The Marriage of Figaro

A different Figaro wedding at the Royal Theater

The Marriage of Figaro
The Marriage of Figaro
Wolfgang A. Mozart (1756-1791)
Opera buffa in four acts
Libreto de Lorenzo da Ponte, based on the comedy La Folle journée, or the marriage of Figaro (1784) of Pierre Beaumarchais
Canadian Opera Company production from the Salzburg Festival
Teatro Real in Madrid, 28 April 2022
D. musical: Ivor Bolton
D. scene: Claus Guth
Scenographer and costume designer: Christian Schmidt
illuminator: Olaf winter
Choreographer: Ramses Sigi
Video Designer: Andi A. Müller
D. choir: Andrés Máspero
André Schuen, María José Moreno, Julie Fuchs, Vito Priante, Rachael Wilson, Monica Pods, Fernando Rado, Christopher Mountain, Moises Marin, Alexandra Flood, Leonardo Galeazzi, and Uli Kirsch, who interprets the angel
Eleven years had passed since his last Italian comedy, La Finta Giardiniera (The fake gardener) and Mozart was concerned that he could not find a suitable story for his next comedy. He reflects it in one of the letters to his father in 1783, “I have looked at more than a hundred scripts, and I haven't found one that I was satisfied with; so many changes would have to be made here and there, that even if a poet got down to it, it would be easier for him to write a completely new text”.
Headlines Choir and Orchestra of the Teatro Real

Then come to Vienna, hand in hand with Antonio Salieri to work at the court, Italian librettist and poet Lorenzo da Ponte. A fruitful collaboration then begins between Mozart and da Ponte that will leave behind the time of Metastasio. A new operatic journey opens that will have no return.

Mozart showed some admiration for the works of the French playwright Pierre-Augustin Caron de Beaumarchais and for one of his works, the figaro trilogy, for whose first part, The Barber of Seville (1782), Giovanni Paisiello had already put music. He chose the second of this trilogy, The crazy day, or The Marriage of Figaro (1784), which explicitly deals with the class conflicts of the time.

Beaumarchais's work, whose theatrical release was full of difficulties due to the social and political criticism it contained, can be framed within the revolutionary process that culminates in 1789 with the French Revolution. After three years of fighting with censorship, Figaro's weddings could be premiered arriving at 60 representations. But the protests and intrigues of former enemies of Beaumarchais, got the play banned across Europe.

As narrated by da Ponte in his memoirs, the opera was finished in just six weeks, “As I was writing the lyrics, Mozart composed the music. It only remained to convince José II of his suitability. da Ponte took care of it, much more diplomatic than Mozart, who promised the emperor to dispense with the most controversial parts. Entire scenes were deleted, but the ideological substance remained intact.

The liberal mentality of José II, that he had already abolished censorship and authorized a civil marriage decree that abolished parental consent, facilitated the premiere of an opera that, by having a comedy format, Kind and nice, he hid his depth charge very well.

He 1 May 1786 se estrena por fin en Viena The Marriage of Figaro, preamble of Don Giovanni and, especially, de Cosi fan all, that closes the cycle of the brilliant collaboration between Mozart and da Ponte.

Le nozze di Figaro is today one of the most performed operas in the world, even though it wasn't always like that. Arrive soon at the Royal Theater, in 1903, long before other European theaters. Later it had a few years of certain decline in programming and it was not until the sixties that, shyly, returned to operatic seasons.

The Teatro Real presents this season a production that is a true classic, the one created by Claus Guth for the Salzburg Festival in 2006, which replaces the one initially announced by Lotte de Beer and which was not very well received, being generous, at the Aix-on-Provence Festival.

Guth reuses the great architectural structures that he likes so much. Features a grand staircase in a large space as the only stage. a white decor, naked, far from the eighteenth-century excesses that usually accompany the performances of this opera. Christian Schmidt's wardrobe, also very Guth-esque, as we could see in Rodelinda, in this same theater, gray tones and uniformed. The subtle scene changes are mostly due to Olaf Winter's lighting., that it generates with shadows and small projections, the atmospheres that help describe the scene.

