Don Carlo
Giuseppe Verdi (1813-1901)
Opera in five acts
Joseph Mery libretto there Camile Le Locle, based on the play Don Carlos, infant of Spain (1787) de Friedrich Schiller, translated into Italian by Achille de Lauzières and Angelo Zanardini.
2 October, Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: David McVicar
Scenographer: Robert Jones
Costume designer: Brigitte Reiffenstuel
illuminator: Joachim Klein
Choreographer: Andrew George
Playwright: Maite Krasting
D. choir: Andrés Máspero
Distribution: Michele Pertusi, Andrea Caré, Simone Piazzola, Rafal Siwek, Fernando Rado, Ainhoa ​​Arteta, Silvia Tro Santafe, Natalia Labourdette,
Moses Marin, Leonor Bonilla, Mateusz Beware, Cristian Diaz,
David Sanchez, Francis Tójar, David Lagares and Luis Lopez NavarroLas intrigues of the Spanish court have always been a source of inspiration for writers and musicians. Especially those fed by the "black legend" that came mainly from England, the rival Spanish power cut at the time. Y a Friedrich Schiller, author of the work on the libretto by Joseph Méry and Camille du Locle interested him more than the fabled legend real.Verdi history did not escape this fascination is based. Interested in the issue after a visit to the Escorial during his stay in Madrid, he thought that Don Carlo could respond to the request of the Paris Opera for the celebration of the Universal Exhibition 1867. A theme like this was perfect for the public in Paris, lover of the great French opera, with spectacular scenery and great intensity dramática.Pero, despite the deployment of resources for its composition, Verdi was not satisfied with the result. Constant modifications introduced. So much, the first version of Don Carlo never be released. After the first rehearsal and before the second, the large number of changes made in the score resulted in a second version, which it was premiered at which 1867, known as the "Paris version" .Había time opera premiered in Italy, or public taste Italian, unaccustomed to almost endless works, nor the ability theaters, They are responding to the demands of the Parisian version of Don Carlo. Verdi then decided to make a drastic cut to work, thus giving the Italian pragmatism. Then came the "Milan version" of 1884, in which it dispenses with the ballets and the first act, el Fontainebleau. This has been to date, the version represented España.es 1886 Verdi revised the work again. The suppression of the first act left some gaps in the narrative. He decided to reinstate Fontainebleau. It is not in vain in this act in which the main theme of the work is proposed, the innermost feelings of the characters, meet their public responsibilities. born then, "Version of Modena". Which recovers the Teatro Real this season.

The scenery is abstract, David McVicar very typical, which we recall the twist and the latest Gloriana, ambas Britons. The stage has been reset by Axel Weidauer, justifying the scenery quoting the author of the libretto, Friedrich Schiller: "The most beautiful dreams are those who are in prison". And certainly this phrase has inspired the scene until an oppressive and claustrophobic atmosphere. It composed solely of gray brick structures whose slight movement creates new spaces in which nothing changes. Only a few symbolic elements take us back stage.

McVicar always used the costumes as a fundamental element of contextualization of the work. Its historical rigor and the extraordinary costumes by Brigitte Reiffenstuel are quite reminiscent of the historic moment living characters. It is a perfect vehicle between history that narrates the work and modern and eclectic scenery.

The musical direction was in charge of Nicola Luisotti. With him the orchestra sounds like Verdi. Sometimes, too. The sound volume was often excessive and somewhat cumbersome. Maybe that's why the best moments of the orchestra were those that required greater expressiveness. It was less more in his direction and managed to keep the pulse until the end. Get a good level of theatricality and narrative continuity that facilitates the work of the singers.

The choir was an important element in dramaturgy. Figurines and that set the perfect sound that vibrates the heart of the entire room.

The voices were led by Don Carlo Andrea Caré. His performance was also low to high. It started with a somewhat rude lisp was clearing, resulting in a good phrasing that emphasized a beautiful and homogeneous timbre. expressiveness, both vocal and scenic, It was almost nonexistent.

Isabel de Valois Ainhoa ​​Arteta was at high altitude. His voice, always audible and timbrada, delineated a character suffered in the most intimate and full of dignity and solemnity in its institutional part, Thank you, especially, his extraordinary stage presence. He played his Elisabetta with elegance and musicality and shone in the middle voices.

The always solvent Silvia Tro, I knew give your Princess Eboli distant coldness that is supposed. Registration maintains an extensive tour that allowed him to face an acute tessitura at times, but also demanding rushing serious character in "O don fatale".

Filippo II of Michele Pertusi had its greatest qualities in the interpretation and phrasing intentional. But the volume of his voice and insufficient serious, They blurred partly a character, roundness asking more vocal and more psychological depth

Something similar happened with the grand inquisitor of Rafal Siwek. His presence on the scene saw the character, but it is very scarce in vocal terms.

Simone Piazzola gave birth to a Rodrigo with all its qualities of loyalty and camaraderie to his friend, The infant. He had moments of inspiration and phrasing with taste, especially in duets and at the time of his death.

The Tybalt Natalia Labourdette was almost unheard. Between the volume of the orchestra and his voice, We could barely hear.

A very good standard interpretation was Friar Fernando Radó. And the Flemish deputies Mateusz Hoedt, Cristian Diaz, David S´nachez, Francis Tójar, David Lagares and Luis López Navarro.

A successful start of season with more show at the stalls that scene.

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

DONIZETTI, BRIGHTLY CLOSES THE SEASON IN VALENCIANO PALLUCIA GAETANO DI Lammermoor DAU DE LES ARTS.

By Diego Manuel García Pérez.

The six performances of Lucia di Lammermoor that have taken place in the Palau de les Arts, They have resulted in a major victory. this opera, true paradigm of bel canto repertoire, and it was represented at this theater, in 2010, with great success, especially by the presence, so, young Georgian soprano Nino Machaidze and Italian tenor Francesco Meli. The performances this year have fallen short of those, especially for the excellent performances of the Anglo-Australian soprano Jessica Pratt, Chinese tenor Yijie Shi and Alexander Vinogradov Russian bass, next to the magnificent performance of the Orchestra of Valencia, directed by Roberto Abbado, who he was dismissed as musical director of the Palau de Les Arts, after good work, not always recognized. Another attraction of this Lucia is the -Fortunately- suitable scenery to the time when the action unfolds. Y, as, the magnificent performance of the Choir of the Generalitat, which again showed his quality. An enthusiastic audience applauded at length and with great force at the end of representations.

Lucia di Lammermoor is the most famous opera by Gaetano Donizetti, whose prolific output ranks forty-seven of a total sixty-six titles, with scores preserved. Year 1835 It was especially important to the world of opera, since the 24 premiered January I Puritani, the last opera by Vincenzo Bellini, who died in 23 September of that year, just three days before the premiere of Lucia di Lammermoor, Teatro San Carlo in Naples. Salvatore Cammarano then artistic director of this theater, It was commissioned by Donizetti to write the libretto, which it was based on the novel The Bride of Lammermoor by Walter Scott, published in 1819, and which is recounted real facts occurred in August 1668, where Scottish aristocrat had forced his sister to marry another noble; she was in love with an enemy of his brother, tax stabbed her husband in the wedding night, for then mad. Unlike the novel and opera, the husband survived and imposed absolute secrecy family about everything that happened. However there were all sorts of speculation and history is kept alive by family tradition and was known by Walter Scott to write his novel. Premiere, Lucia di Lammermoor had extraordinary success that has been lasting until today. The first Lucia was interpreted by Fanny Tachinar-Persiani, one of the most famous sopranos of the era whose tessitura of lyric-light, It allowed him to make a full vocal and interpretive display at the big scene of madness, one of the great landmarks of the bel canto repertoire all. Edgardo's role was played by the great tenor Gilbert Duprez, the first to issue the famous C4, with chest voice.

For many years the character of Lucia was interpreted by voices in slight excess, more concerned exhibit vocal virtuosity, to the extent not interject cadences written by Donizetti, for lucimiento. Ya, in the twentieth century, There sound documents light sopranos interpreted Lucia: Maria Barrientos, Amelita Galli-Curzi, Mercedes Capsir (entity with greater vocal, and interpreter in 1929, the first studio recording of this opera), and especially the Franco-American Lily Pons, tiny voice, nice and penetrating timbre, with excellent projection, causing her to succeed in the old Metropolitan, large theater in which his voice expanded easily and where was the official Lucia since its debut, in 1931, until his last performance, in 1958, in both cases with that character, who would play in almost one hundred fifty performances. Lily Pons was able to perform true vocal prowess with absolute mastery of coloratura and superb upper register which held, easily, a stratospheric note as MI5. Lily Pons Lucia played with all the great tenors of his time: Beniamino Gigli, Giacomo Lauri-Volpi, Giovanni Martinelli y Francesco Merli, with younger voices like Ferruccio Tagliavini and Giuseppe Di Stefano; Y, especially, with American Jan Peerce and Richard Tucker, with whom he made a recording studio, in 1954. It can be heard on Youtube, in different interpretations of the scene of madness, as well as his great duet of Act I Edgardo, recorded in 1950, next to the beautiful voice of Giuseppe Di Stefano. As well, in Act II duet with Enrico, played by the great baritone Leonard Warren. Y, a curiosity, You can also hear full on Youtube, a shot live from Fort Worth (Texas, USA), in 1962, where a Lily Pons, virtually retired from the stage, sharing deal with a very young Placido Domingo twenty-one, which it offered its beautiful timbre and interpretive capacity.

In 1952, Maria Callas first he performed by the Edgardo Lucia Di Stefano Giuseppe, at the Teatro Bellas Artes in Mexico City, reinventing the character, giving it a dramatic entity hitherto unknown, based on his extraordinary theatrical ability, keeping the vocal virtuosity, within the concept of dramatic soprano of agility. two studio recordings made by EMI preserved: the first, in 1953, with the singer at his best vocal moment, junto a Giuseppe Di Stefano y la Orquesta de Maggio Musicale Fiorentino, directed by Tullio Serafin, and the second, in 1959, with the Philharmonia Orchestra, also directed by Tullio Serafin, next to Ferruccio Tagliavini Edgardo, with singer and vocal worse conditions, giving a view, at times, intimate and heartbreaking character. It should be noted between the two recordings live a shot, held in Berlin 29 September 1955, He has entered fully into the mythology of the world of opera, where Callas offers its magnificent vocalism, with an impressive dramatic performance, masterfully directed by Herbert von Karajan, in front of the RIAS Orchestra Berlin, producing a real symbiosis between director and singer; here again with Di Stefano and Giuseppe Enrico magnificent baritone Rolando Panerai Great. The famous sextet at the end of Act II, before the continuous applause, It is byssate. This recording can be heard entirely in Youtuve.

Callas's witness picked him up the great Australian soprano Joan Sutherland, wide center, good range of serious and extraordinary capacity for coloratura, with a perfect treble and treble emission, but not have the dramatic ability to Callas. He first performed at Covent Garden Lucia, in 1959 (you can hear full on Youtube, live a take those representations) and maintain the role in his repertoire for thirty years, being who more times it has played, over two hundred representations, with large Edgardos as Alfredo Kraus, Luciano Pavarotti y Carlo Bergonzi. Highlight their studio recording for Decca, in 1971, Luciano Pavarotti alongside a at its best, displaying his beautiful vocalism, Enrico powerful Sherrill Milnes and the magnificent and expressive interpretation of Nicolai Ghiaurov, como Raimondo, directed by Richard Bonynge leading the Orchestra of the Royal Opera House. Ya, at maturity, He participated in a series of performances at the Metropolitan, in 1982, directed by Richard Bonynge, Edgardo next to Alfredo Kraus, vocalism and flawless performance style. One of those representations was taken in video and DVD marketed by Deutsche GRAMMOPHON. Parallel to the performances of Lucia made by Sutherland, Creations include two other sopranos magnificent: Renata Scotto and American Beverly Sils, in the sixties and seventies of last century, Also alongside Pavarotti Edgardos, Kraus and Bergonzi. Later, They also made good creations Lucia, Edita Gruberova y June Anderson, although lower than sopranos aforementioned. It should be noted that in the last ten years has been Jessica Pratt, who very brilliantly he interpreted more times Lucia, with almost one hundred fifty performances.

The scenic proposal that has been seen in Valencia, It is a coproduction of the Monte Carlo Opera and the New National Theater in Tokyo, directed by Jean Louis Grinda. The sets designed by Rudy Sabounghi, are classic character, in line with the time the action takes place in the late seventeenth century. In the first scene it can be a great surrounded by water and cliff near a beach where Enrico Ashton move with several soldiers and his henchman Normanno, who he says mischievously has been seen prowling around a stranger, with all the appearance of being Edgardo di Ravenswood, the great enemy of Enrico Ashton. Decorated for changes repeatedly inserted a projection of a cliff, in beating the waves can be heard its maritime sound. In the second scene, the secret and passionate encounter Lucia and Edgardo occurs in the presence of Alisa, the chaperone Lucia, in a rocky enclave, where an old source is located, a painted background where menacing silhouette of the castle of Ashton Everyone appears sinister premonition! Act II, It takes place in a set that reproduces the great hall of the castle Ashton, and whose first scene are Lucia and his brother Enrico, who convinces with bad arts to marry his rich friend the noble Arturo Bucklaw; Y, Castle chaplain Raimondo Bidebent, friend and confidant Lucia, It advises her to accept the proposal of his brother. In the second scene, number of richly attired guests (excellent costume design by Jorge Jara) They sing and dance celebrating the upcoming marriage bond; Here you can be seen the successful stage direction by Jean Louis Grinda, moving many extras. The unexpected appearance of Edgargo, encourages the brilliant sextet Lucia, Edgardo, Enrico, Raimondo, Alissa y Normanno, where, in a different plane dramatic, each expresses his feelings, scenically very well resolved by Grinda. In this production, at the beginning of Act III, the scene of the tower is included, also with maritime background, which often often it omitted to avoid another change of scenery, and actually breaks the dramatic continuity and is only for the brilliance of tenor and baritone. Here the tense meeting Edgardo and Enrico occurs, can be a tower in ruins, whipped by the waves. In the second scene reappears the great hall of the castle where the wedding guests celebrated by; the celebration is suspended by the presence of Raimondo, who announces the tragic news of Arthur's death at the hands of Lucia in the marriage bed. The ghostly appearance of Lucia, with bloodied wedding dress, begins the famous mad scene; Here one of the best scenic moments of this production occurs, when Lucia, evocative mode, takes up the main theme of his great duet with Edgardo, back into the hall of the castle, the decoration of the fountain scene. At the conclusion of the opera a strongly romantic landscape shown, with maritime cemetery where lie the ancestors of Edgardo, who commits suicide after watching the funeral procession with the body of Lucia, in this case throwing vacuum from a cliff.

Roberto Abbado was leaving the Palau de Les Arts directing this Lucia, a work that deserves all kinds of praise, getting from the same excellent sound opening with an imposing presence of the fallopian, they will have great prominence throughout the opera. Bellísimo was the orchestral accompaniment throughout the grand Lucia and Edgardo duet of Act I. Brilliant orchestral sound throughout Act II, in the great duo Lucia and Enrico and, especially, in the wedding scene with the combination of orchestra and choir, which reaches its climax in the famous sextet and the closing stretta. Magnificent orchestral performance, at the start of Act III (Tower Scene), playing a storm in conjunction with the sound of a raging sea. Excellent entering the final scene of the opera with a funeral chords heralding the tragic events to be produced. In the famous mad scene used the glassarmonica (glass harmonica), that could be heard when the play premiered Donizetti. It is an instrument created by Benjamin Franklin in the mid-eighteenth century, formed by a set of glasses and glass tubes, on a wooden base, emitting a characteristic sound, to seek frotadas. Very lucida intervention Sascha Reckert, a specialist of this instrument, in the accompanying Jessica Pratt, He managed to extract spectral sounds, in perfect conjunction with the voice of soprano. Apart from the great performance of the four horns, Noteworthy is the large harp solo intervention before the first stage appearance of Lucia, In the second scene of Act I. Excellent performance of the cello accompanying the intervention of Edgardo around the end of the opera. Emphasize the conciliatory work of Roberto Abbado very aware of the voices, highlighting its great rapport with Jessica Pratt who had directed in this role on several occasions.

Great performance by Jessica Pratt, showing timbral beauty and great stylistic mastery of the bel canto repertoire, with an excellent line of singing and great ability to link long sentences. Highlighting his mastery of the middle voices and sound regulations. Domain displays all records, with color homogeneity. They are spectacular and its sharp treble. Y, especially, It offers a perfect execution of agility from his first aria "Regnaba nel silencio" followed by the cabaletta "Quando, rapito in estasi "introducing variations in their repetition virtuosic. then, its interpretation will crescendo in the beautiful duet with Edgardo, especially in its final section whose recurring musical motif reappears on the scene of madness, where the soprano offers an impressive resolution of coloratura. Excellent Chinese tenor Edgar Yijie Shi, with great stylistic mastery and excellent singing line, although its timbre is not too attractive, It's a great singer, It is offering an intense phrasing and contrasted, with great mastery of all records, exhibiting a magnificent acute strip. Excellent interpretation of the great duet with Jessica Pratt. It stands out greatly, in his final scene giving his singing pathetic accents. It is also magnificent in his duet with Enrico Ashton played by baritone Alessandro Luongo, whose voice performance is well below the main characters, with little command of bel canto style. A real shame, because Enrico is a character for baritone absolute brilliance, with great moments like his big scene at the start of the opera or the great duet with Lucia Act II, where, compared with the performance of Jessica Pratt, They can be checked all its limitations. Excellent Russian Alexander Vinogradov low as Raimondo, offering a powerful vocalism, highlighting the duet with Lucia and especially in his great solo intervention "Ah! Cease that happy ". Excellent performance of the young Basque tenor Xabier Anduaga as Arturo sposino, whose magnificent vocalism augurs a bright future career. Bien half the rusa Olga Syniakova, as Alisa. Correct the tenor Alejandro del Cerro as Normanno. Magnificent interpretation of famous sextet followed by "stretta", which he concludes Act II, where the voice of Jessica Pratt, emerges strongly from the chorus and solo voices.

The Choir of the Generalitat offered, a great performance, especially in Act II, where his performance shone high, as well as the introduction of the mad scene, and around the end of the opera. Anyway, Lucia di Lammermoor one to remember.


 

Il Trovatore burns en el Teatro Real
THE TROUBADOUR
Giuseppe Verdi (1813-1901)
Dramma in four parts
Salvadore Cammarano libretto, based on the play
the troubadour (1836) of Antonio García Gutiérrez
D. musical: Maurizio Benini
D. scene: Francisco Negrín
Escenógrafo y costume: Louis Désiré
Lighting: Bruno Poet
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Artur Ruciński, Marie-Nicole Lemieux, Piero Preti,
Roberto Tagliavini, Cassandre Berthon, Lara Fabian, Moses Marin, Sophie Garagnon
El Teatro Real estrena Il Trovatore, one of the most popular and emblematic Verdi operas from the time of its release, and does so in co-production with the Opéra de Monte-Carlo and the Royal Danish Opera Copenhague.Fue made the same year as La traviata and Rigoletto, but Trovatore already contains the bel canto drama that evolved in later operas. Technical changes and vocal, start this period belcanto, the transition from youth to maturity of italiano.Otra master of the reasons why Il Trovatore is a fetish opera is the vocal challenge for singers. Partly, so it is written in the score and partly because it is not written, and that, by tradition, is sung. Many of the difficulties of the work, actually, They are not written by Verdi, but many singers who carry out. One such example is in the second cabaletta of Leonora in Act. In the version shown at the Royal Theater, interpreted, what makes this extremely difficult role. According to the master Benini, once this fragment was omitted at the request of the singer difficulty. Benini considers it necessary to keep "because the very form of the bel canto demands respect this structure, arc composed recitativo - aria - cabaletta. If we cut the cabaletta, we cut the melodic arc. "Another of the elements belonging to tradition is the famous Do Manrico in the aria from La pira. Actually, Do this appears penciled in the original score, but it was written by Verdi, It was added later. And the belcanto has always required an evolution of vocalism. It had to be faithful to these principles and demonstrate bel canto virtuosity of the singers and, maybe, I should also be reflected in writing, hence its incorporation, added as, to scores. But originally it does not appear.

The endiablada vocalism of Trovatore required, as Verdi himself, the participation of five singers of the first order. Not only the tenor and soprano, all must be the best singers at that time for these roles. For this production of Teatro Real, more concretely, the second division, this requirement is not met.

Also the script has been controversial for its convoluted plot. A succession of scenes impossible and difficult to understand and monitoring by the public. All the passions unleashed among the four main characters, and a gypsy curse, a troubadour, false son of the gypsy, an evil count and a lady, Leonora, to which the two protagonists seek. Love, her spell revenge and, are the main arguments of the libretto by Salvadore Cammarano that, his death, Verdi wanted to respect without making any changes in.

Stage director Francisco Negrin has taken fire as conductive element and protagonist of the scenery. Has a large presence throughout the work and represents a past that burning the possibility of present and future. for Negrin, We all have a burden of the past that affects us and affects our lives.

Dark and suffocating atmosphere that is achieved is the perfect item where the ghosts of the past of the characters are developed that mix with them. A darkness that is maintained throughout the work and ends resulting uncomfortable for the viewer. Especially in the first part, which it became soporific. A stage with little or no originality and little details that contributed to the work.

The great success of this production came from the pit. Maurizio Benini experience with the Verdian repertoire are those that grow confidence in both the orchestra and the singers. important element, The chorus, It was less more to finish dramatically.

Azucena of Marie-Nicole Lemieux was correct in interpreting, with a powerful bass accentuating the dark nature of the character. But it turned out a little screamer moments and a somewhat coarse ridge line d.

The Manrico Piero Preti went dwarfing as the work progressed. His timbre is nice but the feeling was weak, also in interpretive.

Roberto Tagliavini gave a more consistent picture of Ferrando, like the Count de Luna Artur Rucinski, that accompanied its powerful bass with good stage presence.

The most applauded of the evening was the Leonora of Hibla Hibla, with a ridge line more than correct, He endowed his character sensitivity and elegance.

With this work the Royal Theater celebrates another great success with his opera week, event that has already become traditional.

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


 

Capriccio, Strauss, a gift insperado at the Royal Theater
CAPRICCIO
Richard Strauss (1865-1949)
Teatro Real in Madrid, 31 May 2019
Conversation piece for music en un acto
Record of Joseph Gregor, Richard Strauss y Clemens Krauss, based on the original idea of ​​Stefan Zweig
Released in the Staatsoper in Munich on 28 October 1942
Premiere at the Royal Theater, in co-production with
Opera de Zúrich
D. musical: Asher Fisch
D. scene: Christof Loy
Scenographer: Raimund Orfeo Voigt
igurinista: Klaus Bruns
illuminator: Franck Evin
Choreographer: Andreas Heise
Distribution: Marlin Bystrom, Josef Wagner, Norman Reinhardt, André Schuen, Christof fish eaters, Theresa Kronthaler, John Graham-Hall, Leonor Bonilla, Juan José de León, Torben Jüngens, Emmanuel Faraldo, Pablo Garcia-Lopez, Tomeu Bibiloni, David Oller, Sebastiá Peris, davil Sánches, Elizabeth McGorian and Julia Ibáñez
Titular Orchestra of the Teatro Real¿Quién, amid one of the worst moments that crossed the world, I could stop and think and compose an aristocratic refinement as Capriccio? Richard Strauss and Stefan Zweig were able to develop an intellectual debate on the opera itself, the manner of Plato's dialogues. And maybe they did, simply, as evasión.Una method opera on the opera. This was the theme Richard Strauss choice for the last of his compositions, the eternal debate about whether to prevail music or text.
The story had begun years ago, when you start searching for a new librettist, after the death of Hugo von Hofmannsthal, in 1929, which until then he had been his main collaborator and author of the libretto of all his compositions. In his next opera, the silent (The Silent Woman), composed 1934, It takes over the text one of the most important writers of the time, Austrian Stefan Zweig. parallel, Diving in the British Museum Library, Zweig is the script he had written Gionavanni Batista Castri debut for music, after the words, the composer Antonio Salieri. A Strauss liked the idea, but they were forced to postpone the project to the problems that the premiere of the silent woman had caused. He had called for the withdrawal of librettist Name Poster, something that Strauss refused. It came Brand, but he withdrew after a few days.For then had already been banned in Germany Zweig's books. The Jewish Zweig, as he was known by the Nazi regime, he was forced into exile, like many other intellectuals from 1933. He went from being a distinguished foreigner wandering Jew in the Brazilian city of Petrópolis, where he committed suicide with his wife in 1942, fearing that the world had known desapareciera.El sketch libretto by Capriccio initiated by Zweig was retaken, first by Joseph Gregor, and then by Strauss himself and his friend, the conductor Clemens Krauss. It would then director of Capriccio at its premiere. And his wife, ucraniana-Austrian soprano Viorica the Ursuleac, would be the first Countess Madeleine. This time there was no problem at its premiere. The fact that Clemens Kraus was at that time the most powerful man in German opera and personal friend of Goebbels, He helped a lot. Also he helped himself, despite its good relationship with the regime, the flight of many Jewish artists, mainly to the United States.

In preparing Capriccio also attended by director Hans Swarosky, who provided one of the fundamental elements of the opera, a sonnet by the French poet Pierre Ronsard sixteenth century. A declaration of love which is declaimed by Madeleine, especially in the final scene:

I would need to look for other veins
Mine are so full of your love
Another love could not stand

The same year died Zweig, 1942, Capriccio was premiered at the Munich Staatsoper 28 October. Now is the Royal Theater which debuts, in co-production with the Zurich Opernhaus.

When Strauss and Zweig started thinking about Capriccio, they could not agree on whether it should be an opera or a play. Certainly, opera is more like a play that can be. In that, as in other aspects, Capriccio is full of originality and peculiarities.

Christof Loy, helped by the set designer Raimund Orfeo Voigt, He created a bright scenery, full of deliciousness, Empty surface elements and references fill depth this dialogue opera. It is a choral work, It composed of all the characters involved in production, director, composer, librettist, scenographer, singers… It is filled with scenes set in which the actors / singers move and interpreted entirely theatrically, without dramatic excess conventional opera. What fills the development of the scenes of realism and credibility. The scenery is nothing casual. Loy is responsible for directing all the details and does it work with incredible precision. The scenes move smoothly and naturally, as if it were really happening. With very few elements recreates all the thoroughness that holds the score. And all with a feature always present, the elegance.

Asher Fisch music director has achieved an extraordinary result of the Titular Orchestra del Teatro. The initial string sextet, one chamber music piece that highlights the originality of the work, demonstrates the soundness of the Orchestra. The scene and the pit walk in unison fluidity and musicality. Fisch gets the same intensity and sound quality along the more than two-hour representation, with a score full of difficulties and constant changes. All strings sounded exceptionally, but, In addition sextet, excelled horn soloist Ramón Cueves, especially in the interpretation of the Serenade for horn and orchestra of the last scene.

The two lovers vying for the love of Madeleine were interpreted by André Schuen, as Olivier and Norman Reinhardt, as Flamand. The Italian baritone André Schuen and recently surprised us in the Lied at the Teatro de la Zarzuela. Recreate well his role as poet with perfect phrasing and a voice of beautiful timbre and great sound and depth. impeccable theatrically, like the rest of the cast.

Norman Reinhardt played the musician Flamand. His voice light tenor sounded a little forced at times, but he learned to live up assembly. Smart also in his stage performance.

Josef Wagner played the Count, one of the Christof Loy details of the baroque, to make him appear on stage with period costumes. Perfect performance and dark timbre resounding, ideal for the character.

The Swedish soprano Malin Byström gave life to the Countess Madeleine. And really she filled life. Its elegant and aristocratic bearing are perfect for the character and his voice, lyric soprano, perfect for phrasing sung his numerous dialogues supported by a powerful and necessary fiato. Its peak, and the work, It was its glossy finish, that romantic and delicate song of love sonnet by Pierre Ronsard. He mimicked his character absolutely, that could not be more credible. It was perfectly accompanied by her child replicas, Julia Ibáñez and almost old, Elizabeth McGorian.

Interesting were also interventions Theresa Kronthaler, in the role of Clairon. mezzosoprano that, in addition to its good performance voice, He demonstrated his stage training.

