Butterfly en Dubai

"Live" one of the iconic productions of Aida; enjoy the love of Bohemian; discover the splendid fusion of opera and jazz of Street Scene or tour the backstage of the Teatro Real These are some of the immersive experiences proposed by the Madrid Coliseum at the Universal Exhibition in Dubai, in which its visitors can see first-hand what its stage and its artists are like.

Spain is one of the 192 countries present at this universal exhibition that aims to strengthen foreign relations and work for a future of sustainability, mobility and opportunities. The Royal Theatre, only cultural institution present in the pavilion, stands out as an example of innovation and cultural icon of the country.

The president of the Government, Pedro Sánchez, will visit the Spanish pavilion next Wednesday, 2 February, and will start the Week of Honor of Spain, during which the national pavilion will receive hundreds of visitors, representatives of Emirati institutions and other government guests.

The Royal Theater was installed last October in the Spanish pavilion in Dubai with an immersive technological commitment that opens some of its most important productions to the enjoyment of visitors.

During 15 minutes, the public that visits the Spanish pavilion can enjoy, thanks to virtual reality glasses, of a vision of 360 degrees of fragments of the production of Aida, in Verdi; Madama Butterfly Y Bohemian, both by Puccini, and the production of Street Scene, from Kurt Weil, all recorded on stage.

These four videos are joined by a fifth that allows visitors to tour the stage, the tailoring and characterization workshops of the Theater.

Visitors can also access a projection room where you can see a selection of the most famous arias performed at the Royal Theater in HD quality.

The videos are part of the My Opera Player project, the largest platform for disseminating the audiovisual content of the Teatro Real.

The Theater joins the motto of the Spanish pavilion in the creation of a more sustainable future, one of the objectives of its strategic plan for the next five years, with the promotion of projects that revolve around reducing their impact on the environment with proposals for technological innovation and improvement in the use of resources.

The Dubai Expo 2020 opened its doors in October 2021 –one year later than planned- the presence of 192 countries that are distributed not by region, but through three districts that make up a small city with architectural structures, technological innovations, exhibitions and interactive spaces.

occupies 428 hectares – some 600 football stadiums- and wait 25 million visitors to 31 of March, when will it close its doors.

Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo

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

After consolidating his career as one of the great interpreters of bel canto romantic, Franco Vassallo It has become one of the most important representatives of the Verdian repertoire today. The Italian baritone debut in January at the Gran Teatre of the Liceu of Barcelona with its unique Amonasro, the father of the protagonist of the popular opera Aida in Verdi.

It is in the Verdian repertoire which concentrates its activity Vassallo today, It is considered as a reference in titles like Simon Boccanegra, Attila, A dance en mask, Don Carlo, Rigoletto, Macbeth, Nabucco, Otello, The Troubadour, Luisa Miller Y The force of Destiny, works he has played in some of the most important theaters in the world, New York to Milan.

Amonasro is a very complicated role to play”, explains Vassallo, “especially because you have to give credibility to the frustration of a dethroned king and humiliated, Besides, discovers that his daughter loves the leader of the army that devastated his own people. One must know how to measure delivery and the excitement that goes with, always with a major orchestra that is what Verdi envisioned for Aida”. Also states that "Although the role is not very long, It is one of the most intense and dramatic parts of the great Verdi baritone characters, with long passages dense applicants, They are requiring a large legato singing, phrasing, robustness and a wide vocal range”.

Franco Vassallo perform at the Liceu day 14, 17, 20, 23, 28 Y 31 January 2 February in the historical production of Mestres Cabanes in mid-century XX, a jewel of the Catalan school of scenography.

Among others, later they await a new production Don Carlo at the Salzburg Easter Festival and the Semperoper Dresden and directed by Thielemann Otello Y Luisa Miller Comunale in Bologna.

Web Franco Vassallo


morning, to 20 hours, live broadcast of Faust the television network Mezzo and Classical Radio, the RNE, Opera will offer the countries of the EBU (European Broadcasting Union).