Also on this occasion, Guth uses a character that is not in the script but that appears constantly on the scene. This time it is a kind of Cupid that, invisible to other characters, pull everyone's strings trying to alter their behavior, sowing confusion in its wake.

The characters are treated in this production in a sober way, unadorned, revealing the deepest part of his personality. But nevertheless, the end result of the scenery is that it does not help the development or the conclusion of the story.

Ivor Bolton returned to conduct Mozart at the head of the Teatro Real's Titular Orchestra. Maybe infected by the monotonous scenery, Bolton's management has not had the brilliance and spark of other occasions. Only in a few moments have those flashes that Mozart reflected so brilliantly in his score become present.

This work is distinguished from other buffa operas by the high quality of its ensembles., that express the enormous variety of loving feelings. On this occasion they are a little opaque and lacking in freshness. The variety of textures of an orchestration as detailed as that offered by The Marriage of Figaro is not appreciated, especially in the opening and the winds.
The best of the orchestra have been the recitativi secchi, harpsichord and cello, that have allowed the scenes to be more fluid.

The vocal part has presented a balanced set of voices. To face this opera the theatrical requirement is almost at the same level as the vocal. But in this case, Besides, good physical shape is necessary.

It was a joy to see the Granada-born María José Moreno embody the role of Countess at the Royal Theater. did it with great confidence, how does she do things. Is this a little special Countess, languid and lonely, and Moreno reflected her very well in those aspects to which she adds a point of sophistication that is very appropriate to the character. He had moments of great lyricism and brilliance, especially in his two most important arias, "Porgi Amor" y "Where I am". It has a powerful center and good highs..

Suzanne, the central character of the play, was interpreted by the French Julie Fuchs. His voice is light and fresh, perfect for Susan, he lacked volume and made his character more believable, maybe too childish.

Vito Priante's Figaro was also not very credible as Susana's fiancé, he looked like his father. Very static on stage, something was lost with his character, which had been stripped of its true character by the stage manager. But his voice is high quality and has a beautiful and warm tone..

Italian baritone André Schuuen plays Count Almaviva. We could already hear him at the Capriccio a few seasons ago. He feels comfortable in character, although it lacks a bit of packaging and looks like a teenager in a suit. It defended the treble quite well and its bass zone is sufficient and consistent.

Rachael Wilson's Cherubino was, with the Countess, the best of the night. Fresh and playful in the interpretive, proved to have a good singing line and a very powerful and ringing center and treble. Too bad she was dressed the same as the fake Cherubino that Guth put on stage. He skillfully developed, the same one with which he interpreted his arias “Non so più cosa son, what do I do "y" You who know ".

At a good level were the rest of the comprimarios who in this production were somewhat lackluster in the interpretive, Monica Pods, as Marceline; Fernando Rado, as Bartolo; Christopher Mountain, like basil; Moises Marin, Don Curzio; Alexandra Flood, like Barbarina; Leonardo Galeazzi, as Antonio and Uli Kirsch, who interprets the angel or cupid.

A new reading of an opera that for the first time gives the score a fundamental role in the development of the dramatic plot.

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

The Marriage of Figaro

Le nozze di Figaro between 22 April and 12 May at the Royal Theater, in an original production of the Salzburg Festival (2006), who commissioned Claus Guth the stage direction of the three operas of Mozart libretto by Lorenzo da Ponte, of which, Don Giovanni, was offered at the Teatro Real last season.

Considered the most perfect of Mozart's operas, Le nozze di Figaro, released in 1776, was written in less than a year in a frantic and enthusiastic manner by Wolfgang Amadeus Mozart (1756-1791) and the versatile writer and librettist Lorenzo da Ponte (1749-1838), in their first and fruitful collaboration, which would continue with Così fan tutte Y Don Giovanni.

Both creators were imbued with the fervor of the new revolutionary ideas that brazenly defended the theatrical work of Pierre-Augustin de Beaumarchais (1732-1799) on which the opera is based, The crazy day, or The Marriage of Figaro, premiered to great scandal and uproar just a year before, causing the seclusion of the author and the prohibition of the work in various European courts.

