‘Morning at the Arts

The teachers of the Orchestra of Valencia open this sunday, 21 of November, to 12.00 h, the ‘Mornings at the Arts’ cycle.

The Main Hall reopens its doors on Sunday mornings with this activity, that allows citizens to enjoy their first experience in the theater from its most emblematic space.

For only five euros, Arts offers to discover its artistic activity from the hand of its main assets and contemplate a costume exhibition of the most acclaimed productions of the theater.

This time, the Orquestra de la Comunitat Valenciana, in string chamber formation, interprets for this musical matinee a program that pays tribute to the Valencian Francisco Cuesta, who is celebrated in 2021 the centenary of his death, with the work 'Suite in ancient style'.

The musical proposal is completed by pages of outstanding contemporary composers: ‘Suite Holberg, on. 40' from Edvard Grieg, ‘Serenade for Strings, on. 20' from Edward Elgar y ‘Simple Symphony, on. 4' from Benjamin Britten.

As a complement to ‘Matins a Les Arts’, the Main Lobby houses an exhibition with costume pieces from the first Les Arts production of an opera by Benjamin Britten: ‘A Midsummer Night’s Dream’, under the stage direction of Scotsman Paul Curran.

Peter Grimes

The new production Peter Grimes, Benjamin Britten, currently on stage at the Teatro Real, with great public and critical success, can be followed throughout Spain next weekend.

My Opera Player will issue the penultimate performance of the opera, he Friday, 7 of May, to 19.00 hours. It is a unique occasion, since the opera can only be seen live, both by subscribers and by those who acquire the ‘Direct ticket ’. After the function is finished, the recording will not be part of the platform's catalog.

The next day, Saturday, 8 of May, to 19.00 hours, Peter Grimes will reach countries throughout Europe through the recording made by Classical Radio, the RNE last 24 of April, which will be issued in Spain and offered through the A CHILD (European Broadcasting Union).

The new production of the Teatro Real, co-produced with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma, and released the past 19 of April, it is having a huge national and international repercussion, not only because of its great artistic quality but also because of the challenge it entailed to carry it out in the current context of the pandemic.

Your artistic team -with Ivor Bolton in musical direction, Deborah Warner in the direction of scene, Michael Levine in the scenery and Kim Brandstrup in the choreography- is the same one that triumphed in 2017 with Billy Budd, also by Britten, become the most awarded production of the Royal Theater.

In the choral cast of this opera stand out, in their respective roles, the tenor Allan Clayton as Peter Grimes, soprano Maria Bengtsson as Ellen Orford, and baritone Christopher Purves as Captain Balstrode, seconded by Clive Bayley (Swallow), Jacques Imbrailo (Ned Keene), Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical, and the Head of the Royal Theatre Orchestra, that is immersed again in the colossal music of Benjamin Britten under the baton of its musical director, Ivor Bolton.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

© Javier del Real | Teatro Real










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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Peter Grimes

Between 19 April and 10 of May, Royal Theatre offer 9 functions from Peter Grimes, Benjamin Britten, new production The Royal Theatre in co-production with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

When in 1941, during world war II, Benjamin Britten (1913-1976) and his inseparable partner, the tenor Peter Pears, they were in california, discover the work of the English poet George Crabbe (1754-1832) what, as Britten, he was born in a town on the Suffolk coast, scene of all his stories. Such was Britten's identification and empathy with that world so close and longed for, who decides to return to England driven by a revealing feeling of belonging and roots that lead him to take up residence, forever, in those lands on the shores of the North Sea. The unfortunate Peter Grimes also lives there, poem character The Borough, the Crabbe, that Britten decides to transform into an opera, sketched, with the help of Pears, during the boat trip that the two made back to their homeland.

In England, where homosexuality was penalized, A difficult life awaited them in which they would have to hide their love from the well-thought-out society. This fact underlies the opera and almost all of Britten's operatic production., starring unfathomable beings, dark, generally opposed by innocent victims.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

For this, it has a cast in which the debut stands out, in their respective roles, tenor Allan Clayton (Peter Grimes) and the soprano Maria Bengtsson (Ellen Orford), and the return to the Royal Baritone Theater Christopher Purves (Captain Balstrode), star of the world premiere of The Perfect American, de Philip Glass, in 2013 and Written on Skin, George Benjamin, in 2016.

Two interpreters who performed in Billy Budd in 2017: Jacques Imbrailo, opera protagonist in 2017 and now playing the role of Ned Keene, Y Clive Bayley como Swallow. Accompany them Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical. He will perform alongside the Head of the Royal Theatre Orchestra, under the direction of its musical director Ivor Bolton.

Benjamin Britten has occupied a privileged place in the Royal Theater's programming since its reopening. In 1997, two months after reopening, Peter Grimes got a great success, in a production with stage direction by Willy Decker from the La Monnaie Theater in Brussels, with its titular choir and orchestra conducted by Antonio Pappano. They have followed him Summer night Dream (2005/2006), The rape of Lucretia (2007/2008), Another twist (2010/2011), Death in Venice (2014/2015), Billy Budd (2016/2017), Gloriana (2017/2018) and children's works The Little Sweep (2004/2005, 2005/2006 Y 2007/2008) Y Noah's flood (2007/2008).

All these works attest to the immense musical and dramaturgical talent of Benjamin Britten as an operatic composer., who has expressed through his characters the dramas, dreams, traumas, deepest and most unspeakable passions and concerns of the individual, with deep compassion for the miseries of the human condition.