As part of its international expansion policy and its firm commitment to bring opera to all corners of Spain, Royal Theatre significantly increases its audiovisual offer in the different media: projections in commercial cinemas, Edition DVD and Blu-Ray, broadcasts television and radio, plataformas online, outdoor screens, auditoriums, museums, polideportivos, schools, etc.

After the success of the documentary film The heart of the Royal Theater, released last 23 September in 95 island, October starts with the projection Aida in more than 50 commercial cinemas in Spain, Europe and the United States, thanks to an agreement with the distributor Rising alternative, which will in its national and international network also other two acclaimed productions of Teatro Real: Madama Butterfly, in March 2019, Y La Traviata in May of the same year. These operas can be seen in Austria, Belgium, Denmark, France, Slovakia, Estonia, Holland, Italy, Czech Republic, Switzerland and, in North America, Canada and the United States. (see attached list).

La Traviata Y Madama Butterfly They also come China -40 important theaters 10 big cities- under the agreement with the Royal Theater National Centre for the Performing Arts (NCPA) Beijing, which also screened productions in their auditoriums.

Throughout the season they are also planned other screenings in national cinemas and international productions that triumphed at the Royal Theater, as Billy Budd, Benjamin Britten ─Opera Award 2018─, Street Scene, Kurt Weill Y Faust, Charles Gounod, currently on stage.

national and international distribution increases DVDs The Royal Theatre: in September it hits the market the DVD and Blu-Ray Billy Budd, Award-winning Opera 2018. Will follow, in the coming months, Death in Venice Y Gloriana, Benjamin Britten also, Y Rodelinda, Handel.

Likewise, continues the relay Royal Theater Productions, Live and delayed, in television and digital platforms worldwide, thanks to agreements signed with major channels, as ARTS Concert, Half, Classica Stingray.

ARTS Concert will include the Royal Theater productions in its select range of opera and Half continues to offer live and on demand Royal Theater productions.

In the scope of its collaboration with the Teatro Real Classical Radio, the RNE, will broadcast live Faust, Charles Gounod, e Idomeneo, King of Crete, Wolfgang Amadeus Mozart, and offer deferred Only the sound remains, de Kajia Saariaho; Turandot, Giacomo Puccini; the Rheingold, Richard Wagner; La Calisto, Francesco Cavalli; Agrippina, the Georg Friedrich Handel; over, Robert Gerhard, Y Giovanna D'Arco, de Giuseppe Verdi. Likewise, Faust, Idomeneo Y La Calisto member countries of the EBU will be retransmitted (European Broadcasting Union). Lyrical concerts will be broadcast delayed.

With this active and ambitious policy audiovisual production significantly increases the catalog of operas available stage Digital, the online platform Teatro Real.

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.

Daniela Barcellona

In full celebration Bicentenary of the Royal Theatre and when twentieth anniversary of its reopening, the great mezzosoprano Daniela Barcellona Madrid returns to the Coliseum to play Amneris in opera Aida, de Giuseppe Verdi.

Daniela Barcellona, considered by the highest authorities in Rossini Rossini mezzo as the best of the last twenty years, which marked a turning point in the history interpretive role of Tancredi, has decided to extend its current repertoire beyond belcanto: "I am following the natural development of the vocal and physical demands that characterize this moment of my life".

The famous Italian half, who moved the Valencian public for his vocal and scenic power in his debut of the role of Amneris, and with his memorable performance at the Arena di Verona, made the critics exclaim "Great Daniela Barcelona! We finally found it the Amneris areniana that we have been waiting for for years!”, returns to the Royal Theater, to interpret, once again, to the egyptian princess, after his extraordinary success at the last Salzburg Festival together with the Vienna Philharmonic and under the baton of maestro Riccardo Muti, who called her hours before her performance as Amneris on the famous stage of the Large festival hall, where, after a long drive, shone with its own light.

