out of this Flying Dutchman is that, despite having so many essential elements, something missing.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

The Flying Dutchman
Richard Wagner (1813-1883)
The Flying Dutchman
Romantische Oper in three acts
Libretto by the composer, based on the work of Heinrich Heine Aus
the memoirs of Herr von Schnabelewopski
Premiered at the Königlich Sächsisches Hoftheater in Dresden on 2-1-1843
Premiered at the Teatro Real 27 October 1896
D. musical: Pablo Heras-Casado
D. scene: Alex Olle (La Fura dels Baus)
Scenographer: Alfons Flores
Costume designer: Josep Abril
illuminator: Urs Schönebaum
Video: Franc Aleu
D. choir: Andrés Máspero
Distribution: Dimitry Ivashchenko, Ricarda Menzer, Benjamin Bruns,
Pilar Vázquez, Roger Padullés, Samuel One
Headlines Choir and Orchestra of the Teatro Real

Iphigenia in Thrace at the Teatro de la Zarzuela in Madrid

The Teatro de la Zarzuela to a brave and risky adventure: schedule a baroque zarzuela. Iphigenia in Thrace, from Spanish José de Nebra libretto by Nicolás González Martínez.

Besides the tastes, Each one has his own, can one approach this production seeing the glass half full or half empty. And this time there are arguments for both views. We will see…

If we stop taking into account that the work has been cut down to just one hour and twenty minutes; that the characters who do not sing have been dispensed with, although they appear in the original work; that the interpreters, except Maria Bayo, have no experience in baroque repertoire; the same goes for the orchestra, even with the director. If we really manage to ignore all this, it is, exclusively, in order to value the gallantry of daring to take the stage of the Teatro de la Zarzuela a play like this.

José de Nebra, one of the best composers of the Spanish Baroque is, to our shame, one of the most unknown. He was the composer of the music of many of the theater productions of Madrid of the time, before engaging in religious compositions.
Iphigenia in Thrace was released on 15 of January of 1747 at the Coliseum de la Cruz with the title As a gift to the deity, cruelty and Iphigenia is never cultured in Thrace, with the collaboration of the librettist Nicolás González Martínez, whose sources of inspiration were the works referring to the same historical event of Euripides Y Goethe.

And it is from these sources, from where the stage director Pablo Viar has extracted the texts that, as an introduction to each day, recites Iphigenia narrating the facts. The baroque structure of aria is maintained, recitative, aria. These narratives of Iphigenia, as an intimate dialogue, enhance the dramaturgy of the play.

On stage, the allegory of a forest and the brushstrokes hardly appear, almost in time, made by the teacher Frederic Amat. A large rose window is drawn as if the brush were another musical instrument. Lighting Albert Faura, creates a dreamlike world of shadows that enhance music and text. The changing room is in charge of Gabriela Salaberri who has created a leading element, almost the only one props of the work, that fills everything with color and animation.

The scenographic result is of great beauty, elegance and balance. Let music be the protagonist, accompanying her without distracting.
Another thing is the musical performance and the voices. At the presentation of Iphigenia in Thrace, director Francesc Prat wondered: what am I doing here?. And it's a good question. Lead with intention and pulse, but having been an assistant to Ivor Bolton when he was preparing some of the baroque works that he presented at the Real, does not seem sufficient background to address Nebra's work. It also doesn't help that the Titular Orchestra of the Teatro de la Zarzuela do not have plenty of experience in this repertoire. Yes they were noticed, providing solvency and baroque rigor, the reinforcements Cecilia Bercovich, concertino, Amat Santacana Y Aarón Zapico, bass continuous.

The voices are still far away, except for María Bayo, to be able to properly interpret a musical language like the one that makes up Nebra's score. These young young performers, excited about their participation in the play, They need something more than effervescence to carry out characters that require experience in the genre.

Maria Bayo, despite not being at his best vocal moment, make a difference on stage. Somewhat rigid in interpretation, but showing off their boards and experience. Preserves the beautiful timbre and a voice that has become more lyrical.

Erika Escribá-Astaburuaga, how Polidoro shone in his role and the tempo he set on stage. Ruth González, like Dircea, did not convince anyone. Very small voice and with an exaggerated vibrato.

The Chest of Lidia Vineyards-Curtis and backpack Mireia Pintó they put the most frivolous and fun note. Especially Vinyes-Curtis, who had a greater experience in this genre, especially in the acting part.

This Iphigenia in Thrace leaves much to be desired. Especially in the musical. But as Ruth González said, "Something is happening at the Teatro de la Zarzuela". And that is evident. Do not miss it.

Iphigenia in Thrace
José de Nebra (1702-1768)
Zarauela in two days
record: Nicolás González Martínez
Premiered at Coliseo de la Cruz in Madrid, he 15 of January of 1747
New production of the Teatro de la Zarzuela
D. musical: Francesc Prat
D. scene: Pablo Viar
Scenography: Frederic Amat
Locker room: Gabriela Salaverri
Lighting: Albert Faura
Distribution: Maria Bayo, Auxiliadora Toledano, Ryth González,
Erika Escribá-Astaburuaga, Lidia Vineyards-Curtis, Mireia Pintó
Community of Madrid Orchestra

Text: Paloma Sanz
pictures: Javier del Real
Video: Teatro de la Zarzuela

La clemenza de Tito at the Teatro Real Madrid

Turn away from our life everything that is not love ...”, They sing a duet Annio Y Servilia one of the most romantic moments of this opera. And so in love must be to venture successfully into the ice escenográfico proposed Ursel y Karl-Eenst-Rousset in its proposal last opera composed by Mozart written for the coronation pomp of Leopold II as King of Bohemia.

Time passes for this production was a success at its premiere, back in 1982. He had already aged when it came to this same theater 2012, and he has now aged further. Still it looks like the waiting room of a nursing home in the former Soviet Union, as we in 2012.

A scenic box of a brightly lit white that did not allow viewers stalls read subtitles, ended up getting bored and cooling, not only the public, singers also about those who found it difficult to keep up with the work. Partly because of the contagion scenario Arctic, and partly by the eternal silence to make minimal changes scenic Rome, one of the protagonists of the libretto, hardly suggests the appearance of a column. Not bad intention of stage directors wanting to emphasize the psychological aspects of the characters enhancing the absence of elements on stage, but it was not necessary to reach both.

Recitatives become routine when there is nothing in what support, visually or scenically. Luckily permanently Mozart came to the rescue of all, public and singers, They are immediately comforted by the music genius.

The musical direction Christophe Rousset, good knowledge of this repertoire and expert harpsichordist, He was becoming slow after a good overture. recitatives, Rousset itself accompanied by the fortepiano, They proved poor, if we consider his virtuosity, and they made eternal. Especially in the second part somewhat tedious.

