Annalisa Stroppa

One of the most established Italian singers on the international lyrical circuit, mezzosoprano Annalisa Stroppa, returns to Palma this June to bid farewell to the season of Teatre Principal in the Mallorcan capital. He will do it with the papers of La Musa, Nicklausse y Voice from the Grave, from Offenbach's opera The Tales of Hoffmann on his return to the French repertoire, in which he has achieved recent successes such as the inauguration of the season of the Teatro Massimo in Palermo with Carmen, Bizet, whose title role has also played before the Majorcan public.

Stroppa afirma hear "delighted” to get into the skin of the Nicklausse student, earthly appearance of the muse of poetry, who tries to guide, redirect and make reality see the lovesick Hoffmann. “I love playing male characters from time to time”, comments the mezzo-soprano: “it is a challenge that amuses me and excites me; As a mezzo-soprano I have played various roles in transvestite, like Orpheus, Cherub, Hansel, Romeo, Siebel, Stefano or Ascanio. I already know Nicklausse, because I was lucky enough to debut it two seasons ago at the Teatro San Carlo in Naples. He is a character who has a special weight in this exciting opera both on stage and vocally. In addition, in Palma some scenes that are usually cut will be recovered”.

Stroppa made his debut in Palma in “a delicate moment”, he comments, “exactly in March 2020, before the pandemic paralyzed the world. Esa Carmen It was the last production that I sang before living that difficult moment for humanity in which so many people died, especially in my land., Brescia (in northern Italy), which was initially the epicenter of the disease in Europe. The memory of the wonderful reception from the Majorcan public helped me get over it., so I have a huge desire to meet again with that passionate audience with a role so different from that of two years ago and in a land as beautiful as that of the Balearic Islands; singing in Spain is always a great joy: i love your audience, to its fantastic theaters, food, the people and the beautiful landscapes”, concludes. The production of The Tales of Hoffmann (8, 10 Y 12 of June) It has stage direction by Vincent Huguet and musical direction by Chinese teacher Yi-Chen Lin..

Annalisa Stroppa concentrates a large part of her career in the bel canto repertoire (Rossini, Donizetti, Bellini) and in that of French romanticism, but in his next commitments he opens himself to the first Verdi and his Preziosilla (The force of Destiny at the Verdi Festival in Parma) and she will also play her first Laura in La Gioconda, of Ponchielli, in Verona. All this before the important debut with Léonor de Guzmán, the star of to Favorites at the Donizetti Festival in Bergamo, the most important competition in the world dedicated to the Italian composer.

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Rule
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

Annalisa Stroppa

The Italian mezzo-soprano returns to the Madrid Coliseum now with Bellini's opera and playing one of her favorite characters in a season that will also take her to perform in Naples, Piacenza, Florence, Savonlinna Festival in Finland and Verona Arena Festival.

Adalgisa is a character of extraordinary purity”, affirms the Italian singer Annalisa Stroppa before her next Madrid commitment to opera Rule de Vincenzo Bellini. Born in Brescia, Stroppa has established itself in the programming of the great theaters of the international circuit and now has just arrived in Madrid to begin rehearsals for the Bellinian opera, summit of the romantic bel canto, that the Teatro Real has programmed. With stage direction by Justin Way and with Marco Armiliato on the podium, Annalisa Stroppa will assume the role of the young priestess on days 4, 7, 10, 13, 17 Y 19 March on the Madrid stage.

Every time I play Adalgisa I enjoy the experiences of this young priestess trapped in the nets of her first love. In her everything is ethereal and I see her as a great dreamer who, but nevertheless, matures throughout the opera due to the reality he faces, very far from your fantasies, because of Pollione's deception. He is a character full of nuances that I try to convey by immersing myself in all the feelings that the composer captured in the score”, the Italian half continues. “From a vocal point of view it is a difficult role to play and, at the same time, wonderful; I am clear that the beauty and weightlessness of Bellini's melodies help bring out the most intimate and profound feelings of the human being; his is undoubtedly the song of the soul, reason why i love his music”, concludes.

Annalisa Stroppa knows the character of Adalgisa very well, since he has performed it on large stages such as the Teatro Massimo in Palermo, Gran Teatre del Liceu in Barcelona, the Calderón of Valladolid, the Verdi Theater of Padua, el State Theater Wiesbaden, the Carlo Felice of Genoa, the Colon of Buenos Aires, the Bayerische Staatsoper in Munich or the Teatro San Carlo in Naples.