Photograph © Javier del Real | Teatro Real


He Teatro Real It has been nominated for the International Opera Awards 2019 in the category from Best New Production by Gloriana, from Benjamin Britten, whose stage direction he was in charge of David McVicar, who was assisted set designer Robert Jones and costume design Brigitte Reiffenstuel.

In the last edition, Teatro Real was the award winner in the same category with Billy Budd, Also the British composer, directed by Deborah Warner scene, and he earned three more nominations for Best Choir, Better recovery of a Work (Bomarzo, Alberto Ginastera) and Best Opera Company.

He Teatro Real will have to compete for the prestigious award made to the Royal Opera House (From the House of the Dead, L. Janacek, directed by Krzysztof Warlikowski scene), the Dutch National Opera (Jenůfa, L. Janacek, directed by Katie Mitchell) he Champs-Elysées Theater (La traviata, G. Verdi, with address Deborah Warner), the Berlin State Opera (Tristan and Isolde, R. Wagner, por Dmitri Tcherniakov) Y Glyndebourne (Vanessa, S. Barber, directed by Keith Warner).

Gloriana, It premiered at the Teatro Real 12 April 2018 in co-production with the National Opera Inglés and Vlaamse Opera (opera Flamenca) Antwerp, with musical direction Ivor Bolton, and scenic David McVicar. Production attended an extraordinary cast led by double Caterina Antonacci and Alexandra Anna Deshorties, in the role of Queen Elizabeth I, and Leonardo Capalbo and David Butt Philip, como Robert Devereux. Joining them were the Choir and Orchestra Headlines the Royal Theater and the Little Singers of JORCAM.

McVicar places the Queen in the center of a palatial corrupt and hypocritical world, it controls with an iron, to the same extent that it is carefully guarded by subjects and courtiers, in a Europe immersed in religious strife and territorial. Elizabeth moves in the refined and conceptual scenery Robert Jones, which emphasizes the acting work of interpreters, and the rich Elizabethan costumes designed by Brigitte Reiffenstuel, inspired by paintings from the National Gallery in London, which assumes an almost theatrical character.

Just a few days ago the Royal Theater getting two awards at the first edition of the Opera XXI Awards with Goriana, in the category of new operatic production, Y The soldiers, by stage director Calixto Bieito by.

Photograph: Javier del Real

Gloriana 1 Real

Gloriana 2 Real
Gloriana 3 Real

Gloriana 4 Real
Gloriana 5 Real

Gloriana 6 Real
Gloriana 7 Real

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

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

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

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

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

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

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











The five performances of Peter Grimes that have taken place in the Palau de les Arts, They have resulted in a major victory, because of the excellent combination of scenery, stage direction, a magnificent orchestral performance, magnificent performance of the solo voices, well complemented by a remarkable interventions of other performers that make up the extensive cast of this opera. Y, especially, a brilliant performance as always- Choir of Valencia Generalitad, true protagonist of the work. Highlight, Inter Palace of Arts, alternate titles for the more traditional repertoire, others like this Peter Grimes, which is complemented by two other operas by Britten: A Midsummer Night's Dream and Another twist, represented in previous seasons. Definitely, in the course of these performances of Peter Grimes, the public interest in attending them has increased, especially for the excellent reception given to the first function.

Edward Benjamin Britten, Baron Britten (Lowestoft, Suffolk County, England, 22 November 1913 – Aldeburgt, Suffolk County, 4 December 1976) It was one of the most important and unique musicians of the twentieth century, with a major symphonic production, concertística and especially operas with thirteen titles, which place him as a great composer genre, during the past century, junto a Richard Strauss, Leos Janacek and Giacomo Puccini. Peter Grimes emerged as Sergei Koussevitzky commissioned, director of the Boston Symphony Orchestra, Britten during the stay in the US, between 1939 Y 1942. Con a libretto by Montagu Slater from del poema The Borougt (The village) de George Crabbe, where also they involved significantly, Britten himself with the tenor Peter Pears (collaborator and life partner Britten) who he was destined for the role of Peter Grimes. The premiere took place at London's Sadler's Wells Theater the 7 June 1945, only one month after the conclusion of World War II. In the euphoria of victory achieved by Britten and Pears, pride representing the birth of a new English opera was added, the first since the death of Henry Purcell 1695 or the last play of Haendel 1741. Peter Grimes is a lone fisherman, dreamer and both primitive and brutal, totally marginalized by the social environment inhabited, and only try and respect the teacher Ellen Orford Village, in love with him and Captain Balstrode, old retired navy. Grimes lost and accidentally successively three of his apprentices, which leads him to madness and a tragic end. Britten tried a recurring theme in most of his operas: the drama of outcasts faced with a hostile society, hypocritical and cruel exterminating just. Musically it is a prodigious work, full of imagination, wit and eclepticismo, wherein shake hands various influences: Verdi, in fusion orchestra, voice and dramatic situation; Debussy, Mahler y Richard Strauss, in the harmonic and orchestral color painting; Stravinsky, in the imposing rhythmic force; Puccini, especially his Fanciulla del West. As well, It should be noted certain influences of Dimitri Shostakovich Lady Macbeth, who was a great friend of Britten, dedicating his Symphony No. 14. In its formal structure, clear divisions shown recitativos, arias, duos and set numbers, with admirable dramatic unity and an orchestral role waving dramatic tension and links the seven scenes of the opera with six symphonic interludes powerful effect.
After his first London functions, and in just three years, Peter Grimes premiered in Stockholm, Antwerp, Zurich, Paris, Milan, New York and Los Angeles. His very late release in Spain took place at the Teatro de la Zarzuela in Madrid 1991 and later he was represented at the Teatro Real in Madrid, in 1997. After its strong momentum, the opera was poorly represented in the fifties of the last century. From 1963, will return to the scene of his debut at London's Sadler's Wells Theater, directed by Colin Davis, who will become since then and for more than forty years, in Peter Grimes great Guaranty. There are several recordings on CD and DVD, enabling an approach to this opera. In 1958, the first studio recording was made for Decca, with the London Symphony Orchestra conducted by Benjamin Britten himself and an excellent Peter Pears as Peter Grimes. In 1969, the BBC made a film, superbly set, directed by Brian Large, currently marketed on DVD by Decca, Britten again in front of the London Symphony Orchestra, Ambrosiano Choir and Peter Pears, linking his great vocal performance an extraordinary performing arts, next to Ellen Orford, superbly played by soprano Heather Harper, who for many years will be the true benchmark of this character. Canadian tenor John Vickers first played Peter Grimes, in January 1967, in the Metropolitan New York, with musical direction of Colin Davis, since become, a key role in his repertoire, coming to interpret it for the rest of his career, in over a hundred functions, in major theaters around the world. Creating Vickers is excellent in the vocal plane, exhibiting a proven and incisive phrasing and equipping its expressive performance, highlighting the wild and crazy side of the character. Vickers made a studio recording for the label PHILIPS, in 1978, junto a Heather Harper, directed by Colin Davis at the helm of the Orchestra of Covent Garden. There is a take on video DVD sold by WARNER MUSIC, from 1981, performed at Covent Garden, production of the famous stage direction by Elijah Moshinsky and musical Colin Davis, where Vickers makes a retrospective creation of Peter Grimes, again accompanied by Heather Harper. Peter Pears o John Vickers, They are the largest Peter Grimes history, his creations are very different but complementary to give a complete picture of this complex character.