No doubt the vocal ensemble of this production improves of 2012. Bernard Richter It is a lyric tenor with a good voice volume and enough agility to build a Tito solved. Its midrange and treble are powerful and bright. More difficulties had with the serious and the tempi of the recitatives.

Canary Yolanda Auyanet He was splendid in his role as Vitellia. A voice that is maturing with high quality. Clean and without artifice. Good phrasing that ran nimbly his particella. But he shone even more in the interpretive part. He put the spark and intent on stage desangelado.

He also shone pamplonesa Maite Beaumont as Sesto. He went that extra mile to make your voice heard. Best in proscenium.

Anna Palimina, born in Moldova, it unfolded very well in the role of Servilia. The penalty was the clothing that put him, especially shoes.

Another pleasant surprise of the evening was the Canadian mezzosoprano Sophie Harmsen as Annio. light and beautiful voice timbre. His sharp could well put him through soprano.

The Italian baritone Guido Loconsolo It has a good stage presence, but Publius felt very uncomfortable out of the worst records. As to the rest, slow and boring recitatives were more a problem than a relief.

The Holder of the Royal Theatre Choir as always, magnificent. participation as rain in May was expected to break the routine scenography.

A replacement has served to pay tribute to Gerar remembered Mortier, who commissioned this production. Outside this commemoration, this Clemenza not give much more.

Wolfgang Amadeus Mozart
serious opera in two acts
Libreto de Pietro Metastasio, adaptado por Caterino Mazzola
Released in the National Theatre in Prague 6 September 1791
Premiered at the Teatro Real 12 March 1999
D. musical: Christophe Rousset
D. scene: Ursel y Karl-Ernst Herrmann
Scenographer, costume designer and illuminator: Karl-Ernst Herrmann
D. choir: Andrés Máspero
Distribution: Bernard Richter, Yolanda Auyanet, Maite Beaumont, Anna Palimina, Sophie Harmsen, Guido Loconsolo
Headlines Choir and Orchestra of the Teatro Real

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Angela Meade as Norma

Not surprising that Rule, which they say is the masterpiece of bellcantismo, and one of the repertory operas, it has taken 102 years to be represented at the Teatro Real in Madrid.

Bellini, bridge between classicism and romanticism, It took the curiosity of everyday emotions to a timid society by Catholicism. A true revolutionary of the romantic feelings he knew influence other composers. Chopin Bellini inherited the flexibility to address the tempo and harmony. Verdi Bellini moved the revolution from the private to the public, using the political connotations to create collective emotions. Wagner, one of the composers influenced by Bellini, he even compose a new version of the aria of the second scene Oroveso.

Why then it is not Bellini one of my favorite composers? Because of tastes ...

Norma is certainly a great work. It is full of small details, those who usually lives in the devil, but here they hide the delicacy of some extremely slow tempos that trace the romantic philosophy of work and full of complexity the work of singer, forced a slow release. Dilated melodies that require a well worked fiato, as it evidenced in one of the arias which is a "hit" from the opera, the long-awaited by the public "Casta Diva”, and summarizes the value of romantic time.

A time that Wagner had in mind to create Tristan und Isolde. A Isolde that, as Standard, It detonated himself on a wide and increasing melody.

But get down to earth. More specifically representation 21 October. This is a co-production with Teatro Real Palua Les Arts in Valencia, which already it premiered last season, y ABAO.

The scenery Davide Livermore It has clear cinematic influences. Through Game of Thrones or King Arthur, produces a dreamlike and fantastical atmosphere that features an overwhelming tree. It occupies much of the stage, rotates and moves as totemic element and oracle, where everything happens and everything is fulfilled. The intention is to create a claustrophobic atmosphere, as is the story itself. And it does.

The scenes are completed with projections D-Wok. that advance, as an oracle, the future that awaits the protagonists.

The energetic baton of maestro Roberto Abbado the overture began with excess volume. Onstage the dancers came and went, choir, scenic elements and projections amid an apparent bafflement. When it seemed that chaos had taken over the representation, He appeared on the scene, at the top of the tree, Angela Meade singing "Casta diva " Y, suddenly, reigned peace and harmony, everything is put in place and only then began Norma.

Before he made his appearance Meade, and part of the initial confusion, Roberto Arónica had begun its representation Oroveso. In woody and strident voice lacks depth and serious character. He improved in the second act and put more intention and nuance to their arias. His interpretation was cold and dispassion.

Simon Orfila He composed a Oroveso with good stage presence, but his voice, although well-pitched, not dark tones that have endowed his character that requires packing.

Angela Meade not only it came to bring order, It was the key to the appearance of the bel canto. powerful voice and clean emission, although with notable shortcomings interpretative, not stopped going up and down the many steps of the protagonist tree while singing. something worthwhile.

The Roman Veronica Simeoni, as Adalgisa, He was correct. Best in the duet with Norma second act, for which it seemed had been saving.
While Barcelona María Miró as Clotilde. It did not go unnoticed.

Norma waiting so long and has come up with a fundamental lack, the passion. It will have to wait. But other than another hundred years.

Vincenzo Bellini (1801-1835)
llirica tragedy in two acts
Libreto of Felice Romani, based on the work
Rule, or infanticide (1831) Alexandre Submits
First performed at the Teatro alla Scala in Milan 26 December 1831
Premiered at the Teatro Real 13 November 1851
New production of the Royal Theatre in co-production with
Palau de les Arts in Valencia and ABAO
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: wind Forma (Florian Boje)
Lighting: Antonio Castro
Video: D-Wok
D. choir: Andrés Máspero
Distribution: Roberto Aronica, Simon Orfila, Angela Meade,
Verónica Simeoni, María Miró and Antonio Lozano
Choir and Orchestra of the Teatro Real holders
Teatro Real in Madrid 21 October 2016

Text: Paloma Sanz
pictures: Javier del Real

Otello at the Teatro Real Madrid

A cozy and renovated Teatro Real receiving the 15 September the start of the season. New colors and signs that bring you, in appearance at least, other prestigious theaters. Y, as if the Scala or the MET it were, the most famous perched on the forocool located at the entrance holl evening dress. Surely this is a way to advertise the theater and the season begins, even if there is some unease increasingly turn to television to get retail.

And the season began with Otello, the work that shows the most advanced musical language of the composer, the rest of his work.

Verdi y su librettist, Arrigo Boito, they created a story full of intensity and drama based on the text of Shakespeare Othello or The Moor of Venice (1603). Leaving aside the libretto of the Venetian part, Verdi and Boito masterfully adapted the original text. They use the issue of racism, not to describe the character, but to reveal their insecurities. The standardization Boito made Otello, lightening the racist aspect, He made extensible to any possibility of committing the worst atrocities as a result of insecurity and jealousy. This effect makes the Verdi opera is even more disturbing that the work on which it is based.