Leonor Bonilla and Juan José de León performed superbly to light Italian singers. Winking Strauss to perfectly imbricated Italian opera in the work.

Octet scene servants is another element to highlight in this opera. Both the baroque costumes, all white, as the layout stage. Perfect figurines Klaus Bruns and choreography by Andreas Heise.
To round out this very balanced distribution, both vocally, and the interpretive, citar a John Graham-Hall, como Mr. Mole there Torben Jungens, Butler made.

The Teatro Real has accustomed us, at least, a surprise season. Nobody expects something exceptional. This time, You can say that is the surprise of the bicentennial, The Real. An unexpected gift that justifies, by itself, a season.

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

 

Almost removed from the world of composition, Giuseppe Verdi enjoyed the company of his wife Giuseppina Strepponi in his sleep Laugar, Sant´Agata. There some friends were coming, among others, the Boito. Arrigo Boito and Verdi had not had very good relationship so far, He was following the success of Otello, Boito libretto another successful, when they began a friendship that was consolidated during the last years of the composer, they shared a love of music and literatura.Boito did get a theatrical sketch Verdi "Falstaff", libretto based on Shakespeare's "The Merry Wives of Windsor" and "Henry IV". He wanted to encourage the teacher to write a comedy, a genre that Verdi had returned to explore for nearly fifty years, tras el fracaso de "A day of reign", his first foray into comedy that was withdrawn the day after its release. Aware of the thorn that her husband was stuck since then, Giuseppina tried, along Boito, encourage the teacher in the adventure of composing a opera buffa. And so he announced during a dinner with the publisher Ricordi, the teacher was writing a new play to their 77 years. The next day, "Corriere della Sera" if hacia eco de la noticia, It generated great excitement among his seguidores.Verdi faced so, with his friend and librettist, its praised, no pressure, with the peace of those who no longer has anything to prove, to build a character that came to empathize along the composition. "The paunchy", as Verdi and Giuseppina called Falstaff, It was completed in mid 1892 and it was premiered at the Teatro alla Scalla Milan on 9 1893.Verdi February came all rehearsals and kept giving indications musicians and singers, something that surprised everyone, for he was about to turn 80 years. The premiere was a success and Verdi had to go out to greet several times. But Falstaff had also created some confusion among some fans of the composer. His music had nothing to do with works made so far. Even he moved away from Otello, I had already been a great musical evolution. After Don Carlo, Verdi had made a great effort to be accepted and respond to criticism that he made his detractors and now Falstaff went a step further. But, at this stage, the master of Busseto was a character dedicated, not only in the world of opera and Italy, He was admired internationally. So the awards to this his last work, They were higher than those embarrassments.

The main novelty in the score of Falstaff lies in their vocal and orchestral style, and its new way of reciting. Verdi completely abandoned in this work the system arias, not appear here passions and dramas so characteristic of his works, represented by those ary bravura. They not appear the cabaletas, concertantes duets and a filled structure rigidities. The composer made a much more dynamic system, where the word is of great importance through a script full of wealth and creative force. It can be said that gives a twist creating a bright, Italian opera theatrical, with a complex orchestral writing, with ensembles and sets. A main character, two side and a set of comprimarios that come out on stage with pinpoint accuracy. a comedy where the pace is essential and where all the characters have an irreplaceable position in the work gear is thus created.

The stage director Laurent Pelly, It has managed to make a very accurate reading of the theatrical level of this opera buffa. He has designed two distinct spaces, a tavern in which Falstaff lives and prepares the intrigues with his cronies Bardolph and Pistol, and another space, elegantly flattering Tangle, where he lives and operates bourgeois part of the deal. The great success of Laurent Pelly scenery and Barbara de Limburg is its theatricality, that faciliya inputs and outputs scene as if it were an intermission, with outstanding direction of actors. Excessive darkness of the stage was conducted by Joël Adam.

The musical direction of the young Daniele Rustioni was very effective and scrupulous in their interpretation. Perhaps, around a few years, Rustioni dares to put more intention and personality in this work. The enthusiasm showed on the podium was not reflected by the orchestra. All very correct, but with little spark.

Falstaff is a choral work. Its many characters should be as good singers as actors, and the final cast, after some casualties, It is an extraordinary level.

Roberto de Candia Nicola Alaimo replaced in the role of Sir John Falstaff. Candia defends his character with enough authority, a homogeneous timbre and great theater capacity. His experience on stage and intention that gives your character, They filled the empty stage in which it was in any of its passages. His Falstaff has the right amount of humor, without falling into caricature. It is a Falstaff with his little smugness and swagger, and it is believed that handsome gentle. Don Giovanni came a living unless his memories and the one just empathizing.

Simone Piazzola's Ford had a higher load histrionic. His character is not vocally simple, but Piazzola smoothly resolved the most difficult passages of his jocular Ford.

The Merry Wives of Windsor didn't have it easy on stage. Pelly put them all up and down stairs while singing. One difficulty to add to its interpretation. Rebecca Evans was Mrs. Alice Ford filled with humor and grace. Its emission is clean and direct, was the most prominent group vocally comadres.

Daniela Barcellona, como Mistress Quickly, It was the most elegant and sophisticated, also in the ridge line. We take a little less wonderful that has such serious. Made very good match with Roberto de Candia in duets sharing.

Most go unnoticed on stage with Mrs Maite Beaumont. Meg Page. Not so with Ruth Iniesta and Nannetta, with a clean voice, fresh and voluminous that accompanied the diffident Fenton Joel Prieto, it costs to recover the good level he showed in The Magic Flute takes a couple of seasons in this same theater.

The doctor. Caius de Chritophe Mortagne was somewhat grotesque, with a somewhat forced his comedy broadcast.

Mikeldi Atxalandabaso is always a guarantee vocally and, especially, in the interpretation. It is a true chameleon on stage. On Bardolph, a bit tacky neighborhood, It was the most fun night. Valeriano showed the same trade Lanchas, Bardolph forays partner and Falstaff. With a bass that resonated with power and a very good performance.

Falstaff ends so masterfully Original, with a leak performed by all actors, including the choir (once again, magnificent), while a large mirror reflects the stalls while listening to "Everything in the world is mocking". In this case, we do not mind being teased.

Iolanta 1

Iolanta 2

Iolanta 3

Iolanta 4

https://youtu.be/xlByMMGVW-M

Iolanta 5

Iolanta 6

Iolanta 7

Iolanta 8

Iolanta 9

 

Iolanta of CHAICOVKY OBTAIN A GREAT VICTORY IN PALAU DE LES VALENCIANO ARTS.Por Diego Manuel García Pérez.

The four performances of Iolanta that have taken place in the Palau de les Arts, They have resulted in a major victory, especially by the excellent performance of the Orchestra of Valencia, superbly directed by Henrik Nánási, with a remarkable set of singers, with perfect idiomatic and stylistic mastery as required in the Russian repertoire. All this combined with a simple but very attractive scenery visual, and the presence of the always bright Choir Valencia, in this case the female section. In January 2012, this opera could already be heard at the Palau de les Arts, in concert.

Piotr Ilich Chaikovski (1840-1893) It can be considered the most Russian composer of all time popularity; Y, Although it is known primarily for its contributions to the symphonic world and ballet, his operatic creations were important and showed great interest in this genre, with the composition of up to ten operas, of those who have just had real resonance Eugene Onegin (1879), and to a lesser extent The Queen of Spades (1890). His other operas of great quality are very poorly represented: The Maid of Orleans (1881), Mazeppa (1884), Cherevichki (Tsarina's slippers) y Charodeyka (the hechizera) both of 1887. His last opera Iolanta (1892), He is having in the last ten years some notoriety, since it opened in 2009, the production of the Mariinsky Theater in St. Petersburg, with stage direction by the Polish Mariusz Trelinski, it could also be that same year at the Festspielhaus Baden Baden and the premiere of this opera at the Metropolitan New York, in January-February 2015, always with the magnificent performances of Anna Netrebko as Iolanta and orchestral direction of Valery Gergiev. Liceu in Barcelona, in January 2013, Anna Netrebko also sang Iolanta, in concert, direction of Valery Gergiev. So, It has been instrumental in spreading the tandem Netrebko opera-Gergiev. As well, It was performed at the Teatro Real in Madrid, in January 2012, in a joint production of the Bolshoi Theater and the Moscow, what he supposed the premiere of the opera in Spain. In March-April 2016, It was performed at the Palais Garnier in Paris, production also including the ballet Nutcracker, both works with stage direction by Dmitri Tcherniakov. Precisely, Chaikovsky was released in a double program Iolanta and her Nutcracker ballet, Mariinsky Theater in, he 18 December 1892. January-February 2019, Iolanta has again been represented in the Metropolitan and functions that have taken place in the Palau de les Arts, in both cases, the Mariinsky Theater production of the, with the musical direction of Enrik Nánási and Mariusz scenic Trelinki. So, Notorious is the growing interest in this last opera by Tchaikovsky.

The libretto in a single act with eight scenes and a final scene, It was conducted by Modest Chaicovsky younger brother of the composer, based on the work Danish King's daughter René, The Herink Rudolf Hertz, set in the Provence of the fifteenth century, where the story of the blind princess Iolanta and her father King Rene account, which holds around a circle of fiction, so you may not be aware of their misery. Finally, the Count of Vaudemont Goffriett, Princess love, you will discover that what private lives, encouraging her desire to see, clincher to be cured by the Arab physician Ibn-Haqia, hired by King René. The story has another main character Robert Duke of Burgundy, friend Vaudeamont, foreordained child to marry Iolanta, without knowing his blindness. Roberto is in love with another woman, although willing to face their old commitments. Finally, Princess recover sight, and the story will end happily with the marriage of Iolanta and Vaudemont. wonderful music composed by Chaicovsky, shows the brilliance as an orchestrator of the Russian composer.

There are many recordings of Iolanta, both DVD and CD. Highlight a take on video 1982, held at the Bolshoi Theater in Moscow and marketed by the label VAI DVD, which it has an excellent set of Russian singers: galina Kalinina (Iolanta), lev Kuznetsov (Vaudemont), Igor Morozov (Roberto), Artur Eisen (king René), Ruben Vardanian with at the front of the Bolshoy Theater Orchestra of the. One of the classic recordings of this opera, It is taking live with excellent sound, held in Paris Playel room, in 1984 and released on CD by the label ERATO, with magnificent and very nuanced interpretations of Galina Vishnevskaya (Iolanta) Nicolai Gedda the (Vaudemont), Mstilav Rostropovich led to the front of the Orchester de Paris. This recording can be heard complete on YouTube. The DVD published by the Teatro Real in Madrid, Iolanta synthesized representations with Perséphone Stravinsky held in January 2012, with a cast of good Russian singers: Ekaterina Scherbachenko (Iolanta), Pavel Cernoch (Vaudemont), Dmitri Ulianov (king René) and baritone Alexei Markov excellent (Roberto), led by Teodor Currentzis. Of great interest is making video, made in 2009, in the Mariinsky Theater in St. Petersburg, fully available on YouTube, of the aforementioned production of the theater, with musical direction of Valery Gergiev and stage of the Polish Mariusz Trelinski, with the excellent performance of Anna Netrebko (Iolanta), with magnificent Sergei Schorokhodov (Vaudemont) y Alexei Markov (Roberto). As it mentioned, this production is what has been seen in El Palau de les Arts.

This version, moves the action from the fifteenth century to a period that can fit in the forties or fifties of the last century, with a simple scenery designed by Boris Kudlicka, dominated by the structure of a cube, where it is only cover one side, a wall where deer skulls are hung with huge antlers; the wall has a door, when the structure turns can be input externally as a hunting lodge, just as Vaudemont and his friend Roberto come into play. In this structure quite oppressive lives Iolanta, giving the impression of a hospital room where her friends are watching over Marta, Briguitta and Laura, dour-looking nurses. Holographic projections show a mottled dark forest surrounding the passenger compartment, where trees floating in space with their roots bare, conferring to the place a truly ghostly, very much in keeping with the world of shadows surrounding Iolanta. After the initial meeting of Iolanta and Vaudemont, where strongly attracted, that dark forest begins to be pierced by the dim light of a sunrise, which lets you see the beat of the leaves of trees, one of the most beautiful scenic moments of this production, symbolizing the hope that Iolanta regain vision. In the final scenes there is excessive proliferation of lights and light beams, They are arriving to dazzle the public. The costumes designed by Magdalena Musial plays with the contrast of black and white colors, reflection of light and darkness that dominates this story. Ya, in the final scene, when the princess has regained sight, She appears wearing a bright dress, symbol of that radiant light, allowing you to see the real world. Highlight the stage direction of Mariusz Trelinski, who manages to extract the maximum of theatricality to the actions of each of the interpreters.

Dirección de excelente ENRI Nánási, with the magnificent performance of the Orchestra of Valencia. Hungarian director showed his knowledge of the score, knowing highlight the smallest details, While driving dynamics and intensities, with outstanding conciliatory work very aware of the voices, which in this case they were of sufficient volume to cross the barrier at times orchestral sound forte. It was bright orchestral intervention from the same opening, where only intervened instruments woodwind, highlighting the sound of the English horn and bassoon. Throughout the work include the magnificent performance of the string, already evident in the opening scene, gorgeous orchestration, which he highlights the sound of harps. Excellent speeches clarinet soloist at the scene and the concertmaster second violin in the long introduction of "nana" lovely ending with the third scene. The orchestra shone greatly in the great duo Iolanta and Vaudemont, especially in the recurring musical motif always related to light, it will reappear in the final scenes of the opera played by the protagonists and only by the orchestra. Was very bright conjunction conductor, solo voices and chorus in the great opera concertante closing. Highlight these dialogues orchestra and soprano solos that punctuate the Iolanta.

Very remarkable interpretation of Iolanta by Armenian soprano Lianna Haroutounian, displaying a beautiful timbre, domain of bound hand, moving well in all registers, especially with a powerful strip acute and showing a considerable volume, to surpass the orchestral sound in forte and emerge strongly in concertantes. Highlight the interpretation made in its initial aria "Atchevo eto ne prezhde znala. Neither I nor Toski mounts, ni slez (Why I never knew before or anxiety, nor pain, nor the tears?)"With an intense and expressive phrasing, glowing in the high register with increasingly higher notes and subtle scales down. Interspersed within his great duet with Vaudemont, interpreta el aria "Tvoe molchan'e mne neponjatno (I do not understand your silence)”, excelente associated with singing, While handling the voices stockings, regulating the sound of piano to forte and again showing great increases to ease acute. Very outstanding performance of the soprano in the great duet with Vaudemont, where both they interpret one arioso beautiful, with recurring musical theme, moving in a high tessitura, first tenor and soprano then with different messages, both voices coming together to sing so vibrant the same subject and conclude the duo with C4, Best projected by soprano. as Vaudemont, the young Ukrainian tenor Valentyn Dytiuk, shows a typical white timbre something Slavic voices, rotundas acquires sonorities in acute strip. He sang very well his aria "Nest! Chary lask mjatezhnoj mne nichevo ne govorjat (¡No! The charms of a fiery beauty not tempt me)”, where, apart from a brilliant rise to acute, mostro a song full of musicality with mastery of middle voices and regulators. Russian baritone Boris magnificent Pinkhasovich, in the role of Roberto, showing a beautiful and bright timbre, with a powerful registry grave, wide and bright treble center, with an incisive and full of expressive phrasing contrasted, playing with vehemence and passion his aria "Kto mozhet sravnit'sja Matilde 'doj MOEJ (Who can compare with my Matilda)”. Well the Russian bass Vitalij Kowaljow as King Rene, dominating role perfectly interpreted the I have on many occasions, with his deep, powerful vocalism, which looks at many moments of this opera, especially in his great solo intervention "Shto skazhet on? Kakoj promise proizneset ego doctrine? (What will he say? What will be the response of his science?)"Alluding to the Arab physician Ibn-Haqia, acceptably played by baritone Gevorg Hakobyan Armenian. Veteran magnificent performance under Russian Andrei Danilov as Almeric. Well the trio of friends from Iolanta performed by the mezzo-sopranos Olga Marina Pinchuk and Zharikova, with soprano Olga Syniakova, respectively Marta, Laura and Briguitta, especially in the "nana" lovely with a Iolanta sleeping in the third scene. Very prominent interventions of the Choir of the Generalitat Valenciana, Here restricted to female voices, first housed in the pit with the orchestra and the stage up to the end of the opera, shining greatly in the great conclusive concertante. Definitely, This is an excellent version of Iolanta, It is showing the beauty of this score.

La Calisto 1

La Calisto 2

La Calisto 3

La Calisto 4

La Calisto 5

La Calisto 6

La Calisto 7

 

La Calisto, venecianaLA effervescence CALISTO
Francesco Cavalli (1602-1676)
dramma per musica in a prologue and three years
Libreto de Giovanni Faustini, based on the book II
Metamorphoses (8 d.C.) Ovidio
San Apollinare premiered at the Venice Theater
28 November 1651
Premiere at the Royal Theater
Bayerische Staatsoper production Munich
Madrid 25 of March, 2019
D. musical: Ivor Bolton
D. scene: David Alden
Scenographer: Paul Steinberg
Costume designer: Buki Shiff
Illuminator: Pat Collins
choreographer: Beate Vollack
Distribution: Dominique Visse, Karina Gauvin, Monica Pods,
Luca Tittoto, Nikolay Borchev, Louise Alder, Tim Mead,
Guy de Mey, Ed Lyon, Andrea MastroniLa seventeenth-century Venice is a suitable place for divertimento, full of life, carnivalesque mocking. Always wary of Roma who came to excommunicate the Venetian authorities to consider the city a hovel of sodomizing. It is in this context that born La Calisto, work that was the great dominator of the Venetian opera, Francesco Cavalli. With great dramatic sense and wisdom in choosing the librettos, I knew how to put in this work all his artillery to exert satirical critique gaunt clerics, Roman politicians and artists. This was his peculiar way of settling accounts with ellos.Cavalli worked as Kapellmeister of San Marcos without forgetting his true passion, composition operas. He wrote more than 40 of which they have lost nearly a third. Of the 27 preserved, Callisto is the most popular since it was rescued in the years 70 by director Raymond Leppard.Cavalli should be as well known as Monteverdi or Haendel, whose works are part of the standard repertoire of all concerned teatros.Esta Italian society is reflected in the artistic and musical expressions through a clear evolution. Are the first solo, Madrigals abandoned 5 parts, texts gain in importance and should be understood by an audience that, for the first time, attending such shows paying entry. new instruments that imbue the works of a continuous basis are needed more powerful than traditional lute. a new instrument then appears with Greek mythological basis, chitarrone, It is beginning to be heard in the early and Venetian operas.

La Calisto, as a good representative of the Venetian opera, It consists of short scenes and a variety of characters and plots that occur with great fluency.

This style manages to convey, effectively and dynamics, a story with scene transitions and assemblies that makes these works have a special appeal to new audiences, accustomed to rapid movements of television and media.
Stage directors have always had some qualms about addressing Baroque works. Not easy to dramatize the long recitatives and statism of his characters. It may be the reason why some directors are entangled in impossible positions and / or surreal, creating scenery not always successful.

David Alden has devised a kind of psychedelic parade going by parading a large group of characters who are always very attractive for scenographer, gods, humans and mythological animals occur in fun filled scenes of sexuality and lasciviousness. Alden has reflected well through satiric characters, Cavalli mockery to the Roman authorities.

But the scenery is also loaded with scenic dispensable items, that they make no contribution to drama and sometimes distracts from the scenes that do not need much embellishment sterile to be understood.

Ivor Bolton put this time in front of two excellent baroque ensembles, on the one hand, the Baroque Orchestra of Seville, with some of its prominent members, Sylvan James and Elisabeth Bataller, violins; Kepa Arteche y Elena Borderías, violas; Mercedes Ruiz, cello; Ventura Rico, double bass; Simone Nill y Katja Schönwitz, Recorders; Bork-Frithjof Smith y David Gebhard, cornetos and Philip Tarr was in charge of percussion that was excessive and even annoying at times.

And on the other hand, and Monteverdi Continuo Ensemble, a group led by self Ivor Bolton, specializing in baroque operas and improvisation and created for these occasions. La Calisto involved with 4 key touched by the Bolton own, Luke Green, Roderick Shaw y Bernard Robertson; Mark Lawson, organ; Fred Jacobs, Michael Freimuth y Joachim Held, the chitarrones, instruments in the seventeenth century there was scarcely see the stage to an audience protesting the length of your rod; Friederike Heumann, Lirona and viola da gamba; Joy Smith, Cello (continuous) y Frank Coppieters, double bass (continuous).

They have also introduced some wind instruments, as natural trumpets, performed by members of the Titular del Teatro Real Orchestra Ricardo Garcia and Marcos García Vaquero, not included in the original manuscript of Cavalli and part of the update of this new critical edition prepared by Alvaro Torrente, which it has provided a solid and true basis of the text from which it was possible to carry out this work of recomposition in a work with great ability to introduce the element of improvisation.

Bolton direction in front of these sets is extraordinary. Faced with a score like this, on which he has worked in depth, instrumenting passages, shows his great knowledge and mastery of the baroque repertoire. Does a great job of connection between the different bands that get perfect pitch. His success in the leadership demonstrated by the standing ovation before the start of the second part.

It should be noted the balance of vocal ensemble. Bass Luca Tittoto, como Jupiter, She showed her acting skills, especially disguised as Diana and using the falsetto. It proved a very interesting central register. Made good partner with Mercury Nikola Borchev.

Calisto was played by British Louise Alder. A beautiful timbre well and potently projected was enough to give life to his character, something sappy and simplón.

The Endimione Tim Mead was full of tenderness in the interpretive part, He gave the public time full of lyricism and taste in singing. He made very good theater and vocal partner with Diana Monica Bacelli, which he demonstrated his mastery of the baroque.

No doubt the winner of the night was Dominique Visse. This disciple of Alfred Deller is an expert on his rope and countertenor repertoire. His voice is not the same as when founded in 78 el Ensemble Clément Janequi, but his acting ability makes up any vocal difficulty and delights the public.

The rest of the cast was high, why not have it any easier from their platforms, as in the case of Ed Lyon, interpreting Pane.

An interesting production that allows us to be optimistic to think that there is a deficit of Baroque works in our theaters. Hopefully sets an example and good public acceptance is taken into account.

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

Idomeneo 1

Idomeneo 3

Idomeneo 4

Idomeneo 5

Idomeneo 6

 

Idomeneo, King of Crete
Idomeneo, King of Crete
Wolfgang Amadeus Mozart
serious opera in three acts, K. 36
Teatro Real, 20 February 2019
Libreto de Giovanni Battista Varesco, based on the work Idoménée (1712) Antoine Danchet, inspired by the eponymous play (1705) Prosper Crébillon
reviewed by Mozart for the premiere at the Palace version
Auersperg in Vienna 10 March 1786
New production of Teatro Real, in coproduction with
the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma
D. musical: Ivor Bolton
D. scene: Robert Carsen
scenographers: Robert Carsen and Luis F. Carvalho
Costume designer: Luis F. Carvalho
illuminators: Robert Carsen y Peter Praet
Director motion: Marco Berriel
Video Designer: Will Duke
D. from the choir: Ándres Máspero
Distribution: Jeremy Ovenden, Anicio Zorzi Giustiniani, Sabina Puertolas,
Pleiades Sabirova, Krystian Adam, Oliver Johnston, Alexander Tsymbalyuk
Choir and Orchestra of the Teatro RealLas Headlines wars between Greeks and Trojans, Jolyoy described by Prosper in the Crébillon 1705, Antoine inspired Idoménée Danchet in which the libretto by Giovanni Battista is based Varesco. In the works of Mozart are the descendants of the protagonists of the Iliad they face, but this time does not end with the destruction of Troy, This mozartiano Idomeneo is solved with the reconciliation of peoples through marriage of the Trojan Ilia and Idomeneo Idamante.La Greek composition, Re di Creta is a huge creative leap. Mozart was fully involved in developing the script, which earned him not a few disputes with Varesco. I wanted the drama had a major role and was most convincing posible.Su influence on the script led him to develop several versions. Among the first, premiered at the Munich Resodenztheater 29 of January of 1781, and the second, premiered in Vienna five years later, Mozart made numerous changes until just before estreno.Aunque choruses and marches follow the French style Tragédie lyrique, Mozart, with its commitment to constantly update the work and aware of the decline of Italian Baroque Theater court, decide to shorten the long dry recitatives, that lightened with musical accompaniments, He developed a wider vocal line, Italian singers used a much richer and orchestra instruments and timbres. All these elements gave the score a lot more depth and frescura.Mozart had in Munich with the famous tenor virtuoso Anton Raaff, known for his coloratura, for which he composed two arias charged vocal pyrotechnics. These arias disappeared in the Vienna version, We do not know if because the singer this time was not so bright. Another important change was the replacement, the role of Idamante, initially she is written for countertenor and tenor became.

Mozart would have liked to release his Idomeneo in Vienna rather than in Munich, but the weight of Gluck at that time was too important. Vienna was represented Iphigenia in Tauris first and then Alceste, preventing be scheduled at the same time the works of Gluck and a devoted young 25 still unknown years, as Mozart.

The version offered by the Teatro Real is inspired by the review Vienna. Apart from the two long arias Arbace, as it did Mozart. It does in coproduction with Toronto theaters, Rome and Copenhagen. The set design is done by Robert Carsen and, as usual in it, the stage is clear. A beach and sea are the only items where some Greeks and Trojans updated, winners and losers, military and refugees appear as showing that the tragedy remains current.

A sea of ​​orange vests and projection of a city destroyed, complete the scene. A pacifist plea somewhat forced and, of hackneyed, it is tiresome and lacking in originality.

What it does very well Carsen is to manage the crowds standing on stage. More of 60 choir members and a 100 figurantes filled the stage perfectly synchronized. Reserving scenic absolute privacy for the stars, especially Idomeneo duets with Idamante, or arias of Elettra.

A dark scenery, which highlights the subtle lighting Carsen and Peter van Praet, They are projecting the shadow of a huge Idomeneo afflicted. Lighting full of details and information that amplifies the open spaces and helps create more atmospheres reserved.

Extraordinary is the work in front of the Titular Orchestra of the Royal Theater performs its director Ivor Bolton. The inclusion of some vintage instruments, as muted horns, devised by Leopold Mozart, or wooden flutes, get a truly sound mozartiano. Bolton takes a reading full of details and refinement, with his peculiar and enthusiastically directing, while accompanying the key, It makes the music is above the other elements of production, as it could not be otherwise.

Another protagonists of these representations highlight, It is the chorus. Increasingly inspired, both vocals, and interpretive. this choir, hand of its director Andrés Máspero, It seems limitless. No score or scenery can resist them. Sparkly!

Idomeneo, character requires some agility and refinement, She was played by Jeremy Ovenden. His voice is too light for a king. Its small size showed in the set arias, in which he was barely listening.

Elettra ha sido Interpreter por Pleiades Sabirova. precise character of a dramatic soprano of agility. vigorous, for those moments di forza, in fighting for the love of Idamante. The soprano Uzbek, which was the most applauded by the public, he managed to give his character strength and lyricism, with a high volume of voice and dramatic intensity.
Ilia's character was played by the Spanish soprano Sabina Puértolas. The greatest difficulty in this role, for soprano as Puértolas, It is in its coloratura. He knew the character address with courage and with that fresh and elegant vocal line of which always makes gala. His voice is widening, gaining body and sound. Just lacked a bit of volume.

The role of Idamante, Mozart originally composed for castrate, Vienna version and modified it became tenor. El Real has been interpreted by the Italian Zorzi Giustiniani Anicio quite discreetly. It has a beautiful tone but full of strange sounds and, like the rest of the cast, that if this is balanced, the volume is very low.

A good reading of Mozartian Indomeno, musiclamente talking, what is the important.