Valencianas these functions has been used historical production 1994, para el Bruselas currency Theater, dirigida por Willy Decker, which could already be seen in the Teatro Real in Madrid 1997. This has been François replacement of carpentries and Rebekka Stanzel, those responsible for the stage direction, with excellent results. The simple set design consists of a sloped floor where some large panels ranging delimiting different spaces move: church, Grimes's hut; Y, playful Tavern, with red hues that give a disturbing aspect, enhanced by the superb lighting design Trui Malten, especially when the door and a distorted shadow of Grimes opens projected on the wall, with a clearly expressionist tone. Y, especially, that seabed, more intuited that displayed, which dominates the whole work. In this scenery play a very important role numerous extras (protagonists and chorus members) moving on stage in compact groups, giving real boost to the development of dramatic action. scenically highlight the entire end of Act II, where, they are mixing with others visible spaces off: the party that forms the door with all the notables of the town, driven by the carrier Hobson drumming, towards the hut Grimes, and disappears from the scene, where there are only, in a first plane, four women: The Tabernera Auntie, his two nieces and Hellen Orford; Y, upstage can be up right and left dark silhouettes, as a birds of prey other women, finally they make a dark and stalker group, which it acts as a counterweight to the four women lying in the foreground perfectly visible. The dramatic action continued at the start of Act III, in another visible space: the cabin where are Peter Grimes and grumete, who begin to hear the drum sound announcing the arrival of the delegation cited above, which causes great disruption to Grimes, who forces the boy to fall into the sea off a cliff, where just despeñando; Grimes will help him (another scene off.) leaving the empty cabin, in which the party breaks, and again displayed. also note, the stunning end of the first part of Act III, scenically very well resolved, showing a vociferous and madding crowd, compact group, you want to lynch Grimes. In sum, a magnificent scenery of John Macfarlane, also responsible for costume design (based on black and red colors) while suitable -to 1830- in which the action takes place.

Orchestra of Valencia shone high, directed by American Christopher Franklin, to whom blame can not properly care for the dynamics, with a propensity to offer, at times, a sound somewhat flat line, using excessively sound in forte. This was illustrated, especially in the great "orchestral tutti", where some difficulty perceived in differentiating sound levels, with influence of metals on the remaining sections. This is no obstacle to highlight the magnificent performance of all orchestral sections, with a magnificent string, and the great brilliance of different instruments, especially in those precious "Sea Interludes": the first of them, "Dawn (Dawn)"As a prelude to Act I, descriptive in nature, where shines greatly the sound of flutes and violins in high register (very present during the development of the entire first scene of Act I) suggesting the flight and the cries of the seagulls or the combination of clarinets, violas and harp to show the flow of the waves. In the fourth interlude the famous "Passacaglia", located between the two scenes of Act II, with outstanding interventions of metals in conjunction with rope, and tubes with the harp or the brilliant finish sound confluence viola and celesta going to disappear fading. Very bright the implementation of the fifth Interlude "Moonligh (Moonlight)"Begins with Act III, with the impressive sound of the string as a funeral march which are inserted, at times, flute and piccolo and metals are incorporated in a large crescendo, to conclude with the sound set of xylophone and harp. also note, at the conclusion of Act II, conjoined sound of bassoons and celesta. Impressive orchestral sound in conjunction with the choir, in the concertante which concludes the first scene of Act III.