The Italian mezzo-soprano is excited to return to Spain, a country, assures, in which you feel "like at home. I love food, language, the character of the people… And it is one of the few countries where, despite the pandemic that has so negatively affected society, has known how to defend culture with open theaters, who are making great efforts to continue with their programming with all the necessary security measures. That is why I feel an immense desire to return before the Madrid public”.

After passing through Madrid, Annalisa Stroppa will continue with her international agenda that will take her to the San Carlo Theater in Naples to give life to Suzuki in Madama Butterfly, besides singing the Requiem by Verdi at the Municipal Theater of Piacenza, Preziosilla's role of The force of Destiny in the Maggio Musicale Fiorentino, his acclaimed Rosina from The Barber of Seville at the Savonlinna Festival in Finland and Fenena from Nabucco at the Verona Arena Festival.

Photography © Silvia Lelli

Annalisa Stroppa

Teatro Real

Annalisa Stroppa, Carmen

Few people have such an affinity with the vocalism of the Italian mezzosoprano Annalisa Stroppa as the protagonist of Carmen Bizet. He has sung in various scenarios since he debuted in 2011 en el Teatro Sociale di Trento (Italy) to resume at the Opéra-Théâtre de Limoges (France), Bregenz Festival (Austria) or season Alfredo Kraus of Las Palmas, always it is hailed by critics and the public. He explains, He is delighted to return to Spain, “even more so with such a fascinating character as the Gypsy of Bizet and assembly of Calixto Bieito, full of challenges for the performers”.

Brescia singer stresses that, for her, this myth represents Andalusian "a woman of exceptional modernity; It is consistent with his ideas, a free being who believes in everything he does and follows its own rules to the bitter end, even to the point of sacrificing his life. Is a character who has many facets, all the complex and fascinating time. We should not be the stereotypical idea of ​​the femme fatal cigarrera, because Carmen is much more than that; is a strong and vulnerable at the same time be and, definitely, candy artists we like to live intensely the emotions of the roles we play”.

And if the vocalism of the paper is to him as ring to the finger, considers that its affinity with the character so much about as a woman and interpreter.

The work will be offered at the Teatre Principal de Palma, In mallorca, the days 1, 4, 6 Y 8 of March, with the Valencian Manuel Coves on the podium ante Symphony Balearic Islands.

After his debut Mallorcan, Annalisa Stroppa will offer performances in Verona, Munich, Wiesbaden, Bregenz y Budapest, also debuting at the Savonlinna Festival Summer, in Finland.

Annalisa Stroppa

Home theater, Palma

Photograph: Carmen Bregenz

Annalisa Stroppa

After getting a great success in Carmen last course of the season Alfredo Kraus of the Friends of the Opera de Canarias (ACO), Annalisa Stroppa back in May to Las Palmas to play the delicious Dorabella, one of the protagonists of the coral Così fan tutte, a masterpiece of Mozart and trilogy composer Salzburg perform with Lorenzo Da Ponte as libretista. Stroppa, who has played the sympathetic sister Fiordiligi at the Teatro Regio in Turin (Italy, 2018), Saatsoper in Vienna (Austria, 2016), in the Rouen Opera Normandy (France, 2016) and the Teatro Verdi in Sassari (Italy, 2013), the character faces "Special illusion", since it is about "One of the most interesting roles conceived by Mozart for string mezzosoprano".

para Stroppa, Dorabella "It is a little woman who begins to understand that in the game of love no one is completely safe. The play, a comedy of tangles with a vision that today could even be branded sexist, It proposes a fun two girlfriends cheating sisters who exchange them their promised. Dorabella is the first to fall, perhaps being the most naive. In any case it has a wonderful music and arias, duets and ensemble numbers are endearing ".

Annalisa Stroppa got exactly a year ago, last season in Las Palmas de G. C., a great success as the star of Carmen Bizet. "This is a completely different character, and I love the canary public can see me in this most comical and relaxed side. I loved singing there and it is an honor to return. I'm sure ACO's friends get a new success with this fantastic opera by Mozart ".

Stroppa returns to the Canary Islands from Munich, where he has been Suzuki Madama Butterfly and Adalgisa of Rule, part of a hectic schedule that also has led to Naples (The Tales of Hoffmann), Berlin (The Barber of Seville), Padua (Cinderella) or Buenos Aires (Rule), a journey that, after Las Palmas will continue in the festival Chorégies of Orange (Don Giovanni), Parma (Nabucco) and Hamburg (Cinderella).

Info:

http://www.annalisastroppa.it/

http://www.operalaspalmas.org

Photo © Victor Santiago

With these words Annalisa Stroppa defines the character of the opera Rule Bellini will defend the days 2, 4, 5 Y 7 December in his anticipated return to the Teatro Colon in Buenos Aires: "Adalgisa is a fascinating role Norma faces of love, but who joins understand the drama that crosses ".