The following days 9, 15 Y 20 of March, we will have the opportunity to enjoy the performance of Daniela Barcellona at the Teatro Real in Madrid, under the musical direction of Nicola Luisotti, sharing the stage with soprano Lianna Haroutounian (Aida), the tenor Fabio Sartori (Radamés) and Ángel Ódena (Amonasro). Almost 300 artists (between soloists, choir, dancers, actors and orchestra), in the revised original production of 1998, signed by the Argentine Hugo de Ana.

Among his most immediate commitments, the premiere of Falstaff, en la State Opera Unter den Linden, with stage direction by Mario Martone and musical direction by Daniel Barenboim, Semiramide en la Bavarian State Opera, La Gioconda en la German Opera Berlin, the Small solemn mass at the Rossini Opera Festival and the Messa da Requiem in Verdi, with the Chicago Symphony Orchestra and Riccardo Muti. further, this march, It will be released his new recording project in which he plays the role of Arsace, a full recording Semiramide Rossini (Opera Rara), junto a Sir Mark Elder y la Orchestra of the Age of Enlightenment.

Daniela Barcellona


Between days 7 Y 25 of March They will be offered 17 functions Aida, with great production conceived by Hugo de Ana for the opening of the second season of 'new' Teatro Real, in October 1998, which he unveiled to the public the enormous dimensions and exceptional technical capabilities of his new stage.

The 8 then functions, directed by Luis Antonio García Navarro (1941-2001), joined the 353 that occurred in the previous seasons closure theater, in 1925. During that period the popular verdiano title was the most represented in the Real, being Giuseppe Verdi (1813-1901) the favorite composer of the Madrid public.

In this season of commemorations ─los 200 bicentennial year and 20 years of his reapertura─, Royal Theater looks, well, its past and recent history through replacement Aida, this self-joining another symbolic tribute to Pedro Lavirgen (1930). This great tenor could not read in the Real to the characters that distinguished him Radamès ─como, from Aida, with which debuted at La Scala in Milán─ because the height of his brilliant career transcurred during the period when the Coliseum was the Plaza de Oriente concert hall and operas were performed in the neighboring Teatro de la Zarzuela.

With the premiere of Aida in Cairo, in 1871, Giuseppe Verdi, sexagenarian and 25 operas to his credit, apparently he culminated a prolific career (then last until the 80 years), with a very effusive score, but also deep and intimate, in which they emerge the recurring themes in his work: the love triangle, the political and social background, the arrogance of dictators, the humiliation of the oppressed, paternal-filial feelings, jealousy, forbidden love, treachery, loneliness, death…

From the compositional point of view, Aida also it reflects the seniority of Verdi: his mastery of the vocal writing, ─privilegiando duos and set numbers, detriment of arias─; the great use of orchestration for dramaturgical effects; juxtaposing moments of recollection and splendor; and expertise in articulating large choral and solo choreographed numbers inspired melodies, of great encouragement and deep drama.

It is precisely this duality between the spectacular mass scenes ─con the Egyptian empire, armies, pharaohs, slaves, priestesses, invaders, prisoners, Religious rites, celebrations, and those etc.─, collected, outcropping in conflicts and dramas of the protagonists, where the difficulty of staging Aida.

Hugo de Ana opts for a strong symbolic power production, dominated by a colossal pyramid suggests the magnificence of political power and religious, opposed to desert landscapes that emphasize the profound loneliness of the characters, torn between feelings, doubts and contradictions.

For the current replenishment Aida, Hugo de Ana has revised the original production of 1998, updating props and costumes and introducing part of some projections.

Three deals will alternate in interpreting the leading roles of Aida, with Liudmyla Monastyrska, Anna Pirozzi Y Lianna Haroutounian in the title role; Violeta Urmana, Ekaterina Semenchuk Y Daniela Barcellona as Amneris; Gregory customer, Alfred Kim Y Fabio Sartori as Radames; Y Gabriele Viviani, George Gagnidze Y angel Ódena, as Amonasro. shall be assisted by the rest of the cast and the Headlines Choir and Orchestra of the Teatro Real, under the direction of Nicola Luisotti, verdiano governing its third title at the Royal Theater, After his highly praised releases The Troubadour Y Rigoletto.