With great skill Da Ponte reduces and conceals the most explicitly political content of the work, maintaining the complex relationships between the different characters, to whom Mozart's fabulous score gives an unusual psychological depth, hidden under the classical forms of comic opera.

Music, supported by a perfect framework of symmetries and structural and harmonic games, with arias and ensemble numbers of enormous beauty, suggests, they work, contradicts, hints, denies and illuminates what the words of the protagonists hide, within a seemingly comic entanglement.

In his stage proposal, Claus Guth try, precisely, explore what beats in the soul of the characters beyond comedy, listening to the unspeakable side, ambiguous, contradictory, Sinister, sadistic or lewd in love relationships.

In parallel with the classical structure of the score, Guth, together with the set designer and costume designer Christian Schmidt, sets the plot in an old and austere palace, with the characters corseted in suits that reveal their social origin and determine their way of proceeding. From there, like in an Ingmar Bergman movie, or in an August Strindberg drama, Guth is 'unmasking' what happens inside the characters with the help of a silent 'angel' who shows the viewer the unspeakable, cloudy or dark love relationships.

Two select casts bring to life the complex characters of this choral opera, that hide ties of seduction, love, desire, passion, boredom or resentment: Andre Schuen Y Joan Martin-Royo (Count of Almaviva); María José Moreno Y Miren Urbieta-Vega (Countess of Almaviva); Julie Fuchs Y Elena Sancho Pereg (Susanna); Vito Priante Y Thomas Oliemans (Figaro); Rachael Wilson Y Maite Beaumont (Cherub); Monica Pods Y Gemma Coma-Alabert (Marcellina); Y Fernando Rado Y Daniel Giulianini (Bartolo).

Ivor Bolton, musical director of the Royal Theater, redirect Le nozze di Figaro from his pit, after the success obtained with the same score in 2014. This opera will be Mozart's seventh production in which he assumes the musical direction at the head of the Headlines Choir and Orchestra of the Teatro Real, and the third in which he works side by side with Claus Guth, after Lucio Silla (2017) Y Don Giovanni (2020).

Since the reopening of the Teatro Real, Le nozze di Figaro has been featured in 5 his 25 seasons: in 1998, with Gianandrea Noseda Y Jurgen Flimm; in 2003, with Antoni Ros Marba Y Marco Arturo Marelli; in 2009, with Jesus Lopez Cobos Y Emilio Sagi, whose production was presented again in 2011 with Victor Pablo Pérez, and in 2014 with Ivor Bolton.

The scenic and dramaturgical proposal conceived by Claus Guth, which will now be seen at the Teatro Real, offers a new perspective on Mozart's masterpiece, whose wealth, complexity and depth are an inexhaustible source of interpretations.

Photography © Javier del Real | Teatro Real





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

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

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

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

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

Don Giovanni

Between days 18 December and 10 January the Teatro Real will offer 15 functions Don Giovanni, Wolfgang Amadeus Mozart, in a production of the Berlin Staatsoper, premiered at the Salzburg Festival in 2008, with the same leading duo that will perform at Real: british baritone Christopher Maltman, as Don Giovanni, and the Spanish-Uruguayan bass-baritone Erwin Schrott, as Leporello.

The interpretation of both, unanimously praised by critics, acquires a special meaning in this montage, as Claus Guth reinforces, in its staging, the macabre bond of the two characters, whose complicity and piety bring, maybe, the only tender and compassionate moments of the production.

The plot takes place in a very versatile fir forest, designed by the set designer Christian Schmidt, where the different pictures of the opera are happening, distorted by the agony of Don Giovanni, that slowly bleeds out from the first to the last scene.

Wounded by the Commander at the start of the opera, in the paroxysm of death the perverse games of seduction that have filled his hectic life parade through his head, walking towards alienation and death without ever abandoning his impetuous spirit, lewd and blasphemous.

Helped by Leporello, friend junkie and adventure buddy who accompanies him in the painful trance, Don Giovanni mezcla, at the opera, the vivid memories encouraged by his hedonistic eagerness, With the blurry visions that precede death. Hidden in the meanders and recesses of a forest always complicit, wisely illuminated by Olaf winter, the forest reflects the drama of the characters, in a pictorial game of chiaroscuro that links the baroque universe of Tirso de Molina's libertine, With the murky world of sexual morons of the 21st century.