Text: Paloma Sanz
pictures: Javier del Real

Rheingold 2

Rheingold 3

Rheingold 4

Rheingold 5

Rheingold 6

Rheingold 7

the Rheingold, Richard Wagner, tetralogy arrives at Rheingold Theater RealEl (the Rheingold)
Prologue in four scenes scenic Der Ring des Nibelungen festival
Music and libretto by Richard Wagner (1813-1883)
Released in the Königlichen Hof- and National Theater de Múnich, he 22 September 1869
Premiered at the Teatro Real 2 March 1910
Oper Köln production
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Kinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Distribution: Greer Grimsley, Raimund Nolte, David Butt Philip, Joseph Kaiser,
Ain Anger, Alexander Tsymbalyuk, Samuel One, Mikeldi Atxalandabaso, Sarah Connolly, Sophie Bevan, Ronnita Miller, Isabella Gaudi, María Miró, Claudia Huckle
Titular Orchestra of the Teatro RealWagner had failed as a political revolutionary, but he was willing to be more successful revolutionizing the arts ". Chris Walton describes in the playbill seeking a Wagner already in the epic Norse myths which were not found in the supposed revolutionary epic Uprising May Dresde.Se then proposed to end much of the conventions of opera building a new form of musical drama. He eliminated all the trimmings vocal lucimiento, the division between arias and recitatives, how to write scripts, definitely, He dispensed with all the elements, in your opinion, not served to deepen the drama.

He began construction of a form of musical language much more complex. With an orchestra of dimensions hitherto unknown. But it was not only to increase the volume of sound, Wagner was looking for new colors and musical textures in which support his dramatic speech. He created new instruments, as snorkels Wagnerist, whose new timbre became a hallmark of his operas. All for the sake of building their project "total art" and the orchestra lead to more developments that have taken.

The Wagner of the time was not only interested in some of the social and revolutionary movements of the time. Nature and deterioration were already a concern for the German composer and water, its most inspiring element. It was known to frequent his visits to spas to soothe their numerous ailments. And it was under this influence of water when developing his greatest creative power.

The Royal Theater begins with Das Rheingold tetralogy the ring staged for four consecutive seasons. Wagner conducted this work, casi herculean, during 25 years. The results were 16 hours of music that start with this overture presents a destroyed by the lust for power nature.

Robert Carsen production and emphasizes Patrick Kinmonth, precisely, this nature degradation. I can not say that the scenery of Carsen liked me, quite the contrary, but the bar was very high after his Dialogues of Carmelites (2006), Katia Kabanova his unforgettable (2008), even Salome (2010). Only the beginning of the work, in which they appear characters who throw plastic bottles to Rin under the effects of the haze and then discover that as a dumping ground, They make the speech posed by Carsen credible. We are used to seeing Wagner's operas with gigantic scenography, large aparatajes and effects that try to catch up loudness. This time, Carsen and Kinmonth did not want the sets were the protagonists of production and have put the weight of the drama in the characters and the River. The scenery is embroiled in an absolute pessimism about the destruction of nature. A river polluted and devastated by human action is the main element of this work stress.

The other scenes are composed of blocks of buildings under construction and cranes that do not add too much plot information and some little comprehensible elements, Snow that falls at the end or the golf club replaces the hammer Donner. A very good lighting Manfred Voss complete this austere and cold scenography, but nevertheless, It has an extraordinary quality, It allows the main focus falls on the protagonists, the orchestra and the score.

It is the first time that Pablo Heras-Casado faces of the Ring tetralogy and has proven to be an extraordinary surprise. It takes a few seconds of introspection from the bench, with eyes closed, before launching into the first chords, in just over four minutes initial advance what will be one of the greatest revolutions of music, a new conception of the orchestra and composition.

A huge pit, to which it has been added space of the first two rows and that's where the show is really. Formed by 110 teachers, a group of strings 21 I violins, 20 II, 17 violas, 15 cellos and 8 contrabasses dividing, at the same time, into subgroups to achieve these effects of distance and depth and polyphonic sound that create a sound full of sophistication. 5 of the 6 harps required by Wagner and a set of metals almost construct, by themselves, the dramatic speech.

The address Heras-Casado is very efficient. Good connection with the orchestra note, product of a deep work. Always attentive to every element of the pit and the stage. Perhaps lacked power and showmanship at times, as the crescendo of the overture or the entry of the gods in Walhalla, but their enthusiasm in the direction offered results in a homogeneous solid sound, which it is no small thing to the challenge of this work. With this beginning of tetralogy, the next cycle venturing titles more than interesting.

As for the voice cast the result has been uneven. The best of the night has been, definitely, the Alberich of Samuel Youn. A very good volume and beautiful tone for a superb interpretation of the miserable and petty dwarf Nibelung. Hopefully still heading in the next installment of the ring.

Greer Grimsley has played one Wotan somewhat disappointing. It seemed a small and inconsistent character amidst scenery that naked. her wardrobe, second officer, It did not help much. The character was lacking in presence and voice, with evident vibrato, He was not the entity that the character requires, especially in the higher notes.

Sarah Connolly great stage presence gave her Fricka, but I must confess I expected much more of it vocally, It not in vain was one of the most important names of the cast. Wagner may not be the most suitable repertoire qualities.

Very good also giants Ain Anger and Alexander Tsymbalyuk, They filled the stage with her voice and presence.

Sophie Bevan solvency office with his character Freia, one of the most restless on stage. very well, and so he awarded the public, the Erda of Ronnita Miller.

Also excellent three daughters Isabella Rhine Gaudí, María Miró, beautiful soprano voice, and Claudia Huckle, for the occasion were dressed as beggars.

Joseph Kaiser has a rather small voice, but enough for fire god Loge. A Wagnerian tenor bell, although not volume.

One of the best performances of the night was the Mime of Mikeldi Atxalandabaso. He debuted on the character and excelled, both vocally, and the interpretation.

Four years seems too long to see complete this tetralogy Ring. Hopefully worth and next time we can see in one season.

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

The magic Flute 1

The magic Flute 2

The magic Flute 3

The magic Flute 4

The magic Flute 5

The magic Flute 6

The magic Flute 7

The magic Flute 8

https://youtu.be/mMmEwLvgk3Q

controversy “Magic Flute” The season opens in ArtsBy Diego Manuel García Pérez.

This controversial Magic Flute, with a transgressive staging of Graham Vick, It is purporting to show the serious imbalances affecting today's society, with a clear confrontation between the poorest and most privileged classes. Large placards and protest banners dominated the stage space and the lateral ends of the different floors of the room, with a lot of extras, They are moving both onstage and off. all, resulting is to divert attention from viewers what really matters: mozartiana wonderful music. Fortunately, Orchestra of Valencia, well directed by Lothar Koenigs, offered excellent sound and the Choir of the Generalitat was at his usual great height. Notable performance group solo singers, which include the Italian soprano Mariangela Sicilia, which he offered an excellent creation of Pamina.

The Magic Flute (The magic Flute) es un Singspiel (opera sung in German theatrical dialogues which include), in two acts with music by Wolfgang Amadeus Mozart and libretto by Emanuel Schikaneder. Its premiere took place at the Theater auf der Wieden popular in Vienna 30 September 1791, directed by Mozart with Schikaneder himself and playing the character of Papageno. It was the last premiere of composer, who died two months later, he 4 from December, with only thirty-five years. Today it seems clear that it was Mozart who proposed Schikaneder (multifaceted character: businessman, actor, singer, librettist and theater director), and not inverted, the creation of a German opera magical character. I wanted to repeat the great success, in 1782, with Singspiel The Enführung from the Seraglio (The Abduction from the Seraglio). The argument has been very controversial, through his messy network. It seems they started writing it Schikaneder and actor and singer Ludwig Giesecke, by the own Mozart, and criteria changed once written the first scenes, so that, magical comedy with a rueful Queen for the abduction of her daughter Princess Pamina and the gallant Prince Tamino in charge of rescue, It became more complex: an apology of Freemasonry, which clearly it alludes to convert the evil kidnapper of Pamina, the wise priest Sarastro, who governs a temple which is accessed beating tests where to display courage and strength of character. Tamino and Pamina, They manage to overcome sealing their love, despite the machinations of the Queen of the Night and the three ladies at your service. The most endearing character in the play is the simple Papageno, fowler, initially serving the Queen of the Night, and later become protector of the loving relationship between Pamina and Tamino. This argument is disjointed together by the extraordinary music of Mozart, orchestral fabric in which the voices of the different characters are inserted as an instrument. Obviously, It is a standard repertoire opera, There are many recordings on CD and DVD. Include two historic recordings, with magnificent orchestras and excellent performers, taken in studio and can be heard on YouTube complete. The first one was held in Berlin between 1937 Y 1938, with the great English conductor Sir Thomas Beecham, in front of the Berlin Philharmonic. In an environment already antebellum, Beechan could not finish recording; what, seems to be, It was completed by a young Herbert von Karajan. The cast was headed by two sensational performers: German soprano Tiana Lemnitz as Tamina, offering a voice of great purity and full of melancholy, next to Tamino Danish tenor Helge Rosvaenge, voluminous voice and beautiful, with a magnificent phrasing and absolute mastery of Mozartian style. The soprano Erna Berger makes an excellent creation of the Queen of the Night. The remastered edition for the Naxos label, significantly improves the original sound. The second recording recommended, It was made by EMI, in 1950, with the beautiful orchestral response of the Vienna Philharmonic directed by Herbert von Karajan, and a great voice cast with excellent Tamino Slovenian tenor Anton Dermota, auténtico estilista Mozart, a refined edge line, with German soprano Irmgard Seefried, a voice of great tonal beauty who plays a sensitive and delicate Pamina. Wilma Lipp makes a great creation of the Queen of Night, with superb mastery of coloratura. The other characters are played by great voices: great bass Ludwig Weber, a sensational plays Sarastro, Erich Kunz (Papageno), George London (speaker), Emmy Loose (Papagena). In the mid-fifties of last century, bursts into the opera scene the extraordinary German tenor Fritz Wunderlich, of beautiful vocalism and great dramatic temperament, Tamino whose creation is anthological, reaching often interpret. In 1964 (two years before his death, with just thirty-six years) Tamino played a recording studio in Deutsche Grammophon, with Karl Böhm in front of the Berlin Philharmonic, El Gran His Otter (speaker), Franz Grass (Sarastro), Dietrich Fischer-Dieskau (Papageno), Evelyn Lear (Pamina) and Roberta Peters (Queen of the Night). Escuchar a Fritz Wunderlich en el aria del retrato "This portrait is enchantingly beautiful", It is a true delight canoro.

There are two video shots, which can be heard complete on YouTube. The first one held in 1983, Opera in Munich, Wolfgang orchestral address Sawalisch, and sold on DVD by Deutsche Grammophon, with magnificent Tamino the Mexican tenor Francisco Araiza, of beautiful timbre and perfect adaptation to Mozartian stylistic repertoire, with excellent Pamina of the great Czech soprano Lucia Popp, a voice crystalline purity, and Queen of the Night of Edita Gruberoba, who shows his absolute mastery of coloratura. The second shot on video recommended, It was performed at the Zurich Opera House, Le year 2000 and sold on DVD by ARTHAUS MUSIC, Frantz orchestral address Welser-Möst, with gorgeous Tamino Polish tenor Piotr Beczała, whose voice is reminiscent of Fritz Wunderlich, Pamina next to the Swedish soprano Malin Hartelius, who brings voice and scenic beauty. The great Finnish bass Matti Salminen, It comprises an imposing Sarastro. Classic and very suitable Jonathan Miller scenic proposal.

It can not be said of scenic Mount Graham Vick, which has been seen in Valencia, coproduction with the Palau de les Arts, Birmingham Opera and the Festival of Macerata. Viewers who entered the room were surprised by a series of large posters hanging from all floors with protest messages: "Against gender violence", "In defense of the rights and freedom", "The system can not fight corruption because corruption is the system", "Fair pensions, the ". Number of extras invaded the stage and suffered some spaces viewers, what they wanted, He was having a good time listening to the wonderful music of Mozart. Y, all, It is the packaging of the set itself, performed by Stuart Nunn, (also responsible for costume design), where you can see three adjoining buildings: one of high altitude, on top of which, It appears the euro symbol (Financial power), Appel shop (The computing power, also home to the Masonic Temple) and a replica of St. Peter's Basilica (The power of the church). Of these buildings, at some point in the function, out amount of figurantes: financial executives smartly dressed and surrounded by sophisticated women, with military and ecclesiastical purple red, that make up the powers, oppressors of the people manifested with significant signs: “No, is not", "We also have voice", "We do not steal the future", "Diversity, Equality and Unity ", near these iconic buildings, bounded with defensive fences. The financial edifice is rotated at some point, can be seen in the back, missile battery connivance of economic and military power! or we shown the back of the basilica, where it appears a madonna, with his mouth covered The marginalization of women in the centers of power of the Catholic ecclesiastical world! Is inadmissible manipulation by Graham Vick of brilliant dialogues in German original text, with the inclusion of phrases in Spanish, where the impromptu chorus of figurantes acts as a Greek chorus leader, characters warning of the possible consequences of their actions or behavior reproaching. The aim of moving a work immersed in the world of the late eighteenth century to the current problems, should be entitled: The magic Flute with music by Wolfgang Amadeus Mozart and Emanuel Schikaneder text, reviewed by Graham Vick. It ragtag costumes, from that elegant business suit carrying Sarastro, to Papageno wrapped in a chicken costume, through Tamino and Pamina dressed in tracksuit with a dress reminiscent of the doll Olympia The Tales of Hoffmann, or the three ladies crammed into monkeys workers, which they are removed exhibiting attractive clothing in line with leading her boss, the evil Queen of the Night Ah! Y, also signal the presence of an excavator which serves snake chasing Tamino, and a soprano scooters where children move. In the end, the collapse of the three emblematic buildings followed by a macrodanza where all participants evolve preamble of a world where peace and harmony!

Faced with so many extras, With continuous stage movements, It has much merit and the conductor Lothar Koenigs conciliatory work, with the excellent sound of the Orchestra of Valencia, already apparent in the overture, the largest composed by Mozart, with a surprising use of counterpoint, and is continued with music that envelops the arioso a frightened Tamino and scenic irruption of the three ladies. Orchestral highlight both the quintet resolution Tamino, Papageno and the three ladies, as the beautiful Pamina and Papageno duet. The orchestra shines greatly across the broad end of Act I, with that solemn accompaniment that gives real emphasis duo of Tamino and Sprecher, or sound of the magic flute solo in the second intervention Tamino, with music that marks the stage presence of Sarastro, and band-chorus assembly, which concludes that Act I. Ya, in Act II, Significantly, the introductory orchestral sound with the "March of the Priests" and the brilliant combination of orchestra and choir in the "Choir of priests". The orchestral sound envelops brilliantly the two solos Sarastro. Very prominent orchestral performance in the solo interventions of Papageno, with continuous audible presence of "glockenspiel". But, especially, noteworthy, the excellent orchestral sound across the broad end of the work, with musical moments of extraordinary quality: that great scene, where, Firstly, the two gunmen involved temple with Tamino, with a sound reminiscent of a dramatic oratorio, followed by the sublime duet of Pamina and Tamino, where beautiful orchestral interludes where looks are inserted the sound of the flute, with a concluding coda where conjoined brilliant way of chorus and orchestra. As in so many moments of this work, the contrasts between idealized world in which Tamino and Pamina move shows, and the tangible reality, with that comic Papageno and Papagena duet, where another plane also-- The orchestral sound is very bright. Beautiful combination of orchestra, solo voices and chorus in the brilliant end of this Singspiel. Within the high level of all orchestral sections include the sound of oboes, clarinets and bassoons with a special mention of the flute solo.

The large group of singers include the Pamina gorgeous Italian soprano Mariangela Sicilia, attractive voice timbre, with width and breadth, with excellent phrasing and ability to sound regulations. And shows his vocal quality in the beautiful duet with Papageno Act I, offering their best performance in Act II aria "Ach, I feel it, ESIST verschuwunden ", sung with great Mozartian style and dramatic high capacity. Magnificent interpretation of that sublime duet "Tamino mein! O welch ein Glück "next to Tamino played by the Ukrainian tenor Dmitry Korchak, wide voice with good high register, although showing gaps stylistic, sobre todo al afrontar la dificilísima aria del retrato "This portrait is enchantingly beautiful", which it requires refined technique and expressiveness. His performance improvement in the aria "Wie stark ist nicht dein Zauberton" accompanied by his magic flute. Emphasize his intervention in the trio of Act II with Pamina and Sarastro, played by German under Wilhelm Schwinghammer, very elegant stage presence, sings with style, but it suffers from those deep bass notes that requires the character. It is also subject to occurrences of Graham Vick, taking that move through the stalls and issue some words in Spanish. English baritone Mark Stone, comprises a funny Papageno, remarkable vocal and especially interpretive plan, taking also sing phrases in Spanish. Queen of the Night, Czech soprano Tetiana Zhuravel, It offers an attractive stage presence; Y, though his voice is small and slight excess, LOGRA resolver de manera notable la coloratura aria del "revenge Hell boils in my Hertz", with those very difficult chopped notes. While Moses Monostatos Marin. Very funny the three ladies: Camila Titinger, Olga Syniakova y Marta Di Stefano, belonging to the Centro Plácido Sunday. Sprecher acceptable played by the bass Deyan Vatchkov. Notably the creation of Papagena-soprano Júlia Farrés Llongueras, who, in his first appearance, Graham Vick, which forces her to stay contortionist in a small container, and genuine comedy that gives his duet with Papageno. While the rest of performers including three children-soprano moving in patinete.

The Choir of the Generalitat returns to its high quality in its many interventions throughout the work.

 

Turandot 1

Turandot2

Turandot 3

Turandot 4

Turandot 5

Turandot 6

 

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
Bernarda Alba's house 1

Bernarda Alba's house 2

Bernarda Alba's house 3

Bernarda Alba's house 4

Bernarda Alba's house 5

Miquel Ortega being accompanist at the Teatro de la Zarzuela, back in 1991, He began composing an opera based on the work of his admired Federico García Lorca. It was nothing less than "The House of Bernarda Alba". In a few months the first act was finished. From now on, and because of the numerous commitments that he was acquiring the composer, his work went on for 8 More years. It was a chamber opera in its original composition 14 musicians, mode the Britten chamber operas. But in 2007 He came the opportunity to release it with the condition than in version for symphony orchestra in the theater of the Romanian city of Brasov. Then come the Festivals of Santander and Peralada.Llega now the Teatro de la Zarzuela in a new production version for chamber orchestra, as it was conceived at the outset by Miquel Ortega. And for the first time in a Spanish language version. Julio Ramos's libretto is absolutely respectful of the play. Almost exclusively so do not leave time, some scenes and character were eliminated Prudencia.

Ortega creates a score to match the play. Something not easy with such a complex and full text of more wrenching drama of Lorca. Ortega music, does nothing but enhance the drama, creating a distressing and oppressive atmosphere. Giving life to the other main character is the house and the great Ezio Frigerio, Riccardo Massironi, They have managed to capture in a scenario that the applause was nothing the curtain rises, in recognition of the loyalty of that suffocating space where the tragedy will take place. Frigerio describes it: "It has some convent, some prison, something not seen and have to feel. "

The scenery is enhanced by the costumes of Franca Squarciapino you saw all those women tormented describing perfectly by her outfit. Not missing anything left over in an accurate reading that brings credibility to the representation. The same goes for lighting Vinicio Cheli and the great stage director Barbara Lluch. Among the four they compose the perfect scenery naturally, without fanfare or adornment, as only make great.

Nancy Fabiola Herrera is the Bernarda Alba this production, It is delivered to rigorously character, both vocal and interpretative. It is a relentless and ruthless Bernarda. Impress their sentences at the end of the work She died a virgin!, referring to her daughter Adela, to listen to startle.

In this version, Daniel Bianco free to offer the teacher the opportunity to make a change in one of the main characters of the play took. Poncia, the maid of the house which maintains a curious relationship with Bernarda. According to Lorca's own annotations in the work, Poncia is a friend of Bernarda and only able to talk face to face. For this reason Bianco thought that this character needed a powerful record, a baritone.

The chosen was Luis Cansino, who accepted his character honored, "Artists have to have a point in life where we are able to get out of our comfort zone". Cansino is a dramatic baritone with an unknown capacity in our country, where it is required for papers bufos, and building a flawless and full of theatricality PONCIA, taking care of the details in the interpretation. Gorgeous duet with Adele in the second act.

Highlight the performance of the only high-pitched voice, the Carmen Romeu, who plays the youngest of the sisters, Adela, in a resounding performance.

Impressive to see the grande dame of the Spanish scene Julieta Serrano, who plays Maria Josefa, mother of Bernarda Alba and unique declaimed paper. The play begins with its heartbreaking: ¡Bernard!, which you are able to place on your site each stage, including public.

A high rise was the rest of the cast made by Carol Garcia, as Martirio, Marife Nogales as Amelia, Bethlehem Elvia, Magdalena, Berna Beads, Anguish and Miracles like Martin as a maid.

A magnificent production of Teatro de la Zarzuela is putting the bar very high. No one should miss anything of what is happening here. And that miss, worse for him…

Text: Paloma Sanz
pictures: Javier del Real

Only the sound remains-1

Only the sound remains-2

Only the sound remains-4

Only the sound remains

Only the sound remains-5

Only the sound remains
Kaija Saariaho (1952)
Opera in two parts
Libretto by Ernest Fenollosa and Ezra Pound, basado en Tsunemasa
and Hagaromo, two pieces of clásoco Japanese Noh.
New production of Teatro Real, coproduced with De Nationale Opera & Ballet Amsterdam, la Finnish National Opera in Helsinki, the Opéra National de Paris and the Canadian Opera Company in Toronto.
D. musical: Ivor Bolton
D. scene: Peter Sellars
scenographer: Julie Mahretu
Costume designer: Robby Dulveman
illuminator: James F. Ingalls
Sound designer: Christophe Lebreton
Sound engineers: Timo Kurkikangas, David Fishmonger
Distribution: Philippe Jaroussky, Davone Tines,
and the dancer Nora Kimball-MentzosNho means action or talent. It is the traditional Japanese form of theater. Nho integrates singing dance and poetry of subtle and elegant way extremely simple set design, where nothing changes and only appears the figure of a pine tree as the only scenic element. Nothing should distract from what is really important, the expression of human emotions.

Ernest Fenollosa, one of the most important japonólogos, He left after his death in 1908, some unpublished translations of Japanese traditional pieces Noh. American poet Ezra Pound, belonging to the Lost Generation, and staunch defender of ancient poetry put to the service of a more modern and conceptual design, He adapted two of these works translated by Fenollosa, Tsunemasa y Hagaromo, which they have been the inspirational basis of the work of the Finnish composer Kaija Saariaho.

Only the sound remains no es una ópera al uso. It is at the forefront of contemporary music, with all that this implies in terms of experimentation with sound. A conceptual treatment which emulsifies traditional elements Saariaho, as the Kantele, Finnish traditional instrument, and electronic elements to modify or amplify the sound. Saariaho creates an atmospheric music, a sound and philosophical experiment to be abandoned, something that is not always easy or possible.

As in the noh theater, the scenery of Peter Sellars, a connoisseur and admirer of Eastern minimalist currents, He has drawn an extremely simple scenario. Pine sole escenográfico elemente noh, It has been replaced here by two paintings by the artist of Ethiopian origin, Julie Mehretu.

Commissioned for this production consists of two large canvases in which she has drawn a number of brands of ink on different levels quickly give us an impression of Chinese calligraphy or Japanese. He performs his works for several months painting layer upon layer. Only the sound on remains can be seen the evolution of these layers while the work progresses, which deepens their spirituality.

The two stories that make this opera are very simple, but also deep. We speak of loss, Withdrawals and reunions. trail (Sound) it leaves in our lives that we love one day. In the first, “Always Strong”, dead in battle warrior returns as a ghost to try to touch his laud.

The second story, “Feather Mantle”, is a fisherman who finds a beautiful feather cloak owned by an angel who needs to return to heaven. The fisherman returned in exchange for contemplate a celestial dance.

The first is a dark story, anguishing. The second is a bright and captivating story. Both are performed by countertenor Philippe Jaroussky, the young spirit and angel, and bass baritone Davone Tines, priest and fisherman. For both performers Kaija Saariaho wrote these characters. The voice of Jaroussky, which he has lost some of its early Pyrotechnics but has gained in nuance and intensity, It is perfect for the supernatural characters he plays. At times his voice is distorted by computer which provides a surprising effect tímbrico.

More discreet are the vocal performance of baritone Davone Tines, but he addressed his two protagonists with solvency. In the theatrical aspect, not to impute to him statism of his characters, this lack of movement is very great taste of Sellars.

The dancer Nora Kimball-Mentzos, muse and collaborator in numerous productions of Peter Sellars, He filled the stage in the second story with a dance full of sensitivity and delicacy. During the time he is on stage, You can not help but observe.

In an elevated part of the pit are the seven musicians, a string quartet, Meta 4 Quartet, formation for Antti Tikkanen y Minna Pensola, fiddle, Atte Kilpelänen, alto, Tomas Djupsjöbacka, cello, Heikki Parviainen, percussion, Eija Kangas Beach, kantele and Camila Hoitenga, flute. Beside them the vocal quartet Theater of Voices, Trop formed by Else, soprano, iris Oja, alto, Paul Bentley-Angell. Tenor y Steffen Brunn, low. Both ensembles have long been collaborating with Kaija Saariaho. This mutual understanding and virtuosity of all get some surprising sonic results. Emit all kinds of sounds with pinpoint accuracy to the orders of an Ivor Bolton accurate and rigorous in each of its indications, creating an immersive atmospheric texture.

Perhaps these art forms require a more welcoming place, innermost. In any case, It is always a wise program new experiences that would not be possible otherwise.

Text: Paloma Sanz
pictures: Javier del Real

Ballet of the Rhine

Gradually Madrid is going fond further ballet and dance, and more and more shows of this type that are programmed. The Royal Theatre, who started the last day 12 his ballet season, quality makes the difference. Not many, moment, productions offered throughout the season, but if they are extraordinarily outstanding. This time it has tried one of the best dance companies, he Ballet at Thein Süsseldorf Duisbrg, with choreographer Martin Schläpfer to the head.

They presented "A German Requiem", from Johannes Brahms, one of the most famous works of the composer and composed after the death of his mother in 1865 and his great friend Robert Schumann. But, A requiem how you dance?. Definitely, as does the Ballet of the Rhine in one of his most acclaimed and award-winning choreographies.

 

This peculiar composition of Brahms delves into more philosophical aspects religious, reflects on life and death from a more human point of view that divine. As the director says, Marc Piollet, It is not a conventional réquiem, It is a work of consolation, because it is not written for the dead but for the living, for those who stay. You can not expect less of a romantic as Brahms.

Taking this closeness to the pain of humans as starting point for creating choreography, has wanted to reflect it fragility presenting human barefoot dancers, in permanent contact with the ground. Also in its creation, Schläpfer wanted to run away from any religious approach and has focused on questions, the fears and concerns of human beings, far from any dogmatism and closer to reflection and emotion. To that end beautiful and allegorical, in which the ties that bind us represent those who have already left. Anyone who has had the opportunity to attend one of the four representations, you will have noticed that both planes, reflective and emotional, They are perfectly stimulated.

Interpret this work has its difficulties, for orchestra, for soloists and, especially, for choir. A chorus accustomed to operatic lyric, It is not easy to address a religious work like this requiem overflowing with delicacy and sensitivity. But the choir Intermezzo, Teatro Real holder, Only surprised if fails, and that not happen this time. They sing with exquisite subtlety and dramatic intensity. Y, Besides, in German. Extraordinary!. Very good also the soloists Adela Zaharia Y Richard Sveda.

If you have not yet come to this artistic expression is dance, not any of the four proposals the Teatro Real has lost this season. Of the 3 al 10 of November, The Nutcracker, a classic. Of the 21 al 26 from January Paris Opera Ballet, choreographed by Jerome Robbins, Hans van Manen y George Balanchine Y music of Claude Debussy, Maurice Ravel, Johann Sebastian Bach e Ígor Stravinsky. Of the 31 March to 4 of April, Dido & Aeneas, from Purcell, in an opera and dance, choreographed from Sasha Waltz. The dance season concludes 4 May with Victor Ullate Ballet.