The scenery is the director David Alden. The same who took care of last season Alcina. scenography, the Alcina, hard to forget. Nightmares do not refer. And now comes this Otello that, perhaps be respectful imagined the scenery which its composer, but the result is an improper modesty of a Royal Theatre. Too dark and lacking a place for those moments of recollection that dot the work. Everything takes place in the same place, at the gates of a building almost in ruins. Desdemona and Otello there seal their love. There you discuss and doubt. There Iago conspires. there dies, urgently and coldness, Desdemona.

A unique and decorated desangelado that is overwhelming in the first scene, where it seems that any time a member of the choir will rush into the pit.

The sharing production with much lower dimensions theaters to Real, as the Stockholm Opera, may explain to a stage in which at least two-thirds of stage background despise.

The only thing that improves the scenery is Adam Silverman lighting that achieves moments of intensity and suspense, which they raised the tone of some scenes interpretative. The moment an Otello appears on the scene threatening to kill Desdemona, it becomes disturbing thanks to the play of light and shadow.

Desdemona is the character of this work that has a lower psychological development. It is the representation of femininity without further elaborations. The Eternal Feminine. And if anyone is able to demonstrate on stage these roles so characteristic of the time is, definitely, Jaho Ermonela. We still remember his traviata, especially the third act. This time, Alden has not given the chance to die on stage with the drama and dignity that proved to be Violetta. Here recreates a delicate and sensitive Desdemona. It does not have a high volume of voice, but neither need.

He shone especially in the fourth act, with a pianissimo of great beauty. So that here the orchestra also apiana. It would have been impossible to listen to the sound of the first and second act. He was particularly delicate given the song Salce and the love duet with Otello.

Gregory customer, He is returning to the Royal Theatre after extraordinary Roberto Devereux last season and with the sign of being one of the best Otellos the moment. I confess that I liked the Otello Palau de Les Arts two seasons ago. His resounding voice and presence, no less emphatic, They make him perfect for this role. On this occasion seemed blurred. Caught the diminishment of the scenery. His sharp sounded full and bright but the bass seemed to cast a low voice, ingloriously. Only in the last act she showed their power. The acting ability has improved, but it's still yours a dramatic impact Otello low.
Nor intensity walked left over the Iago of George Petean. You can not say that its interpretation has been touchingly, but the character is far from the vileness was raised. It was less to more, like all, and he was showcased in "Credo in Dio Crudel".

Alexey Dolgov turned out to be an excellent Cassio. He showed character and a good performance.

The direction of Renato Palumbo was not exactly delicate. During the first and second act, music coming from the pit with excess volume and agitation and conveyed a certain uneasiness. It was nice to see the frenetic activity of many people on a small decorated, with a disturbing musical background during the storm scene. If the purpose of this little Palumbo was to generate hysteria, ¡bravo!.

But his address did not change with the intervention of the singers. It did not take care of them when their arias required neatness. The lack of restraint in the voice forte swallowed interpreters in more than one occasion. Fortunately the third and fourth act does not allow the noise, and where this production was looked fuller.

The season started with a bit disappointing Otello. This is what usually happens when expectations are exaggerated. But neither should panic. This has only started.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Giuseppe Verdi (1813-1901)
dramma lirico in four acts
Libreto of Arrigo Boito, based on the play Othello, or The Moor of Venice (1603)
William Shakespeare
First performed at the Teatro alla Scala in Milan 5 February 1887
Premiered at the Teatro Real 9 October 1890
New production of Teatro Real
in co-production with the National Opera Inglés and Royal Swedish Opera in Stockholm
D. musical: Renato Palumbo
D. scene: David Alden
Set and costume designer: Jon Morrell
illuminator: Adam Silverman
choreographer: Maxine Braham
choir director: Andrés Máspero
Director of children's choir: Ana González
Distribution: Gregory customer, George Petean, Alexey Dolgov, Jaho Ermonela, Stephen Vincent, Fernando Rado, Isaac Galán and Gemma Coma-Alabert.
Headlines Choir and Orchestra of the Teatro Real
Little Singers of the Community of Madrid

Maria Katzarava

Despite his surname of Georgian origin, Maria Katzarava comes from Mexico. That land that gives us always powerful and expressive voices. His is, definitely, one that with greater intensity sound. It has come to Europe and established its headquarters in Barcelona, starting an international career that aims successful. He 6 August is released in one of his favorite roles, the Liú from Turandot, next to Irène Theorin Y Roberto Aronica. Between rehearsals he replied to questions Brío Clásica.

Stay with the name, Maria Katzarava, because it is here to stay.

Brío Clásica: The day 6 August is released in the Peralada Festival Turandot. Your character, Liú, It is not unknown to you, He has already played in Cagliari and in Caracalla. es Liú, next to Mimi Y Butterfly one of the most sufridoras Puccini heroines. You need a great interpretative expression. How a role is addressed like this?

Maria Katzarava: Especially the role of Liù is very lucky for us the sopranos. It is perfectly well written musically and I think Puccini It has given the psychological profile required for this role, and it is very clear. I think it's a sweet for the interpreter, because it is also very attached to public taste and it feels much closer to what you feel Liú, that what may feel Truandot.

B.C.: You've had the opportunity to perfect his technique with Mirella Freni, grandísima una Liú. Did he prepare this character with her?

M. K.: I studied some time with Mirella and one of the roles that she was more prepared with the liu. This character is one of my workhorses. It is the most interpret and, Besides, one of my favorite roles. With this character if I gave him everything with Mirella.

B. C.: His character in Turandot has two almost consecutive extraordinary arias, “L´amore?… So much love and inconfesato " and the beautiful "You who gel inhabitant", a beautiful and dramatic andantino. What are the biggest difficulties in interpreting these two arias?

M. K.: Always looking for the Liú is very expressive and has these piannissimi that the public always waiting for the interpreter. I think that's the biggest difficulty is that this character.

B. C.: We know that dominates different registers, from Desdemona in Otello, Micaela in Carmen, Antonia and Giulietta in Tales of Hoffmann, Margarita in Splendor… Even made inroads into the baroque repertoire, Where he feels more comfortable now?

M. K.: I feel more comfortable at precisely the heavier repertoire, right where I'm focusing more right now. As Madama Butterfly, Tosca O The Troubadour, Simon Boccanegra. All vocally more mature roles. For I have had to wait many years and finally I succeeded and I in them.

B. C.: What is interpreting roles in the future?

M. K.: I think those roles are going to be my best. It's where my voice can really evolve and I feel comfortable one hundred!. Where I can really feel at ease and full. They are also histriónicamente roles that I like a lot and feel a lot when I play. So everything is easier to pass it to the public.

B. C.: You, before entering fully into the lyrical, He explored other musical worlds like Pop or Rock. For an opera singer, and considering how delicate is the voice, Using different registers makes the most versatile voice or, Conversely, You can get to harm it?