With almost 300 ─entre solo artists, choir, dancers, orquesta─ actors and scenery and historical and, Aida returns to Madrid between celebrations and tributes, but, especially, Real bringing to the stage of great performers, able to give the work its true universal dimension Verdi.

Season 17/18 Teatro Real

In season 2017-2018 the Royal Theater celebrates a double anniversary: the 20 years of his reinauguración, he 11 October 2017, and the 200 years after its founding, he 23 April 2018.

In the scope of these commemorations continue the premieres of operas never performed at the Royal Theater, like the colossal The soldiers, de Berne Alois Zimmermann, which will be presented for the first time in Spain.

They will also increase the list of unpublished works at the Teatro Real Lucio Silla Wolfgang Amadeus Mozart, Gloriana of Benjamin Britten y Street Scene Kurt Weill, that will be seen for the first time in Madrid, Y Dead Man Walking de Jake Heggie, which will premiere in Spain.

As a reminder of its past and recent history, have been scheduled Bookmarktitle that inaugurated the Real─ in concert version, Y Aida, with a revised staging of the famous production directed by Hugo de Ana in 1998.

The current creation will be represented by the world premiere of The painter, Juan José Colomer, with libretto and direction by Albert Boadella, in collaboration with the Canal Theater.

In order to seduce new audiences and a broader and more diversified audience in its festive season, the Teatro Real has notably increased the performances of its most popular titles in the lyrical repertoire such as Bohemian, Carmen, Lucia of Lammermoor Y Aida.

Under the Bicentennial the Real reaffirms its ambitious commitment to new audiovisual technologies to bring opera to the whole world with broadcasts in monuments, plazas, auditoriums and town halls throughout Spain, broadcasts on social networks, schools, cinemas and on its Palco Digital platform, highlighting, in the international arena, its pioneering projects in Latin America and China.

Likewise, will continue the dialogue with other types of music, whose most outstanding manifestation is the Universal Music Festival, of which the fourth edition will be held.

The DANZA program will consist of four shows: Carmen, for him Victor Ullate Ballet (Theaters Canal); Sorolla, for him National Ballet of Spain; choreographies by Jacopo Godani for the Dresden Frankfurt Dance Company; and a new production of Swan Lake, by The Royal Ballet.

In the programming of EL REAL JUNIOR, the premiere of five new productions of the Teatro Real for different ages stands out ─Mother Goose, old cinema with new music, The hidden face of piano, the opera The phone, or love three and ballet Pulcinella─, the revival of the opera Dido & Eneas, a Hipster Tale and Loft toys.

The Principal Choir and Orchestra of the Teatro Real, under the tutelage of its musical director Ivor Bolton ─with Pablo Heras-Casado as principal guest conductor and Nicola Luisotti as associate conductor─, will notably expand their repertoire, affirming the growing prestige of the stable bodies of the institution

Two books will be published on the history of Real: Joaquín Turina will reveal to the reader the ins and outs of the Theater from 1997 and Rubén Amón will tour the 200 years of its history through its artists, facts and anecdotes.

In the field of the celebration of its anniversaries, the Teatro Real has promoted the production, the next spring, of the first international meeting of the WORLD OPERA FORUM, to convene 150 opera houses around the world, and a commemorative act that will evoke the historical fact that the Teatro Real was the seat of the Congress of Deputies between 1841 Y 1850.


In the wake of its history, The new program aims to enrich the repertoire of the Royal Theater essential titles not yet included in its musical heritage, as The soldiers, from Bern Alois Zimmerman, that due to its great complexity, dimension and number of performers is still not released in Spain 52 years after its creation.

This great work of the 20th century, that was born marked by the impossibility of putting on stage dilating the limits of the opera, excels in programming whose conceptual framework is, precisely, the notion of limit, border as a place of uncertainty and transit, key in the future and evolution of styles, shapes, aesthetics and artistic languages.