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Faust
Charles Gounod (1818-1893)
Opera in five acts
Libretto by Jules Barbier and Michel Carré, based on the play Faust et Marguerite (1850)
Michel Carré and the homonymous work (1808) de Johann Wolfgang von Goethe.
New production of Teatro Real , coproduced with De Nationale Opera & Ballet Amsterdam
D. musical: Dan Ettinger
D. scene: Alex Olle (La Fura dels Baus)
Works towards scene: Valentina Carrasco
Scenography and video: Alfons Flores
illuminator: Urs Schönebaumm
D. choir: Andres Maspero
Distribution: Ismael Jordi, Erwin Schrott, Irina Lungu, John Chest, Isaac Galan,
Annalisa Stroppa, Diana Montague.
Chorus and Orchestra holders RealHomúnculo Theater is defined as being with human characteristics, usually deformed and artificially created. It seems that was the alchemist Paracelsus who first used this term for a creature created when trying to find the philosopher's stone. Homunculus theory was accepted until 1827, year in which it was discovered the existence of the egg. Until that moment, it was thought that the sperm hid a homunculus or miniature man for the egg only served alimento.El homunculus is also the element that has inspired to La Fura dels Baus, specifically its director Alex Ollé, to develop the scenery of Faust presents the Royal Theater at the premiere of his new temporada.Son several repertory operas that premiered with failure. But if there is one that takes the cake, definitely, That's Faust, Charles Gounod. Its premiere at the Théâtre Lyrique in Paris 19 of March 1859 It proved a dismal failure. The French public had branded the work of "tawdry" and, especially, little French. All this despite the enormous popularity at the time aroused German culture, Goethe being one of its emblems. Which itself was succeeded from the start in Germany. The adaptation of the librettists Jules Barbier and Michel Carré, He not delved into the philosophical aspects of a cult for German, and also they allowed the luxury of altering the order of importance of some characters, the play was, until not too long ago, with the title of "Marguerite". It was from its premiere in Germany when they started successes Faust. It was represented to satiety, all seasons and in almost all European theaters. Such was his popularity that, a 22 October 1883, a new theater company wanted to release his first season representing opera Faust. It was the Metropolitan Opera it is dual House.Faust. It is a French-style opera also features great German opera, as an important choir, various ballet numbers, the epic of one of his characters or the time left between numbers Gounod for the public to applaud. this detail, very Wagnerian.

But back to the scenery. When it comes to La Fura dels Baus, we know beforehand that other elements like operatic voices, showmanship, even music, they will stay in the background. Sometimes this can be for good or, as in the present case, worse.

Under the homunculus project has placed the scene in a big laboratory where Faust pursues the idea of ​​inventing a computer capable of managing emotions. Frustrated and dissatisfied, accepts the offer of her alter-ego, Mephistopheles, It presented as a necessary evil, the espoleador Faust who rescues his boredom and convinces him to live everything to which he thinks he resigned so far. Mèphisto, appearing first as a rock star, camaleónica is evolving in a way to become a crucified Christ. With them, Postmodern an army of soldiers, plasticized Barbies that look naked, mature women with exaggerated breasts and hooligans with their uniforms football fans. Definitely, many conceptual elements and complex ideas that have little development or lace along the work. A stage that is full of platitudes, The usual.

La Fura no longer surprising and is only able to generate controversy when the function ends and begins its shameful spectacle of pollution, completely oblivious to artistic matters.

The musical direction was provided by the debutant Dan Ettinger Teatro Real. The young Israeli director asserted his Germanic musical training and managed to disappear any vestige of French opera. The sound volume was excessive, perfect for Wagner, but not for Gounod. It lacked delicacy, especially in the overture and arias set, where some chaos generated. that if, It is an extraordinary director for singers.

This second distribution was balanced. Faust is not an easy role for a tenor. It has two distinct parts that seem to have been written for two tenors of different characteristics. The first is a mature and dramatic Faust and the second one young Faust lighter. Ismael Jordi addresses carefully the character in the first part, for its drama and voice require a larger. It is in the overture where the tenor has more difficulties jerezano. The rest of the play takes place in a more comfortable frame of mind for him. It has moments of tension that solves correctly, as the cavatina or the beautiful duet with Marguerite. Jordi is an extraordinary moment vowel, always elegant and with a remarkable stage presence.

The Mephisto Erwin Schrott was a great theatricality, a must in this character and this production. Whenever he was on stage was the protagonist. His voice does not reach the required frame of mind for this role, but they are not easy to find baritone voices let them know. Its volume is very noticeable and pleasant timbre, but some nasal sounds a bit afearon participation.

La Marguerite Irina Lungu, character in the opera somewhat blurred on the text of Goethe, It is a delicate and innocent young. From this point of view was well played by Lungu. His voice is not large, but enough and well timbrada.

John Chest, as Valentin, It was one of the great volume affected by the sound of the orchestra. Just he was heard.

Siebel, youthful and romantic character, It was very well played by the Italian Annalisa Stroppa. Beautiful timbre and an enameled and smooth voice that the audience liked, sobre todo en su aria "Make her my confession".

The veteran target Montague built a sympathetic character and Marthe. The perfect complement to a Faust with comic aspirations.

The choir had a stellar performance. If the season begins, not going to leave for the ring. Fantastic!.

Initially somewhat irregular season. But this has only just begun.

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

The Damnation of Must

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WITH REPRESENTATIONS THE DAMNATION OF FAUST OF HECTOR BERLIOZ, CLOSING THE SEASON OF THE PALACE OF ARTS. By Diego Manuel García Pérez.

The Damnation of Must (The Damnation of Faust) Hector Berlioz, He has closed the season at the Palau de Les Arts in Valencia. A season especially complicated by the resignations of Davide Libermore and Fabio Biondi. The Damnation of Must, It is a little-scheduled, despite his extraordinary musical quality, which usually are usually offered in concert, and in this case it was staged, with moments of undoubted interest, with others where excess prevail in the visual aspects. Definitely, the big winners of these representations have been the Orchestra of Valencia, and the Choir of the Generalitat Valenciana, next to the Choir School Boards Have Quart de Poblet and the Choir of the Virgin of the Helpless. Also noteworthy is the performance of Silvia Tro Santafe mezzo as Margarithe. Y, the extraordinary stage performance of low Ruben Amoretti in Mefhistophélès.

 

Hector Berlioz (La Côte-Saint-André, 1803 - Paris, 1869), still very young, had the opportunity to read the Should Goethe, in the French translation of Gérad de Nerval, and composed in 1829, Eight scenes from the life of Faust: 1.- "Songs of the Feast of Easter (Cantos Easter Festival)”, 2.- "Peasants under tillens (Peasants under the lindens)”, 3.- "Concert Sylphes (Silfides concert)”, 4.- "Écot of joyeur companions. Story of a rat (Presence of merry men. Story of a rat)”, 5.- "Song of Mephistopheles. History of a chip (Song of Mephistopheles. Story of a flea)”, "The King of Thule (The King of Thule)”, "Romanza Margarite Soldier choirs (Romanza de Margarita and chorus of soldiers)" Y 8.- "Serenade of Mephistopheles (Serenade of Mephistopheles)”. These eight scenes Berlioz served as the basis for the composition of Damnation Faust, conducted between 1845 Y 1846. The libretto was written by Berlioz himself and Almire Gandonnière. The play, halfway between the oratory and a symphony with vocals and lead vocals, It was called by Berlioz as "dramatic legend in four parts". The premiere concert version, It took place 6 December 1846 at the Opera-Comique (Salle Favart) from Paris, It is a complete failure and keeping only two representations poster. After the death of Berlioz, little by little, the work was having some impact, It is performed intermittently. Staged the first performance took place at the Monte-Carlo Opera, he 18 February 1893. Since then it has remained in repertoire, although with few representations, being interpreted, especially, in concert. It is from the fifties of the last century, when it began to be scheduled more frequently, especially as great singers such as Swedish tenor Nicolai Gedda and soprano Regine Crespin French, They begin to interpret, Having been made a shot live in 1959, during the Festival of Montreux, with the Orchestra and Choir of Radio French Television, directed by Igor Markevitch, Regine Crespin with (Margarita), Nicolaï Gedda (Splendor) and the great French baritone Ernest Blanc (Mephistopheles), full recording is available on Youtube and it is all a joy to listen to these singers. Nicolai Gedda maintained this composition in his repertoire for many years and you can listen to a live recording (also available on youtube), held at the Rome Opera, in 1969, with the Orchestra of the theater, superbly directed by Georges Prêtre. Here, Gedda makes an even better performance than ten years earlier, He is great at both ary, which he shows his great interpretive style and idiomatic domain, so necessary in the French repertoire. Margarita on this recording is played by a dazzling Marilyn Horne, who shines greatly in his two solos, and she and Gedda, They are extraordinary in their great duo. Nicolai Gedda also participated in a studio recording published by the Philips label, in 1973, superb sound takes, with the great Colin Davis (true specialist in Berlioz), leading the London Symphony Orchestra; Y, alongside the magnificent Gedda, you can hear the excellent performances of two French singers: the middle Josephine Veasey (Margarita) and baritone Jules Bastin (Mephistopheles). Ya, in the XXI century, They exist in video footage, both versions staged as in concert form, all available on Youtube. Include a magnificent first staged version, which it was taken on in the video Theater Monneie Brussels, in 2002, musically directed by Antonio Pappano, the head of the Orchestra of the theater, with a very young Jonas Kaufmann, doing a great interpretation of Faust, with excellent American mezzo Susam Graham as Marguerite and Mephistopheles of the great Belgian baritone José van Dam. You can also listen to Jonas Kaufmann in another staged version, which it was performed at the Paris Opera Bastille, in 2015, junto a Sophie Koch (Margarita) and the magnificent Mephistopheles Brian Terfel, with musical direction by Philippe Jordan, the head of the National Orchestra of the Paris Opera. English director Simon Rattle Orchestra, It has also shown great interest in this score, being it led in Berlin, in 2015, in front of the Berlin Philharmonic, in concert, with extraordinaria Margarita de la half norteamericana Joyce di Donato, Mephistopheles magnificent baritone Ludovic Tezier French and tenor Charles Castronovo American as Fausto. In September 2017, Simón Rattle, He returned to directing this work, Also in concert version, in front of the London Symphony, at the Barbican Theater in London, with an excellent cast made by American tenor Bryan Hymel as Fausto, with two English voices: Karen Cargill mezzo who plays a subtle and delicate Margarita, by the expressive baritone Christopher Purves Mephistopheles of.

 

Functions The Damnation of Faust, represented in Valencia, They have represented the first replacement of the co-production of the Palau de les Arts, Teatro dell 'Opera di Roma y el Teatro Regio in Turin, whose premiere took place in December 2017, en el Teatro dell'Opera di Roma, stage direction Damiano Michieletto, and he received the Franco Abbiati Italian critics award for best show of 2017. In this production, the protagonist is inspired equally in Splendor Goethe and Hamlet the Schakespeare, who experiences suffering as Fausto; see visions, attempts suicide and salvation is represented in a woman. Here you try to update the myth of Faust, giving prominence to a young man full of traumas, contradictory and full of life, who agree to participate in the evil Mephistopheles game.

In this assembly, the four parts nineteen scenes and an epilogue that includes the original work, They have become fifteen scenes each with a title and executed in continuity. Scenography designed by Paolo Fantin, It has a unique space: white room where you can see a large television screen, with two large automatic doors on each side, opening to a white halls with a bright and cold lighting. The entire top of the stage is occupied by a grandstand where the choir remains seated throughout the performance. A camera with Steadycam, He is recording characters and objects, that project in detail on the big screen. There are scenes really got, V like "LA NOSTALGIE (HOMESICKNESS)”, when we hear the chorus in "Canto Easter holiday", and where Faustus evokes a vision of his childhood with his mother, celebrating a birthday party. Margarithe also remembers his childhood in the scene VIII "LE PRESAGE (THE OMEN)”, seeing herself as a child, dancing and moving rhythmically stylish artistic gymnastics tape, while the music of "Les Sylphides Ballet" is heard. also note, parte of escena XI "THE GARDEN OF PLEASURE (THE PLEASURE GARDEN)”, during the great duo and Fausto Margarithe, with a projection reminiscent of the painting "Adam and Eve in Paradise" Cranach the Elder, complemented by a neon sign with the word "Paradisus", placed on stage. All final scene XV "LA PRIERE (THE SENTENCE)”, showing the funeral procession of Margarithe, It is of great beauty and emotion, enhanced by the superb lighting design Alessandro Carletti. But nevertheless, in moments of absolute orchestral role, It is enhanced too much the purely visual, and I mean the scene III "La peur (THE FEAR)”, where the protagonist is haunted, beaten and humiliated in school for several colleagues, before the impassive presence of others who recorded with their phones, of jocular, the terrible scene; Y, at those moments, He is running the famous "Hungarian March". No doubt, viewers tend to focus their attention on the stage action, rather than listening to great music being interpreted. Something similar happens in another major orchestral excerpts of this work "Menuet des Follets (Minuet Elves)”, belonging to the aforementioned scene (GARDEN FUN), with continued and histrionic presence on the television screen Mephistopheles, surrounded by several women makeup and help him dress snake. So, the staging is interesting but uneven, in an attempt to give continuity to a fragmentary dramatic work, that lends itself much more to be interpreted in concert. Highlight the excellent stage direction of Eleanora Gravagnola, Damiano Michieletto substitute these representations.

 

Good work of Roberto Abbado, maintaining pulse and dramatic tension, in an extraordinary musical quality score, where Orchestra Valencia, He shone high, with excellent brass and percussion, well combined with a sumptuous string and woodwind instruments, they have a major role throughout the entire work. Excellent orchestral performance of the famous "Hungarian March", and the "Ballet of Les Sylphides" at the scene VI "LE Presage (THE OMEN)"And" Minuet elves ", del "FUN GARDEN", definitely, one of the most brilliant orchestral parts of the work, where he highlighted the excellent combination of all instrumental sections, highlighting the sound of violas, with metals having excellent speeches trumpets and trombones along with the woods, especially piccolo, flutes and oboes. As well, in that same scene, include the orchestral sound in the "Serenata" Mephistopheles, to the accompaniment of pizzicato strings and the sound of flutes and oboes. Grand Conjunction orchestra, chorus and solo performers in the final part of the scene VIII "Le Desir (The desire)”, with outstanding interventions of metal and wood, especially clarinets and bassoon. Sounds impressive throughout the orchestral ensemble at the scene XIV "La Damnation (CONDEMNATION)"With a special mention of violas and oboe, marking the frantic race to hell. Beautiful music that accompanies the beautiful final scene "LA PRIERE (THE SENTENCE)”, with outstanding interventions harps and cellos.

 

The canary tenor Celso Albelo, Fausto plays. He began his performance with a small voice that came to be projected forward. Albelo was improving, although with certain problems when the orchestral volume grew. He sang remarkably, stylish and refined technique, famosa known aria "Thank soft twilight (Thanks sweet twilight)”, belonging to the IX "LA TENDRESSE scene (THE MELANCHOLY)”, with a beautiful fraseo, dominating with power and brilliance acute area. As well, He made a good performance in his other solo intervention "Nature immense, impenetrable and proud (nature immense, impenetrable and beast)"Scene XIII" LA victime (THE VICTIM)”, offering their best moments, in the intense and passionate duet with Margarithe, well it played by the magnificent mezzo Silvia Tro Santafe Valencia, who he wore his beautiful vocalism in the recitative-aria "Que l'air étouffaut ... ..Autrefois un roi Thule (The air is stifling ... .There was once a king in Thule ", X belonging to the scene "La Princesse ET LE DRAGON (THE PRINCESS AND THE DRAGON)”, singing with true style, Grand fraseo, adjusting the sound and moving very well in all registers, with brilliant highs and a great stage performance. Interventions excellent solo viola, during the aria, establishing a true duet with singer. True merit is his performance in this scene, where, while singing, It is beset by Mephistopheles, who even tries to abuse it. His big moment, It occurred in the beautiful aria "D'amour l'ardente flamme (Burning flame of love)”, in the scene XII "L'ATTENTE (WAITING)”, magnificently interpreted vocally and scenically, in this case with brilliant accompaniment of English horn. Also in this aria, the singer has to endure, stoically, scenic demands, performing the final part, pouring glasses of water over his head. Burgalés impressive performance under Ruben Amoretti, as Mephistopheles, with an almost continuous presence throughout the performance, showing a theatrical, to capture all the perversity of character, highlighted by expressive close-ups that appear on the TV screen. His vocal performance was also remarkable in its many interventions throughout the work. Highlight its interpretation of the aria "Voici des roses (Here roses)"Belonging to the scene VII" L 'PRESAGE (THE OMEN)”, or impressive performance throughout the scene XIV "La Damnation (CONDEMNATION)”. Eleazar correct under Jorge Alvarez as Brander in "The Song of the Rat" belonging to the scene VI "LA duperie (DECEPTION)”.

 

Outstanding performances of the choirs in their numerous interventions throughout the work. Highlighting greatly, across the great scene of "La Damnation" with that amazing chorus "Pandemoniun" sung in a language unintelligible infernal, invented by Berlioz. The Choir of the Generalitat next to the Choir School Boards Have Quart de Poblet and the Choir of La Mare de Deus, They offer a sublime interpretation, throughout the beautiful final scene of the play.

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In the second half of the eighteenth century Benjamin Franklin, as fond of music as science or politics, polished and sophisticated instrument formed by crystal glasses joined to a wooden base and emitting a distinctive sound when touching the edge of the cups with the fingertips. He had created the glass harmonica. Quickly use of this new instrument was extended by the European salons interpreted, mainly, by mujeres.La melody and atmosphere creating, They did the imagination of many who listened fly. For some it was soothing and others, exciting, so much so that some players and fans began to feel affected their nervous system, arriving itself even ban the use of glass harmonica in some German towns.

During one of his trips to Naples, Donizetti had discovered this new musical artifact, He is fascinated by its sound. A few years later, when initiated composition Lucia di Lammermoor, he thought that this would be the only instrument that could reflect the anguish of the protagonist on the scene of madness. It was said then that some viewers, especially susceptible or sensitive, They could get to go crazy to hear the sound.

In light of what happened these days at the Royal Theater, While it could be said that the influence of the glass harmonica has had its effects. But rather it has been the effect of voices, two casts of the highest level, those who have unleashed madness or, at least, a special excitement among the public. 17 years after the last Lucia who played Edita Gruberova in this same theater.

In this production Inglés National Opera we have been able to enjoy the score almost entirely. They have included the aria of the tower and the beautiful finish solo Edgardo. The operas of this period were often mutilated when being represented. According to Daniel Oren, because of the genius of Verdi, "Which arrived with such withering effect on their scores that made other composers were relegated". Lucia was one of the few works of Donizetti who never ceased to be in the repertoire.

The scenery of David Alden is located in the Victorian era, when the work was written. In a paternalistic society and heavily dominated by men. Where the female figure hardly any presence. Lord Enrico Ashton has such economic desperation, which he is able to sell his own sister in marriage delivering it and save the family heritage.

Alden has presented an overly dark scenery, very cold and dark. Sometimes too minimalist. Alden is a man of theater and has resorted to the effect of placing a stage within the stage. In it some of the most important moments of the play are represented, as the scene of madness, which it occurs in the middle of a representation. Only the play of light of Adam Silverman rescues the viewer range of grays that dominate the work, creating an oppressive environment, next to the small dimensions of the scenery. Brigitte's wardrobe Reiffenstuel puts the romantic and elegant spot in a heavy and oppressive scenery.

Two distributions have been responsible for this production. In the first, Lisette Oropesa surprising given life and sparkle to Lucia. A role not easy, not only because of the difficulty of a score of great vocal exigency, also by dragging a paper weight represented by the greatest opera divas. Oropesa handles flawlessly times, vibrato, trills, legato, the piano ... If there is something that should deepen is the theatricality, because the role of Lucia is an extreme drama.

Edgar Javier Camarena had a successful plus romance. He shone in acute, which it is his strong point, and the beautiful legato. The last act, where is the protagonist, already dead Lucia, It was a poignant lyricism. It maintains a permanent honeymoon with the public in Madrid and the final standing ovation was well deserved.

The second deal was in charge of Venera Gimadieva as Lucia. It has an impeccable technique, a beautiful timbre and a powerful center. Not so the treble, they were forced. Pretty well in the aria of madness. It was low to a very good performance. Le overran some frildad prevented connect with Edgardo.

The best of the night was Ismael Jordi, Como Edagardo. His voice has evolved in volume and musicality. Dominates the belcanto, It moved with the delicacy of his pianos and his romantic fraseo. A little stiff and static stage.

Enrico Simone Piazzola sounded a bit tight and leñoso. Well in the interpretation of authoritarian and selfish brother.
The chorus, in its line of brilliance. Also on the interpretation which is always an essential character.

Directed by Daniel Oren, great connoisseur of Italian repertoire, It was a bit heavy at times, despite his energetic movements at the lectern. He could be heard humming as he jumped in the final act. Well in concertantes as it demonstrated in a magnificent sextet. exceptionally directs the singers, of which it is pending without agobiarles.

Excellent season finale that leaves the audience a very good taste. After a season in which the winners have been the lesser-known operas, This Lucia has been, definitely, the best in the classical repertoire, well above the preciosista La boheme and clumsy Aida.

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

Die Soldaten at the Royal Theater

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Die Soldaten at the Royal Theater

Die Soldaten at the Royal Theater

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There are many artistic expressions that have tried to reflect one of the main features of the twentieth century in its most negative, the horror, aberration and evil man is capable of generating almost infinitely. And there have been many artists, tragically influenced by having lived firsthand the cruelty of World War II. One of them was the German composer Bernd Alois Zimmermann is, definitely, one that has best reflected the vivid violence.

Zimmermann received direct influences of the musical vanguard that was haunting Europe. Entre ellos Schoenberg, Bartok, Webern, Stravinski o Kagel. Die Soldaten has as great inspirational source Alban Berg's Wozzeck. Both start from the same literary origin, the play by Jakob Michael Reinhold Lenz, poet and writer of the eighteenth century and one of the greatest exponents of Sturm und Drang movement. Lenz committed suicide with just 23 years after a troubled and full life imbalances. Zimmermann also ended up committing suicide, just five years after the premiere of Die Soldaten.

The similarities are evident Wozzeck, not only in the origin, Also in the musical structure and, as base, dodecaphonism. Die Soldaten is dotted with lyricism and jazzy moments. This mixture of styles Zimmermann called “pluralistic approach”, which it is nothing but a collage made up of different musical concepts and structures.

Upon entering the room we expected the projection of a giant portrait child. It is the innocence of the protagonist, Marie, before falling prey to the tragedy and the moral degradation of other characters. The girl will reappear at the end of the work, dead after a heartbreaking end that shows the annihilation of innocence in a sleazy and destructive world.

Behind the curtain a huge ready industrial architecture appears in several planes in which are housed the 120 Teachers Orchestra. All in uniform and militarized for the occasion. 18 drum sets and 25 timpani fall within this orchestral mechano thunder, which it occupies almost all of the stage dramatically, leaving little space for the singers in the place normally occupied by the moat. This provision so far from some instruments has led to its amplification with mixed results, because it ends up not listening, for example, the harp.

On the other hand, the proximity of the singers to the public creates an effect close-up that enhances the vocal result and, especially, theatricality. The fact that the singers are outside the visually director requires only have a repeater manager to input voices. A complicated task that Vladimir Junyent performs with reliability and precision.

It is not easy to create a work that produces stupor, restlessness, and unrest and tear, both, the feeling of having witnessed a colossal work. The unique and compelling description of human gap through a score and a booklet that has passed, to be an impossible work, to be one of the references of twentieth century music. All thanks to the joint effort and herculean all who participate.

The scenery of Bieito do not need in this production of the excesses that both like and characterize this controversial director, whether or not justified. This time, excessiveness of the work exceeds the set designer, that's saying. But any more hype would have collapsed scenery overload.

It has placed the orchestra on stage to give it the prominence it has, all. A music that literally crushes the characters by dragging them to exhaustion, using the instruments almost as ammunition in the middle of this musical and scenographic violence.

Pablo Heras-Casado gets a performance of extraordinary orchestra. The arrangement of the musicians makes his very complex work. Zimmermann included in this work all unimaginable difficulties taking it to the limit. The Heras-Casado himself warned: "Die Soldaten is the most extreme challenge that any musician can face". Listen this score is not easy, but getting materialize reading with a huge orchestra, He is fronting the work for the first time in the scenic provision has been raised, It is almost miraculous.

As for the vocal score, Die Soldaten is an extraordinary demand for its extreme tessitura. Susanne Elmark plays Marie. A complex and diabolical character in his vocal and interpretative difficulty. Starts being naive and a bit naughty to transform, as they move tragedies, a woman destroyed after being brutally raped and turned into prostitute of the soldiery. Elmark perfectly reflects the emotional and psychological depths of Marie. vocally impossible, Danish soprano gives everything on stage.

Leigh Melrose's Stolzius is the perfect replica for Marie. We could see recently in Britten's Gloriana and both shows his great vocal and dramatic ability.

Uwe Sticker brings to life a highly complex Desportes vocals, full of treble, Rushing to safely Sticker. He had a major role in this impossible score.

Julia Riley as Charlotte, Iris Vermillion as Mother of Stolzius and Noëmi Nadelmann as Countess de la Roche, They showed his good acting skills, in this work that requires best actors singers.

The surprise of the evening was the great Hanna Schwarz. This veteran interpreter, their 76 years, He filled the stage with his deep bass in an unforgettable performance. His characterization of the elderly mother of Wesener, connected to their serum to demonstrate the weakness of character, filled with concern the whole plot.

Stellar, once again, the choir Intermezzo, choir for the Teatro Real, under the direction of Andrés Máspero.

The musical language of this work is not for everyone, bold and adventurous ears are required, but these qualities can also be trained. That is why Die Soldaten is a necessary work, almost mandatory, and not well understood that there are still large audience that takes advantage of breaks to flee when they represent some of these contemporary operas. Patience has its rewards, and this premiere at the Royal Theater, it has been expected, but it's very worthwhile.

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By Diego Manuel García Pérez.The Palau de Les Arts has always shown interest in the young Verdi operas, having set in past seasons titles like: I due Foscari, Nabucco Y Macbeth, to which has been added Il Corsaro, with five performances that took place last 28 March and 1, 5, 8 Y 10 of April. curiously, despite being one of the lesser known Verdi opera, public attendance has been quite massive. These representations have been a triumph for the American tenor Michael Fabiano and Russian soprano Kristina Mkhitaryan, next to the always magnificent performance of the Choir of the Generalitat Valenciana and a very remarkable performance of the Orchestra of Valencia, well directed by Fabio Biondi, who three days after the last performance announced his resignation as musical director of Les Arts, delving further into the crisis that is suffering from this theater also resigned last December the then artistic director Davide Libermore.

Il Corsaro It has always been considered by critics one of the worst jobs verdianos. This is exaggerated and unfair because it is a beautiful score, where even a clear influence is observed belcantista (especially, in scenes featuring the two sopranos who interpret the characters in Medora and Gulnara), but with moments where we can show the best Verdian singing style and careful orchestration, announcing future compositions. For example, the great scene Corrado (Il Corsaro) at the beginning of the opera it has certain similarities with the aria-cabaletta "Ah si ben mio ... .of quella pira" from The Troubadour, and also the opening aria of Medora, It can be considered a clear precedent of Leonora's aria "D'sull'ali rosee love" of that same opera. Y, definitely, offers a real novelty that final trio of two sopranos and tenor (two women in love with the same man), unique throughout the production Verdiana, where they can hear musical moments that recall the first duet of Rigoletto and Gilda. Possibly, failure Il Corsaro, It is due to inconsistent libretto by Francesco Maria Piave made, after checking Verdi, He is tailoring the famous book of poems by Lord Byron, The Corsair, edited with extraordinary success in 1814, and whose reading had impressed Verdi, encouraging him to compose an opera. In 1846, the libretto was completed, not being liked by Verdi, who he was about to abandon the project, finally performed exclusively economic interests for Lucca editor, Riccordi competitor. The composition of the score was conducted by Verdi in Paris, between late 1847 and February 1848. The opera is structured three acts was premiered at the Teatro Grande in Trieste 25 October 1848, with the absence of the composer, resulting in a complete failure, especially for its lack of theatricality. In following years, the opera had a tour of Italian theaters, as the Carcano Milan, where it was displayed in 1852. Since then, He fell in the most absolute forgetfulness. It took one hundred and ten years, for what Il Corsaro, were to be interpreted, in concert form, in the courtyard of the Doge's Palace in Venice, in 1962. His real recovery occurred, during a series of performances that took place in March 1971, Teatro la Fenice in Venice, some of them led by the recently deceased Jesús López Cobos, with a superb cast including soprano Katia Ricciarelli in the character Medora, the great Spanish soprano Angeles Gulín playing Gulnara, the tenor Giorgio Lamberti in Casellato-character Corrado baritone Renato Bruson and as the pasha Seid. In October of that same year 1971, opera, with the same interpretes, also led by López Cobos, offered representations Frankfurt Opera, and there is a live take marketed by the label CD Opera d'Oro (fully available on YouTube), in which you can listen to Katia Ricciarelli twenty-five years, possessing a beautiful voice, timbral similarities with certain to Renata Tebaldi, dominating all records and good resolution of agility. The sadly defunct Angeles Gulín, with an attractive voice timbre and high volume, that posed no obstacle to offer him a good command of the middle voices and coloratura. Renato Bruson shows his great style and impeccable song line. Providing remarkable Giorgio Lamberti-Casellato. In 1976 It was published by the Philips label, the only recording studio (You can be heard complete on YouTube) with excellent sound and superb takes delivery of the New Philharmonia Orchestra, well directed by the Italian-Swedish Lamberto Gardelli, with a magnificent set of voices, which included the young Jose Carreras in the role of Corrado, showing its beautiful timbre and great temperament verdiano, Gulnara next to the Monserrat Caballé, in excellent state vowel, exhibiting their precious filados and an absolute mastery of coloratura. Voices Caballe and Carreras, They shine exceedingly in his great duet of Act III. In the role of Medora, American soprano Jessye Norman the, It shows excellent vocalism and great interpretive style, with excellent command of agility, Runs very well together with the duet of Act I. The three singers performed an extraordinary interpretation of the concluding trio of opera A true wonder Recording! The premiere in Spain Il Corsaro, It was produced in 2005 Liceu in Barcelona, in concert form, and already staged, in a series of functions offered in Bilbao, in 2010, with a production of Teatro Regio of Parma, released in 2004, within that ambitious cycle ABAO, intended to represent all Verdi's operas.