M. K.: I think you have to be a sensitive and open artist at a time. I am of the idea that it is a great experience to open your horizons, your gates, also other repertoire, other genres. And always savvy about changing your chip. If you sing Pop-Rock, change the chip to not sound to an opera singer trying to sing like a poppy, which it is something terrible, and vice versa. I believe that intelligence is, in just know that when you sing pop is pop and when you sing opera is opera. I had that opportunity and headed to the opera through pop. And it's something I can still differentiate and have the facility to change the chip. And I think, definitely, that also helps a lot to attract an audience that is not always soaked opera. It's a great opportunity.

B. C.: Their mentality is very open to addressing new productions. What do you think of the latest scenes that sometimes use provocation as a fundamental element of the work?

M. K.: I am very open forever, also with stage directors to explore new facets of a character that I have often come to be interpreted in traditional way. I am very much in favor of the contemporary scene set in. When you want to present a current situation, provided they have a logic and a story that really Cuadre me, I'm always ready. I think people appreciate it too much. Not always and exclusively traditional proposals.

B. C.: His mother is Mexican violinist and his father is Georgian violinist, and perhaps are two different conceptions of performing music. Is there any difference in sound between European and American orchestras?

M. K.: I think so. The ancient culture always has also focused on the instruments and classical music. The story is oldest in Europe. I think it has a different sound. I think it can make a difference even in European orchestras Georgian to Russian, especially in technical. Even with the singers. Can be distinguished by its origin only technical. There are very marked differences.

B. C.: Mexico has always been the cradle of extraordinary singers Ramón Vargas. Now You yourself or Javier Camarena. How do you see the future of opera in his country?

M. K.: I am proud to see that go so much Mexican voices. It is very important to highlight the presence of the sopranos, not only Tenors. Sopranos and mezzos, also contraaltos which are mostly in northern Mexico and where I have found most gratifying surprises. I insist, not only men, especially women and I think you have to start giving a very important role to women who are very present. But sometimes more presence is given to the tenors and female voices are very important.

Placido Domingo and Michael Fabiano in I Due Foscari at the Teatro Real

I due Foscari is one of the works composed by Verdi in the so-called "galley years". So the composer himself referred to the seven years in which he composed no less than eleven operas. Does not about, much less, one of his best works. Not even the best known. But there is something in I due Foscari so that it is represented more times than its quality and position in the repertoire grant it.

Maybe thanks to time and perspective, taking into account the later works of the Italian master, is positioning itself better.

The characters of this drama "family” Romantic (father, son and daughter-in-law) they have a strong personality. Some of them, specifically that of Jacopo Foscari, caused discrepancies between Verdi and his librettist Francesco Maria Piave. The faintness of the character, together with its scarce presence throughout the work, led Verdi to ask Piave for some important changes. The end result was a greater weight of this character from the beginning of the work and its prominence in some of the most beautiful vocal pages.

The representations that these days can be seen in the Teatro Real They are in concert version. O, more concretely, semiescenificada. Given the dramatization capacity of a very powerful group of singers who show that the absence of scenography, does not prevent a magnificent operatic performance.

The musical direction Pablo Heras-Casado has an energetic effect on the orchestra, the singers and the work itself. From the overture, the vigor with which Heras-Casado interprets the score is evident. With this same strength he directs some singers who fill his performance with nerve and tension. There are moments of peculiar beauty in the duets and quartets of violin and cellos performed by the soloists..

Lucrecia Contarini, Jacopo Foscari's wife, is interpreted by Angela Meade. This American from Washington performs vocally and dramatically under the strictest canons of traditional opera, although she suffers from a certain automatism. But what is really impressive is the stratospheric volume of his voice. Characteristic that did not prevent him from offering some very well-made philatos. The vibrations it emits, at least when listening to it from the third row, impress. As he demonstrated from the start with Tu al cui sguardo onnipossente ...

Michael Fabiano

The American tenor Michael Fabiano returned to the Teatro Real, as Jacopo Foscari. Much has evolved his voice since that Cyrano de Bergerac of 2012.

With a remarkable volume of voice and a tessitura more of spinto than of dramatic tenor, Fabiano has built a dramatic and desperate Jacopo Foscari. Fantastic in his romances, especially in the second, Night, perpetual night!. Very demanding for tessitura and drama and that Fabiano solves with taste and eloquence.

Before your intervention, was kind enough to answer some questions for Brío Clásica.

It wasn't until he got to college and started his studies, when he realized the enormous potential that his voice had. It was at that moment that he started his career.

Classic verve.: In its same position, Who are the singers you notice?

Michael Fabiano.: Aureliano Pertile, for the insurmountable magnitude of his technique. Mario del Monaco, for their commitment to interpreting. Franco Corelli, for his heroism and Plácido Domingo, for his deep passion and expertise.

B. C.: How do you feel when you are compared to a young Pavarotti?

M.F.: I feel a deep humility.

B. C.: It is not the first time that he sings with Plácido Domingo, How is this experience?

M. F.: It is an honor for me, taking into account his enormous career and his immense legacy.

B.C.: His roles as Rodolfo in La Bohéme and Luisa Miller have been widely accepted by the public. What other roles do you see yourself playing in the future?

M. F.: I see myself in operas like Un Ballo in Maschera, Simon Boccanegra , Attila, Ernani, The Battle of Legnano, Mefistofele , Manon, Werther, Romeo and Juliet o Carmen.

Soon we will enjoy it again in Spain.

The baritenor, as he calls himself, Placido Domingo, it was one of the biggest attractions of the night, interpreting to Francesco Foscari. The discussion on the tessitura of Plácido Domingo must cease to exist. Is an artist. A great artist, able to invent a tessitura according to the evolution of their vocal characteristics and use it, next to his skills on stage, with a single purpose, success in interpretation. Each of his interventions was applauded until reaching the final ovation. Incredible merit also has the fact of not being covered by Meade's cascade of voice.

Another one that is not lacking in vocal volume is the Italian bass Roberto Tagliavini in his role as the evil Jacopo Lorendano. At the height of the main cast were the soprano Susana Cordón, as Pisana and the tenor Mikeldi Atxalandabaso, as Barbarigo.

A fantastic night of opera, in which the audience enjoyed and demonstrated it by standing applause for several minutes. An end to the season that leaves an excellent taste in the mouth and the best business card for the next one.

Text: Paloma Sanz
Images: Javier del Real
Videos: Teatro Real

Death in the opera Der Kaiser von Atlantis

If all works need their context, the work of Viktor Ullmann, The Emperor of Atlantis or Death abdicates (The Emperor of Atlantis or the abdication of death), It has in the context of its main protagonist. A protagonist who is not, who does not sing or act, but in this production it is evident in numerous occasions.

Ullmann composed this work during their stay in the camp Terezin. A kind of advertising city where the Third Reich had held, preselection, Jews with "special qualities". Including several composers like Ullmann own.

Schömbery disciple and assistant Zemlinsky, It took as libretto for text composition of another prisoner, the poet Peter Kien. Together they created a satire in which an emperor declares war on all humanity and even death, one of the protagonists of the work, Confronts. Perhaps the obvious criticism of Hitler and Goebbels were the reasons why the work was never represented.