Italian mezzo-soprano debuted at the legendary Argentine scenario in August 2012 Hand Riccardo Muti (The two Figaro, Mercadante). "Singing in the colon is a great experience for any musician or singer, as it is one of the theaters with the best acoustics I've heard, and is also an immense and breathtaking beauty room”. Stroppa has not struck again in Argentina since that now distant debut. "It's been a long time and many characters from those unforgettable I due Figaro that took several cities with Maestro Muti and marked the beginning of my career, so it makes me especially excited that the public understood Buenos Aires to hear the vocal moment I am now living and has allowed me to expand my repertoire ", points singer. Italian interpreter, certainly one of the mezzosopranos that is most talked about on the international scene, It has gotten into the skin of Adalgisa Rule in various scenarios, from the Teatro Massimo of Palermo to Gran Teatre del Liceu in Barcelona, Passing through the Staatstheater Wiesbaden -together with Edita Gruberová-, the Teatro Verdi Padua or the Carlo Felice in Genoa.

Annalisa Stroppa land in Argentina after having played the lead character Carmen this summer at the Bregenz Festival (Austria), to Siebel Faust Gounod at the opening of the season of the Teatro Real Madrid and Fenena of Nabucco in Padua. His upcoming engagements include his return to Padua Cinderella, The Barber of Seville Berlin, his debut as Nicklausse of The Tales of Hoffmann in Naples, Madama Butterfly in Munich, he Stabat Mater Rossini in Verona and Così fan tutte in Las Palmas.

Annalisa Stroppa

Colon Theater

Photograph: Victor Santiago

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Faust
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

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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

Annalisa Stroppa

After inaugurating two consecutive seasons during the Teatro alla Scala in Milan with Madama Butterfly and Andrea Chénier, The Italian mezzo-soprano Annalisa Stroppa will participate in September at the opening of Teatro Real in Madrid as Siebel in Gounod's Faust raising the curtain on the Spanish lyrical Coliseum in a montage of La Fura dels Baus (days 20, 23, 27 Y 30 September and 3 Y 6 October). Before, the next 1 of September, the cycle Summer Music Nights in Zaragoza organized by the Government of Aragón and producing the Opera association Aragon, again give a boost to the international lyrical in the region with a recital with which Stroppa debut in the city. Recent winner in the title role of the opera Carmen in the season of Las Palmas -character resume this summer at the Bregenz Festival (Austria) in the production of Kasper Holten she herself premiere last summer-, Annalisa Stroppa will perform at the Museum of Zaragoza, next to the piano Aurelio Viribay, arias and songs by Ravel, Massenet, Bizet, Granados, Rossini, Donizetti y Luna. The latter Italian singer wanted to include a zarzuela aria, "In Spain I come", of The Jewish child.

In future commitments, Italian mezzo be consecrated Adalgisa Norma at the Teatro Colon in Buenos Aires, Rosina the Barber of Seville and la Unter den Linden the Berlín, Suzuki in Madama Butterfly at the Bayerische Staatsoper in Munich and Nicklausse Les Contes d'Hoffmann of the San Carlo in Naples.

http://www.annalisastroppa.it

Annalisa Stroppa

Annalisa Stroppa returns to the stage La Scala in Milan for the opening of the season 2016-2017, this time playing the delicate role of Suzuki in Madama Butterfly, masterpiece of Puccini. “I am very happy and I feel very honored to participate in the prestigious season opening of La Scala”, said the mezzo born in Brescia, which earlier this year and in the same theater sang Maddalena in Rigoletto.

Now back under the direction of teacher Riccardo Chailly in a production of Alvis Hermanis, a role he has sung at other times: that of faithful servant and confidant of the unfortunate Butterfly, a role with which he made his debut at the Opéra National de Paris, in the legendary production Robert Wilson. For the Italian interpreter “Suzuki is a very positive character, tender and accomplice. The relationship established between her and chief Ciò San is quite special: Butterfly is alone, disowned by family and abandoned by Pinkerton, and the only person who is faithful to his side is Suzuki, who, like a sister, understood, It protects and supports until the end “.

The performances of Puccini's popular opera at La Scala last until 8 from January; rear Annalisa Stroppa participará en Falstaff -como Meg Page-, always in the Milan stage, and under the direction of Zubin Mehta; Opera Verdi It will be featured in the acclaimed production directed by Damiano Michieletto.

Italian mezzosoprano then await commitments to the Opéra de Monte-Carlo (The Barber of Seville), with the Bregenz Festival (Carmen) Y, once again, with La Scala in Milan (Nabucco).