Representations Il Corsaro, which they have taken place in the Palau de Les Arts, They constitute the third time this opera program in Spain. It is a co-production of the Palau de Les Arts and Monte-Carlo Opera directed by Nicola Raab German, whose stage proposal, Corrado identifies with the main character himself Lord Byron, immersed in the creation of his work The Corsair, making it an inner experience and where all external actions are presented as memories or imaginations. It is an interesting idea, although with a scenery of George Souglides (also responsible for costume design), many times, quite confusing, and other using conventional visual resources. A large living large side windows, dominates the stage space throughout the performance, a variant lighting, depending on the dramatic development of the action: in Act I, with dark blue tones, where a large curtain formed by transparent plastic slats, separating two planes scenic; the closest one, where Byron-Corrado works in a small and elegant round table, in creating his work, and the furthest, where you can see, through the barrier plastic, the dithered and almost phantom figure Medora, as a dream of self Byron's all it is quite pretentious! In Act II, lighting turns orange and warm, to show, the harem of the Turkish Pasha Seid, dominated by the presence of his favorite Gulnara. During the Act II, the scenery is changing, with the insertion of a panel, where projecting cutting paints orientalista, and also, as a shadow play, Figure moving Gulnara, which is jointly, with the projection of a major fire, with shadows showing the confrontation of corsairs and Turkish, high visual impact. The beginning of Act III, It occurs with another fire, where Byron's belongings burned-Corrado, to pass, another very conventional space, using a large panel, where paintings are projected with Arabic motifs, which serves as a background to the big scene Seid and subsequent duet with Gulnara; Y, unbroken, we turn to an entirely different physical and dramatic space, where it can be seen a dark enclosure and prison ruinous, wherein Corrado is retained, Gulnara going to release. The final scene of the opera returns to the initial space, with that dark lighting and plastic curtain, through which you can see again the ethereal Medora. Reality and fantasy intertwine with the tragic present trio Corrado, Medora and Gulnara her lover, the latter located in a different plane dramatic. Definitely, to understand this approach stage, viewers need certain keys and know very well the argument, pretty complicated thing, case of a virtually unknown opera. As for the costume design, ranging from simple and elegant clothes of Medora, through appropriate carrying Seid and Gulnara Arabic style, until the absolute absurdity of a Corrado wrapped in a blanket and moruna head covered by a fez, in the little duet with Seid Act II.

This is a score, in which all the characteristics of the young Verdi: full music easy but attractive, with very vibrant moments, especially in the service of the voices. Fabio Biondi away from the baroque and Mozartian repertoires that are related, He directed with much determination and good pulse, the title of the young Verdi, achieving excellent performance of the Orchestra of Valencia. curious, in these representations, Biondi has raised the orchestra pit to place it at about the same level as the stage, considering it was usual in the days which premiered this opera and facilitating the combination of voices and orchestra. Also worth noting an arrangement of the different orchestral music stands, to the usual, placing the center cellos and contrabass, right woods, brass and timpani, and left violins, violas and harp, with attractive sound results. You can criticize Biondi, what, at times, raise the orchestral sound too. Highlight the performance of the overture, initiated with powerful chords that show the sound of a storm followed by a beautiful theme superbly executed by the clarinet. He also shone orchestral sound in the interpretation of the music of orientalist character, in conjunction with the women's choir, with which kicks off Act II, and throughout the final scene of the act, with soloists and choir voices, especially in the magnificent concertante conclusive. Excellent performances of different instrumentalists: harp and flute in the introduction Medora aria in Act I, with a musical theme he reprises the oboe when Medora reenters scene in Act III. Beautiful sound of the cellos in the introduction and coda concluding aria in Act III Corrado. It also proved extremely delicate sound pizzicato rope when death occurs Medora.

In the vocal plane, First highlight the great performance of Medora, making the Russian soprano Kristina Mkhitaryan, Morbid voice, very beautiful tone and excellent phrasing, dominating all records and excellent resolution of agility. Able to alternate sounds with delicate notes forte pianissimi, even filando high notes. Domina masterfully jumps severe acute, and all this combined with great expressiveness and beautiful stage presence. Despite its location in the upstage and having front said barrier plastic, beautiful voice comes through all kinds of obstacles to interpret very bright, recitative-aria the Act I "Egli non ancora Riede ... .Non so you tetre immagini", followed by precious duet with Corrado, very well played by the American tenor Michael Fabiano, possessing a voice of great volume, well managed, whose timbre reminiscent of the young Carreras. Dominates the Verdian style and even has a tendency to sing forte, He is also capable of voice apianar. He plays very well his great scene of Act I, recitative-aria-cabaletta "Ah yes, well say ... .All seemed to smile .... And, de 'privateers the lightning ", with a proven fraseo, shining greatly in the vibrant cabaletta. Dota pathetic accents his great aria in Act III "Eccomi prigioniero" followed by extensive duet with Gulnara, discreetly played by the Ukrainian soprano Oksana Dyka, voluminous voice, not too well controlled and with a sour bell. It has real problems in his great scene of Act II, and recitative-aria-cabaletta "Neither on earth ... .Vola talor from prison ... .Ah, comfort is the hope sol ", with an irregular line of song and difficulties in agility. Improves performance in Act III, with higher emission control, getting his best moments in the beautiful trio with Medora and Corrado, concluding opera. Notable interpretation of Italian baritone Vito Priante, exhibiting a good style of singing verdiano, with an incisive phrasing full of musicality, highlighting the interpretation by the vast scene of Act II, and recitative-aria-cabaletta "Alfin this pirate is my prison!….But ere togliam .S'avvicina soul ... your moment ", with a vibrant performance of cabaletta. In characters comprimarios, good performances of Ignacio Giner (We're moving), Antonio Gómez (the eunuch) and Jesus Rita (the slave), all belonging to the Choir of the Generalit Valenciana, whose performance as always- it is excellent, in its many interventions, especially in the long trio with the end of Act II begins (recall moments Macbeth Verde), followed by the great conclusive concertante. Y, especially, are extraordinary interventions in the trio of Medora, Corrado and Gulnara that concludes the opera. Day function 8 April was taken in high-definition video, be available on YouTube. Readers of this commentary can see the development of this opera, with a profusion of close-ups, for observing many details; Y, materially breathe with the singers.

Gloriana 1 Real

Gloriana 2 Real
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Gloriana 4 Real
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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.

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Some of the most famous operas and performed the repertoire, They are not exactly the easiest to upgrade. We are used to seeing almost every major opera houses situated at different times, places and times. All but one, Aida. Almost impossible to place it in a different era referred to, much less change their location and removed from the banks of the Nile, where Verdi placed some of his most brilliant and intimate escenas.Lejos and overwhelmed and sad years of galleys, Aida (1871) It is one of opera Verdi maturity before its two final compositions, Otello y Falstaff. It had been four years since Don Carlos and Verdi had gathered fame and enough wealth to make up for no reason not stimulating enough for him.

Ismael Pasha, viceroy of Egypt, he was about to celebrate in style in 1869 the opening of the Suez Canal. He commissioned the Italian architect Pietro Avoscani the construction of a great opera house in Cairo. And of course, for the opening of this theater Pasha wanted to have the participation of the famous Italian composer. Verdi and again rejected the offer of pasha who thinks try their luck with other composers like Gounod or Wagner. At that time, one of the employees hired for this project, the director of the Paris Opera Comique, Camille Du LucThe, He sent part of the argument Verdi Aida. At that time Verdi accepts the offer to compose this work and chooses as librettist Antonio Ghislanzoni. One of the decisions taken on the libretto was to replace the "t" of Aita, original name in Egyptian, the "d" of Aida, to facilitate the diction of the singers. He 24 December 1871 It opens in Cairo with extraordinary success. Interpreters were Antonietta Pozzoni Anastasi as Aida, Eleonora Grossi, as Amneris, Pietro Mongini, as Radames, Francesco Steller, y como Amonasro Paolo Medini, como Ramfis. The lavish decorations, also they contributed to the success, They were led by Philippe Chaperon, Edward Desplechin, Jean Baptiste Auguste Lavastre and Rubé.

Verdi did not travel to the premiere of Aida in Cairo, not bear boat trips, but he enjoyed tremendous success with (He came out to say hello 32 times) two months later he assumed its premiere in Milan Scale. This time the protagonist was Teresa Stolz, not in vain was at that time the composer lover.

Many Aidas has been since. Any, like the one shown at the Royal Theater these days, repeat. Production that Hugo de Ana created for the premiere of the second season of the Teatro after reopening, It has been revised for this season of celebrations. They want with it, as its director says Joan Mataboch, look at the past to reclaim its history. This update has used the video trying to give a three dimensional appearance to images. For it has been placed as always that sort of veil that proscenium, somehow, Dimming projection voices. The details of the scenery have been kept scrupulously, especially in reproductions of some elements such as columns or pyramids. But the end result is a scenic variegation that is overwhelming at times. There is an excess in everything that requires finesse as the scenery, the decorations, costumes or makeup. All this instead of upgrading aging production.

Poor direction of actors contributes to the confusion seen in scene. Do not know why this effort to fill the stage with hundreds of players simultaneously, without reason or obvious criterion to justify. dancers, choir, slaves and singers tried to move with the resulting noise on a floor full of pitfalls. Also they helped keep the pace of the work breaks scene changes. Even the most intimate moments got an atmosphere of recollection.

The musical direction of Nicola Luisotti was full of theatricality. his deep understanding of the work and the composer's note. It is very worthwhile to keep the balance between orchestra and singers with so many distractions by.

There are three deals that have faced these 17 representations Aida, with occasional replacement, They have generated many combinations. Which touched us luck can not be said to have its night, but they saved the situation with dignity, which is appreciated. Ana Lucrecia García, Spanish-Venezuelan soprano as Aida had to replace the Armenian Lianna Haroutounian, It was not an easy ballot with his Radames, Fabio Sartori. Both they met, difficulties, their respective roles.

Daniela Barcelona's Amneris us knew little. Not long ago that we heard at the Royal Theater. He left flashes of his powerful center and treble vigorous. It was the most inspired dramatic look, especially in the last act full of dramatic intensity.

Amonasro highlight the Angel Ódena that was high and was, with Barcelona, most applauded by a public cold, maybe, I had higher expectations for this Aida so full of excesses.

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Street scene, one of the great masterpieces of American musical theater, It began as a play by Elmer Rice awarded the Pulitzer in 1929.Y ended up falling to a Kurt Weill who came to the United States fleeing from Nazism and World War II. The German composer was fascinated by the text, new rhythms found in their host country and forms of expression, absolutely free stop writing and use resources.

Directed by the author Elmer Rice and collaboration of one of the most important poets of the moment, Langston Hughes, Weill began the composition of an opera and, with her, creating a new genre he himself called "Opera Broadway". It used all resources and techniques at your fingertips, at that final moment of his career, and there were many. A previous experience of the Berlin cabaret and European lyric, They joined new American influences, Jazz, blues, swing o foxtrot, creating a choral work in all aspects, not only in the musical. The characters that make up the work have origins, religions and cultures very different, which could be found in the New York of the time. also introduces dance numbers, songs, modes of expression of spoken theater. All with parts of verismo perfectly integrated. Thanks to the powerful and coherent compositional structure of Kurt Weill more mature, harmony between different elements is achieved as originally.

All this musical conglomerate has led to perfection Britain's Tim Murray, who already he headed in this Theater "Porgy and Bess". He knows the difficulties of a score like this very well and knows how to convey to the orchestra the character that dominates every moment effectively.

The scenery of John Fulljames perfectly reproduces one of the typical neighborhoods of the Lower East Side of Manhattan. Weill expresses the drama of the lives of all these characters, about thirty, subject to problems of coexistence, job insecurity, lack of resources or evictions, where gossip and meanness are also players. For it puts the focus on different characters without judging, showing the circumstances that can explain their behavior.

One of these characters is Anna Maurrant, the dutiful wife splendidly played by a Patricia Racette with experience in the American cabaret, along with a brilliant lyrical path. Good neighbor, always looking to help others and, Nonetheless, no longer the target of gossip by the fact of having a lover. This circumstance is the trigger for all the tragedy that occurs at the end of the work and, but nevertheless, the lover, is a character who only appears, It is Episodic. As Joan says Mataboch, theater director, "a character irrelevant in the relentless chain of events that will develop equally whether or not.

Patricia Racete, like other protagonists, they would have needed no amplification that has made their voices, Hopefully this time only, with the excuse that many of the characters are not opera singers and may have difficulty projecting the voice in a theater like Real.

Paulo Szot, with also a remarkable experience in the Broadway musical, es Frank Maurrant, the husband clung to the most ancient traditions, unfriendly and rigid with his wife and children and with a degree of violence that leads to murder his wife and her lover. Thanks very good interpretation, among other things, its imposing stage presence. Another that it was not necessary amplificarle voice. to spare.

Joel Prieto was the mystery of the night, at the end of its first aria her voice cracked and had to be excused and replaced in singing, not in the interpretation. Too bad not being able to check your progress and enjoy its beautiful timbre. He built right to strike a Sam Kaplan in love with Rouse Maurrant from his immense shyness.

Very good performance of the helpful doorman Henry Davis by the American baritone Eric Greene.

Highlight the good performance of Geoffrey Dolton, como Abraham Kaplan, Veronica Polo, como Shirley Kaplan, Gerardo Bullón, George Jones, Lucy Schaufer, Emma Jones, are Bern, as Greta Fiorentino, Vicente Ombuena, como Lippo Fiorentino and Scott Wilde, Carl Olsen.

The large cast was made, not only for opera singers, They have also participated artists who should know how to combine the song with dancing and interpretation, as babysitters hilarious Sarah-Marie Maxwell and Harriet Williams.

The choir had an outstanding participation. He maintained his flawless line under the direction of Andrés Máspero. With some solo presence demonstrated its high quality. The choir of young singers of the JORCAM played a leading role in this production, both vocally and in the interpretive part, thanks to the good work of its director Ana González. They noted two small stars that, despite his youth, and they gain experience in the art world, Matteo Artuñedo, Willie Maurrant and Diego Poch, in the role of Charlie Hildebrand.

Another success this season of celebrations. Season is delighting all amateur, from the purists, the less.

PeterGrimes-1

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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.

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<"Dead man walking" is one of the clearest examples of that opera serves, mainly, to tell stories. And it tells a story that sends us all into thinking corner. This is a work to reflect on many issues, the pain, the forgiveness, justice and the exercise by the state, the human condition, repentance and, especially, the universal theme in the opera and in all artistic expressions, love. With the dramatic potential of all the elements that are handled in this work, the intensity is ensured, and with her, éxito.El outstanding libretto by Terrence McNally, based on the text of Sister Helen Prejean, which also inspired the Oscar-winning film "Death penalty", Tim Robbins, Sean Penn y Susan Sarandon, It has been turned into opera by the composer Jake Heggie and released in the year 2000 Opera in San Francisco. After his American success came to Europe 2006 to achieve success with critics and audiences. Heggie's music has, like is logic, cinematic influences, musical and composers like Gershwin. From the first moment the story captures the audience's attention very cinematic way.
Neither the pace nor the plot decay at any time and tell the story smoothly and without complexities. All this with a conventional music, no stylistic fanfare that we have used contemporary compositions, but with a rhythm and descriptive powers that make no missing or on any functional elemento.La staging of Leonard Foglia it is very effective. It revels in all the little details that can accompany such a terrible situation and, both, so full of simple elements and everyday. Create different atmosphere through color, videos of Elaine J. McCarthy and Brian Nason magnificent lighting. also highlight the work with actors Michael McGarty and Jess Goldstein.La score also allows lucimiento, especially dramatic, Singers. The weight of the work rests with the two protagonists, Sister Helen Prejean, played by Joyce DiDonato, which is involved in almost every scene and makes it masterfully. The dramatic falls level reached at any time. It offers a spectacle of intensity that justifies its position in the international art scene.
The other protagonist is Michael Mayes Texan who plays the doomed Joseph De Rocher. rudeness, also vocally, It is perfect for the character and helps identify the nature of the work.
Sister Rose, which is responsible for putting the protagonist to possible contradictions in his behavior, It is interpreted by the Canadian Measha Brueggergosman.
Definitely, one of the protagonists of the play is Maria Zifchak, playing the Lady of Patrick De Rocher, mother sentenced to death. His moving portrayal of a mother, at the time of farewell, sees in his son the child that faith, It is colosal.El rest of the cast is a very great height. All Spanish and English with an impeccable diction. Damian del Castillo, Roger Padullés, Celia Alcedo, Maria Hinojosa, Toni Marsol, Marta de Castro, Was VICENÇ, Enric Martínez-Castignani, Marifé Nogales, Tomeu Bibiloni, Pablo Garcia Lopez and Alvaro Martin.
Impressive as always the Intermezzo Choir and also the musical director Mark Wigglesworth JORCAM.El able to maintain tension and narrative sense throughout the play, getting the best of success Orquesta.Un Teatro Real opera programming, one more. Mataboch also has the gift of opportunity to schedule operas at the current time opportune.
Maruxa

I returned to Maruxa home, he Teatro de la Zarzuela, almost 47 years later. It was in this theater which premiered at 1914 when its composer, Amadeo Vives, He was artistic director of the Zarzuela. And back in style. Upon entering we waited for the sound of a bagpipe that is creating the right environment to hear that, by musical director, José Miguel Pérez-Sierra, "It is a great Spanish opera of his time, and even more, It is a great European opera of his time. Vives, in the wake of Puccini, used as setting folklore, but with a completely orchestration Central, between the German and French traditions ".

When Daniel Bianco, director of Teatro de la Zarzuela, He commissioned Paco Azorín, take charge of the scenery became Maruxa, This asked him to do what he wanted. Y, of course, He has done what he wanted.

With the excuse, some, that the libretto Luis Pascual Frutos It is more than regrettable, so naif passages that do not exceed the most childish tales, Azorín has been allowed to build a new story. He wanted to pay tribute to Galicia and has adorned with verses of this Maruxa Rosalia de Castro and the elegant dance and live Maria Cabeza de Vaca, who embodies the character of Galicia as a goddess. It has created an atmosphere of mystery and meigas creating a forest full gauzy curtains moving and mist on a slate floor. All it enhanced with a successful lighting Pedro Yagüe.

But the second half came and with it the "do what I want". On battery images Urquiola disaster occurred in the seventies, He came the chorus, yes, in a memorable performance, dressed in overalls volunteers who cleaned up the spilled by the Prestige oil slick. A strange mix of events linked intentionally and stuffed with a shoehorn that generated some perplexity in the public. The end result was so strange forced the new argument. Only it served to detract prominence to a work and, especially, a music that deserves all the attention.

The direction of José Miguel Pérez-Sierra is very solid. Perfect knowledge of the score and the nature of the work, He maintained the tension from start to finish and got the better of a pit that increasingly sounds more roundness and solvency.

The vocal quintet was quite balanced. This work is an extraordinary vocal demands, both technical, and in sufficient volume to rival guarantees a powerful orchestra. He was noted for his vocal qualities and his stage presence, baritone Simon Orfila, in the role of Rufo.

A high altitude also shone the pair of protagonists Maite Alberola (somewhat old-vocal volume), and as Maruxa Rodrigo Esteves, in a remarkable Pablo.

Carlos Fidalgo he played a convincing Antonio and Svetla Krasteva He replaced in the character of an indisposed Rosa Ekaterina Metlova.

Curiosa Maruxa to be missed if you want to review first hand. a version, Paco Azorín the, for music lovers of Amadeo Vives but, especially, for theater lovers.

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just ten years ago it was represented for the first time El Palau de Les Arts, Verdi's Don Carlo, then with the excellent direction of Lorin Maazel disappeared They were still good times for Palau! This opera has again scheduled to officially open, last 9 from December, the new season 2017-18, with the presence in the cast of incombustible Placido Domingo as Rodrigo Marquis de Posa. Madrid singer to turn seventy-seven years, still a real jerk, to the point that almost all entries of the five performances scheduled, had run out well in advance. The premiere was marked by controversy arose a few days before, Davide Livermore with the resignation as Mayor and artistic director of the Palau de Les Arts. Before the beginning of representation requested a spectator applause for Livermore, which it was followed by a standing ovation. After the break, when he was about to start Act III, a voice shouted "conceller coward", seconded by applause and numerous other voices saying "out political" or "do not be a burden opera". All these spontaneous demonstrations, show the tremendous discomfort of a public, who disagrees with political decisions, that can harm this important operatic center. Hopefully everything is resolved, for fans to the world of opera, we can continue to enjoy excellent programming offered by this theater. The complex world of opera should be managed by real experts, that are not mediated by political interests.

Don Carlos emerges as commissioned Giuseppe Verdi French government, on the occasion of the Universal Exhibition which was to take place in Paris, in 1867. The theme chosen was an adaptation of the play Don Carlos, Infante of Spain de Schiller. The magnificent drama of German poet dated back 1787, and it was a work of intense political content, where Schiller, performing a harsh critique of authoritarian Felipe II, strongly influenced by the Inquisition, against the desire for freedom from his son Don Carlos Infante and his friend Rodrigo Marquis de Posa. The playwright was inspired for his work, in an episode of the "black legend" that Felipe II, they devised William of Orange, responsible for rebellion against the Spanish Empire of the Netherlands and Antonio Perez, unfair secretary of Felipe II. That episode was the death in prison of Don Carlos, heir to the throne, in circumstances never clarified. It is a historical reality that when Infante was a child, She had thought of him marry the daughter of Henry II of France, Isabel de Valois. Finally, it was intended, when he was only thirteen years, to be the wife of Philip II, widower twice. Away all historical reality, Schiller's work argued that Isabel Valois, as a teenager, I had met in France to Don Carlos, I was his age, establishing a relationship between the two, finally cut short by the marriage of Isabel with Philip II. The reunion of Don Carlos and Isabel, It is the trigger for the drama written by Schiller, where the detention and death of Don Carlos had been caused by jealousy of Philip II, discovering the old relations of her son with Isabel and support the Infante was giving the Flemish rebels, harshly persecuted by his father. From the work of Schiller, Joseph Mery and Camille du Locle, They prepared a great libretto. With this material Verdi got put music to a long text moral and political dialogues, with fierce criticism of the Inquisition, represented by that terrible and sinister character of the Grand Inquisitor, in the shocking scene of his duet with Felipe II. This is a story about friendship, love, jealousy, the parent-child conflicts, who was always interested in Verdi; Y, especially, the loneliness of power, captured in a stunning monologue of Philip II. The work followed the conventions of the Grand Opera, with a structure in five acts, and in Act III insertion of a certain size ballet, called La Peregrina.
The premiere of Don Carlos was in the Imperial Opera in Paris (later called Palais Garnier) he 11 March 1867, with the assistance of Emperor Napoleon III and his wife Eugenia de Montijo, who greatly he disturbed by the way in which Verdi was Philip II. Parallel to the version written in French, Achilles Lauzières, He prepared a translation of the libretto into Italian, which it premiered at the Teatro Comunale of Bologna 27 October 1867. Over the years, Verdi decided to reduce the opera to four acts, where Act I of the French version is removed (Act of Fontainebleau) and ballet. This version premiered at the Teatro alla Scala, the 10 of January of 1884, and is that shown most commonly.
Don Carlo representations were very low during the first half of the twentieth century. From 1950 again it is programmed with some regularity, being the character played by Don Carlo Jussi Björling great tenors as, Richard Tucker, Franco Corelli, John Vickers y Carlo Bergonzi, who in 1965 He made an extraordinary performance, in a reference recording studio (Italian version in five acts) sello of Decca, with Renata Tebaldi as Elisabeth de Valois, the stunning Princess Eboli Grace Bumbry, the splendid Philip II of Nicolai Ghiaurov, the elegant and subtle Posa of Dietrich Fischer-Dieskau and the imposing Grand Inquisitor Martti Talvela, directed by Georg Solti at the head of the Orchestra of Covent Garden.
It should be noted the magnificent creations of Don Carlo conducted by Spanish tenor Jose Carreras as, Jaime Aragall, and especially Placido Domingo, who more times interpreted, since he debuted at the Vienna State Opera, in 1967, to about latest features, Also in that same theater, in 1992. During these twenty-five years, Sunday has left an important legacy of this opera record, with numerous live recordings, between them, two video shots: in 1978 (Teatro alla Scala) Posa next to the great Renato Bruson, with Claudio Abbado and 1983 (Metropolitan de New York) next to the magnificent Isabel Valois played by Mirella Freni, James Levine direction. Of all his interpretations, which include study conducted in (Italian version in five acts) EMI, in 1970, with Montserrat Caballé as Elisabeth of Valois, the extraordinary Éboli Shirley Verret, Felipe II Ruggero Raimondi of and Sherrill Milnes as Posa, with the superb direction of Carlo Maria Giulini at the head of the Orchestra of Covent Garden. This recording is referential next to the Solti, and it, Sunday makes one of the best performances of his career. curiously, and last twenty-five years of his last Don Carlo, Sunday has taken up this opera, playing the baritone role of Rodrigo Marquis of Posa, which he debuted at the Vienna State Opera, last June and he has returned to play in the Palau de Les Arts.

Don Carlo depicted in Valencia is the version in four acts, being a production of the Deutsche Oper Berlin scenically Marco Arturo Marelli directed by, also responsible for set design and lighting design. I know my predilection for reproducing productions, as closely as possible, both its scenery and costumes a particular historical period, and that more needed in operas such as Don Carlo is still made. Definitely, these productions are extremely expensive, but they are particularly bright. Y, can serve as an example of Franco Zeffirelli mounts, John Dexter or Hugo de Ana. In this Don Carlo he has opted for a minimalist scenery with large mobile panels that are moving to narrow scenic areas, enhanced, At different times, a good lighting. Gaps which form between the panels, for much of the representation, take the form of cross, in an attempt to show the great religious influence on political power at the time of Philip II. Scenic objects are minimal: a small monolith crowned by numerous candles that appears at the beginning and end of the opera, some sidewalks or vacuum conjugal bed, Philip II contemplated with infinite sadness in his big scene in Act III. Costume design is attractive Dagmar Niefind, the historical character being worn by women predominantly dark tones, except the character of Eboli, who wears a green dress. The menswear, It is timeless, with distinctly modern details like that carrying briefcase slung the Marquis of Posa. Dark colors contrasting with the deep red of ecclesiastical vestments, especially in the great scene Autodafé, one of the most accomplished moments of this production. Acceptable stage direction of Marco Antonio Marelli, who at the end of the opera takes license with respect to the original text, with the shooting of Don Carlo and his friends flamingos, reminiscent of the famous painting by Goya, "The Shootings of the Moncloa".