The original score, written for 13 instruments, It offers a more intimate chamber version that we have heard in the Royal Theatre. the orchestration, created by Pedro Halffter por encargo Joan Mataboch, It is excessive and somewhat superficial. A perhaps lush and cold metal music sounds, that breaks with the more personal and easy atmosphere with which the composer reflects the circumstances of its composition.

As a preface to Der Kaiser von Atlantis, He offered himself The song of love and death of Cornet Christoph Rilke, for narrator and orchestra with music of Ullmann own. The actress Blanca Portillo It is in charge of the narrative, and does so with such brilliance that achieves almost unnoticed through the awkward stage design work Gustavo Tambascio Y Ricardo Sánchez Cuerda. The powerful voice projection Blanca Portillo, critical and scarce quality among Spanish actors, It makes it unnecessary excess amplification.

This first prologue follows the Adagio in memoriam de Ana Frank and Little overture to "Der Kaiser von Atlantis". Both based on movements Sonata para piano núm.7 de Viktor Ullmann, with music by the composer and orchestrating Pedro Halffter. These works were accompanied by unnecessarily explanatory projections on the theme of the night.

The scenery of Gustavo Tambascio is somewhat unclear. The characters are sometimes out of a context that defines them and help set the scene. It was noted especially with the appearance on stage, some troubles, from Sonia de Munck as Bubikopf. The weight of his great headdress hindered his wanderings. Sometimes singers, not only have to sing well, They must also overcome the difficulties of stage directors. What sometimes affects the quality of the emission.

Alejandro Marco-Buhrmester, as Emperor Overall, He shone in the interpretive part. His voice is enough for the character but more than enough of gola.

Mayor drum was played this time by the soprano zaragozana Ruth Iniesta. His voice volume is clear and resolved freely be called at the last moment for this role.

Torben Jürgens scary with its extraordinary characterization of death, to helping its disturbing stage presence and his deep bass voice. His character went from evil to good when he denied his collaboration to the Emperor to start the slaughter.

The best and most applauded of the evening was Martin Winkler como Speaker. With an outstanding phrasing and interpretation radiant and full of intent and energy, He puts irony and poignancy that is hidden in this work.

The end, with the image of the bottom of the Jews entering the gas chamber to be exterminated, It reflects all alone sinker containing the work and this whole cycle dedicated, so aptly, this period of history in Europe.

Viktor Ullmann (1898 – 1944)
The Emperor of Atlantis or The Todt abdicates
One-act opera with libretto by Peter Kien
Released in the Theater Bellevue Amsterdam 16 December 1975, depending on the version of Kerry Woodward.
premiere of the extended review for large orchestra by Pedro Halffter (2015)
New coproduction of Teatro Real, Teatro de la Maestranza in Seville and Palau de les Arts Reina Sofia in Valencia.

Prologue: The song of love and death of Cornet Christoph Rilke, for narrator and orchestra (1944). Música de Viktor Ullmann, texto de Rainer Maria Rilke, Spanish version of Jesus Munárriz, Henning reconstruction Brauel, story of Blanca Portillo.

Adagio in memoriam Ana Frank
Based on movement of the Piano Sonata No.. 7 de Viktor Ullmann (1944 / 2015), Viktor Ullmann music and Pedro Halffter, orchestrating Pedro Halffter

Small overture to "Der Kaiser von Atlantis"
Based on movement of the Piano Sonata No.. 7 de Viktor Ullmann (1944 / 2015), Viktor Ullmann music and Pedro Halffter, Orchestrating Pedro Halffter

Der Kaiser von Atlantis, ON. 49
Música de Viktor Ullmann
D. musical: Pedro Halffter
D. scene: Gustavo Tambascio
Scenographer: Ricardo Sánchez Cuerda
Costume designer: Jesus Ruiz
illuminator: Felipe Ramos
Distribution: Alejandro Marco-Buhrmester, Martin Winkler, Torben Jürgens, Roger Padullés, Albert Casals, Sonia de Munck, Ana Ibarra.
Head of the Royal Theatre Orchestra
Actors: Helena Dueñas, Javier Ibarz, Rodrigo Poisón, Lander Otaola, Elena González, ainara Arístegui, Resu Morales, David Tenreiro, Fernando Ustarroz.
ballerinas: Cristina Arias, Carmen Angulo

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real


It was the eighth time Christian Gerhaher He participated in the Lied cycle CNDM at Teatro de la Zarzuela. This time to play Winterreise (winter trip), what Franz Schubert composed in 1827 for voice and piano. In it expresses the feelings of a walking through a winter landscape and frigid, after learning of the rejection of his beloved. Threshed his melancholy through a journey in which there is only despair.

Away from his family, no steady partner, sick and without having achieved any success as a composer, Schubert transmitted through this set of 24 songs the two main themes of the poems Wilhem Muller, the direction of travel and solitude. And it does so through an intimate journey that used as main axis the exterior landscape, nature, as a symbol of its own interior. Winter is here descriptor element feelings deeper and gloomy. We clearly speaks of death. Death that lurked just arrived and was published this almost posthumous work.

Schubert highlighted the piano part and eliminated any vowel ornament. simplicity, not simplicity, They are a common element of note in this work. This is where Gerhaher adds a containment devoid of any dramatic excess teatralización. Deepening the sobriety of feeling more torn.

Such compositions, seemingly simple, require instrumental technique purified. And Christian Gerhaher one of its best exponents today. the magisterial influence is both Fischer-Dieskau, like Elisabeth Schwarzkopf and it is evident the evolution of his voice and the ability to qualification in works such communicative requirement for containment. Changes in tone and dynamics are perfectly expressed by a Gerhaher who has perfected its serious and regulates the volume and tone changes safely and correctly. As he demonstrated in Irrlicht (fuego fool) where the amplitude of tonality requires registration and transition from acute to serious and delicate pianos Fortes.

Accompanied by Gerold Huber, established between both the intimate dialogue between voice and piano with Schubert conceived Winterreise. An inner journey in which the drama of the mental process can only lead to nothing. The absolute solitude of the composer himself.

It was half an hour and in which Gerhaher reeled off one to one these 24 niceties del romanticism. He offered no encores, They were not required. Nothing was missing at that hour and a half of the interior recollection of how deeply you can get to enjoy.

Angela Denoke

The recital has offered the German soprano Angela Denoke at Teatro Real last 15 of June, It was undoubtedly the perfect complement Moses and Aaron from Schönberg, Der Kaiser von Atlantis from Viktor Ullmann Y Brundibár from Hans Krasa.

With the Cycle Dancing on the volcano, The Royal Theatre has been worth interwar music and composers, led by Kurt Weill, They tried to put aside the music full of pain Wagnerian era, and highlight the playful side of music chronicling daily life under the name use music, music use.

