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

The Royal Theater offer, between days 30 November and 30 from December, 18 functions of a new production Turandot, from Giacomo Puccini, in co-production with Canadian Opera Company, he National Theater of Lithuania and the Houston Grand Opera, which opens in Madrid before joining the other theaters.

Turandot, which he was presented at the First season the Teatro Real reinaugurado ─con musical direction of Wladimir Jurowski and scenic Jeremy Sutcliffe; y con Jane Eagle, Vladimir Galouzine and Veronica Villaroel in principales─ papers, returns, 20 years later, with stage direction, scenery and lighting Bob Wilson, whose very personal theatrical universe gives opera a sound universe adjusted spectral aura of the score, evoking an ancient world of oriental reminiscences, far from realistic approximation of the previous operas Puccini: Manon Lescaut, Bohemian, Tosca, Madama Butterfly, La Fanciulla del West, The swallow, The triptych, etc.

Charismatic visual and dramaturgical language Wilson, backlit silhouettes, masks and almost ritual movements, It is the ideal place to tell the legend of Princess bloodroot China, Framed in its theatrical space 'natural', which connects directly with the millenary Shadow Theather oriental.

The characters thus become legendary and hieratic archetypes, light and subtle palette Wilson is recreated with Puccini's orchestral colors and poetic synesthesia ranging from the icy tones of ruthless protagonist warm tones of the gathering of Liù, whose death, in the score, coincides with the composer himself, leaving the unfinished work.

Giacomo Puccini He died in Brussels 1924, when it subjected to a treatment of throat cancer suffering. It was then at a crossroads to complete the third act of Turandot, with a surprising happy ending in which love triumphs over the perfidy. his disciple, Franco Alfano, He was commissioned to complete the score based on the sketches and notes left by his teacher and under the watchful supervision Arturo Toscanini, who led the posthumous premiere of the opera at La Scala in Milan, in 1926, in a famous representation in which the Italian director abruptly cut --after interpretation of slowly Toning choir after the death of Liù─ and addressed the audience saying: ‘Which he finished Maestro’ (Here ended the teacher). In successive functions it has been used the end of Alfano, which it is which is normally used since, although Luciano Berio He wrote another version released 2002 in Salzburg.

In Turandot Giacomo Puccini takes a huge leap forward in his compositional writing: It moves away from realism and its great Manichaeism of emotions and explores a new dramaturgical universe with his eximia apertrechado art of orchestrating, his eclecticism and his portentous theatrical flair. Epigrammatic opera intertwines with an impressive dramaturgical reasons effectiveness, giving the chorus an unknown dramatic importance in previous operas. Explore universes bold harmonic and dissonant bitonal passages articulated with its proverbial melodismo, opening a flourishing road truncated by his sudden death.

Two distributions alternate in the interpretation of the 18 functions Turandot, they bring to Real, once again, a Nicola Luisotti, associate musical director, whose relationship with the theater began ago 10 years The Troubadour, and we have seen in recent seasons Rigoletto Y Aida. After his triumphs with Verdi, Luisotti will again be put in front of Headlines Choir and Orchestra of the Teatro Real ─ and also the Little Singers of ORCAM─ to give life to the great score of Puccini.

Leading the casts of Turandot two sopranos debuting at the Royal Theater: Swedish Irene Theorin and Ukrainian Oksana Diving, both acclaimed interpreters of the title role of the opera. They will be seconded by the Spanish sopranos Yolanda Auyanet Y Miren Urbieta-Vega, Liu como; tenors Gregory customer, Roberto Aronica Y Jae-Hyoeung Kim ─ which will alternate in the role of Calaf─, and low Andrea Mastroni Y Giorgi Kirof, who played Timur.

Turandot dismisses the rich Italian operatic tradition, as phoenix, open new directions in the future of music dramaturgical, who took his first steps into the vast world of cinema, today, so close to the opera.

AGENDA | PARALLEL ACTIVITIES

22 of November, to 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Nicola Luisotti, associate musical director of the Royal Theater and Turandot, Bob Wilson, stage-manager, set and costume designer Opera, and Joan Matabosch, artistic director of the Teatro Real.