Great performance by the Orchestra of Valencia directed by Ramon Tebar, who showed great knowledge of this verdiana score, offering a careful reading, intense and contrasted, where the orchestral sound greatly shone in the "Song of the Veil" in Act I, and especially in the great scene of the Coronation and Autodafé, Closing of Acto II, with an outstanding intervention metals. As well, the orchestral accompaniment gave a tremendous dramatic dialogue between Philip II and the Grand Inquisitor in Act III. Note the execution of the soft and delicate music that introduces the Act II. Other great orchestral moments occurred in the duo of Felipe II and Isabel of Act III, and the same act trio with Éboli, Posa and Philip II, with excellent rendering of the cellos. Very beautiful flute sound and metals, when death occurs Posa. Lovely dialogue is serious rope and metals in the prelude to Act IV. Special mention deserves the brilliant solo cello intervention in the great scene of Philip II, at the beginning of Act III. Providing superb oboe and English horn accompanied Isabel's aria of Act I "Non pianger compagna mia". Brilliant orchestral sound accompanying the "Duo friendship" Don Carlo and Posa, Table I at the end of Act I, which appears repeatedly in different moments of the opera. Excellent work of conclusion of Ramón Tebar very aware of the voices, in particular by facilitating the work of Placido Domingo. In sum, orchestral performance was the great attraction of this Don Carlo.

Placido Domingo has expanded its huge repertoire, the role of Rodrigo Marquis of Posa, who played for the first time last June, at the Vienna State Opera, precisely when the fiftieth anniversary of his debut as Don Carlo was fulfilled in the same theater. Upon hearing the magnificent creation of the unfortunate Infante of Spain, by a jovencísimo Sunday, of beautiful timbre, with a splendid Verdian singing line, and check your logic current state vowel, arises at least for me- great sorrow and longing. Posa is one of the most beautiful Verdi baritone roles created by. It is a character of presence and vigor youth, the same age as Don Carlo. So, the first problem, Domingo is its absolute lack of scenic adaptation, because with their physical appearance today, -typical of someone about to meet seventy-seven years- in his scenes with Don Carlo, seems his father and even his grandfather. Another problem is the lack of timbral differentiation Don Carlo, and Domingo sings baritone with tenor roles. To this short fiato and loss of vocal volume which makes it almost inaudible in the concertante is added. But nevertheless, still it is able to offer a line of singing verdiano, much better than his castmates. Y, in his great scene of Act III, It is able to overcome shortcomings and interpret very significantly, While ligand notes, bellísima the air "came to me the day supreme", giving a singing lesson verdiano. When he went to say hello, at the end of the representation, the audience gave him a standing ovation, aware that they were in the presence of the last great myth of opera.
Andrea Caré in the role of Don Carlo, He offered an attractive timbre moving well in the acute area, although showing difficulties in the passageway. He was undemonstrative, with a monotonous and lacking phrasing of intentionality. His best moments were his duet with Éboli of Act I, and especially the great final duet of Act IV, with Isabel de Valois, played by Maria Jose Siri, who showed good vocalism, with secure high register, although with a very limited range of bass and singing, at times, inexpressive. He made a remarkable vocal performance on the expressive plane Worse- de on air Acto I "Do not weep my partner". It was pretty toned Trio in Act I, Eboli and Posa with. His performance was gaining in intensity in his duet with Felipe II, Act III, getting deliver a magnificent performance of his big aria in Act IV "Tu che la vanita", with excellent sound regulations even running a creditable "messa di voce" and beaming with certainly a Si4.
Violeta Urmana offered an interpretation of Eboli, full of expressivity, although the vocal plane had some difficulties in implementing the agility in his aria in Act I "Nell Giardin the beautiful" (Song veil), where, curiously, He was cut the last part of repetition, with a series of bars omitted, that advance the orchestral moment that marks the presence of Queen. Very well in her duet with Isabel Act III, followed by very difficult aria "O don fatale" who played with art and real courage, although it lacking in the low register and a sharp somewhat intemperate and suspenders.
Alenxander Vinogradov low as Felipe II, He offered a stunning vocalism, although not really into singing style verdiano, and this is evident in his duet with Posa Act I, where Placido Domingo, if it shows a good command of phrasing verdiano. The Russian bass made a very remarkable and nuanced interpretation of his big scene in Act III startup, "She giammai m'amo ... .Dormiró nel mantle sun" and is magnificent in the stunning duet with the great inquisitor played by Marco Spotti low, lacking the roundness of deep bass that requires this role, where it is clearly surpassed by Alexander Vinogradod, one of the big winners of this Don Carlo.
While the rest of the performers, emphasizing the soprano Karen Gardeazabal as the transvestite Tybalt, ridiculously characterized mustache including, and the voice of Heaven starring Olga Zharikova, It is appearing on stage with a baby being taken away.
As usual, excellent performance of the Choir of Valencia Generalitad, in its numerous interventions, proved highly commendable its work, in times where voices are imbedded in the gaps left by the movable panels, as in the case of the scene of the "Auto de Fe".

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He came back the Spanish opera "El Gato Montes" to the stage of the Teatro de la Zarzuela to celebrate the centenary of its composition. And he did under the direction of José Carlos Plaza scene and the music of Ramon Tebar, para dar life to the music of Manuel Penella.

Undoubtedly the most valuable of the work of Penella is a music full of nuances and a dramatic charge which enhances the strength of the characters. All very Spanish: toreros, highwaymen, Romany, sorceresses ... A set of personalities that describe, along with music, the most recognizable Spanish folklore. Not easy to interpret this work, great vocal demand for singers. And it's not easy for stage directors.

This time, production of José Carlos Plaza has been enriched with choreography by Cristina Hoyos, which has not only created the steps of the dancers, He has also filled life movements singers. What it has endowed all representation of elegance and Andalusian flamenco tradition that oozes work Penella.

The scenery of José Carlos Plaza, which it was awarded in the missing Campoamor Awards, It may be too austere. Except exaggerated and rich elements, like a huge baroque mirror, that looks more like a large funerary sculpture, with bull and matador included. Or the huge face of a painful at times occupying the top of the stage. The rest of dark scenery compose successful, although poor, Francisco Leal and lighting, outstandingly, Pedro Moreno's wardrobe. All this to show the deepest, darkest side of the work represents Spain. It is interesting to note the similarities El Gato Montes has with the opera Carmen, Bizet. Namely the Carmen de Calixto Bieito we've seen recently at the Royal Theater and this wildcat agree more than the darkness of her scenes.

The role of Solea is represented in this first cast by the German soprano Nicola Beller Carbone. Sand note the effort to offer a flamenco Solea, with the help of Cristina Hoyos, but his character fails by poor diction. Almost impossible to understand what he was saying, despite having grown up in Spain. But his performance was very commendable.

Baritone El Gato Montes Juan Jesus Rodriguez He had all the attributes of the Andalusian bandolero. A brave and able to kill and take to the mountains for the woman who loves man. All it adorned with an interesting point of nobility that gave the character a special appeal. His round voice, powerful and warm clothing ended character.

Rafael Ruiz, "The Macareno", She was played by an expert on this role, Andeka Gorrotxategi. Basque tenor, Decorating almost all registers with a beautiful metal, He tackled with ease and robustness acute and central zones of a somewhat static Macareno on stage.

Comprimarios box was at high altitude. Desatacar exceptional Miguel Sola, in the role of Father Anton, both vocally as, especially, in the interpretive part. impeccable also, in the role of Frasquita, hope Mentxaka Y Gerardo Bullón, as concrete. They are always a guarantee on any production that address.

Highlight the performance of the choir. Not only for his craft, I knew also offer moments of great lyricism and beauty were widely applauded by the public.

Topping the Community of Madrid Orchestra Manuel Tebar one who knew how to deliver the best version of a limited orchestra. He managed to recreate the desired atmosphere by the composer and gave a bright version of its known fragments, as the pasodoble the second act.

A beloved Spanish opera by an audience that fills the Teatro de la Zarzuela in this new and exciting stage.

Carmen

Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

CARMEN
Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

Lucio Silla

With only 14 years, and during a tour of the then kingdoms of Italy with his father, Mozart the first serious opera premieres of his career, Mitridate, kings of Pontus. Such was the success that the young Mozart received another custom Teatro Regio Ducal in Milan, an opera to celebrate, Two years later, Winter carnivals the Lombard capital.

Lucio Silla It is a crucial work in the evolution of the musical language of Mozart. While it is retaining many of the conventions of the operas of the eighteenth century, as the role of a character followed historical and endless endless recitative arias. But nevertheless, and we find some new elements, as the orchestral accompaniment of recitatives. This new musical structure anticipates changes that will be consolidated with Idomeneo and be part of the unmistakable style of his operas more mature, as Don Giiovanni O Così fan tutte.

Mozart worked with great discipline and with little time. He had summoned the most talented singers of the moment 6 weeks of the release to begin rehearsals. As was customary at the time, the particelas They were composed thinking about the vocal characteristics of each performer, taking them to the limit of its capacity. This made it almost unfeasible than any other singer could address the role. Main reason why Lucio Silla, once released, tardase 200 years back to be displayed.

The main roles was in charge of the great tenor Archangel Cortoni, as Lucio Silla, and castrated Venancio Rauzzini, in the role of Cecilio and soprano Anne de Amicis, as Giunia. But the best proof of the genius of Mozart teen came when there were only 6 days for the premiere. The Cortoni protagonist fell ill and had to be hastily replaced by another tenor. No one dared to take on the difficulties of that paper was a mediocre singer who oratorios, scared by the difficulty of the character, He dared with. For that, Mozart had to seriously maul the score of the dictator adapting to the vocal possibilities of the singer. Although only reduce their intervention 2 arias, Mozart manages to convey the psychology of the character, complicatedly hesitant and unable to express what he feels, leaving the responsibility to express the feelings of the orchestra chair.

A theatrical scenery high voltage

For a stage director, Lucio Silla is a poisoned gift. Throughout history it has been considered an impossible work for its statism. Baroque works arouse suspicion among not a few stage directors for their arias

dacappo and the difficulty of this musical structure when providing the desired fluidity scenery. Lucio Silla is scenically as later works of Mozart, plays in themselves. The spirit of the characters have more weight than his vocalism, although this is endiablada for singers.

this opera, almost contemplative, also it has a great dramatic burden Claus Guth He has captured perfectly. It has created a stage where the pictures flow before the public with pace, beating statism with an almost cinematic continuous motion effect.

As is customary in Guth's stage development, a psychological X-ray of the characters and their feelings is presented. This journey to the introspection of the protagonists is achieved through the atmospheres, always oppressive, that describe with great accuracy the intention of the protagonists. A good direction of actors and a revolving architectural structure with underground tunnels stand out. An underworld in which dreams and nightmares unfold. It is here where the plays of light and shadow of Manfred Voss, that have been updated for the occasion by Younger Hoffmann, acquire great beauty and prominence.

The cold desolation that accompanies Lucio Silla is also successful. A room that deciphers the complex psychology of a fickle character dictator, hesitant and unpredictable. Chair appears in a room of decaying white tiles that are staining with the blood that spills. It seems to stay a butcher.

The direction of Ivor Bolton

Lucio Silla is an improper score of a teenager 16 years because of its complexity, for their maturity and being so meticulous in details. They have maintained the original arias with minor adaptations to improve tempis, which has facilitated the flow in the direction of a Ivor Bolton that continues the path marked extraordinary last season Billy Budd Y Rodelinda.

This time, and since the long overture, strikes a perfect balance between brass and strings. His reading of the work and the work done with the orchestra, taking the letter and not the music as a starting point, He gave sound vibration and precise pulse score. Especially in times when the orchestra broke in pieces the ins and outs of the main character. Recitatives are accompanied by the proper key Bolton, allowing a greater connection with the orchestra. Always attentive to detail and outstanding singers, which greatly facilitates the work, along with a set that facilitates voice projection and singing in proscenium.

A very balanced distribution

Lucio Silla requires equally vocal and dramatic qualities. And in that line are the protagonists of this production, Kurt Streit y Patricia Pertibon.

American tenor Kurt Streit, responsible for giving life to the protagonist, It is a great connoisseur of the Mozartian style and excellent Actor, something very important in this production. Lucio Silla presents a little hesitant and entity, insecure and characterless. At the end of the work, when it transformed into magnanimous and leaves the throne, a successful histrionic appears intent. Its excellent performance and compensates a voice in decline.

Patricia Petibon is pure theater. Expressiveness and personality on stage had deserved response from the public. He had a difficult time in the aria ¡Ah, when the cruel peril! where coloratura becomes impossible, but more than it offsets a large repertoire of gestures that describe the anguish of the character. The dramatic intensity of Petibon, above the vocalism, not detract neither the character nor the score, especially after improvising a wrenching passage to the end of the first part.

A Silvia Tro Santafe he had to give life to the role complex Cecilio. An almost impossible score that Valencia resolved with impeccable professionalism. His initial aria "The moment tereno", an extreme difficulties registry changes, It was resolved with a single solvency surpassed by the virtuosity. High volume voice and expressiveness, a phrase in Italian and a line of impeccable singing. The duet with Giunia was a moment of great beauty and delicacy. Mezzosopranos being one of the most prominent and valuable right now, surprising that no more presence in national settings.

María José Moreno It was another of the joys of the night. His character does not reach the vocal demands of the protagonists, but it has a treble that Granada soprano issued no muss. Cecilia's role is somewhat finicky, but his three interventions (It has been removed of its Aryan) They are bright. He brought freshness with its beautiful Mediterranean timbre and perfect diction.

The mezzo Letona Inga Kalna in his role as Lucio Cinna, a bit exaggerated masculinity of the character and was somewhat rough. Sound good volume but unsophisticated. But he knew keep up with the cast.

No doubt this has been a good start to the season in an important year for which celebrates its Teatro Real 200 anniversary. The season looks very attractive and opera is one of those places where dreams find refuge. Surrender to art.

LUCIO SILLA
dramma per musica in three acts
Wolfgang Amadeus Mozart (1756-1791)
Libretto by Giovanni de Gamerra
First performed at the Teatro Regio Ducal in Milan 26 December 1772
New production of Teatro Real
Headlines Choir and Orchestra of the Teatro Real
D. musical: Ivor Bolton
D. scene: Claus Guth
Replacement: you Buyse
Scenography and costumes: Christian Schmidt
Lighting: Manfred Voss
Dramaturgy: Ronny Dietrich
D. from the choir: Andrés Máspero
Distribution: Kurt Streit, Patricia Petibon, Silvia Tro Santafe,
Inga Kalna, María José Moreno, Kenneth Tarver

Mademe Butterfly at the Festival of Peralada

Like last year with Turandot, he Peralada Festival He has chosen another title Pucciniano, Madama Butterfly, with a big win for his starring Albanian soprano Jaho Ermonela, in the interesting scenic proposal Joan Antonio Rechi, located in Nagasaki devastated by the explosion of the atomic bomb. Scheduled for day 7 Y 9 of August. The second performance had to be suspended at the end of Act I, due to intense and persistent rain.

In the early twentieth century, Giacomo Puccini (Lucca, 1858-Brussels, 1924) It was as a composer of great international prestige. his operas Manon Lescaut (1893), Bohemian (1896) Y Tosca (1900) They had achieved great successes. But nevertheless, the premiere of his next opera Madama Butterfly, Teatro alla Scala in Milan, he 17 February 1904, It was a complete failure, despite the presence of magnificent singers: Rosina Storchio como Butterfly, next to Pinkerton Zenatello Giovanni and Giuseppe De Luca Scharpless. Possibly, the great fiasco was due shortly trials (the composition was not completed until late December 1903), and the excessive length of Act II, which lasted about ninety minutes. Puccini undertook a review of the work by eliminating some passages of Act I, Act II dividing into two separate parts by a large orchestral interlude, including a new Pinkerton aria "Addio Fiorito asil" and shortening the end of the opera. The new version was released with great success in the Great Theater of Brescia on 28 May 1904.

A third version translated into French, It was premiered in Paris, he 28 December 1906, further cuts which mainly affected the end of the opera, conducted by Albert Carré, director of the Opera Comique, with the consent of Puccini. For the premiere at the Metropolitan New York, he 11 February 1907, Puccini again used the version of Brescia, with slight variations and with an impressive cast including the Butterfly Geraldine Farrar, Enrico Caruso as Pinkerton and Scharpless Antonio Scotti. Giulio Ricordi made an edit, in 1907, based on the Parisian version, which can be regarded as the definitive, with about twenty minutes less music with respect to the first version SCALIGERA. Geraldine Farrar became a benchmark Butterfly, being it played in every season of the Metropolitan between 1907 Y 1922, sharing deals, first with Caruso and later with other great tenors as Giovanni Zenatello (the first Pinkerton), John McCormack, Hipolito Lazaro, Giovanni Martinelli y Beniamino Gigli. Other famous Butterfly of the time were Elisabeth Rethberg, Claudia Muzio and Lucrezia Bori.

The fifties and sixties of last century were a golden era for opera, by the presence of large Butterfly as Eleanor Steber, Renata Tebaldi, Victoria de los Angeles, Clara Petrella, Maria Callas, Renata Scotto, Leontine Price, Antonietta Stella, Monserrat Caballe and Pilar Lorengar. Victoria de los Angeles Butterfly played many times in theater, since the debuted at the Metropolitan New York, in 1951, legacy having two excellent recordings for EMI: in 1954 Giuseppe Di Stefano y en 1959 junto a Jussi Björling, in both cases with the Orchestra of the Rome Opera, respectively led by Gianandrea Gavazzeni and Gabrielle Santini.

Renata Tebaldi was also a magnificent Butterfly, who played for the first time in theater, Liceu in Barcelona, in 1958, performing the same year a recording for Decca, next to Pinkerton of Carlo Bergonzi, directed by Tullio Serafin Orchestra in front of the Academy of Santa Cecilia. Renata Tebaldi sang Butterfly especially in Metropolitan neoyorkino, keeping it in his repertoire to 1961. Maria Callas was an occasional Butterfly bringing his vocalism and extraordinary dramatic talent, debuting the role in a recording for EMI, in 1955, with Nicolai Gedda and the great orchestral direction of Herbert von Karajan in front of the Teatro alla Scala Orchestra, and that same year performing at the Opera of Chicago its unique three performances in the theater next to Di Stefano Pinkerton Giuseppe.

In the sixties, He bursts with great force Butterfly Renata Scotto, bringing together voice beauty with great performing arts, and first he performed at the Teatro Colon in Buenos Aires, in 1964, keeping it in their repertoire for over twenty years with some final performances at the Metropolitan, in 1987. His recording for EMI 1966, It is truly referential, with excellent Pinkerton of Carlo Bergonzi (much better than recording with Tebaldi), alongside the magnificent Sharpless of Rolando Panerai, and the extraordinary Sir John Barbirolli address in front of the Opera Orchestra of Rome. In 1974, and a recording for Decca, Herbert von Karajan reprized this score, the head of the Vienna Philharmonic, in a sumptuous version of the big Butterfly Mirella Freni (He not the never sang on stage), by the dazzling Pinkerton Luciano Pavarotti and the Suzuki Grand Christa Ludwig.

Last December was seen at the opening of the season at the Teatro alla Scala, the first version of Butterfly, orchestral Riccardo Chailly, and whose availability on the Internet allows you to set the differences with the smaller version usually often heard. The cast intervened Uruguayan soprano María José Siri as Butterfly, with two of the performers we have heard in Peralada: Pinkerton's American tenor Bryan Hymel and our Carlos Alvarez as Scharpless.

The Madama Butterfly Represented in Peralada is a co-production of this festival and the Deutsche Oper am Rhein, which it was released a few months ago in the German city of Duisburg (North Rhine-Westphalia), with the stage direction of the Andorran Joan Anton rechi. The scenery Alfons Flores places the action at the US consulate in Nagasaki, in a sumptuous lounge with high classical columns whose bottom wall can be a large US flag. A turntable allows the movement, at times, scenic elements like the elegant office of consul Scharpless, or the many characters appearing on stage during the wedding ceremony between Butterfly and Pinkerton, and even, the appearance of the marriage bed where both interpret the precious final duet of Act I. then, You can hear the engine noise of an airplane and a thunderous sound that reproduces the burst of the atomic bomb on Nagasaki, being able to see the destruction of the consulate whose columns are plummeting based gorgeous visuals prepared by the lighting designer Alberto Rodriguez.

As well, It can be seen as an observatory, a crude platform that will play an important role throughout the end of the opera. Definitely, This scenery may be interesting from a dramatic point of view to highlight the physical and moral tragedy that has engulfed Batterfly, from the start-abandonment of Pinkerton, after the wedding. It should be noted glaring inconsistencies between text sung and performance space, when Butterfly Suzuki sends flowers to look at this barren place, or when Pinkerton says that after three years the landscape has not been changed. They are well resolved scenic movements of the many characters in the course of Act I, producing moments of great beauty when the figure of Butterfly appears completely surrounded by white umbrellas.

Highlight costume design by Merce Paloma, where the Western and Eastern world is mixed: elegant and appropriate costumes Pinkerton and Scharpless or traditional kimono bearing Butterfly, compared with Western clothing from relatives and friends, in the case of male extras combined with those typical bows that look in their hair. Good stage direction of Joan Anton rechi, who manages to extract the maximum of theatricality to the actions of each of the characters, especially the protagonist.

Madama Butterfly Wagner has clear influences, with the inclusion of number of repeat units within a brilliant orchestral fabric in which the voices are inserted as an instrument. It also contains many passages of an evanescent and colorful impressionist music. So, This is an opera that requires a good orchestra, whose director knows capture the many details of this rich score. In this case, the provision of the Symphony Orchestra of Bilbao was not discreet, with an address by the Israeli grandmaster Dan Ettinger unsophisticated, prone to excessive sound volume without getting to highlight the many moments when the score acquires a dimension of intense lyricism, the entry into scene Butterfly or conclusive great duo of Act I. Woods acceptable sound, metals and percussion, with an irregular supply of rope. It was incomprehensible sound interruption, when it was running a prelude to Act III, so it was divided into two parts.

Jaho Ermonela Butterfly has made its most paradigmatic role since I interpreted for the first time in Philadelphia, in 2009. He could already hear his magnificent performance at the Liceu, in 2013, and very recently, the months of June and July at the Teatro Real in Madrid. Without having vocal forcefulness, the character required in Act II, and especially around the end of the opera, It offers a nuanced performance, making the most expressive match each word and each phrase sung. During Act I, tímbrica clearly showed that it requires the naive and fragile Butterfly, of only fifteen, performing a rendition of "Ancora un passo" in a crescendo concluded with the phrase "they are venuta to richiamo d'amor, d'Love "topped with a stunning Re5.

Interpretative offers a lesson in the beautiful duet with Pinkerton at the end of Act I. Ya, in Act II, He made an extraordinary and nuanced interpretation of the famous aria "Un bel di vedremo", emitting beautiful filados; Y, He showed great ability to talk singing in duet with his long Sharpless, providing a tremendous dramatic content to phrases like "Due cose far potrei: back to the fun gente co oppur sing ..., better, die ", Scharpless when he raises the possibility that Pinkerton will not return. His interpretation throughout the end of the opera, It was impressive, with esa demoledora recitada phrase "he dies with honor who can not serbar life with honor" para continuar con el aria "Tu, you, Small god ", to which it equipped with pathetic accents, again showing its magnificent high register. Located throughout the final scene on the above platform; suicide when he fell down the dagger, having sufficient resources to resolve the situation. Ermonela Jaho was involved in such a way his character, he even greeted the audience sobbed.

American tenor Bryan Hymel, He showed a voice of great power and attractive timbral in acute strip, losing brilliance in the central and low registers. His stage presence shows the most arrogant and vile seducer facet of Pinkerton. All this is reflected in its initial duet with Sharpless, and when he sings the aria of self-assured manner "Amore or cricket, I could not say ". But nevertheless, their performance declines in the great final duet of Act I, with little singing nuances compared to the exquisite interpretation of Ermonela Jaho. Ya, the end of the duo, both together voices emitting a C4, well projected forward by the soprano and the tenor was left behind. His best intervention occurred in the aria "Addio Fiorito axil".

Sharpless of the Magnificent Carlos Alvarez, elegant and full of nobility, He is showing his beautiful vocalism and great stage performance, going qualifying, Firstly, in its initial duet with Pinkerton who accompanies his evil game. Ya, in Act II, in that great duet with Butterfly, where he shows his mastery of singing and conversation with an incisive phrasing contrasted. Speaking brilliant results in the lovely trio "Io so che alle sue pene" with Suzuki and Pinkerton, where the voice of baritone malagueño imposed on the other two. In the duet that follows with Pinkerton "Non ve detto l'avevo?"Again offers its excellent line of song ending his speech with a solemn and nuanced phrase" Andate, the sad truth alone will learn " . In sum, great interpretation of Carlos Alvarez.

The middle Gemma Coma-Alabert He outlined a Suzuki of great lyricism and expressive power, that he realizes from the beginning of the bad conscience of Pinkerton. Well in Act II, in their specific interventions well together with Ermonela Jaho, and it has its culmination in the moving Flower Duet. Viçens Esteve made a good interpretation of the person concerned and histrionic Matchmaker Goro. Excellent young baritone Carles Pachón in his brief speech as Prince Yamadori.

The performance of the Coro del Liceu, It was improving in the course of representation, resulting discrete input in the scenic Butterfly, improving the precious "O Kami! O Kami!, and getting their best performance in the famous "Coro mouth shut", that closes Act II.

Text: Diego Manuel García Pérez
pictures: all Ferrer

Daniella Barcelona y Jessica Pratt en Tancredi

Valencian Palau de Les Arts, He has brilliantly closed the season with five performances of the rossiniano Tancredi, who they have assembled a superb cast headed by voice Daniela Barcellona as Tancredi and Jessica Pratt in the role of Amenaide, next to the excellent performance of the Orchestra of Valencia directed by Roberto Abbado. As well, It should be noted the interesting proposal scenic Emilio Sagi. curiously, and being higher quality representations that have been seen throughout the season, the assistance of the public has not been massive, can be seen enough holes in the capacity of the Valencia theater. yes, The audience applauded with great force that's great singers and orchestra.

Gioachino Antonio Rossini (Pesaro, 1792 - Paris, 1868) Very soon he was attracted to the opera. In 1810, with only eighteen, It premiered at the Teatro Samuele Venice his first major work The marriage bill, to which will follow next year L 'wacky misunderstanding. You get his first big success with The stone of the Comparison premiered at the Teatro alla Scala in Milan, in 1812, becoming a tremendously prolific composer, since before the end of the year, He had premiered two new operas: The silk stair Y The ocassion makes the thief. Rossini surprising ability to simultaneously compose, a limited period of time, a comedy like Mr. Bruschino, Y Tancredi (his first serious opera) both released in Venice respectively 27 January 6 February 1813. The success of the comic works of Rossini, you can hide its importance as a composer of operas serious. Great titles like The Italian Girl in Algiers (1813), The turkish in Italy (1814), The Barbers of Seville (1816) O Cinderella (1817), I sank into oblivion blatant serious operas he composed in his Neapolitan period, between 1815 Y 1823. In dramatic titles such as Otello (1816) Y The Lady of the Lake (1819), He resigned from the neoclassical heroism, to be outdone by the romantic atmosphere, I was starting to be born. Rossini concluded that bright stage, in 1823, with the premiere of Semiramide, last thirty-four Italian operas, starting the same year to France, where he will continue writing comedies like The trip to Reims (1825) Y Le Comte Ory (1828), dramatic titles such as The siege of Corinth (1826), Moses and Pharaoh (1827); Y, especially, his monumental Guillaume Tell (1829), which lays the foundation of the romantic melodrama, and with which he concluded his operatic cycle when she was thirty-seven years.