Gregory Kunde played for the second time Peter Grimes, the first was in Rome Opera 2013, and their performance was very noticeable in the vocal level and especially in the dramatic, penetrating the psychology of this complex character. Very well in his soliloquy in Act II "Now the Great Bear (Now the Big Dipper)" where, looking at the stars, meditates on his unhappy fate. Interprets notably in Act II aria "In dreams l'looks built (In my dreams he had built)"Where alternate moments of great lyricism, with those typical very Puccini inflections, with others where the song takes on aggression and violence. Y, It is very bright, with a very nuanced and theatrical performance, its final soliloquy "Steady! There you are……What harbour scheters peace (Calm! You are here!……What port it is possible to find peace?)"Where ya, completely crazy thinking, again, in that sad fate of which can not escape, and just sobbed and full of despair. Kunde is magnificent in duets Ellen Orford: which they interpreted a cappella, in the Prologue, full of hope, where both make plans for the future, with a delicate ridge line; Y, especially, the Act II, where they are contrasting serenity and sanity Ellen with violent and irrational behavior of Peter. Notable her performance in the great duet of Act I, with Captain Balstrode (well played by baritone Robert Bork) Grimes states where all your dreams and hopes and the great contradictions of his personality, in contrast to the realistic and accurate vision of Balstrode, who with his advice to Grimes, shows the great esteem he feels for him. American soprano Leah Partrigge shows certain deficiencies in the low and middle registers, but it is in possession of a sharp excellent and great theatricality that gives its interpretation. It is magnificent in its confrontation with the crowd, in Act I, and makes a wonderful and nuanced performance with exquisite singing line, in his aria in Act III "Embroidery in chilhood (when she was little)”, followed duo with Balstrode. also highlight its great performance in the beautiful quartet acute-a reflection of the role of women in relation to men- with Auntie tabernera (discreetly interpretada por la means Dalia Schaechter) and two well sung by sopranos nieces and Giorgia Rotolo Marianna Mappa, both belonging to Placido Domingo Development Center. Rosalind Plowright made an important career as a soprano in the seventies and eighties of the last century, combining a good vocalism and a great stage presence. Here as mezzo and sensitively aged, makes a remarkable interpretation of the gossipy and spiteful Mrs. Sedley. While the rest of the large cast.

Special mention Valenciana Choir Generalitad, shining a high level during his numerous interventions throughout the opera. Notably his performance in the course of the first scene of Act I, and that, in a perfect symmetrical structure, also closes the opera, when Ellen Orford and Captain Balstrade, after tragedy, re-integrate into the community dynamics. Anyway, an excellent Peter Grimes.

Peter Grimes de Benjamin Britten.

He Palau de les Arts Reina Sofia opens Friday, 1 February, ‘Peter Grimes’, Benjamin Britten, one of the masterpieces of the twentieth century, plus the best English opera from 'Dido and Aeneas' by Henry Purcell (1689). Christopher Franklin, in the pit, Y Willy Decker, as a stage director of this production of La Monnaie Theater (Brussels), They address the first opera Les Arts in 2018. An event that involves, Besides, the stage debut Gregory customer in the role of tormented sailor, stigmatic, persecuted and doomed to suicide for alleged abuse their apprentices.

Specialists in the English repertoire accompanied on stage: Leah Partridge (Ellen Orford), Robert Bork (Balstrode), Dalia Schaechter (Auntie), Andrew Greenan (Swallow), Charles Rice (Ned Keene), Ted Schmitz (Reverend Adams), Richard Cox (Bob Boles) Y Lukas Jakobski (Hobson), along with the legendary diva Rosalind Plowright in the role of Mrs. Sedley.

Benjamin Britten addressed in 'Peter Grimes' two recurring themes in his legacy: the confrontation of an individual with society and the loss of innocence. Through the figure of the protagonist, English composer explores the psychological effects of exclusion on those who contravene the conventional codes.

This point was the musical director, Christopher Franklin, It is highlighting the "contemporaneity" of the work. "It's not an opera about myths, nor about dragons, princesses, cuts or kings ... but it is an issue that, nowadays, It is still very current, how society, like an everything, reacts against an individual ".

musically, Benjamin Britten boasts a great dramatic flair to unite on the staff different environments by transiting 'Peter Grimes', from raves to outbursts Fisherman, folk songs at the inn Auntie, Sunday storm or singing in church, giving the sea an unusual prominence as a character played by the orchestra, continuous and present witness human drama.

Franklin, who runs his second work by the English composer in Valencia after 'The Turn of the Screw' in 2017, It adds that it is "almost Wagnerian opera, in the sense that the chorus as the chorus used in Greek theater: It is a reflection of society ".

After his celebrated 'clock Traviata', that wowed at the Salzburg Festival and arts center scheduled within the bicentenary of Verdi, Willy Decker presenta ‘Peter Grimes’. A dedicated mounting Director, with scenery and costumes by John Macfarlane, Trui Malten lighting and choreography by Athol Farmer, which he has received unanimous praise from critics and audiences since its premiere in 1994.

Decker emphasizes the role of the sea in its proposal, a sea that "determines in its violence the behavior of men". Their violence is reflected in the violence of men and their deeds: the land and the sea, the man and the nature, They are caught in the grip of each other ... In all feelings, mainly in anguish and desires, It is always present ".

For staging, the 'regista' German uses images of "its vastness and violence and represents the effects produced by the sea in the souls of men".

"A paper with dreams all tenor"

Since she sang her first 'Otello' in Spain under the direction of Zubin Mehta at the Mediterranean Festival of 2013, Gregory Kunde is one of the artists of reference in programming Les Arts, destacados with debuts in Valencia, Don Alvaro in 'La forza del destination' or the leading role in 'Samson et Dalila'.