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Annalisa Stroppa

The last commitments of the Italian lyrical singer Annalisa Stroppa they have brought it with great success to the public of the Liceu Barcelona, last November, to play the role of Ascanio in the under-represented opera by Berlioz Benvenuto Cellini, under the stage direction of the Monty Python Terry Gilliam, and the Israeli Opera in Tel Aviv, between 12 March and 2 of April, debuting as the protagonist of Cinderella in the eponymous opera by Rossini.

In May the agenda of the young mezzo-soprano will mark her return to Spain to resume the role of the beautiful, flirtatious and determined Rosina, the female lead character in The Barber of Seville, also Rossini, with which he will debut in the season of the Bilbao Association of Friends of the Opera (ABAO-OLBE) the days 14, 17, 20 Y 23 of May.

«I am very excited about my debut before the Bilbao public», says the singer, «Mainly because I do it in a role that I love a lot and, even more, because it will be done in the captivating production of the bravisimo stage director Emilio Sagi, with whom I have already been fortunate to work on various occasions. In the musical direction will be the teacher José Miguel Pérez-Sierra, great Rossinian and with whom I will work for the first time ».

The friendly -and difficult- character is not new to Stroppa, which has been closely linked to his career. It debuted in Rome in 2012 directed by a whole authority in bel canto such as maestro Bruno Campanella; later it has retaken the role in various international theaters such as the German opera of Berlin, the Lausanne Opera (Switzerland), Gran Teatre del Liceu in Barcelona, the Tel-Aviv Opera or the Verona Philharmonic Theater, obtaining great applause and praise from both the public and critics, who has defined it as "Magnificent" (Opera News), «A Rosina from manual» (The reason), "The best of the cast" (The musical bee. with) and «Excellent: it is a pleasure for the eyes and ears » (Teatrionline.com).

Future commitments will take her back to Spain, when in June he sings in Menorca Fenena del Nabucco verdiano, and the Teatro Real in Madrid, in July, as Enrichetta of I Puritani. Later he will return to the Teatro alla Scala in Milan (Italy), then as Suzuki from Madama Butterfly.

Info:

http://www.annalisastroppa.it

 

Stroppa

Having opened the season 2015/16 a double debut, singing the role of Suzuki (from Madama Butterfly) in the National Opera of Paris, The Italian mezzo-soprano Annalisa Stroppa returns this course to the public of the Gran Teatre del Liceu from Barcelona to play the role of Ascanio in the underrepresented opera by Berlioz Welcome Cellini. The singer debuted in the Catalan coliseum in 2014 as the protagonist of the inaugural opera of the Barcelona course, conquering the hearts of the public and critics with her endearing Rosina de The Barber of Seville, from Rossini. In the same season he returned to offer his intense Adalgisa in the popular Rule from Bellini, showing off his talent once again, the velvety color of her voice and the warmth of her homogeneous register.

Welcome Cellini it will be, Without a doubt, one of the hits of the season, since Berlioz's opera will have the stage direction of Terry Gilliam, of the famous group of English humor Monty Python. The musical director of the Gran Teatre will be on the podium of the Liceu Symphony, Josep Pons. They will share the stage with the Italian singer John Osborn, Kathryn Lewek, Maurizio Muraro, Ashley Holland, Francisco Vas Y Esteve Manel.

After his engagement in Barcelona, Annalisa Stroppa will once again travel to La Scala in Milan to participate in Rigoletto (Maddalena), to Tel Aviv as the protagonist of Cinderella, to return to Spain, to Bilbao, with his Rosina The Barber of Seville and the Royal Theater of Madrid to participate in I Puritani (Henriette of France).
Info:

http://www.annalisastroppa.it/

http://www.liceubarcelona.cat/season-15-16/opera/welcome-cellini / presentacio.html

Stroppa

The Italian mezzo-soprano Annalisa Stroppa, after opening the season High school of Barcelona ehe last course, will inaugurate the Opera National de París in September with a double debut: It will be his first performance at the Opéra Bastille, en un rol Puccini; it will be as Suzuki, de Madama Butterfly, one of the few major roles conceived by Puccini for mezzo-soprano string. “We talked about one of the most performed operas in the world, not only for the beauty of music, but because of the intensity and magnitude of the story it presents and that touches the deepest human feelings”, afirma Stroppa. “Puccini dives deep into the human heart in search of feelings about love. It speaks of feelings that have no limits and that are universal”. Italian Como, Stroppa sees this story set in the East as likely to take place anywhere and at any time. “The drama of an impossible love can happen to anyone, And I'm not just talking about the love of a couple, but two worlds and cultures so different: Pinkerton appears as an American, shallow and cynical; her, japanese, she is a young woman, fragile and in need of love; would say that love is his religion”.