See War and the economic crisis from a satirical view, It was one of the goals of this group of composers born in the last decade of the nineteenth century, who they were exiled to the United States after working in the cabarets of Berlin during the twenties and, except for Weill, They returned to Europe after the war ended.

On stage, Angela Denoke a elegantísima, vibrant and bright voice, He was reeled works of Weill, Walter Kollo, Werner Richard Heymann, Hanns Eisler, Friedrich Hollander Y Mischa Spoliansky.

She was accompanied by musicians high-rise. On the ground, Israeli fellow composer tal Balshai. Clarinet and saxophone in charge of the German Norbert Nagel and neoyorkino, of Korean origin, Tim Park, a cello.

We must make a special mention of Reinhard Bischel, he made a lighting design and projections that helped create that atmosphere of Berlin's decadent cabaret. The end result was an exquisite evening in which only a cold public absented, that only he appeared in the latest round of applause.

Susan Graham

It was the last recital of the cycle Real Voices, and this time in charge of the mezzo-soprano Susan Graham. Born in New Mexico, Graham scored big differences with the two American divas that have preceded it in recent days in Madrid. The first, the elegance, thereby responding to the canons and more pragmatic ways of lieder singing this. Nothing to do, for example, with the gossip Renée Fleming.

The next difference is the choice of repertoire. Very successful in its preparation, your disposition and criteria, that were explained by Graham herself as soon as she stepped on the stage, in perfect Spanish and in a fun and educational way. A program represented by love songs from 17 different composers, divided into thematic blocks and perfectly balanced. A repertoire neatly adapted to the characteristics of your voice, bright in the treble. With exquisite pianos and softening bass that is more difficult to handle.

The audience enjoyed a heartfelt and delicate performance. Dramatizing each phrase and giving it the most accurate feeling for each word, each note. A timbred voice with a well-supported center to fill with intention and subtlety its filatos more daunting. Right from the start with “Ever since I saw him”, until reaching a delicate end with “Now you've done me the first pain”, both works Robert Schumann.

She was accompanied on the piano by Malcolm Martineau. Masterful at all times, especially in that intuition when it comes to accompanying, not only in tempis, but in feelings and delicacies to express together.

A magnificent end to the season for this cycle that ended with a hopeful “Hello young lovers”. We will be young as long as we love. And happy to attend these displays of infinite sensitivity.

Moses and Aaron

He Teatro Real decided to dedicate the second part of his season to a single common thread that runs between the Between Wars period and the effect it had on the artistic expression of those who suffered it. One of these protagonists was the composer Arnold Schoenberg what, influenced by the persecution of the Jews, He decided to embrace the beliefs of their ancestors. For this he took as inspiration the Book of Exodus of the Bible and put the most complex music that had been written up to that moment. Creating "Moses and Aron".

An always unsatisfied Schönberg, determined to find new systems of expression and creator of twelve-tone, composed a work with the freedom of those who do not feel committed to conventions, nor subject to orders or times. A work not intended for a premiere but for one's own delight and experimentation.
The result is a devilish and lofty score, but also unfinished, because the music of the third act was pending.

Schönberg's need to discover new forms of expression, it should, maybe, to the difficulties that an artist always finds to express himself. These difficulties may be an autobiographical note. In his early days he was a romantic composer, before reaching twelve-tone as a natural conclusion of his musical development.

It was the first time that Schönberg's work, Moses and Aaron, was performed at the Teatro Real. We will not take into consideration the concert version that was offered in 2012 under the direction of Sylvan Cambreling.

I can't tell if Moses and Aaron is unfinished or, simply, it's endless. Romeo Castellucci puts us on the trail of this possibility, that has taken as a reference to create the scenography that third act that musically does not exist.

The clever proposal of Castellucci, that delves into the most intellectual aspects of the work, places the word and its concept at its epicenter. Both as a paradigm of communication and, especially, its difficulties and the risks involved in the misuse of communication and images. As a metaphorical example of these difficulties, serve the effect produced by the projection on the canvas that covers the scene of words that acquire such speed that they force to look away. Some concepts raised in the work, remember based on the Old Testament, son, Besides, of an astonishing actuality, as "town", "Exodus", those periodic migrations in search of promised lands, "idolatry", even "desert".
The scenography is of undeniable plasticity. During the first part, a white chiffon backdrop creates a snowy atmosphere, of emptiness and silence, after which the silhouettes of the choir are barely sensed while singing "your God cannot make us visible". In a perfect symbology of the desert as a condition of human experience.

The Village Orgy Scene, of exquisite beauty, serves as an elegant transition to a second act where white is, literally, dyed black.

The baton Lothar Koenigs is the key in all this production. Your ability to interpret those rhythms of interval melodies, where the hierarchy does not exist and each note is independent of the one next to it. It is absolutely enlightening. His deep knowledge of the score and what inspires it, puts the accent on music, and not what is behind, as was the wish of Schönberg himself. The musical performance you get from the orchestra, the expressiveness that achieves, both the orchestra and the choir, are undoubtedly the great secret of the success of this production.

The German Bass Baritone Albert Dohmen composes a somewhat severe Moses, obsessed with his own responsibility and impeccable timbre. Fantastically handled that spoken song that is the Sprechgesang.

Totally opposite is the character of Aaron, played by the British tenor John Graham-Hall. His character is much more complacent and speculative. With a somewhat strident voice and at some point unpleasant, but necessary to represent a fundamentally superficial Aaron.

Along with these two main characters is the third protagonist, the people of Israel, Interpreted by the Titular Choir of the Theater, under the direction of teacher Andrés Máspero. 12 months of testing have led to these more than 80 components to face the most demonic score that has been written for voice in an outstanding way. Still knowing the twelve-tone scale, I felt unable to reproduce a single note of what I had just heard, given the great complexity of this score. The quality of this chorus is well above that of the aforementioned version of 2012, interpreted, by the way, by a foreign choir. His lengthy speeches were approached with accuracy and courage. Diction, impeccable.

The fact that a twelve-tone opera does not leave the audience shocked and excited, It is without a doubt a point that the Theater should score and who during this season has surprised, very pleasantly, with some unexpected titles. Attend the opera and the successful side activities, for something else to enjoy, must be the goal of any theater. And the Royal Theater is hitting that line.