Pablo Heras-Casado will take on the great challenge of directing this ambitious premiere, with an acclaimed co-production by the Berlin Opera Comique and the Zurich Opera, stage direction of calixto Bieito.

Lucio Silla, written in the 18th century, is also located in a slippery space between two styles: although Mozart composed it with barely 16 years, its classical structure is already impregnated with formal licenses that will mark the pre-romantic language in which the brilliant operatic production of the composer will lead. this opera, from 1772, was never performed on stage at the Real, so your presentation with the same tandem that just succeeded in RodelindaIvor Bolton in musical direction and Claus Guth, in the stage─ will repair a debt of the Theater with Mozart and with the public of Madrid.

Linking the recent success of Billy Budd with the premiere, the next season, from Gloriana, the Teatro Real continues the presentation of the magnificent operatic production of Benjamin Britten started since its reopening. This time Ivor Bolton will be accompanied by the prestigious Scottish stage director David McVicar, in a new co-production with London (ONE), Naples, Antwerp and Valencia, whose premiere will be in Madrid.

Gloriana is also on the awkward border between the commitment to the celebration of the coronation of Elizabeth II of England, in 1953, and the personal dramatic language of Britten, whose score was misunderstood and marginalized, despite its undoubted artistic quality, that the Royal Theater wants to claim.

Another borderline work from the mid-20th century, cornered by its miscegenation, is Street Scene from Kurt Weill, that lies between the musical and the opera, without achieving a comfortable space between the two. Named by its author “American opera”, premiered on Broadway in 1947, but I would not return to their rooms.

Based on the play of the same name Elmer Rice, Pulitzer Prize winner, Street Scene is a successful synthesis between European opera and American musical theater, distilling the musical tradition of both worlds, among which was its author, Kurt Weill, German Jew living in the United States. The work will premiere in Madrid in a new co-production with the Cologne and Monte-Carlo Operas, with musical direction Tim Murray ─who returns to Real after his successful reading of Porgy and Bess─, and staging of John Fulljames, new artistic director of the Danish Opera.

Dead Man Walking, premiered in San Francisco in the year 2000, It is also a work that claims to “explore a medium that is neither traditional theater nor traditional opera, but a true combination of both: un drama musical, an opera-musical, theater-opera” according to its authors: the composer Jake Heggie and the playwright Terrence McNally.

Based on the sister's book Helen Prejean ─which also originated the famous film Tim Robbins starring Susan Sarandon Y Sean Penn─ the opera affects the endearing and deep confessional relationship that is established between the nun and the prisoner sentenced to death, relegating to the background issues related to capital punishment that have made the film of the same name famous.

For its premiere in Madrid, the opera will feature the production of the Chicago Lyric Opera, with stage director Leonard Foglia and a deluxe cast headed Joyce DiDonato, Michael Mayes Y Measha Brueggergosman, who will perform under the musical direction of Mark Wigglesworth.

The culmination of this series of hybrid operas will be the world premiere, in the Canal Theatre, from The painter, from Juan José Colomer, prolific and versatile Valencian composer based in Los Angeles, que debutará en la ópera con la nueva producción del Teatro Real con dirección musical de Manuel Coves y libreto y dirección de escena de Albert Boadella, que prosigue su acercamiento al repertorio lírico que se va imponiendo en los últimos años de su fructífera carrera.

Alternándose con estas propuestas fronterizas, el Teatro Real ha programado cuatro óperas del repertorio operístico, de las que se ofrecerán un gran número de funciones fuera de abono: Carmen, Bohemian, Aida Y Lucia of Lammermoor.

Carmen, from Georges Bizet, volverá al Real con 18 funciones y tres repartos, en una producción de la Ópera de París que recupera la puesta en escena “naturalista” y taurina de calixto Bieito estrenada en el Festival de Peralada, en esta ocasión con dirección musical de Marc Piollet.