2 from December, to 12.00 hours | Teatro Real, Great room

Chamber Sundays: concert with works by Wolfgang Amadeus Mozart, Francis Poulenc, Leos Janacek, Russell Peck, Luis Fonseca and Consuelo Díez.

See Program

Soloists of the Titular Orchestra of the Teatro Real

2 from December, to 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre! The secret name: The tenor will not let us sleep guess the three riddles inspired by the opera Turandot.

Pancho Corujo the tenor and pianist Miguel Huertas

9 from December, to 11.00 hours | Teatro Real, Great room

Opera theater: projection Bohemian, Giacomo de Pucinni, Royal Theater production in co-production with the Royal Opera House in London and the Lyric Opera of Chicago, with musical direction of Paolo Carignani and staging of Richard Jones, Anita Hartig and Stephen Costello in the lead roles.

1 Y 15 from December, to 19.30 hours | Arab house, Madrid

Turandot and other secret names: storytelling show for adults, by Hector Urién, based on some of the most celebrated stories of Persian and Arabic storytelling tradition.

14 from December, to 20.00 hours | Lazaro Galdiano Museum

literary visit: literary evening dedicated to love, touring various rooms of the museum.

inscriptions info@museolazarogaldiano.es (Maximum 25 people)

14 from December, to 19.30 hours | Arab house, Córdoba

Turandot and other secret names: storytelling show for adults, by Hector Urién, based on some of the most celebrated stories of Persian and Arabic storytelling tradition.

BobWilson

Canal Theaters Community of Madrid presented the premiere in Spain of Letter to a man, mounting directed by Bob Wilson and interpreted by Mikhail Baryshnikov which will be in four unique functions in the Red Room of 12 al 15 of May.

The iconic director Robert Wilson and the legendary artist Mikhail Baryshnikov have joined artistic forces to create a new one based on the famous dancer and choreographer daily work Russian Vaslav Nijinsky, what, at its best, He was recognized as the most famous dancer in the Western world, acting with the renowned Ballets Russes Sergei Diaghilev.

Letter to a Man It is a play by Mikhail Baryshnikov, entering the fragmented mind of the great artist Vaslav Nijinsky dance while falling into madness. As always in the movements of the works of Wilson, text, lights, set design and music are equal parts of the same creation, where, as he says, “All is dance theater”.

The play, from the daily dancer, places the action in Budapest 1945. He and his wife have found shelter with family. These are the last weeks of World War II and the battles between German and Russian soldiers are given with rabies in the ruined streets. Nijinsky's mental health had broken down in Switzerland at the end of World War I.. His diaries are an extraordinary document of their struggle to avoid falling into madness and understand what was happening to him. When he stopped writing her diary, he locked himself, as in a grave. There he remained for more than two decades, vigiladaopor his wife. But as a new catastrophe in Europe comes to an end, the great artist seems to be coming to life again.

The project is the second collaboration between Wilson and Baryshnikov, Daniil Kharms whose production The Old woman, with Baryshnikov and Willem Dafoe, He has had great critical acclaim in national and international tour.

aRTISTIC:

Address, scenography, lighting concept: Robert Wilson with Mikhail Baryshnikov. Based on the Journal Vaslav Nijinsky. text Christian Dumais-Lvowski. dramaturgy Darryl Pinckney. Music of Hal Willner. wardrobe Jacques Reynaud. Collaboration with the movements and spoken text: Lucinda Childs. Lighting design A.J. Weissbard. Associated with set design: Annick Lavallée-Benny. Associated with the address: Nicola Panzer. Sound design Nick Sagar / Ella Wahlström. Video design Tomek Jeziorski.

A draft Change Performing Arts project Y Baryshnikov Productions. Commissioned by the Spoleto Festival dei 2 Worlds, BAM, Cal Performances University of California, Berkeley, Performing Arts Center of UCLA in collaboration with the Canal Theater of Madrid, Les Ballets de Monte Carlo / Monaco Dance Forum executive producer CRT Milano.

More information: http://www.teatroscanal.com/espectaculo/letter-to-a-man-robert-wilson /

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