Moses und Aron
Arnold Schoenberg (1874-1951)
Opera in three acts
Libretto by the composer,
based on the book of Exodus in the Bible
Premiered at the Stadttheater in Zurich in 1957
Premiere at the Royal Theater
New production of Teatro Real. in co-production with the National Opera of Paris. With the collaboration of National Heritage.
Teatro Real in Madrid 1 June 2016
D. musical: Lothar Koenigs
D. scene, scenographer, costume designer and illuminator:
Romeo Castellucci
Associate director: Silvia Costa
Coiluminator: Marco Giusti
choreographer: Cindy van Acter
Playwrights: Piersandra Di Matteo, Christian Longchamp
Video-Maker: Luca Mattei
D. choir: Andrés Máspero
Distribution: Albert Dohmen, John Graham-Hall, Catherine Wyn-Rogers, Antonio Lozano, Michael Pflumm, Oliver Zwarg, Andreas Hörl, Julie Davies, Beatriz Jimenez, Anaís Masllorens, LAura Vila, Pilar Belaval, Cristian Diaz Navarro, John Heath, Beatriz Oleaga, Manuel Rodriguez, Cristina Tejeiro
Orchestra and Chorus of the Royal Theater Headlines

Parsifal at the Teatro Real

Parsifal, last composition Wagner, He was released from his exclusive contract with Bayreuth he 31 December 1913. That night was premiered at the High school Barcelona and the next day Teatro Real from Madrid. Written in turbulent times, perfectly reflects a destroyed world and the need to find a liberating exit or something like a messiah. That deliverer looking Amfortas with his knightly brotherhood is Parsifal, the fool who does not know his name and only come to wisdom through compassion. Wagner is once again a visionary ahead of his time, because we all know the events after 1914.

That's why the elegant production Claus Guth inspired by The Magic Mountain Thomas Mann, It is just as relevant and pertinent. Located in the interwar period, a hospital is the perfect setting to reflect the consequences of the events that marked the European society of the first half of the twentieth century. A place where sickness and death reflect the great social contradictions, political and moral of the time.

Guth uses this scenery to express the same paradigm. This permanent wound Amfortas is the metaphor of Europe after injury World War I. Scenography illustrated by projections showing images that concern us and we are uncomfortable. This Parsifal Claus Guth directly challenges us and invites us to reflect. Seeing as over all, seeking changes or cathartic leaders can lead to uncertain places. And Nightmares, like dreams, sometimes also they met.

A magnificent turntable provides spaces where different frames are developed. Again, a flow without beginning or end.

Parsifal can only be the end product of a genius like Wagner. And it is. The music flows permanently and the concept of space-time is different from conventional concepts. For his musical director, Semyon Bychkov, "In this work the key is related to the severity. These key changes, that can occur in a second, They are like a loss of gravity. As if we were in another galaxy but never knew in which ".

This ongoing evolution of reasons makes the music flow continuously without apparent beginning or end, always supported by the residue motivations accompanying characters and situations.

The musical direction is by Semyon Bychkov of, who knows perfectly read that continuous flow of the sound that gives, from the overture, the balance that require different orchestral voices that owns this architectural score. It was powerful sound made by an orchestra that gave answer to all indications the master of Russian origin. It sounded with a transparency and delicacy only matched by the ease with which it was executed. Tension achieved by the ropes, safety and precision metal woods produce a solid and agile sound. The created atmosphere would have fulfilled one of the wishes of Bychkov, continue in the fourth and fifth act, prolonging an ending that does not exist.

On stage an unequal distribution ran the rotating Guth proposed the rhythm that marked an excellent direction of actors.

Christian Elsner Parsifal was expressionless and interpretive limitations. Issuance required great efforts and was more than enough of nasal sounds. He defended his character with some dignity but was swallowed up by the orchestra on several occasions. His clumsiness on stage ruined the hero who must interpret, remaining completely absent of the evolution of a character with many shades.

The German soprano Anja Matches, one of the most sought-after Wagnerian voices today, Kundry offered a superbly delivered and interpreted in different profiles has its demanding character. Deviled registry changes are resolved, duly, with some stridency. Especially in the second act. At bass and means they would have been fine a little more strength to build the darkest Kundry. But overall his performance was high.

Franz-Josef Selig, with an elegant line of song, He carved a Gurnemanz authoritative and powerful stage presence, well exploited by the stage direction. He offered a good first act, with staccato phrasing and timbre of voice and vigorous round. But his performance was over and ended up being diluted unless part.

The German baritone Detlef Roth he played a dramatic Amfortas and torn. But his voice did not accompany the interpretation, and the inability to reach the most extreme registers, the difficulties joined the voice to express the inner anguish of the character.

Croatian to Jerkunica, as Titurel, It exibió one of the most interesting instruments night, with a voluminous and wide voice. Quite the opposite of Klingsor played by the Russian baritone Evgeny Nikitin, who walked scarce precisely those qualities, volume and breadth.

The chorus is another of the main protagonists of this monumental work. And the owner of the Teatro Real, which we are accustomed to illustrious interventions, I was not going to be less this time. A vocal brilliance and filling must be added the ability to interpret, especially of them, composing a scene of flower girls delightfully fresh and appetizing.

Five and a half hours can be long or short. Y, as Bychkov says, Parsifal has a different conception of space-time. Perhaps that is why the five and a half hours of this Parsifal very short time, but space is immense filling.

Text: Paloma Sanz
Photograph: Javier del Real
Videos: Teatro Real

Richard Wagner (1813 – 1883)
Scenic sacred festival in three acts.
Libretto by Richard Wagner,
based on the medieval epic poem
Percival de Wolfram von Eschenbach.
Coproduction of the Zurich Opera House
and the Gran Teatre del Liceu in Barcelona
Teatro Real in Madrid 27 – 4 – 16
D. musical: Semyon Bychkov
D. scene: Claus Guth
Escenógrafo y costume: Christian Schmidt
illuminator: Jürgen Hoffmann
Choreographer: Volker Michl
D. choir: Andrés Máspero
Distribution: Detlef Roth, to Jerkunica, Franz Josef Selig,
Evgeny Nikitin, Anja Matches, Christian Elsner, Stephen Vincent,
David Sanchez, Ana Puche, Kai Rüütel, Alejandro González,
Jordi Casanova, Ilona Krzywicka, Khatouna Gadelia, Kai Rüütel,
Samantha Crawford, Ana Puche, Rosie Aldridge, Rosie Aldridge.
Headlines Choir and Orchestra of the Teatro Real

Karita Mattila

It was the first time the Finnish soprano Karita Mattila participated in the Lied the Teatro de la Zarzuela. We still remember her in her fantastic interpretation of Katia Kabanova at the Teatro Real a few years ago.

He presented a varied program. A first more French side, con agitadas obras de Poulen, Mattila who plays with great descriptive audacity, to continue with works by Duparc and Brams.

The second part, more intimate, was composed of works by the Finnish composer Aulis Sallinen. Four dream songs, con textos del Poeta Paavo Haavikko, that are about sleep, love and death. Dissonant notes create a harsh atmosphere that Mattila reflects with expressive theatricality. The same happens with the last composer of the evening, the German Joseph Marx. His compositions, of extraordinary sensitivity and heirs of the great liederístico art of Schumann and Wolf, they were served by a Karita Mattila who has one of the most versatile voices of today, along with interpretive skills that convey all the nuances that the work possesses. Your comprehensive record, full highs and well supported lows, along with a beautiful and characteristic timbre, they made it clear that the years are not taking over their instrument, that continues to have an acceptable elasticity, something fundamental for the song resources it uses. Powerful on stage, can say and recite very convincingly.
She was accompanied on piano by the Finnish Ville Matvejeff, also known for his role as a conductor.