The American tenor and sang in 2013 concert version of this opera under the direction of Antonio Pappano. A performance that earned him comparison with himself Sir Peter Pears, tenor and lover Benjamin Britten for the English genius composed this paper, and who premiered the work the 7 June 1945 at Sadler's Wells Theater in London.

At his first performance of 'Peter Grimes', Kunde equate character with another determining factor in your current career. "For me it's like 'Otello' by Verdi: a role with which all dreams tenor ".

"It's the best job he continues Britten. We know many other titles: ‘Death in Venice’, ‘Billy Budd’… but, In my opinion, This is the masterpiece of his operas. And speaking of century XX, I would say that is one of the five best of the century. Nobody considers modern opera, because it has become part repertoire, which it is fantastic ".

Leah Patridge encarna a Ellen Orlford, the master of the people and the most fervent defender of Grimes. This is his second visit to Les Arts after singing the role of Helena in "A Midsummer Night's Dream 'in 2016 Roberto Abbado.

American soprano believes that singing Britten's work is "life changing experience". "Once with your musical skills you manage to appreciate and Benjamin Britten work, You feel like another world accedieras expression ", Explain.

"Every time I hear this work amazes me how he could think of writing… The way that captures the sea, the morning, Plasma how the scene at the inn Auntie ... In his music, everything is very visual. There really creepy moments and other provocateurs. I never get tired of listening to this music, or cantarla ".

Rosalind Plowright plays Mrs. Sedley, "Bad history", in the words of the diva own, which deals with this paper what she calls his "third career" after 35 successful years on stage.

Brilliant soprano 'pushed', subsequently converted into 'mezzosoprano' and now specialized in character roles, Mrs. Sedley qualifies as "someone nasty, very unpleasant".

"She exaggerates everything much more, and really he wants to sink Peter Grimes ", apostil.

Les Arts premiere 1 February 'Peter Grimes', the second title of Britten presented in the Main Hall, después de ‘A Midsummer Night’s Dream’. The remaining functions will take place on 4, 7, 10 Y 13 of that month.

The Turn of the Screw

The Palau de les Arts Reina Sofía It delves into the phantasmagoric world of 'The Turn of the Screw, from Benjamin Britten, which has released the 2 of June, at Martín y Soler Theatre. Davide Livermore, Mayor of Les Arts and responsible for the staging, Y Christopher Franklin, director musical, They presented the third and final new production of the season 2016-2017 The Arts, interpreting artists Centre Plácido Domingo.

The Turn of the Screw’, as he has explained Davide Livermore, It is "a masterpiece no quibble", it is not only interesting "for their courage in training interpreters Center", but also "for its appeal to bring new audiences to the opera".

"Britten is a key figure to show people that the opera speaks today: gender violence, child sexual abuse or debate on the death penalty ", Livermore points.

Based on the very famous horror novel by Henry James, 'The Turn of the Screw' is the haunting story of a nanny, one housekeeper and two orphans beset by ghosts in a world where ambiguity circulates everywhere.

“The Turn of the Screw – según Livermore- He speaks of a situation we see today constantly: The end of innocence. Nowadays, in the media, on the street, we find children imitate adult roles thus losing their childhood. In Britten we can see the damage that can be inflicted on a child who steals innocence ".

Benjamin Britten composed a score and theatrical desasosegante, with a theme and variations of this fifteen, for a chamber orchestra 13 musicians. The libretto was written by Myfanwy Piper. Commissioned by the Venice Biennale, the premiere of 'The Turn of the Screw' took place at the Teatro La Fenice the 14 September 1954.

Christopher Franklin returns to Les Arts recognized after debut last season with 'Café Kafka', from Francisco Coll, and 'Jeanne d'Arc au bûcher', Honegger. Says the American director, "Benjamin Britten is a very distinctive composer, only hear two measures need to recognize one of his works ".

'The Turn of the Screw' means, in the words of the master- "A challenge". "We have young singers, with very beautiful voices, They are singing for the first time Britten. The goal is English and learn to sing in English with difficult rhythms, complicated melodies and entrances to learn. The challenge is not only musical because it is a work of strong dramaturgy ".

In this sense, Davide Livermore has stressed the great value of the singers of the Center Plácido Domingo to sing and interpret a work that addresses "a delicate and dangerous issue like sexual abuse of children", evidence that "the tremendous talent and professionalism" of the artists of the eighth promotion of this project.

Singers Center Rita Marques Y Karen Gardeazabal (governess), Giorgia Rotolo Y Olga Zharikova (Flora), Anna Bychkova Y Nozomi Kato (Mrs. Grose), Andrés Sulbarán Y Gustavo Adolfo Palomo (Peter Quint), Marianna Map (Miss Jessel) along with the children's choir of Trinity School Jeremie de Rijk Y William Hardy (Miles) make up the cast.

Les Arts presents an assembly which has been fully carried out by the crew of operatic center, with scenery Manuel Zuriaga, wardrobe Mariana Fracasso, lighting Nadia García Y Antonio Castro, videocreation Miguel Bosch and choreography Fátima Sanlés.

Britten's opera will be performed at the Teatre Martín i Soler day 2, 4 Y 10 of June, with a didactic function day 6. Localities have the only price 25 euros.

Billy Budd

Didficil to understand that one of the most important works of the twentieth century had not represented today in Madrid. Billy Budd, the most colorful work of Benjamin Britten, came to Teatro Real from the hand of one of the most prestigious stage directors, Deborah Warner, who has filed a perfect radiography of the intentions of a Britten dealing with subtlety one of his most recurrent themes, that duality that for him exists between good and evil.