Dos repartos se alternarán en las 19 representations Bohemian, from Giacomo Puccini, in which the Teatro Real has once again joined the Royal Opera House, co-producer of the new production that will premiere in London shortly before landing in Madrid. The staging will be by the prestigious English theater director Richard Jones and the musical of the Milanese and Puccini Paolo Carigniani. Both will debut at Real.

For the replacement of the "super-production" of Aida, from Giuseppe Verdi, which inaugurated the second season of the new Teatro Real in 1998, Hugo de Ana, stage-manager, set and costume designer Opera, will present a revision of his previous creation as a tribute to the recent history of the Theater in the 20 anniversary of its reopening. Three casts will participate in the 17 opera performances, which will have musical direction of Nicola Luisotti.

The English National Opera production of Lucia of Lammermoor, from Gaetano Donizetti, traerá nuevamente al Real al director de escena estadounidense David Alden, que dirigió Alcina and the Otello inaugural de la presente temporada. Dos repartos se alternarán en las 15 functions of the opera, que estará dirigida musicalmente por el israelí Daniel Oren.

Donizetti ha sido, a lo largo de la discontinua historia del Teatro Real, uno de los compositores más programados y más queridos del público. Su ópera Bookmark ─de la que existe la versión italiana La favorita─ fue la primera en subir a escena en el Teatro Real cuando abrió sus puertas en 1850. Para celebrar esta representación inaugural en el año del Bicentenario se han programado dos funciones de la ópera en versión de concierto, with musical direction Daniel Oren, with a Gala conmemorativa del 20 aniversario de la Reapertura del Teatro Real he 2 of November.

En versión de concierto se presentarán otras dos óperas con función única: Ariodante, from georg Friedrich Handel, with Les Arts Florissants directed by William Christie, Y Thaïs, from Jules Massenet, under the baton of Patrick Fournillier, with Placido Domingo in the title role for baritone.

The operas of the season arranged chronologically by the original dates of their premieres:

1735 Ariodante, the Georg Friedrich Handel

1772 Lucio Silla, Wolfgang Amadeus Mozart

1835 Lucia of Lammermoor, de Gaetano Donizetti

1840 Bookmark, de Gaetano Donizetti

1871 Aida, de Giuseppe Verdi

1875 Carmen, Georges Bizet

1894 Thaïs, Jules Massenet

1896 Bohemian, Giacomo Puccini

1947 Street Scene, Kurt Weill

1953 Gloriana, Benjamin Britten

1965 The soldiers, de Berne Alois Zimmermann

2000 Dead Man Walking, de Jake Heggie

2017 The painter, Juan José Colomer [unworn]

Along with the operatic programming of the season, various Parallel activities looking for its links with literature, plastic arts, who, Photography, etc.

This interdisciplinarity, that encourages dialogue between opera and other forms of artistic expression, it is possible thanks to essential collaboration, once again, of important cultural institutions as: National Library of Spain, British Council, Circulo de Bellas Artes, Reina Sofía Music School, Spanish Film Library, Juan March Foundation, Goethe Institut, French institute, Institute of Naval History and Museum, International Institute, Archeological Museum, Museum of Romanticism, Reina Sofia Museum, Real Academia de la Historia, Student's residence Y Theaters Canal.


One of the most important initiatives carried out by the Teatro Real to promote its opening to new audiences and to bring opera closer to the public are the national and international broadcasts of their shows, which will increase next season, including pioneering projects in China and Latin America.

A) Yes, After the success and enormous repercussion of the retransmissions made on Facebook of I puritani Y The Flying Dutchman, the Royal Theater will commemorate its anniversaries with the live broadcast of Carmen, in October 2017, and Lucia of Lammermoor, in july 2018, in more than 200 spaces throughout Spain, with screens installed in squares and emblematic buildings, in addition to the open broadcast on social networks and online platforms around the world.

His most popular productions will be screened in cinemas across the country, being already programmed La traviata, he 16 November 2017, Y Madama Butterfly, he 10 May 2018.