Two casts of internationally renowned singers embody the characters of Don Giovanni, led with expertise and depth by Claus Guth, which has already left its mark on three productions presented at the Teatro Real: Parsifal (15/16), Rodelinda (16/17) Y Lucio Silla (17/18).

The baritones Christopher Maltman Y Adrian Eröd (Don Giovanni), the bass-baritones Erwin Schrott Y Marko Mimica (Leporello), las sopranos Anett Fritsch Y Federica Lombardi (Donna Elvira), tenors Mauro Peter Y Airam Hernandez (Don Ottavio), las sopranos Brenda Rae, Adela Zaharia Y María José Moreno (Donna Anna), and also Louise Alder Y Marina Monzó (Zerlina), as well as the bass Krzysztof Baczyk Y Cody Quattlebaum (Masetto), Y Tobias Kehrer Y Goran Juric (The commander), will alternate in the 15 programmed functions, always under the direction of Ivor Bolton, who will direct his fifth Mozart title at the Real, in front of Coro and Orchestra Titulares del Teatro o Real.

Don Giovanni will be presented for the fourth time since the reopening of the Royal Theater: in June 1999 with Daniel Barenboim and Thomas Langhoff; in October 2005 with Víctor Pablo Pérez and Lluis Pasqual; and in April 2013, with Alejo Pérez and Dmitri Tcherniakov.

The production that now reaches the Real is offered in a period of uncertainty and difficulties, demanding an additional effort from everyone to present the opera within the health safety regulations.

The stage manager Claus Guth has modified several details of the staging and the Titular Choir of the Teatro Real will perform with masks specially designed for singers, that promote voice projection and facial movement without releasing aerosols. But these and other adaptations will not prevent the Royal Theater from offering, with the highest quality, a different perspective of the great myth of Spanish literature, with new interpretations that continue to enrich your aura.


For José Bogas, CEO of Endesa "contribute so that culture does not stop and, in particular, support the Royal Theater, is an enormous pride for Endesa. We greatly value that the Royal Theater is one of the few Opera Houses in the world that has maintained its programming through thick and thin, despite the pandemic; Besides, it has done it with an enormous quality and without neglecting safety. And that is what we are going to verify with this ‘Don Giovanni’ that Endesa sponsors.

Lucio Silla

The next 13 september opera Lucio Silla, from Wolfgang Amadeus Mozart (1756-1791) will open the new season of the Teatro Real, finally repairing a debt to the public in Madrid, he could never see this opera represented, despite the undoubted quality and beauty of his music.

The opera will arrive at the Royal Theater in a production conceived by Claus Guth, that has triumphed in several theaters since its premiere at the Festival Wiener Festwochen in 2005. The German stage director strips the work of its most anecdotal content and recreates himself by exploring the psychological relationship between the characters and the interiority of each dramatic situation, infusing the opera with enormous dynamism.

To do this, he uses once again an ingenious rotating set designed by the set designer and costume designer. Christian Schmidt ─author also of the scenographies of Parsifal Y Rodelinda─ that allows streamlining the continuous succession of scenes that make up the work.

Although Mozart premiered the score in Milan in 1772, with scarcely 16 years, The young composer had been writing scenic-musical works of different formats since the 11 years, Y Lucio Silla It was already the third opera that he presented successfully in Italy, after Mithridates, kings of Pontus Y Ascanio in Alba.

Following in the wake of the opera seria eighteenth then in vogue, the libretto is inspired by the exploits of a character from Classical Antiquity, without attending to any pruritus of verisimilitude or historical rigor. In fact, kinship ties, love affairs and magnanimity of Lucio Silla of Mozart are far from what the historiography illuminates about the life of the bloodthirsty tyrant and great military strategist Lucio Cornelio Sila (138-78 a.C.).

The plot, dramaturgically flimsy, is, but nevertheless, structurally consistent by the complex relationships between the six characters, belonging to two rival and enemy sides, between which conflicting feelings and passions flow, uncontrolled and capable of breaking the codes of honor that shield so many atrocities and power struggles.