The second revised version has been offered consisting of two acts plus a prologue and epilogue. This version was always the composer's favorite. After watching this production, without a doubt it is also our favorite.

After the Flying Dutchman, where the bow of a ship starred in the scene, we arrive at a Billy Budd in which the approach is much more evocative. The indomitable, an 18th century warship, fill the stage with ropes, ropes and water. Where the sensation of movement is permanent and sometimes real, as it happens in the last act. And is that for Deborah Warner the theater and the sea are connected, "When the boats stopped being sailing and the ropes disappeared, appeared in theaters ".

Britten it, definitely, a great composer, but above all he is one of the greatest dramatic geniuses in operatic terms. His sensitivity when it comes to capturing the depth of the human being and building characters is extraordinary, and Deborah Warner is her best performer. He has scrutinized each of the layers with which Britten has covered his characters to present them to the public as the composer designed them and without making judgments about them. The result is not a complex production, unattainable in the eyes of the beholder that some stage directors like so much, but a genius far from superficiality and loaded with just and essential elements.

With mobile platforms that delimit the spaces through complex seemingly simple scenic mechanisms. With characters that describe themselves through intimate dialogues and with a group of singers whose interpretive level is above that of their timbre, something that this time, it's almost the key to success.

The play begins when the audience has not yet finished taking their seats. The first of the three main characters appears in the prologue and epilogue, an elderly Captain Edward Fairfax See that, a modo de flashback, tells the story. This role was written by Britten for her partner, Peter Pears. And it might not be the best role for him, as it requires a more extensive and lyrical tenor voice than that possessed by Pears. Here he is played by the British Toby Spence, that builds an anguished and inconsistent character martyred for having unjustly accused an innocent. Well in its most heartbreaking and deepest arias.

The second protagonist is the young and candid Billy Budd. A sailor full of attractions that dazzles his colleagues and superiors. The character requires a baritone with some agility. Maybe not the case with Jacques Imbrailo, that gives life to the protagonist. But his dramatic ability, even athletic (he was able to freehand the rope while singing), served to offer some of the most lyrical moments of the night. His last aria before he died is like a lullaby, evocative and simple, deep draft that overwhelmed the public.

The third protagonist is the evil John Claggart. A character full of intricate edges brilliantly played by Brindley Sherratt. This British bass player defended with ease a man who was tortured and fascinated by Billy Budd, whom he managed to destroy based on lies. Has memorable scenes, in which perfectly transmits the drama of a dark individual full of contradictions.

The set designer Michael Levine has done an extraordinary job, powered by lighting Jean Kalman and the fantastic direction of actors, with more than a hundred characters on stage, all men. A boat, the Indomitable, in which a suffocating atmosphere loaded with testosterone and aggressiveness has been achieved in which female voices have not been missed. Perhaps because of the enormous emotional charge that the work possesses and the tenderness that some of its characters share, or because of the tremendous orchestral richness that the score has, with a great variety of colors in numbers and solo voices.

The choir's performance deserves a special mention, one more. Their professionalism and the quality of their voices is known and indisputable, but they still have the ability to surprise and delight. Dozens move around the stage with rhythm and ease, with a dramatic ability Essential to create the atmosphere achieved in that prison ship, to generate movement, to believe the work and so that the energy produced by the power of their voices accelerates the pulsations of the stalls.

His musical director finally appeared at the Theater Ivor Bolton, and he did it to offer a brilliant version of a work he knows well, if only by language. It is a score with a very tight writing, high density, with many ensemble details in a large orchestra in which soloists are given great prominence.

Bolton establishes a perfect communication between the pit and the stage and the result is brilliant. Go from orchestral moments of great intimacy to others characterized by intensity and orchestral power, like the moment they prepare for battle. The orchestra is also in charge of narrating some of the most important moments of the work. When Captain Vere communicates his sentence to Billy Budd, the story is entrusted to the orchestra that performs it through 34 repeating chords in which major and minor modes have an astonishing and revealing narrative effect.

The play ends almost as it began, connecting the epilogue with the prologue through the memory that Captain Vere has of history. The end is diluted and seems to want to start over in a permanent bonnet day. It's a real feeling, wanting to see again this unsurpassed Billy Budd that is, definitely, the best i've seen in this theater in a long time.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Benjamin Britten (1913-1976)
Opera in two acts with libretto by Edward Morgan Foster and
Eric Crozier, based on the homonymous work by Herman Melville
New production of Teatro Real, in co-production with
Paris Opera, National Opera of
Finland (Helsinki) and the Teatro dell´Opera di Roma
D. musical: Ivor Bolton; D. scene: Deborah Warner
Scenographer: Michael Levine; Costume designer: Chloé Obolensky
illuminator: Jean Kalman; Choreographer: Kim Brandstrup
Video: Álvaro Luna; D. choir: Andrés Máspero
D. young singers: Ana González
Choir and Orchestra of the Teatro Real holders
Little Singers of the Community of Madrid
Distribution: Jacques Imbrailo, Toby Spence, Brindley Sherratt,
Thomas Oliemans, David Soar, Torben Jüngens,
Christopher Gillett, Duncan Rock, Clive Bayley,
Sam Furness, Francisco Vas, Esteve Manel, Gerardo Bullón,
Tomeu Bibiloni, Maybe Borja, Jordi Casanova, Isaac Galan.
Teatro Real in Madrid 9 February 2017

Roberto Abbado

Milanese orchestra director, closes the opera season 2015-2016 Palau with the premiere of "A Midsummer Night's Dream" (A Midsummer Night’s Dream), the first foray into the starting lineup of the Arts in the work of Benjamin Britten. Roberto Abbado assumes the musical direction of this opera based on the novel by Shakespeare, raising the curtain on next 10 of June with its own production of the Valencian coliseum, a bet with which the Palau de les Arts Reina Sofia joins the celebrations 400 years after the death of William Shakespeare.