They will also continue broadcasts of the children's and youth shows of El Real Junior in schools Y cinemas of all communities, being planned the morning projections of Summer night Dream, he 10 October 2017 ─to celebrate the international day of music─ and The cat with boots, he 6 May 2018, coinciding with the European Music Days.

stage Digital will continue to offer live broadcasts of a large part of the Theater's productions, expanding its catalog of online opera shows, ballet and concerts.

Likewise, with the impulse of the commemorative triennium of its Bicentennial, the Teatro Real will carry out new editions of two very diversified and already consolidated artistic proposals: the Opera Week, with a growing participation and involvement of the public, and the Universal Music Festival, in summer, that brings together relevant pop musicians, rock, jazz, the flamenco to bid farewell to each season.


The dance program will be made up of shows starring four companies.

He Victor Ullate Ballet will play Carmen in the Canal Theatre, with choreography by Victor Ullate and music from Georges Bizet Y Peter Navarrete, anticipating the performances of the homonymous opera at the Teatro Real.

He National Ballet of Spain will bring his show to Real Sorolla, with choreographies of Arantxa Carmona, Miguel Fuente, Manuel Linan and Antonio Navarro and music from Juan José Colomer, Paco de Lucía, Enrique Bermúdez, plus popular topics, with the participation of the Head of the Royal Theatre Orchestra, under the direction of Manuel Coves.

The Dresden Frankfurt Dance Company will perform four choreographies of Jacopo Godani: Metamorphers (music of Bela Bartok), Echoes from a Restless Soul (music of Maurice Ravel), Postgenoma Y Moto Perpetuo, with music 48NORD.

The Royal Ballet will close the dance season at the Teatro Real with its new and long-awaited production of Swan Lake, with choreography by Liam Scarlett. The music of Piotr Ilich Chaikovski will be performed by Head of the Royal Theatre Orchestra in all six functions.


The Royal Theater reaffirms its commitment to the education, training and consolidation of the children's public, youth and university in active collaboration with educational centers and universities through projects as diversified as Royal Junior, he BED (The opera, Learning a vehicle), he Young Club, University scene, the workshops Exposed opera, the monographic courses etc., reinforced with a policy of economic incentives for minors from 30 Y 35 years that allows them to access the shows for very affordable prices.

In the programming of Royal Junior highlights the premiere of five new productions of the Teatro Real for different ages and with different formats: Mother Goose, with music by Maurice Ravel, in the main room; old cinema with new music, with films by Charles Chaplin and live music, in the Sala Gayarre; The hidden face of piano in the orchestra room; Gian Carlo Menotti's opera The phone, or love three, in the main room and Pulcinella, dance show with music by Stravinsky in the Sala Gayarre.



Ramón Tebar (Valencia, 1978) officially debuts as Principal Guest Conductor of the Palau de les Arts Reina Sofia with Aida, from Giuseppe Verdi, which opens next 25 February.

It is about, However, the second incursion of the Valencian master at Les Arts, as recalled by the Mayor Davide Livermore in the presentation of this opera. Ramón Tebar assumed the musical direction of the latest features of Nabucco last season, that was settled "with unanimous success from the public and critics".

Aida is for Ramón Tebar a symbolic title for his return to Valencia as musical director at the opera house in his hometown. Aida, known among others, for the aria 'Winner Returns', is for the Valencian a masterpiece, loaded with a message around human passions and warfare, which ends with an evocation of peace in the mouth of the character of Amneris.

The Valencian arts center has scheduled five functions of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. Les Arts recovers the montage of David McVicar, made in co-production with London's Covent Garden and the Oslo Opera House, in the year 2010 premiered in Valencia Lorin Maazel Y Omer Meir Wellber.

The montage features scenography by Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts. Allex Aguilera is in charge of the stage direction of the revival of Aida.

During his explanation of the play, Davide Livermore has defended the Scottish stage director's proposal, "As heir to the true provocation that Verdi was looking for with Aida".