We hope that this first time in La Zarzuela is not the last.

Luisa Miller

Two performances had scheduled the Teatro Real of the Luisa Miller verdiana. A work unjustly considered minor in the repertoire. Perhaps because its composition, prior to the trilogy formed by Rigoletto, The Troubadour Y La traviata they put her in the background. Verdi account on this occasion with the librettist Friedrich von Schiller giving more importance to the love and social drama of the original work, Cabal and Love (intrigue and love). What the author himself will call "bourgeois tragedy". These new argumentative “motives” could well be justified in avoiding the action of censorship. Very active in those moments of European revolutionary upheaval in 1848.

This has been a concert version. But you can't say it wasn't staged. More and more operas in concert are, dispensing with the always uncomfortable music stands, are semi-staged by the singers, creating a lyrical atmosphere closer to an opera night with all its arming.

At the head of the management was the American James Conlon. A true lover of Luisa Miller. To the point of calling his daughter Luisa and thereby evoking the paternal filial relationship of the protagonists. His knowledge of the work is total, He barely consulted the score to which he printed a lively rhythm full of tension from the overture. Especially in the endings. He extracted a pure Verdian sound from the orchestra, mainly from the strings. The chorus, in his usual line, magnificent!.

On the sidelines of music, without a doubt the voices were the protagonists of the night. Leo Nucci, who embroiders the dramatic roles of Verdian father, retains extraordinary vocal qualities to its 74 years. The shortness of breath at times and your reservations, in others, to be able to undertake the finals, are compensated by a skill in dramatization that only experience provides.

The Croatian Lana Kos It was quite a surprise in her role as Luisa. Its large central register is the ideal support to move through a powerful lyrical soprano tessitura. Vigorous, homogeneous voice with enough headroom to refine the highs.

The evil Wurn was embodied by the Canadian baritone John Relyea. Robust, shadowy voice to compose an interesting character who fought a powerful duel with Walter.

Dmitry Belosselskiy played a magnificent Earl of Walter. He wore good treble in his aria "My blood, I'd give life " and his powerful and smooth bass in the duet with Wurn "The high heritage".

The Madrilenian Maria Jose Montiel played the always thankless role of Federica. Just a few days ago we listened to it in the Teatro de la Zarzuela in the role of a María Moliner flawless and, suddenly, appears on stage at the Teatro Real with a completely different register. With a verdi score of abyssal tones for a mezzo string, solve your character with a dense and compact voice, demonstrating that the radius of action of his voice is wide and that he is in one of the best moments of his career.

The young Neapolitan tenor made his debut at the Real Vincenzo Costanzo. He came to replace those initially chosen for this Rodolfo. It is not easy to approach this role with 24 years, singing on the proscenium and surrounded by well-established voices. And Costanzo does it with gallantry and determination. Your instrument is under construction, like his ability to interpret, but it aims a nice timbre and as soon as the fiato is prolonged and the technique exceeds the physical effort, you can tackle these demanding roles with all the guarantees. The applause of the public after the well-known aria “When night to calm” They gave him the confidence to tackle the rest of the work with greater security. Next season we will have the opportunity to listen to him again in this Theater in his role as Pinkerton and we will observe his evolution. Mimbres has.

Marina Rodriguez-Cusi played Laura. This Valencian mezzo-soprano is always a guarantee. His brief role showed his good work. Despite being located behind the orchestra and the rest of the cast, his voice was heard full.

The successful intervention of César de Frutos playing a villager.

This Luisa Miller left very good feelings in the public. From time to time a purely operatic title is appreciated, and nobody better than Verdi to provoke these kinds of emotions.


Giuseppe Verdi (1813-1901)

Melodrama tragic in three acts

Salvadore Cammarano libretto based on the play cabal and Love (Intrigue and love, 1783) de Friedrich von Schiller. Premiered at the San Carlo Theater in Naples on 8 December 1849.

Opera in concert version.

D. musical: James Conlon

D. choir: Andrés Máspero

Distribution: Dmitry Belosselsky, Vincenzo Costanzo, Maria Jose Montiel, John Relyea, Leo Nucci, Lana Kos, Marina Rodriguez-Cusi, César of Fruits.

Choir Y Orchestra holders of the Royal Theater.

Maria Jose Montiel Maria Moliner plays at the Teatro de la Zarzuela

It is unusual brand an opera in Spain. It is even less so in the Teatro de la Zarzuela. And if opera is Spanish, more musical event, We talk almost a miracle.

María Moliner is a character with enough packaging to star a story. Packaging and heroics who made a formidable task from pure ostracism. Write a dictionary of use of Castilian in the solitude of her living room, isolated and surrounded by the censorship of the time, do it in only fifteen years, and discuss even own dictionary of the SAR and the members of his academy, It is not a minor event.

On an idea Paco Azorín It has been built and maintained rigorous work. Divided into two acts and ten scenes, It is the result of complicity between Paco Azorín himself, the composer Antoni Parera Fons y the librettist Lucia Vilanova. It is in music where lies much of the success of this opera. Expert on the dynamics jars and able to write specifically for voice, Parera Fons has composed a score perfectly recognizable and highly consistent from start to finish. He has been able to use different musical techniques in perfect balance and put them at the service of the work.

In this point, the work of musical director Victor Pablo Pérez It is flawless. Sensitive and attentive to everything happening around, he drew from his orchestra every nuance of the score, enriqueciéndola.

The libretto of Lucía Vilanova has been nurtured mainly from two sources, the biography of María Moliner Inmaculada de la Fuente, and own dictionary. The article tries to reflect the daily life of such a complex process as is the development of a dictionary, but mostly it tries to unravel his inner life, their dreams and the evolution of a project of this magnitude. Perhaps the script lacks the lyricism of an operatic work. Too vividly describes some difficult events to fit into a proper line of song. The libretto has added a dream, which imagines the time of writing the application for entry into the Academy. Moliner is then accompanied by other writers who, like her, They should have been part of the RAE. They help draft the letter Emilia Pardo Bazán, Isidra de Guzmán and of the Bristle and Gertrudis Gómez de Avellaneda.

Another pillar of this work is its protagonist. María Moliner's role was written specifically for Maria Jose Montiel. Delivery to the character is absolute. His stage presence is almost constant and both, Moliner and Montiel, They have the same burden of temperament tenderness. His consistent voice, extensive and generous smoothness, sways with its beautiful timbre every note issues.

The rest of the cast is headed by José Julián Frontal, as Fernando, her husband. The character is not extensive vocally but is very well positioned thanks to its great performance.

Emilia Pardo Bazán has been interpreted by the soprano vizcaína