In addition to his extensive experience in the management of the symphonic repertoire in the United States and European formations referred to as the Amsterdam Concertgebouw, Gewandhaus de Leipzig O Staatskapelle Dresden, the maestro Roberto Abbado has conducted numerous premieres in the most prestigious opera houses in the international arena: the Teatro alla Scala in Milan (La Gioconda, Lucia of Lammermoor, The Lady of the Lake), the Vienna Staatsoper (Sicilian Vespers), the Bavarian State Opera (The Love for Three Oranges, Aida and La Traviata), the Metropolitan New York (Fedora), la German Opera de Berlín (Don Giovanni), Paris National Opera (The Lady of the Lake), Rossini Opera Festival of Pesaro (Ermione, Zelmira, y Mosè in Egypt), and Maggio Musicale Fiorentino (Le comte Ory, Attila, I Lombardi, The Barber of Seville, Anna Bolena, Phaedra), among others. Following the success of public and critics in his first opera as head of the Valencia podium, last January, con of Samson and Delilah Camille Saint-Saëns and extensive experience in the contemporary repertoire and music of the great composers of the twentieth century as Luciano Berio, Salvatore Sciarrino, Henri Dutilleux, Olivier Messiaen, Helmut Lachenmann, John Adams O Hans Werner Henze, among many others, takes up the baton of the Valencian coliseum for the premiere, for the first time at the Palau de les Arts, Opera in three acts based on Shakespeare's play with music by Benjamin Britten (1913-1976) libretto by British composer and Peter Pears, released on 11 June 1960 at the Aldeburgh Festival, direction of the composer himself.

Roberto Abbado has been awarded twice with the prestigious and coveted "Premio Abbiati" Italian criticism.

Photograph: Tolu right-Teatro Lirico Cagliari

More information


Thursday and Saturday this week, he Teatro Real will offer the moving War Requiem, from Benjamin Britten, under the direction of Pablo Heras-Casado.

The two functions of Britten's work are integrated into programming around his opera Death in Venice, It will also bring to the Royal Theater, this month, Hamburg Ballet, with a choreography inspired by the novel by Thomas Mann.

More of 140 interpreters participate in the work: 132 -Chorus singers of the three choirs Holder Royal Theater, Choir of the Community of Madrid and Little Singers of JORCAM-, 106 Titular Orchestra musicians of the Royal Theater, organist Miguel Ángel Tallante Susan Gritton and soloists (soprano), John Mark Ainsley (tenor) and Jacques Imbrailo (baritone).

Pablo Heras-Casado, first musical guest conductor of the Teatro Real, It will be responsible for leading this exceptional and poignant work: He snatched a cry for peace in the world after the war stupor.


Benjamin Britten was a great lover of classical forms but, after passing through their hands, rarely he failed to introduce new elements in them that made them appear before the eyes and ears subtly or radically rejuvenated. Few genres have enjoyed more rooted in Western music than the requiem mass, but the War Requiem, Drinking that undeniably secular tradition, transports it to a new dimension, instilling in the work an important element spatio it difficult, if not impossible, found in other requiem masses.

Britten was a persistent reader of poetry, that permeates much of its catalog, and had a good example of this in this room last 18 from December, when Ian Bostridge played five Canticles which run through his entire career and creatively Nocturne.

One of the poets who inspired Britten in the latter work, su compatriota Wilfred Owen, He was elected three years later to provide the profane counterpoint, Current and intimate of the ancient Latin text of the Mass for the Dead. Owen had died a few days before the end of the First World War and the play opened at the solemn consecration of Coventry Cathedral, destroyed by German bombing in.

The War Requiem was released a few months before the missile crisis in Cuba, during the War Cold, so, a contest third linked to the work: less bloody, but equally absurd. Britten wanted to tell the premiere in Coventry with singers who symbolically represent the three countries that had suffered the barbaric war had ended the Nazi horror, but the Soviet authorities did not allow Galina Vishnévskaia traveled to England to sing a German side, Dietrich Fischer-Dieskau, so it had to be replaced in extremis by British Heather Harper. The solo trio completed, Of course, el tenor Peter Pears, the faithful partner of the composer.

Pacifist convinced, Britten's War Requiem conceived not only as a deeply anti-war plea, but as a profound reflection on the horrors that accompany any war: Mass to rest the dead and the living meditate. The emotional peak of the work is reserved for the Libera me end, Britten situated in the center of one of the most shocking poems Owen, «Strange Meeting», the strange encounter that occurs underground, in "a deep tunnel and gray", between an English and a German soldier combatant who killed himself the day before. Both find liberation and final reconciliation when they have to sleep, together in peace, long sleep of death while the children's choir sings an ethereal and consoling In Paradisum.

Wars continue, relentless, around us, but the War Requiem -a work not only to listen, but also to see- continues to proclaim, clear and strong, Your message.
Luis Gago


Between days 4 Y 23 December the Teatro Real will offer seven performances of a new production Death in Venice, from Benjamin Britten (1913-1976), with musical direction Alejo Pérez and a haunting and evocative staging Willy Decker, coproduced with Gran Teatre del Liceu from Barcelona, where it premiered with great success in May 2008.