Musically the opera conforms to the rigid canons of the opera seria, in which arias and recitatives alternate, with some wonderful ensemble numbers and orchestral interludes. But the genius of Mozart manages to give each scene a unique atmosphere, with great contrasts, singing lines of poignant dramatic breath and an increasingly autonomous orchestra in the dramaturgical expression of the characters.

Although Mozart had the best singers of the time to interpret his Lucia Chair, the replacement, in the days before the premiere, of the leading tenor by another of much lower rank, forced the composer to adapt that role to the new circumstances, simplifying his music and dispossessing the character of the greatness that should have the title role, that the tenors will interpret at the Real Kurt Streit Y Benjamin Bruns.

As two of the male characters originally intended to be sung by castrati will be performed by a mezzo-soprano and a soprano, it can be said that in Lucio Silla the great vocal difficulty falls on the four female singers, especially Giunia, whose very difficult role will be played alternately by the French sopranos Patricia Petibon Y Julie Fuchs. They will be supported by the mezzo-sopranos Silvia Tro SantafeY Marina Comparato (Cecilio), las sopranos Inga Kalna Y Pleiades Sabirova (Lucio China) Y María José Moreno Y Anna Devin (Celia). The tenors complete the casts Kenneth Tarver Y Roger Padullés (Aufidio).

Together with both casts the Orchestra and Chorus of the Royal Theater Headlines, under the sensitive musical direction of Ivor Bolton, with extensive experience in the Mozart repertoire.


15, 19 Y 21 of September | National Archaeological Museum

Thematic guided tours free with limited capacity.

Rome at the National Archaeological Museum: 15 of September, 18.00 h.

Dear to dear with Lucio Cornelio Sila (138-78 a.C.): 19 of September, 18.00 h. Y 21 of September, 12.00 h.
It is essential to book in:

17 of September, to 12.00 hours | Teatro Real, living room

Chamber Sundays

Concert entirely dedicated to Wolfgang Amadeus Mozart

Adagio in A Major KV 580 a
Quartet in C Major KV 465, Dissonance
Sonata for bassoon and cello in B flat major K 292
Quintet for piano and wind in E flat major K 452

Soloists of the Titular Orchestra of the Teatro Real

19 of September, to 17.30 hours | Spanish Film Library, room 1

Film screening Nannerl, mozart's sister (Nannerl, Mozart's sister),

by René Féret (2010)

Detailed program

23 of September, to 19.00 hours

Live broadcast of Lucio Silla on the tv channel HALF.


Rodelinda, one of the most beautiful operas of Händel first came to Real in what is now the season of big releases.

The London 1725 It is the most cosmopolitan city in Europe. With more than one million inhabitants and outside the conflicts that occur in the continent, enjoys a remarkable artistic activity. Händel, the greatest exponent of Italian opera in London, not only works as a composer, but also as an entrepreneur, directed at those moments the Royal Academy of Music, company dedicated to operatic activities. Years 1724 Y 25 They were the most creative activity of the composer. During these two years and at full speed, He composed three major works, Julius Caesar, Tamerlano y Rodelinda. He had to do with the virtuosity of the best singers of the time.

The main character of Rodelinda, Bertarino, She was played by the most famous castrati of the moment, Senesino. Rodelinda commissioned the great diva Francesca Cuzzioni, not very graceful and terrible actress, but with a voice and magnetism on stage that mesmerized the public. Francesco Borosino was also considered the most important tenor of the moment, He was responsible for giving life to Grimoald. It was not unusual to find tenors in the compositions of the time, and less on paperwork so extensive, but Borosino had triumphed with Tamerlano and Handel composed for him an important role.

Despite being a masterpiece, Rodelinda had a modest success at its premiere and just a few times recovered more. The difficulty of finding tenors of importance can be one of the reasons for his few performances at that time. Nowadays, Baroque seems that resists part of the standard repertoire. This may be due to the long duration of these works, since in the seventeenth and eighteenth century music was a complement to public recreational activities developed in the theaters, and "fear" of some managers scene arias and recitatives those dacappo, that put in difficulty the pace of construction. The fact is that Rodelinda has survived to this day remains a great unknown.