Tancredi It was composed by Rossini in December 1812 and January 1813, libretto by Gaetano Rossi from the play u Voltaire. The premiere took place on 6 February 1813 Teatro la Fenice in Venice, and the opera ended with a happy ending. He 20 March of the same year, Rossini premiered in Ferrara a revised version included several changes, the most significant being a new ending of tragic character, whose text was written by the poet Luigi Lechi. This end not like the public, and Rossini developed a new version, premiered in Milan, in December 1813, He is synthesizing those offered in Venice and Ferrara, with the inclusion of the happy ending. For twenty years, until 1833, the opera was performed with some regularity, subsequently falling into the most absolute forgetfulness. The score and text of the tragic end came to disappear, It is discovered by musicologist Philip Gossett, who prepared a critical edition, in 1976, from the version released in December 1813, but ended with the tragic end of Ferrara. The ultimate recovery of this opera came when the critical edition premiered at the Opera Houston (Texas), in 1977, with participation as Tancredi of the great American mezzo Marilyn Horne, who will become the great guarantor of this opera, who he played for more than a decade in various theaters around the world, Having legacy up to eight live recordings, including making video made in the Theater of the Liceu in Barcelona, in 1989. The middle Daniela Barcellona he played Tancredi for the first time in the Festival of Pesaro 1999, since become a referential Tancredi. This is evident in various audio and video jacks, especially marketed by TDK DVD, some functions that took place in the Teatro Comunale of Florence, in October 2005, next to one of the great interpreters of Argirio: Argentine tenor Raúl Giménez. In Spain, Barcelona Daniela has performed on many occasions Tancredi: Corunna (2003), Oviedo (2004), Teatro Real in Madrid (2007), Teatro de la Maestranza in Seville (2009), and now the latest features that have taken place in the Palau de Les Arts, where it is shown the critical version of Philip Gossett with tragic ending Ferrara.

He Tancredi represented in Valencia is a co Lausanne Opera and the Teatro Municipal in Santiago de Chile, stage direction of Emilio Sagi, moving the action from the XI century, at the time of the Crusades, to the nineteenth century, in the Italian Risorgimento period. The action begins in the great hall of a palace, with marble columns and large windows with beautiful stained glass polychrome, where many guests gather around a large table, dressed in colorful and reloaded uniforms designed by Pepa Ojanguren, regular contributor to Emilio Sagi. That same scenario is transformed, by rapid movement of its walls and moody lighting, in different scenic spaces: the small and intimate where the duo Tancredi and develops Amenaide Act I, and in Act II, becomes the elegant Argirio office or in prison where seclude to Amenaide.

Sometime, to finding an esthetician visual impact, scenic approach is unsuccessful, as in the battle sequence, in Act II, bounded in a space whose bottom is a panel where many small mirrors assembled, scenic dark alone is altered by the spotlight lanterns bearing figurantes and reflected in mirrors, seriously disturbing viewers. Appeals the final scene of the opera where you can see a large funerary monument at the base of Tancredi's death it occurs in the arms of Amenaide. Noting the inadequacy of the military fatigues carrying Tancredi, encorsetando his stage movements. We are excepting the scene of dazzling lanterns, it is quite appropriate lighting design by Eduardo Bravo, creating suitable environments scenic always in line with the development of the action.

Excellent address Roberto Abbado, who achieves high performance of the Orchestra of Valencia. The maestro Abbado knows very well this score, habiéndola led on many occasions, being able to hear a superb studio recording by RCA, in 1995, where he addressed the Münchner Rundfunk Orchestra, with Vesselina Kasarova como Tancredi, the Amenaide Eva Mei and excellent Argirio of Ramon Vargas, displaying a voice of great beauty. This record contains the two final version and alternative Amenaide aria "Ah, degg'io die is pur "Rossini composed for the version of Ferrara.

Roberto Abbado was presented with the immobilized right arm injury, what still he made his directorial work more meritorious, that already it revealed from the same opening (identical to a previous Rossini: The touchstone) whose first section cutting clearly mozartiano, shone metals and woods; Y, a second section, dominated by an orchestral crescendo reiterated, típicamente Rossini, which alternates with the interpretation of a graceful melody which include interventions in conjunction with the cello flute, bassoon and all the rope. Superb sound of the orchestral prelude that introduces the great scene of Act I Tancredi, with continuous sound of the bass string accompanying violins and wood, with lucid interventions of the solo oboe. Note accompanying the great duo Amenaide and Tancredi in Act I, ending with a bright coda. As well, orchestral performance at the end of Act I: Concertante sextet and conclusive. Ya, in Act II, delivery was excellent clarinet soloist during the aria of Isaura, followed by the brilliant performance of music, strong symphonic breath, which precedes and accompanies the recitative Amenaide "Di mia vita infelice". Very beautiful orchestral introduction and accompaniment of the aria in Act II Roggiero. Highlight the ethereal and faint sound of the string chamber music, that accompanies the scene of the death of Tancredi. In the numerous recitatives containing this opera, include the excellent performance of the basso continuo consisting of pianoforte (José Ramón Martín), cello (Rafal Jezierski) and bass (David Molina). Good concertante work of Roberto Abbado always aware of the voices.

The Great Means Trieste Daniela Barcellona Tancredi has made its most paradigmatic role, providing its precise belcantista vocalism, great dramatic interpretation and stage presence totally identified with the character. Ya, is bright entrance with its scenic interpretation of recitative "O patria, sweet and ungrateful Fatherland ", que starts where with half a voice, and where exhibits a refined edge line full expressiveness, with excellent sound regulations. El enlaza with recitative and arioso "You light up this core" para concluir con el famosísimo "Of the many heartbeats", interpreted in the purest bel canto style, masterfully executing relevant variations in the repetition started with the phrase "sara felice", where he shows his mastery of agility, with a sharp fine cast. Ya, in Act II, makes a great interpretation of the cavatina "Ah, scordar you are not "with the repeated phrase" the love anchor "increasingly expressed with different shades. Makes a great vocal and dramatic interpretation of the aria-rondo "Perché disturb the calm", with a first section slow, full of sad accents, which derives another much faster, aggressive initiated with the phrase "Traditrice! I surrender to you ", where he shows his mastery of agility with timely and accurate uploaded to acute. these changes occur rhythm slow-fast, in a continuous crescendo, to conclude the aria with the heroic and repeated phrase "field, to the field to trionfar "inserting superbly cast powerful treble. In a totally different register, about to die, endows accents recitative-aria pathetic "Oh Dio, lasciarte I ought ... .Amenaide, serbami tua "conclusive opera faith.

Amenaide great performance as the soprano Jessica Pratt, in possession of a voice attractive timbre, well planned, domain linked with the hand, excellent sound regulations and an absolute mastery of coloratura: trilling, scales, notes chopped, treble and treble with great cast. As well, include its magnificent stage performance. all, as evidenced in its initial cavatina "Come dolce all'alma mia" . In Act II, endows de gran lyricism of recitative-aria "Di my life miserable ... ..no, that the die is not ", with melancholic accents and excellent ability for middle voices and sound regulations, emitting beautiful notes in pianissimi. Its brightest moments occur in the recitative-aria "Gran Dio!…..Just God humble love "donde en primera y recitative section of air, shows a polished ridge line full expressiveness, emitting precious filados, apianando voice even in the high notes. Ya, in the second part of the aria, where music takes up the crescendo of the overture, it can be stated capacity for coloratura singer, issuing notes with real precision chopped, up easily acute and sobreagudo and ending aria with an impressive Mi5.

Extreme quality are the two duos interpreted Pratt and Barcellona, especially the middle section of the second "Ah, how come that soul ", with accompaniment of string pizzicato.

Argirio's character is played by the Chinese tenor Yijie Shi, magnífico singer Rossini, despite its unattractive timbre. During his numerous interventions he showed an elegant phrasing and excellent execution of agility. Especially turned bright interpretation of the recitativo-ary "Oddio Crudel! What name ... .Ah! segnar I try in vain ", offering in the recitative, a song full of expressiveness; Y, in the aria, meditative moments apianando voice, along with other genuine bravura singing with bright uploaded to acute and sobreagudo. Very well in his duet with Tancredi of Act II.

The bass Pietro Spagnoli, It has a lyrical voice over for the role of Orbazzano and its interpretation was not discreet, despite having real opportunities to shine, because in this version Tancredi if INSERTA and air "At the glory voices" (immediately before the duo Tancredi and Argirio of Act II) which is usually omitted. In the role of Isaura, the middle Martina Belli He showed a large though somewhat guttural voice, with good command of agility, in the interpretation of the aria "Tu che i miseri conforti" of Act II. The young soprano Rita Marques belonging to the Development Center Placido Domingo, He excelled in his aria "Torni Alfin ridente". Great numbers set closing Act I, especially the end concertante. Magnificent performance of the Coro de la Generalitat Valenciana (in this case only male voices) in its numerous interventions, highlighting his performance in Act II of the Coro di Saraceni: "Terror reigns in the city".

These functions Tancredi were dedicated to the memory of the conductor and musicologist Alberto Zedda, who died last March, whose work has been instrumental in the recovery of the entire work Rossini.

 

Madama Butterfly

Toward 1850 and after two half centuries of isolation, Japan is obliged to open to the world. It counts at the time with two important showcases, the Universal Exhibition in London (1862) Y, especially, the Paris (1867). In this last, draws the attention of major artists who are influenced by Japanese cultural imprint and are, at the same time, who first spread these new trends.

Artists like James McNeill Whistler, Edouard Manet or Clode Monet in Paris, and Mariano Fortuni or Raimundo de Madrazo in Spain, were some of the first to feel the fascination of Japanese culture.

These oriental influences also arrived in Madrid. The upper classes immediately showed their interest, not only for artistic expressions, also for objects and decoration elements. Japanese cabinets and salons became fashionable in palaces and mansions of the nobility of that end of the century. The residence of Cánovas del Castillo or the Infanta Eulalia de Borbón had a Japanese room. This is the case of the Lhardy restaurant, whose salon can be enjoyed today.

So much oriental influence had among its consequences the premiere at the Teatro Real in Madrid, in 1907, de Madama Butterfly, the opera that Puccini had composed fascinated by the chinoiserie and all its evocations. The premiere was in style, the role of Cio-Cio-San was played by Rosina Estorquio, legendary soprano at the time and had premiered the role in 1904 Scala in Milan.

On this occasion, the Real presents us with the revival of Madama Butterfly that Mario Gas and Ezio Frigerio designed for this same theater in 2002.

After 15 years there have hardly been any updates to the scenery, something that says a lot in favor of this work. Establishing a relationship between opera and cinema, two genres well known and loved by the composer, the scenography takes us to a Hollywood film set from the thirties, using the resource of a theater within the theater. Filming can be viewed in real time on a screen above the stage, thanks to a very good editing that allows you to appreciate the close-ups of the singers, what enhances the dramatization.

The story starts from a European tradition, from when, first the Dutch and then other Europeans, traded through the Dutch East India Company. For that, they inhabited the island of Dejima, in which they spent great seasons. Not being able to carry their wives, performed a wedding ceremony and supposedly married young Japanese women, whom they later left. All this facilitated by matchmakers, like Goro does in Madma Butterfly.

This is the drama of the young Cio-Cio-San, played on this occasion by the sopranos Ermonela Jaho and Hui He. In the words of stage director Mario Gas, “An excess of passion leads to blurring, and an absence of passion, leads to coldness ". There has been no lack of passion in the performances of both sopranos, but the dramatic ability of Ermonela Jaho, of which he already left a good sample in his Violeta de La traviata, and this season with his Desdemona in Otello, surpasses any interpretive record. Mirellla Brakes, which was a great butterfly, He could not sing it on stage because the emotion made him cry and the crying dislocated his voice. Hermonela Yaho is capable of crying while singing. Is able to abandon the technique to emit a cry without appreciating a loss of position. The ability for phrasing, its delicate edge line that gives the character a fragility that overwhelms, keep audiences trapped and shaken. Everybody knows what's going to happen, except for her ... She transmits emotions like few others. Even if your voice is not perfect, although its bass is deficient, although I abuse a little of the rows that, on the other hand, they are wonderful, but, What is opera, but emotions?

As it is very difficult to choose a version, we have chosen to put both, Ermonela Jaho y Hui He interpreting "A beautiful we'll see", at the beginning of the second act. Two different ways and techniques of approaching the same character.

Hui He has been the Butterfly of the second cast. The second thing in this case does not refer to a lower quality. Without a doubt, his lyrical-spinto tessitura is the most appropriate for this role.. It has a beautiful, penetrating timbre and a powerful center register, solid bass and extraordinary projection, next to a homogeneous edge line. It started off without major dramatic outbursts but got into character as the play progressed.

She was not well accompanied in the replica by the Pinkerton of the young Vincenzo Costanzo. He has a fresh voice and a beautiful timbre is aimed, but it is still far from an adequate technique for these characters. Your dull, white voice needs time, study and calm. Instrument seems to have, let's hope you don't lack patience.

Better the Pinkerton of Jorge de León, with full and bright highs. Although with a certain roughness, considering the delicacy of Butterfly de Jaho. The character of Suzuki played by Enkelejda Snkosa and Gemma Coma-Alabert. Both are the perfect vocal company of their respective Cio-Cio-San.

Ángel Ódena composed a Sharpless Consul with authority and nobility rightly distributed. Contributed to the magic of representation. Vladimir Stoyanov's Consul is always a baritone with guarantees and he complied with solvency. In the same way that Francisco Vas's Goro. With a very good acting and a histrionic point that rounded off the matchmaker character.

The rest of the repair was at great height, including the chorus that demonstrated a beautiful delicacy.

Marco Armiliato conducting shows his great knowledge of the score and the composer. Great theatrical ability and exquisite care of the singers, modulating at all times to facilitate your work with a score that always poses the problem of sound volume.
He got a varied palette of colors mastering the changes of emotion contained in the score and each of the character moments. Like the entrance of Cio-Cio-San, so delicate and transparent, as befits an innocent woman of 15 years. The orchestration of the second act is difficult for the singer due to its drama and the demand for a very solid technique to sing above the orchestra. But Armiliato gets the balance. Always aware of the singers and a score that marks the itinerary with all kinds of details. Music of heartbreaking dramatic potential, from which the Italian master extracts the most.

A good end of the season and an opportunity to get closer to the opera through the broadcast of the day 30. Who does it for the first time, with this Butterfly you will be captivated forever.

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

Madama Butterfly
Giacomo Puccini (1858-1924)
Giapponese tragedy in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the play Madame Butterfly, by David Belasco,
inspired by the story of John Luther Long
D. musical: Marco Armiliato
D. scene: Mario Gas
Scenography: Ezio Frigerio
Costume designer: Franca Squarciapino
illuminator: Vinivio Cheli
D. choir: Andrés Máspero
Distribution: Hermonela Jaho / Hui He, Jorge de León / Vincenzo Costanzo, Enkelejda Shkosa / Gemma Coma-Alabert, Angel Ódena / Vladimir Stoyanov, Francisco Vas, Tomeu Bibiloni, Scott Wilde, Igor Tsenkman, Elier muñoz,
Jose Julio Gonzalez, Marifé Nogales, Rebeca Salcines, Maria Fidalgo, Miriam montero.

Marina

Marina Spanish is one of those reference works that all fans have recorded in its memory. Who does not sometimes hums his conocidísima "A drink, let's drink". It has also always been one of the most scheduled. The last time just four years ago in this same theater. Although previously Twenty years had elapsed, since Alfredo Kraus Jorge played.

Teacher Emilio Arrieta, transformed the Marina zarzuela opera to be premiered at the Teatro Real. Event happened in 1871.

This opera in three acts, directed by Ramón Tebar and stage direction Ignacio García, He has had a young cast and almost unknown. Marina's main role has been interpreted by the Ukrainian, with Romanian passport, Olena Sloia. This young soprano based in Madrid for years, It has a curious history. He sang in various locations and streets of Madrid, until one day, near the Opera Square, It was discovered by the teacher Miguel Ángel Gómez Martínez, present in the room at the premiere. From there, and the invaluable teacher recommendation, has started what we hope will be a brilliant career in the world of opera. Qualities not lacking. It has a pleasant and vigorous high register with which he could not excess volume of the orchestra. He won expressiveness and support in the third inning and got a deserved ovation.

Jorge's character was played by tenor Alejandro del Cerro. He started something intemperate or nervous, which it did not prevent him addressing his complicated arias with courage. In the third act he came up and offered moments of great lyricism.

Damian del Castillo, as Roque, It was too low to. Something past impost and coarseness at times.

scenography, Navy replacement four years ago, This time it is more evocative night thanks to the lighting Paco Ariza. The sea and sailors are very present throughout the play. Also a part of the pier, which he occupied the middle of the stage and the chorus limited movements.

The orchestra, Strongly directed by newcomer in the Zarzuela Ramón Tebar, at times it reached a volume of sound that got in trouble singers. Much tighter in the second half, He highlighted its dynamism.

A good end of season for a Teatro de la Zarzuela in which you begin to notice the deep work of the new team, and projects and the illusion of the immediate future.

Werther

Werther has been represented for the first time at the Palau de les Arst in Valencia, in the course of five performances. Orchestra of Valencia, superbly directed by the Hungarian Henrik Nánási, It has been the big winner. The results in both the vocal level and stage have been more discreet.

Jules Massenet (1842 –1912) He came to compose up to twenty-five operas, being the best known and most represented Manon (1884), Werther (1892) Y Thaïs (1898). Other titles such as The Cid (1885), Esclarmonde (1889), The Navarreise (1894), The Juggler of Notre-Dame (1902) Y Don Quixote (1910). Ya, in 1880, Massenet began to consider the idea of ​​composing an opera based on Goethe's work The Sorrows of Young Werther (The Misadventures of Young Werther) from 1774.

During a trip that the composer together with his editor Georges Hartmann made to Bayreuth, in 1886, to listen Parsifal, had the opportunity to visit the town of Wetzlar near Frankfurt, where Goethe had written his work. Is, since then, when Massenet begins the composition of Werther, with a script of Edouard blau, Paul Thousands Y Georges Harmant, who adapt Goethe's work, giving much more relevance to the character of Charlotte, the woman idealized by Werther, for which he feels an uncontrollable love passion. Upon completion of composition in June 1887, Massenet offered it at La Opera-Comique in Paris, whose director Leon Carvalho rejected it, considering that the argument was too sad to interest the public.

Finally, the opera translated into German, premiered with great success at the Vienna Hofoper Theater he 16 February 1892. The French version was premiered at the Geneva Opera on 27 December 1892 and the 16 of January of 1893 the premiere took place at the Opera-Comique in Paris, where it was praised by critics although received with reluctance by the public.

The opera was widely accepted in major theaters around the world. During the first half of the twentieth century, was performed with some regularity in France and more intermittently in the rest of the world, highlighting the extraordinary creation of Werther performed by the great French tenor Georges Thill, next to the magnificent soprano Charlotte Ninon Vallin, that can be heard on the record recording of 1931, directed by Elie Cohen in front of the Orchestra of La Ópera-Comique, remastered on CD by EMI in 1989 and even better sound by NAXOS in 2000.

Eighty-six years have passed and that recording of Werther continues to be a true reference. The Italian version of Werther had as its main protagonist Tito Schipa, who has already performed it at Liceu de Barcelona, in December 1918, and kept in his repertoire for three decades, there are many recordings of the famous aria from Act III "Why wake me" in Italian "Ah! Don't awaken me"And also from the aria of Act I"Come on, it's good here ... O Nature" in Italian "Allor sta propio too… ..O natura”And a selection of the opera with the Charlotte de la mezzo Gianna Pederzini recorded in 1940. Schipa was the model for other Italian tenors such as Giuseppe Di Stefano, Weather in Ferruccio Tagliavini, Cesare Valletti and Carlo Bergonzi who performed this opera on specific occasions during the fifties and sixties of the last century.

But nevertheless, the authentic resurgence of Werther came about when the great Alfredo Kraus incorporated it into his repertoire, in January 1966, at Municipal Theater of Piazenza, sung in italian; although soon the Canarian tenor will interpret the French version, whose first testimony is the live shot made in Madrid Zarzuela Theater in 1969, where Kraus shared a cast with the exquisite Charlotte from Los Angeles Victoria, who that same year had participated in a magnificent record version made by EMI, next to the excellent Werther of the great Swedish tenor Nicolaï Gedda, led splendidly by Georges Prêtre, conducting the Orchestra of the Paris Opera. Alfredo Kraus played Werther for thirty years, in innumerable performances by all the great theaters of the world, sharing deals with gorgeous Charlotte, between them: Tatiana Trojans, Teresa Berganza, Elena Obraztsova, Regine Crespin, Frederica von Stade o Martha Senn.

Numerous live shots in both audio and video, credit the extraordinary interpretation that Alfredo Kraus made of Werther, there is also a referential record recording, with excellent sound, conducted in study by EMI, in 1979, with orchestral direction by Michel Plasson conducting the London Philharmonic Orchestra, where Kraus shared a cast with the excellent Charlotte de la mezzo Tatiana Trojans. He Werther by Alfredo Kraus, synthesizes the aristocratic style of Georges Thill with the colorful vocal of Tito Schipa. After Kraus, the interpretations made by Roberto Alagna Y Jonas Kaufmann. French tenor Jean Francois Borras, who has interpreted Werther at the El Palau de Les Arts functions, had his big opportunity by replacing an unwell Jonas Kaufmann, during a performance of Werther, in 2014, in the Metropolitan New York, This marked his debut in this role that he has played with some frequency in recent years.

He Werther represented in the Valencian Palau de Les Arts, is a co-production of this Theater and the Monte Carlo Opera, stage direction of Jean Louis Grinda, and scenery of Rudy Sabounghi, With the presence, from the very beginning of the Opera of a large mirror where a Werther in a bloody shirt is reflected. Suddenly the mirror breaks, it is crossed by the protagonist and his chopped molding moves to the ends of the stage, recomposing himself at different times: the beautiful scene from "Moonlight" in Act I and throughout Act IV, with which the representation ends.

The story is shown by way of a long flach-back, starting from the end, where Werther contemplate the tragic unfolding of your life in the past six months, which constitute the period of time between his own death and the moment when he is attracted to his feminine ideal represented by Charlotte. The way of telling the story is interesting, although it is somewhat unsuccessful, since this typically cinematic narrative procedure (recalls the one used by Billy Wilder in his famous movies: Bane and Twilight of the Gods) requires the continuous stage presence of the protagonist, something that does not happen in Werther.

He stage that appears in the first two acts is the garden of the house where Charlotte lives and in the background a forest of green colors at the beginning of the summer where Act I takes place, that drifts to the ocher tones of autumn during Act II. The Act III setting, it is very conventional, with a great room in Charlotte's matrimonial home, whose main elements are a harpsichord, and an illuminated display case containing a collection of pistols. The scenery only becomes relevant at the beginning of Act IV, with a projection where the frontal figure of Charlotte can be seen, with a disjointed face, within the reconstructed frame of that great mirror, running through the snow to Werther's house.

Little successful that presence of heavenly angels, with their corresponding wings, that appear surrounding Werther and Charlotte at the end of the opera. Nor does the lighting manage to enhance the simple scenery..

In an opera like Werther, where the orchestral framework is fundamental always embedded in the dramatic action: The Orquesta de Valencia was the great winner of these representations, splendidly directed by the Hungarian Henrik Nánási, who managed to extract from all the orchestral sections, expressive sounds, that are already evident in the execution of the initial overture with moments of great dramatic tension in the execution of that recurring musical theme, that translates the passion that Werther feels for Charlotte and that connects with the bucolic chords that show that other recurring theme of nature, with brilliant solo interventions of the concertmaster violin.

The orchestral sound was truly sublime in the performance of “El Claro de Luna” in Act I, which becomes the essential musical theme of the opera, and where the sound of the cellos stood out.

Magnificent orchestral response throughout Act III, in the accompaniment of Charlotte's arias, with special reference to the interventions of the sax, in the second aria "will! Let my tears flow!”And also the interventions of the cellos and the harp in the famous aria of WertherWhy wake me”. Highlight the great orchestral performance of the Act IV overture, which is subtitled "The Christmas night”. Superb rendering of the English horn enhancing passages with the most dramatic tension. Excellent sound of metals, especially horns. Highlight the organ solo as the concluding coda of the duo of Charlotte and Albert in Act II. One could only reproach an excessive volume of the orchestral sound, what, sometime, covered up the voices.

Werther It is an opera of true brilliance for the two protagonists through numerous arias and arioses, together with four great duos. In his portrayal of Werther, the french tenor Jean Louis Borrás, showed idiomatic and stylistic adequacy, with a lyrical voice with a beautiful timbre and acceptable volume, although somewhat light and that only acquires resounding dimensions in the high register. In his speeches, a greater variety of accents was missing, that will give their song authentic expressiveness. He made a remarkable interpretation full of melancholy in that song to nature that constitutes the recitative-aria "So, it's good here ...... Ô nature, gracious"Act I. Ya, in Act II, showed in his aria "Another is her husband!”That degree of frustration that it produces to see Charlotte already married to Albert.

Borrás offered his best moments in the famous aria “Why wake me”Inserted in the great duet of Act III with Charlotte, played by the mezzo Anna Caterina Antonacci, who shows his great quality as an interpreter by fully penetrating the psychology of the character, although with a rather worn voice, with an important vibrato in all registers, low volume and virtually inaudible bass range. These shortcomings are evident in his dramatic Act III interventions: the aria of the letters "Werther! Werther ... who would have told me instead”Acceptably resolved, and showing real problems in "will! Let my tears flow!” so demanding in the grave register.

Show a nuanced line of singing in the beautiful duet with Werther from “Claro de Luna” in Act I, compared to the flatter interpretation of Jean François Borras. Antonacci is also notable in the final duet with Werther, where Borrás abused the fluffed notes, with loss of tuning in some of them.

Very well Sophie's Helena Orcoyen, a light voice with a penetrating and well projected timbre, that shines in his recitative-aria of Act I "Brother, see the bouquet .... of the cheerful sun, full of flame”, where he shows a youthful joy linking the phrases well and offering magnificent treble. Also highlights his performance in the duet with Charlotte "Hello, big sister!” Act III, where her joy and carefreeness contrasts with the sadness of her downcast sister.

Very discreet interpretation of the bass-baritone Michael Borth, as Albert, showing real limitations in a demanding role, especially in the aria "She loves me, she thought of me"From Act I or in the duet with Charlotte" Trois mois! Three months ago ”del Acto II, where his vocal and interpretive deficiencies are revealed.

Acceptable interpretation of Alejandro López como Le Bailli (Charlotte's father magistrate). Exaggerated characterization of Moses Marin Y Jorge Lopez respectively playing drunkards Schmidt and Johann, with a remarkable interpretation of his duet “Vivat Bacchus, always live”At the start of Act II, that is usually cut, but what if it is included in this production.

Good performances from the children of La Choir of Our Lady of the Abandoned and of the girls of The Quarter Poblet Voices Together Choral School.

Text: Diego Manuel García Pérez
pictures: Tato Baeza

The Golden Cockerel at the Teatro Real in Madrid

Often children's stories serve to present so candid situations or unsavory characters, which they are used to provide a reflection or critical moralizing purposes.

This is the case of the story The Golden Cockerel, written by aleksandr Pushkin, inspired by the Tales of the Alhambra Washington Irving, and that the librettist Vladimir Balsky adapted so that Nikolai Rimsky-Korsakov compose his fifteenth and last opera.

Rimski's initial ambiguity with the tsarist regime, it became clear rejection after the so-called Red Sunday massacre, in 1905, when the government of Tsar Nicholas II ordered the army to open fire on the citizens, including women and children, who had peacefully demonstrated to ask for better living conditions. The trauma that caused this massacre, not only did it stimulate subsequent revolutions in Russia, also mobilized many intellectuals who, as Roman, were censured for expressing their opposition to the regime through their works. This was the reason why El gallo de oro was not released until after the death of its author..

In this new production of the Teatro Real, in co-production with the Théâtre Royal de la Monnaie in Brussels and the Opéra National de Lorraine, its stage director, Laurent Pelly, performs a brilliant interpretation of the composer's idea in this work, turning criticism into satire to masterfully ridicule the tsarist regime, to the army and the people, that passes from the servitude of one regime to another, with disciplined docility. The successful scenography does not change anything of its fabulous character that is, definitely, which allows the work to have a powerful charge of intelligent and timeless aggressiveness. Pelly wants to convey the fear that ran through those historical moments and wants the public to make their own translation. The figurines, pelly design, contribute to give the magic and burlesque touch of the story.

The scenes unfold on what looks like a large mountain of rubble., those of the regime itself, about which the grotesque Tsar Dodon, always in pajamas, appears in a big bed, a way of the throne, from which she directs between dreams the destinies of a very little intrepid people. His inability is ridiculously reflected in a scene that shows his clumsiness in singing and dancing.. Next to him, her two sons, Zarévich Aphron and Zarévich Guidón, two simple and clumsy characters with a very good interpretation of the baritone Iurii Samoilov and the tenor Boris Rudak, respectively.