The success of the opera is closely linked to the empathy that Butterfly awakens: “He dreams and lives in his own world made of imaginary feelings and expectations.. Live a platonic love, a dream far from a reality too cruel. Puccini's music reflects all this and makes the heart speak. It also impresses the relationship he has with his dead father, that seems to be present in every action and thought: Cio-Cio-San has only 15 years old and her father died when she was a child. In Pinkerton she sees the affection that she lacked in her childhood and looks for a man who can protect her and love her.”.

Suzuki is in charge, next to Butterfly, one of the most beautiful moments of the opera, the flower duo: “It is drenched in exoticism and innocent hope. Puccini was never in Japan, but he was able to reconstruct in this duo an enchanting exoticism in which the aroma of cherry blossoms is breathed, a pictorial-musical picture in which voices and images are intertwined”. Suzuki, actually, “She is not only Butterfly's maid, he is like a sister to her. Despite knowing the truth, he stays with her until the end and protects her.”.

Annalisa Stroppa will be Suzuki in Paris between the 5 September and 13 October. Soon he will return to Barcelona as Ascanio in Welcome Cellini; will be Magdalena in Rigoletto in La Scala in Milan, the star of Cinderella in Tel Aviv, Rosina de The Barber of Seville in Bilbao and Queen Enriqueta of I Puritani at the Teatro Real in Madrid.

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Annalisa Stroppa

The Italian mezzo-soprano Annalisa Stroppa will get back into the skin of Rosina this April, personaje and star of The Barber of Seville, Rossini, that has brought him so much success in his unstoppable international. It will do so in a new production of the Fondazione Arena di Verona in the Teatro Filarmonico of that Italian city, mounting coproduced with Operabalet Maribor Theater and Maggio Musicale Fiorentino (days 12, 14, 16, 19 April). “I love this character, fundamental in the romantic bel canto, a style that suits me very well even though it demands great technical and interpretive quality, since it's pure vocal athletics”, claims the singer who debuted the role in Rome in 2012 and under the baton of a renowned bel canto player such as the master Bruno Campanella. Despite her youth, Annalisa Stroppa's Rosina has penetrated deep wherever she goes, repeating success in Berlin opera houses, Lausanne, Barcelona o Tel-Aviv.

In this return to Rossini, Stroppa will be directed by the teacher Stefano Montanari in this new production with the rule of Pier Francesco Maestrini. In future commitments, Annalisa Stroppa will sing at the Teatro Regio in Turin (Hansel and Gretel de Humperdinck), the Teatro alla Scala in Milan (Otello de Rossini) and at the Opéra National in Paris (Madama Butterfly de Puccini).

Stroppa

the mezzosoprano Annalisa Stroppa continues its unstoppable international career taking on new projects. Recognized for its stylistic adequacy romantic bel canto, for his prodigious timbre and phrasing, Italian interpreter has earned a place of exception in the main European stages. After starting the course inaugurating the season in the Gran Teatre del Liceu Barcelona with his acclaimed Rosina (The Barber of Seville, Rossini) and resuming the character in Tel Aviv between November and December, the young singer will return to Barcelona in February
interpret Adalgisa in Norma, Bellini, paper immediately after, already entered March, also she sings at the Calderon Theater of Valladolid. “I love Spain”, says the singer: “His art, your kitchen, music, the language and its people, gentle and always available. I also love the music of Bellini; his is the song of the soul. The Bellini melody
find out the most intimate and deep feelings of human beings, for this I am very happy to present my Adalgisa the Catalan public and Valladolid; It is a difficult role, but really wonderful. Adalgisa is a girl trapped in the nets of his first love, but it grows and matures during the opera. It is a dreamy girl, who suddenly finds face with the harsh reality and deception of Pollione. It's great to give voice to a character so pure; every time I play Adalgisa attempt to convey all the nuances”.

Stroppa in March and April will participate in a new production of Cavalleria rusticana sensual role playing Lola in the Salzburg Easter Festival sharing the stage with Jonas Kaufmann before getting back into the skin of Rosina, this time at the Teatro Filarmonico of Verona. At the Teatro Regio in Turin, in May, será la protagonista de Hansel and Gretel, month in which it will debut at the Opera de Tenerife Smeton playing in Anna Bolena with Celso Albelo Y Mariella Devia. In July waiting one of the milestones in his career: debut at the Teatro alla Scala in Milan, always with a masterpiece of bel canto as Rossini's Otello giving life to the character of Emilia next to the tenors Gregory customer Y Juan Diego Florez.

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