To remedy this absence has presented a new production of Teatro Real, in co-production with Opera Frankfurt, the Gran Teatre del Liceu in Barcelona and the Opéra de Lyon. Under the stage direction of Claus Guth, that following its architectural style, which already he gave a good account its extraordinary Parsifal, He has recreated, by the set designer Christian Schmidt, a palatial home inspired by the period in which Handel lived in London.

To unravel the complex web of Rodelinda, by the opening and by way of introduction, Guth uses a small genealogy and a silent slow-motion scene gives us enough background. The large revolving house, divided into rooms that lead to various stairs, It is the best scenario to represent the family intrigues.

Guth's approach to boost knows all important elements of the work. It provides different dimensions to dacappo ary and uses parallel action to break the static Repeats. It is here that becomes very important one of the main characters, curiously, not sing. It is the small Flavio, son of Rodelinda and Bertardio, Colombian actor who plays Fabian Augusto Gomez. It was providing the keys to work with his magnificent performance. Flavio live with all family drama intrigues and reflected through his drawings, which they are projected on stage. Live a parallel reality, only he sees, and that torments.

Ivor Bolton, still savoring the success of Billy Budd, It has reduced the size of the orchestra and has incorporated period instruments, as chitarrón at the hands of Michael Freimuth, the flute or fallopian. Very important to involve the harpsichordist David Bates, whose connection to Bolton, also the key, It was clear and full of energy. The orchestra was less to more and achieved some brilliant moments. Always outstanding singers, Bolton takes a very accurate reading score.

The protagonists of the baroque works have very different roles to those of nineteenth-century Italian opera. Rodelinda is a strong woman and heroic that has nothing to do with the delicate Italian star. The male star here is the counter, much more subtle than the gallant nineteenth. Conversely, the tenor, protagonist in Italian opera, in the Baroque is secondary.

This second cast, very Spanish, He has defended the work splendidly. Xavier Sabata, as Bertarido, perfectly fulfilled the role. But at some point it had to compete with the volume of the orchestra, his performance was inspired, especially in an emotional With rauco mormorio.

The soprano Sabina Puértolas played a brave and full sensitivity Rodelinda. It has a beautiful timbre, comprehensive and consistent fluids and sharp grew up with it as it advanced the work center. He used elegantly coloratura, for having a great facility. Out of Shadows, pianre, urne funeste and expensive mio bene were full of intent and delicacy.

The Grimoald evil has been interpreted by tenor Juan Sancho. His timbre is polished and sunny. Dramatization very well in creating a twisted and superficial at first and noblest Grimoald when he was disarmed by events. It misses a more voluminous voice. He shined in the arias of the third act.

Lidia Vinyes Curtis surprised by his fabulous stage presence. He recreated a frivolous and cunning as befits the character Eduige. It has good volume and voice recording changes with ease. Very good Real to bet on new voices have a very interesting projection Theater.

The Ununlfo countertenor Christopher Ainslie South African began unsafe but was settled to reach a good level, both the volume and quality of interpretation.

Garibaldo was played by the Spanish baritone José Antonio López. His performance was convincing and proper timbre, but the volume was excessive moments and unsophisticated.

No doubt this Rodelinda has been more successful this season, what should be an incentive to schedule more baroque works (We will not consider the past seasons Alcina). Three hours in this case have known a little.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Opera in three acts
Música de Georg Handel Frirdrich
Libreto of Nicola Haym Fracesco, libretto adapted Rodelinda, regina'Longobards Pierre Corneille.
First performed at the King's Theater in London, he 13 February 1725
Premiere at the Royal Theater
Director musical: Ivor Bolton
Stage-manager: Claus Guth
Escenógrafo y costume: Christian Schmidt
illuminator: Joachim Klein
Video-Maker: Andi A Müller
Playwright: Konrad Kuhn
clavecinista: David Bates
Organist: Bernard Robertson
Chitarrón: Michael Freimuth
Distribution: Xavier Sabata, Sabina Puértolas, Juan Sancho, Curtis-Lídia Vinyes, Christopher Ainslie, José Antonio López, Fabián Gómez Augusto
Head of the Royal Theatre Orchestra