This time the opera will star tenor John Daszak, who will play the writer Gustav von Aschenbach tormented, and baritone Leigh Melrose, responsible for giving life to seven different characters. Both singers debut in Real, next to a large number of soloists, hand Alejo Pérez in Madrid which has led Ainadamar, Don Giovanni and The Conquest of Mexico, y de Willy Decker, responsible for the unforgettable production of Peter Grimes, Britten, in the first season of the renovated Teatro Real, Tetralogy of Wagner presented between 2002 Y 2004, a chilling version of The Dead City, de Korngold, in 2010 and Werther, Massenet, in 2011.

Death in Venice is Britten's last opera and its confessional and liberating farewell. In it the writer Gustav von Aschenbach, alter ego of the composer, walks inexorably towards death, captive of his love for the young Tadzio, embodiment of beauty, eroticism and eternity.

structured 17 scenes, opera presents a complex and subtle network of musical motifs with a refined and suggestive orchestration. Reflective monologues of the protagonist writer, almost subtle recitatives free writing, articulate with evocative music Javanese gamelan, associated with the sensuality of the beautiful efebo Tadzio, "Dumb" character is expressed only with your body language.

Willy Decker, who has directed eight operas by Britten with celebrated performing versions that enhance the complexity of the characters and their inner drama, it moves away, Death in Venice, of the most realistic readings of the play to get into the fevered mind of the protagonist and restless, with his daydreams, rants and ecstasies, aided by the hazy atmosphere, decadent and poetic Venice. The reflection of the sea, engulfing the city sick with plague, with its winding facades stamped on the undulations of the sea, It blurs the boundaries between reality and illusion, sleep and wakefulness, eroticism and love, beauty and sensuality, death and eternity ...

The opera, based on the novel by Thomas Mann, vertebra an ambitious program in different artistic and cultural fields plastic-arts, who, dance, music, conferences, etc.—, involved in the NATIONAL LIBRARY OF SPAIN (Exposition Mariano Fortuny-Madrazo: another death in Venice), the FOUNDATION JUAN MARCH (cycle of three concerts titled The musical universe of Thomas Mann and two lectures on Thomas Mann, his life, his work, time) and the SPANISH FILMOTECA (film projection Death in Venice, from Luchino Visconti).

Theater Royal programming around Britten's opera will concentrate in December, but it will last until March. It has begun 25 November with a discussion with Willy Decker, Alejo Pérez, Joan Matabosch Y Luis Gago in the cycle APPROACHES; he 13 December there will be the screening of the opera The Indian Queen, Henry Purcell, in the singular version created by Peter Sellars, with musical direction Teodor Currentsis, under the program OPERA IN CINEMA; he 14 December soloists of the Teatro Real Holder Orchestra will give a concert of English music integrated into SUNDAYS CHAMBER; Finally, he 18 from December, still coinciding with the functions of the opera, refined tenor Ian Bostridge and pianist Julius Drake will perform works by Benjamin Britten, with the participation of the countertenor Anthony Roth Costanzo and baritone Duncan Rock.

Programming dedicated to the British composer continue day 12 Y 14 March with the performance of his disturbing War Requiem, that will lead Pablo Heras-Casado -principal guest conductor of the Teatro Real-, in front of Headlines Choir and Orchestra of the Teatro Real, of the Little Singers of JORCAM, and the soprano Susan Gritton, the tenor John Mark Ainsley and baritone Jacques Imbrailo solo. It will close this broad and interdisciplinary artistic proposal f, which offer 6 Death in Venice functions in the inspired and choreographed by John Neumeier mourner and the children's show Gondola ride, conceived and presented by Fernando Palacios for the cycle ALL THE GAYARRE!
Attached the press kits Opera, FOUNDATION JUAN MARCH (series of concerts and lectures) and the National Library (Mariano Fortuny Madrazo-exposure: another death in Venice).


National Library of Spain
25 November to 2 February
Museum of the National Library of Spain
Mariano Fortuny Exhibition / Madrazo: another death in Venice, by González-Ruano,
with illustrations by the artist himself

Juan March Foundation
Free entry
26 of November, 3 Y 10 December 2014
Concert series "The musical universe of Thomas Mann"

2 Y 4 December 2014. 19.30 h.
Lecture series “Thomas Mann, his life, his work, time”,
Taught by Rosa Sala Rose

Spanish Film Library
9, 13 December 2014
Cine Doré
Morte a Venezia projection, de Luchino Visconti


13 December 2014, 12.00 h.
Great room
The Indian Queen, Henry Purcell

Chamber Sundays
14 December 2014, 12.00 h.
Great room
Program dedicated to Benjamin Britten.
Soloists of the Titular Orchestra of the Teatro Real

Real Voices
18 December 2014, 20.00 h.
Great room
Ian Bostridge
Program: Canticles, Benjamin Britten

12, 14 March 2015, 20.00 h.
Great room
War Requiem, Benjamin Britten
Pablo Heras-Casado, director musical.
Headlines Choir and Orchestra of the Teatro Real

17, 18, 19, 20, 21 (two functions) March 2015, 20.00 Y 17.00 h.
Great room
Death in Venice, John Neumeier.
Hamburg Ballet

Everyone to the Gayarre!
21 March 2015, 17.00 h. March 22, 2015, 12.00 Y 17.00 h.
Gondola ride, conceived and presented by Fernando Palacios