“Aida has come to our days as a synonym for Ancient Egypt, of pyramids, elephants, camels ... but for Verdi that "Ancient Egypt" is nothing but the framework in which to synthesize his greatest concerns, between them, the big nation that oppresses the little one, the brutality of the empire to destroy the individual and the overwhelming power of the Church over all classes… Variables that Verdi could never have set in Europe ”, Livermore explained.

"That pharaonic Egypt of the first representations, -has qualified Livermore-, it is no longer exotic for us ". Therefore, David McVicar draws on a multitude of ancient civilizations to create a mythical land that causes distancing, rejection and rebellion among the spectators before the barbarities that Aida relates and the beauty of the score. "That is the essential social function of opera", the Mayor has pointed out.

A solid cast

Aida, in Verdi, requires, Besides, of excellent stable bodies such as Heart of the Government and the Orquestra de la Comunitat Valenciana, of a powerful cast, led by sopranos in Les Arts María José Siri Y Lucrecia garcia in the role of Aida.

The Arts reports that Oksana Diving has suspended its presence in Valencia for health reasons and will be the Uruguayan María José Siri, who starred in Manon Lescaut last season, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mephistopheles, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila plays Radamès, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close Aida's love triangle Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in 2009 performed for the first time in Spain two complete cycles of Der Ring des Nibelungen, from Wagner in Arts.

They also return to Les Arts, baritone Gabriele Viviani, who embodies Amonasro -except in the representation of the day 9, sung by Ionut Pascu- and low Riccardo Zanellato which gives life to Ramfis, High priest.

Four emerging artists from the Center Placido Domingo, Alejandro López, in the role of the king, Lara Fabian, as Messenger, y las sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of the Priestess, complete the cast of Aida.

Sold out

The Palau de les Arts Reina Sofia announced that tickets for Aida, in Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at Aida's rehearsals on days 16 Y 17 February. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

About Aida

Aida is an opera in four acts with music by Giuseppe Verdi and a libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette. It premiered on 24 December 1871, at the Cairo Opera House.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, y Radamès, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, who wishes for herself Radamès.


The Palau de les Arts Reina Sofia communicates that the inputs for Aida, from Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Les Arts has scheduled five performances of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. The arts center revives its co-production with London's Covent Garden and the Oslo Opera House.

David McVicar is the stage director of Aida, with scenery Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts.

Ramón Tebar officially debuts as Principal Guest Director of the Arts Center with this title, that they directed at its premiere in Valencia Lorin Maazel Y Omer Meir Wellber. Will be, However, the second foray of the Valencian master in Les Arts, after directing the last functions of Nabucco last season.

The sopranos María José Siri Y Lucrecia garcia they sing the role of the slave Aida. The Arts reports that Oksana Diving has canceled its presence in Valencia due to unavailability and it will be the Uruguayan María José Siri, who starred in last season Manon Lescaut, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mefistofele, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila interprets Radamés, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close the love triangle of Aida Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in June 2009 performed for the first time in Spain two complete cycles of The Ring of the Nibelung, from Wagner in Arts.

Gabriele Viviani, who embodies Amonasro except in the representation of the day 9, who sings Ionut Pascu, Riccardo Zanellato (Ramfis), Alejandro López (The king), Lara Fabian (Delivery courier) along with the sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of Priestess, complete the cast of Aida.

Aida is an opera in four acts with music by Giuseppe Verdi and libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, and Radames, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, that she wishes for herself Radames.

The composer of Busseto discovers within himself the issues that most concerned him: the difficult father-daughter relationship, love versus honor and obligation, Y, especially, the war theme, the big nation that tries to crush the smaller ones.

Success of the guided tours of the Aida

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at rehearsals Aida next week. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

From the boxes of the Main Hall, the days 15 Y 16 February 50 people, for each shift, enjoy a part of the last rehearsals prior to the premiere of Aida he 25 February. Before the excellent answer, Les Arts will repeat this proposal on the occasion of the rehearsals of the next lyrical productions: Idomeneo, from Mozart, Kafka coffee, Francisco Coll, Y A Midsummer Night’s Dream, from Britten.