Governor Polkán, is another useless character, comfortably seated in office, of which the bass gives a good account Alexander Vinogradov.

The only character with a certain amount of authority is Amelfa, the housekeeper brought to life by the Polish mezzo-soprano Agnes Zwierko, that strengthened the character with its dark tones.

The Armenian soprano Nina Minasyan gave life to Tsarina Shemacha, owning the second act. A beautiful voice, full of agility and sensuality to play the mysterious character.

The bass Alexey Tikhomirov he was an excellent Tsar Dodon, clumsy and ridiculous. His powerful voice reminded us of those deep voices that are increasingly scarce.

Extraordinary work of the choir, both in the vocal and in the interpretive aspect. Highlight the group of noble boyars, superbly performed.

The young soprano Sara Blanch was the golden rooster from the pit. Small but important role that she bravely solved, power and better voice than some of those who were on stage.

the tenor Barry Banks played the whimsical astrologer. An interesting figure thanks to the peculiarity of his voice..

Ivor Bolton, whose work with Billy Budd is not forgotten, offers a magnificent version of this score with oriental overtones, to the taste of the time, full of bright and intimate moments. His connection and ascendancy over the orchestra is evident and the result is an undeniable solvency. He highlighted the interlude that Bolton himself interpreted after the second act, the piano, and one of the violinists in the orchestra, of the composers Efrem Zimbalist Y Fritz Kreisler, based on the opera itself.

A more than pleasant function with an interesting background that makes you think. Although Pelly himself said at a press conference: "I don't like to reduce a work to today", it is impossible not to move to the present. Examples are not lacking.

The Golden Cockerel
Nikolai Rimski-Kórsakov (1844-1908)
Opera in three acts with prologue and epilogue
Libretto by Vladimir Belsky, based on the poem The Tale of the Golden Rooster by Aleksandr Pushkin
Premiered at the Solodovnikov Theater in Moscow in 1909
D. musical: Ivor Bolton
D. scene and costume: Laurent Pelly
Scenography: Barbara de Limburg
illuminator: Joél Adam
Choreographer: Lionel hoche
Responsible for the scenic replacement: Benoit de Leersnyder
D. choir: Andrés Máspero
Distribution: Alexey Tikhomirov, Boris Bars, Iruii Samoilov, Alexander Vinogradov, Agnes Zwierko, Barry Banks, Nina Minasyan, Sara Blanch
Choir and Orchestra of the Teatro Real holders

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

Bomarzo

About two hours drive north of Rome, It is the charming little medieval town of Viterbo, in the region of Lazio. On the outskirts of Viterbo, Bomarzo en, if levanta and Castello Orsini. Belonging to the Orsini, one of the most ancient and illustrious families in medieval Italy. Pier Francesco Orsini, hijo de Giovanni Corrado Orsini y Clarice Anguillara, managed to inherit the duchy years after his father's death. In 1550, after the death of his wife, Giulia Farnesio, Duke Orsini retired to live in Bomarzo surrounded by artists and literati, and was dedicated to the construction of the so-called Parco dei Mostri or Sacro Bosco, the garden of Bomarzo. A space in which the enigmatic and tortured sculptures that are hidden in the lush vegetation stand out. The opera Bomarzo chronicles the delusions of this extravagant duke, hunched to deformity and haunted by immortality. His dreams show the life of lust and corruption of the noble families of one of the most attractive times in history, el 500 Italian.

This garden of monsters was the inspiration of Manuel Mújica Láinez for his literary work Bomarzo and the libretto for the opera of the same name, to which Alberto Ginastera put music.

It is not easy to enter this production without having the keys that the reading of the work provides. The first thing that surprises is the absence of baroque style in Láinez's book. This creates a huge chasm that does not allow to fully connect with history. This Bomarzo by Pierre Audi appears naked before the public from the first scene. A large black hole dominates the entire scenario in which the different ages of the Duke of Orsini wander between dreams and nightmares. While, Jon Rafman's videos are shown showing sculptures from the garden of monsters and an approach to his dream world.

The scenography perfectly translates the oppressive and claustrophobic character that the protagonist suffers, but the literary ornaments that best connect with the time it relates are absent from it.. The result is haunting and Ginastera's score, master at describing the lowest instincts through music, it does nothing but enhance that concern. If it was about getting this effect, is fully achieved.

The musical version offered by David Afkham was brilliant. Millimeter precision for percussion that fills the score. How successful was the intervention of the vocal cast, very adjusted each one to his character. Too bad for an opera sung in Spanish, hardly anybody understood.

The choir performance, located in the pit next to one of the JORCAM members, offered some of the highlights of the performance. Especially the young Patricia Redondo in the song of the shepherd boy. Magnificent direction by Andrés Máspero and Ana González.

This Bomarzo is more theatrical than operatic. For this, we only have to highlight the good performance of John Daszak playing Pier Francesco Orsini. His character does not rest throughout the work and he managed to convey the true torment of Orsini through his dramatization and his heartbreaking voice. Despite being british, his diction was better than that of some nationals.

The young baritone Germán Olvera was a perfect Girolamo, frivolous and contemptuous. He had no problem singing completely naked on a platform. Courage is not lacking.

Alto Hilary Summers played Diana Orsini. The peculiarity of her voice gave the protagonist's role of grandmother a lot of character. A voice that notices the passage of time and that was very appropriate to the character.

The soprano Nicola Beller Carbone, as Julia Farnese, He fulfilled his role very well with a more than pleasant voice.

Interesting and powerful was also the voice and interpretation of the baritone Thomas Oliemans as Silvio de Nardi.

Milijana Nicolic is the mezzo-soprano who gave life to Pantasiela, one of the longest roles in the play that he defended with ease, both in the vocal and in the interpretation.

Contradictory feeling that Bomarzo leaves that was, Nonetheless, essential in the programming of a Royal Theater that this season is paying off some historical debts with the programming of certain works and authors.

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

BOMARZO
Music by Alberto Ginastera (1916-1983)
Opera in two acts, Libreto by Manuel Mújica Lainez, based on his homonymous novel
Premiered at the Lisner Auditorium in Washington D. C. he 16 May 1967
New production of Teatro Real, in co-production with De Nationale Opera de Amsterdam
D. musical: David Afkham
D. scene: Pierre Audi
Stage designer and illuminator: Urs Schönebaum
Costume designer: Wojciech Dziedzic
Playwright: Klaus Bertisch
Video-Maker: Jon Rafman
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: John Daszak, Germán Olvera, Damian del Castillo, James Creswell, Hilary Summers,
Milijana Nikolic, Nicola Beller Carbone, Thomas Oliemans, Albert Casals, Francis Tójar

Lucrezia Borgia Arts

Lucrezia Borgia of Gaetano Donizetti, It is shown for the first time in El Palau de les Arst and has been a real triumph for soprano Mariella Devia, who has offered a complete masterclass bel canto, going to all the vocal and performing demands of this complex and contradictory character, their work being rewarded with sound ovations. The other attraction of these representations has been the magnificent performance of the Valencian Silvia Tro Santafe mezzo as the transvestite Maffio Orsini.

Gaetano Donizetti (Bergamo, 29 November 1797 – Bergamo, 8 April 1848) It was one of the most prolific composers of operas in the entire history of the genre, sixty five titles, over a period of twenty-eight, between 1816 in composing his first opera Il Pigmalione, until his last work Caterina Cornaro 1844. During his career he achieved great success with operas like L'elixir d'amore (1832), Lucrezia Borgia (1833), Lucia di Lammermoor (1835), The daughter of the Regiment are the Favorite of ambas 1840, Don Pasquale (1843) and the famous Tudor Trilogy composed of Anna Bolena (1830), Maria Stuarda (1835) y Roberto Devereux (1838). During the second half of the twentieth century, There have been a real renaissance see Donizetti work and many of his operas, including Tudor and Lucrezia Borgia Trilogy, and other less known, They have been recovered thanks to the interest of singers like María Callas, Leyla Gencer, Monserrat Caballé, Joan Sutherland, Beverly Sills, and in more recent times Edita Gruberova and Mariella Devia.

Ya, with an output of forty operas, Donizetti composed Lucrezia Borgia in autumn 1833, with libreto of Felice Romani, who had made an adaptation of the play of the same title of Victor Hugo, released in February of that same year. Opera structured in a prologue and two acts, with four players: Lucrecia Borgia, his son Gennaro secret, Alfonso D'Este Duke of Ferrara, Lucrezia's husband and Maffio Orsini Gennaro friend, along with a number of secondary characters, some interventions of some significance. Its premiere took place at the Teatro alla Scala in Milan 26 December 1833.

The performances of this opera in its early years of existence, They had all sorts of problems: when it was premiered in Paris, in 1840, Victor Hugo filed a lawsuit claiming its copyright, Romani and Donizetti having to rewrite the work placing the action in Turkey and denominating The Rinnegata. Problems with the censorship of the time and the protests of the descendants of the Borgia family, They made Donizetti had to rename his opera when it was released in different cities: Eustorgia da Romano in Florence, Alfonso, Duke of Ferrara en Trieste, Joanna I of Naples en Ferrara y Elisa by Fosco en Roma. Finally, opera regained its original title being displayed frequently during the second half of the nineteenth century.

In 1904 It premiered at the New York Metropolitan with Enrico Caruso as Gennaro. During the first half of the twentieth century, the performances were very rare, highlighting that took place in 1933, commemorating the centenary of the premiere, en el primer transcurso of the Maggio Musicale Fiorentino, con que un reparto extraordinario incluía uncommon and Giannina-Lombardi (Lucrecia), Beniamino Gigli (Gennaro), Gianna Pederzini (Orsini) y Tancredi Sparrow (Alfonso).

The real recovery occurred in Lucrezia Borgia 1965, during performances that took place at the New York Carnegie Hall, Monserrat Caballé as Lucrezia, replacing an indisposed Marilyn Horne and which represented the great international launch of the Catalan soprano, constituting for many years one of his great performances.

also note, the magnificent creations that made this character: Leyla Gencer, Joan Sutherland, Beberly Sill, and in more recent years, Renée Fleming, Edita Gruberova and Mariella Devia. Gennaro's character, It has been superbly played by Spanish tenors as Jaime Aragall, Josep Carreras; Y, especially, the great Alfredo Kraus. Donizetti made two versions of Lucrezia Borgia: first premiered at Teatro alla Scala in Milan 1833, with dificilísima cabaletta final de Lucrezia "It was my son ow", and a second, in 1840, also represented in the same theater, where Donizetti composed a new ending annulling the cabaletta and replacing Gennaro's aria "Mother, if evermore distant ".

At the end of the sixties of the last century, the conductor and musicologist Richard Bonynge, He discovered a copy of the recitative-aria of great beauty and difficulty "Partir degg'io qual ... T'amo s'ama un angelo", Donizetti composed for the Russian tenor Nikolai Gennaro Ivanov and Alfredo Kraus made extraordinary performances. In the many representations of Lucrezia Borgia directed by Richard Bonynge the recitative-aria is inserted and, melted, both ends, with Gennaro aria and cabaletta Lucrecia in which it can be called "Bonynge Version". This is an alternative option that is included in different productions. There are two magnificent studio recordings, the first edited by RCA in 1966, Monserrat Caballé and performed by, Alfredo Kraus, Shirley Verrett, and Ezio Swipe directed by Jonel Perlea. The second edited by DECCA in 1978, and performed by Joan Sutherland, Jaime Aragall, Marilyn Horne e Ingvar Wixell con dirección de Richard Bonynge, and where two end and recitativo-ary "Parti degg'io ... T'amo qual s'ama un angelo" included at the beginning of Act II.

In these representations Valencia was chosen version premiere at La Scala, in 1833. It is a production of the Palau de Les Arts scenically directed by Emilio Sagi, which it is a recycling IMPROVED! Sagi those who went in Bilbao (2001) and Oviedo (2004), with the scenery of Llorenc Corbella, based on large movable panels, on which abstract drawings that become relevant thanks to the magnificent lighting design project Eduardo Bravo, alternating warm and cool shades depending on the development of action and psychological state of the characters.

In the first scene of the prologue, these perfectly aligned in descending direction and with a profuse golden lighting panels, play a large hall of the palace Grimani in Venice, full of extras, including Gennaro and his friends, They are dancing and having fun during the celebrations of the Venetian carnival. Ya, in the second stage, of suddenly, Gennaro characters disappear except staying asleep, lighting becomes fainter, and upstage can see the arrival of a gondola from which descends Lucrecia, Gennaro approaching, producing a rapid movement of the panels gives the room a distinctly intimate character.

The scenario recovered at the end of the prologue, large initial dimensions with the appearance of Gennaro group of friends who chide extremely hard to Lucrezia. The scenery becomes a real visual appeal at the beginning of Act I, where a few panels with different heights bright illumination which gives them a silvery gray, reproduce Palace entrance Ferrara (residence of Lucrezia and her husband the duque Alfonso d'Este) large letters vertically supported on stage with surname BORGIA, They reflected on a polished floor scenic. The initial B is removed by Gennaro to become the word ORGIA, that will be the trigger for all subsequent drama. As well, in that Act I, again, the rapid movement of the panels narrows the Duke's private office, who maintain a strong argument with his wife Lucrezia, and this stay is reproduced spatially the famous "Vitruvian Man" drawing by Leonardo de Vinci, a distinctly Renaissance symbol, which places the action in a particular temporal space.

Ya, in Act II, Gennaro next to a model of the city of Ferrara are elevated stage where malicious intrigues unfold, in an attempt to capture, simultaneously, in different planes dramatic, crude real world and the fantasy that moves Gennaro. Visually striking is the tragic final scene of the opera, where the stage space bounded by the panels, It is dimly lit with cool blue colors that contrast with the beautiful red dress that shows Lucrezia, created by Pepa Ojanguren, who fully succeeds both elegant and glamorous dresses designed for Lucrecia, as sober and timeless clothes male cast.

Fabio Biondi who currently shares with Roberto Abbado musical director of the Palau de Les Arts, He has achieved real fame with a whole Europa Galante, in baroque and Mozartian repertoires. Lucrezia Borgia was his first foray into the bel canto repertoire, at least in this theater. Biondi has tried to give prominence to the orchestra authentic, offering a historicist reading, including in the pit on a pianoforte. But nevertheless, on this score are the most important voices, They are resulting, at times, damaged by excessive volume orchestral.

His address was guilty of some slow moments of the prologue and Act II. However, I was in front of the Grand Orchestra of Valencia, with excellent performance of metals and woods, especially flutes, clarinets and the beautiful sound of the solo oboe. As well, highlight the excellent speeches harp accompanying the solo performances of Lucrezia.

Orchestral best moments occurred in the overture whose initial gloomy chords derived cheerful music and carefree that, unbroken, introduces the festive and colorful opening scene. Really got that beautiful musical theme that recurrently marks the presence of Lucrezia in his big scene Foreword, and it will reappear in the magnificent trio of Act I. also note, the orchestral performance in conjunction with the chorus and solo voices in the great ending concertante with the Prologue. As well as, the instrumental coda-typically see Donizetti- conclusive vibrant cabaletta Lucrezia Gennaro at the end of Act I.

The great appeal of this Lucrezia Borgia was the magnificent performance of the soprano Mariella Devia, who to turn sixty-nine years, continues to show its great technique, with perfect positioning and voice projection, absoluto domain legato singing, fiato with great control on sound regulations; Y, They possess all the qualities required by the "bel canto".

Already in its scenic entrance, at the beginning of the recitative "Tranquillo ei posa" offers a magnificent "messa di voce", and then, faced with skill and agility stranglehold of the famous "Com 'aria è bello! What enchantment ", cuya en segunda parte "While the soft moans cor", It offers beautifully decorated complex variations and notes, especially in the final phrases of the aria "Gioia sogna, and an angio. Not that you awake to pleasure ". Impressive that note on piano holding for several beats at the end of the Prologue.

As well, shows real dramatic force in the duo with Alfonso Act I. Ya, in Act II, makes a great interpretation of the beautiful Largo "M'odi, ah! M'odi, I implore ", an expressive and dramatic use of coloratura. Y, at the conclusion of the opera, offers a dazzling interpretation of the cabaletta "Era il figlio mio desso", absolute virtuosity page, where he shows his mastery of agility in the execution of trills and complex scales, singing printing, at times, a breakneck pace, to conclude with the issuance of an impressive sobreagudo.

Silvia Tro excellent mezzo Santafe in their interpretation of Maffio Orsini, showing great musicality, mastery of all records and good resolution of agility. All this is evident from the very beginning of the opera, when he sings "Nella di Remini and memorabil fatal war ... ..the nella notte tacita ...." which expresses endearing and ambiguous relationship with Gennaro. Dota genuine dramatic power to phrases like "Maffio Orsini, lady, They are io "heading Lucrezia contemptuously at the end of the Prologue. Likewise, It makes a great performance with long duet of Act II Gennaro, el that intercalates el precious arioso "Where the law you mostri grateful", where Silvia Tro shows impeccable ridge line. Deslumbrante interpretación resulta of the famous brindis "The secret to being happy" cuya en segunda parte "us profit degl 'flourishing years", inserted with a number of variations master.

The young bass-baritone Marko Mimica Croatian, in the role of Duke Alfonso d'Este of Ferrara, It exhibits a powerful vocal media with good stage performance. Very remarkable and full of noble accents is his performance in Act I of recitative-aria-cabaletta "E questa è l'ultium'alba Vieni ......: my revenge ... for ..Mai Cotesti insane ". Poor performance of the American tenor William Davenport as Gennaro, with difficulty in projecting the voice. Discreet is his interpretation of the aria in the Prologue "Di pescatore ignobile", and shows all deficiencies in duets with Lucrezia, especially in the vibrant cabaletta "unfortunate! The poison have drunk!"With which ends Act I.

Good performance from the rest of the performers, almost all from the Center for Advanced Plácido Domingo, especially bass and tenor Michael Borth Moises Marín, respectively Aistulf and Rustighello, especially in his somber duet of Act I. As usual, I turned magnifies the performance of the Choir of the Generalitat Valenciana, directed by Francesc Perales owner.
Text: Diego Manuel García Pérez
pictures: Tato Baeza

Rodelinda

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

RODELINDA
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

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

BILLY BUDD
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

The Flying Dutchman

“Hell on earth ", well it is known to the city of Chittagong, en Bangladesh. Place where is the biggest shipbreaking the world and where work is done very precariously. Where human life has value only but, at the same time, It is a tremendously spiritual society, who believes in reincarnation and in the more traditional legends permanently entering contradiction with the most ruthless materialism. And this is the place where Alex Ollé (La Fura dels Baus) Y Alfons Flores have set the scene of this Flying dutch. A current location capable of hosting a script like this. A place where a man is able to sell his own daughter to the highest bidder.

it Wagner, considered his first mature work, evidences a new creative language that will have a complete development in his later works. With clear Italian reminiscences still, start using building blocks in Wagner, Like the live motive and the creation of continuous musical discourses. A music in which they are clearly appreciated, and from the inclusion of these techniques, three very different moments, an unreal or fantastic part, represented by ghosts; a real part in which the daily scenes of the main characters of the play unfold, and a more spiritual part, showing the relationship between Senta and the Dutch. Three essential dimensions that feed into each other and are perfectly portrayed through the successful scenography and the extraordinary direction of actors.

The scenic bet of Alex Ollé and Alfons Flores is spectacular. Unlike other Ollé scenographies, this is perfectly descriptive and understandable to the eyes of any viewer. Using the elements of the traditional stage of the theater and the projections they have achieved extraordinary scenic effects that reach their maximum expression already in the overture, where the challenging prow of a ship sails in the storm thanks to the effects in a hymnotic movement that accompanies this the beginning of the work. After landing on the simulated Chittagong beach, the magnificent theatricalization of an up-to-date Dutch begins whose lack of romanticism has not altered its dramatic charge.

He was the first Wagner the master faced Heras-Casado. The feeling caused from the moat is hopeful. But the momentum of some moments printed a times too hasty sometimes. It was especially noticeable in a somewhat thunderous and dramatic overture. Improved throughout the play, but the end result was somewhat superficial.

Russian bass Dimitry Ivashchenko it was a more than correct Daland, although on occasion it was covered by the orchestra.

Benjamin Bruns had the complex task of being Erik in the second cast and helmsman in the first. His character of Erik lacks the lyricism it requires and suffered on some high notes.

Ricarda Menzer it was the best of the night. His Senta was full of drama. His lyrical voice and has the characteristics that you would expect from a Wagnerian voice, wide and bulky. With good phrasing and a defined singing line, but with improved delicacy.

The Dutch of Samuel One it was at a very good level. Elegant and good dramatization. It was improving until it culminated in the third act.

The chorus shone and was another great protagonist. In addition to singing, dance. Serious mistake to have offered the choir of ghosts through a ruinous recording. The result was not understood.

A spectacular and excessive production that, in the case of Wagner, it does not serve to hide the deficiencies of romanticism that the work presents and that do not allow immediate evocation. The feeling coming out of this Flying Dutchman is that, despite having so many essential elements, something missing.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

The Flying Dutchman
Richard Wagner (1813-1883)
The Flying Dutchman
Romantische Oper in three acts
Libretto by the composer, based on the work of Heinrich Heine Aus
the memoirs of Herr von Schnabelewopski
Premiered at the Königlich Sächsisches Hoftheater in Dresden on 2-1-1843
Premiered at the Teatro Real 27 October 1896
D. musical: Pablo Heras-Casado
D. scene: Alex Olle (La Fura dels Baus)
Scenographer: Alfons Flores
Costume designer: Josep Abril
illuminator: Urs Schönebaum
Video: Franc Aleu
D. choir: Andrés Máspero
Distribution: Dimitry Ivashchenko, Ricarda Menzer, Benjamin Bruns,
Pilar Vázquez, Roger Padullés, Samuel One
Headlines Choir and Orchestra of the Teatro Real

Sicilian Vespers

El Palau de les Doctor, has started its new season with Sicilian Vespers, one Verdi opera authentic appeal, though little known by the general public, as it is shown rarely. Only, its magnificent overture is often included as part of concert. So, for the Valencian coliseum was challenging an opera like this, especially, for their great demands on the vocal level.

After the success of the so-called "Popular Trilogy" constituted by Rigoletto de 1851, together with Il Trovatore and La Traviata both premiered in 1853, Giuseppe Verdi begins to rethink his career, with the intention of slowing down their creative endeavors that 1839 Y 1953, they had produced eighteen operas, almost all of them marked by haste, having to compose at high speed - sometimes two operas in the same year- to meet the demands of theaters.

Busetto's composer decides to offer less quantity and more quality, fruit of a more relaxed work, with the choice of attractive texts, along with more elaborate music and an orchestration of greater complexity and sophistication. This new stage will begin with the composition of Les Vêpres Siciliennes (The Sicilian Vespers) commissioned by the Paris Opera.

Verdi arrived in the French capital in the spring of 1854, beginning the search for a text that had attractive and authentic dramatic force.

But nevertheless, afraid of not hitting the tastes of the French public, did not choose the topic, instead he commissioned it to Eugene Scribe, famous librettist closely related to Parisian opera, who proposed to Verdi as an argument an event took place in Sicily, specifically in its capital Palermo, in 1282, during the French occupation of the island and in the run-up to an uprising of the Sicilian people, supported militarily and financially by Pedro III of Aragon, openly confronted the French king Carlo I of Anjou.

Verdi dedicated almost a year to the composition of his new opera, whose structure was typical of "Grand Opera" with its five acts and an attractive ballet of certain proportions called "The Four Seasons", inserted in Act III. Finally, Les Vêpres Siciliennes premiered at the Grand Opera in Paris, in a "soirée de gala" the 13 June 1855, coinciding with the celebrations of the Universal Exhibition that was taking place in the French capital. The original libretto written in French was translated into Italian by Arnaldo Fusinato, and this new version with the title I Vespri Siciliani, premiered at the Teatro alla Scala in Milan, he 4 February 1856. During later years, the opera in its Italian version had a certain tour at the international level, to fall into the most absolute of oblivion.

His recovery occurred in 1951, year of the fiftieth anniversary of Verdi's death, with a production premiered at the Maggio Musicale Fiorentino, musically directed by the great Erich Kleiber, that featured the imposing creation of Maria Callas as Duchess Elena, with another extraordinary interpreter, the bulgarian bass Boris Christoff on the role of Giovanni da Procida, the leading quartet was completed by the excellent Guido de Monforte played by the baritone Enzo Mascherini, just to the discreet rendering of the Greek tenor Giorgio Bardi Kokolios as Arrigo. The absolute success of those Florentine representations, led to the title chosen for the season opening of the Teatro alla Scala in Milan on 7 December 1951, with musical direction by Victor de Sabata, with the same interpreters of Florence and the significantly improved Arrigo of the North American tenor Eugene Conley.

In more recent times there have been important performances of this opera, like those that took place at the Teatro Comunale in Bologna, in 1986, directed by a young Riccardo Chailly and a magnificent cast that included Leo Nucci's Monforte, with the excellent tenor Veriano Luchetti as Arrigo, the very low solvent Bonaldo Giaiotti like Procida and Elena's magnificent performance, performed by the American soprano Susan Dunn.

also note, the functions that represented the inauguration of the scalígera season of 1989-1990, with the extraordinary direction of Riccardo Muti, and a very notable group of performers that featured Cheryl Studer as Elena, Giorgio Zancanaro in a brilliant interpretation of Monforte, Chris Merritt as Arrigo and Ferruccio Furlanetto in the role of Procida. Note that those Milanese performances included the beautiful ballet "The Four Seasons", which is usually omitted. There are two video shots, performed during performances at the Teatro Comunale in Bologna and at La Scala in Milan, which were later released on DVD.

The Palau de les Arts has chosen for these performances of I Vespri Siciliani, a co-production made by the Teatro Reggio di Torino and the Bilbao-based ABAO-OLBE, with a staging of Davide Livermore (current artistic director of Les Arts) which was premiered at the Teatro Reggio di Torino in 2011, on the occasion of 150 anniversary of Italian unity. Livermore moves the action to the Sicily of 1992, year in which the terrible attack in which the judge was assassinated by the Mafia took place Giovanni Falcone, his wife and three of his escorts.

Falcone's funeral took place in the Cathedral of Palermo and was televised live for the whole world. In Act I, the scenery of Centineo saints reproduce aquel funeral, this time dedicated to Federico the brother of Duchess Elena, executed by the French, with the coffin carried on his shoulders and a funeral procession where Elena and other ladies appear together with ecclesiastics.

The seriousness and recollection of the event is frivolized to the maximum by the video cameras that are taking it as a true “reality show” and whose images can be seen on two large screens. Definitely, This approach confirms the power of the media to manipulate reality, always at the service of the corrupt political class, in this case dominated by the Mafia.

Much more suitable is the scenery of Act II, where it shows, in a gloomy environment, two wrecked cars, alluding to the Falcone attack and marking the return to Palermo of the patriot Giovanni da Procida, willing to prepare a popular uprising against the French occupiers.

But nevertheless, this dramatic scenery, stays -totally out of place- during the rest of the act, encompassing the dance in the form of a "tarantella" that young Sicilians dance with their partners, that are taken from them by French soldiers who abuse them, all spiced up with profuse backlighting, that gives the scene a night orgiastic atmosphere. Y, Finally, in that same scenic space, a red carpet is spread where the couples invited to the Governor Monforte party go by. listening in the background a happy "barcarola".

By contrast, the scenery in Act III, it is an elegant building with rationalist architecture, which leads to a parliamentary chamber where the "Masquerade Ball" takes place, where the conspirators intend to assassinate Governor Guido de Monforte.

Ya, at the end of the act, in the large windows of the hemicycle, images of characters from all areas that have marked the history of "Unified Italy" are projected: politicians like Cavour, De Gasperi, Aldo Moro, Giulio Andreotti, together with athletes like Fausto Coppi or actors like Marcello Mastroianni and playwrights like Darío Fo, images that end up merging with flags of Italy.

And in Act IV, the jail where Elena and Procida are, it also has the style of the building described at the beginning of the previous act, with black and symmetrical vertical and horizontal structural elements, enhanced by excellent background lighting in fading orange tones to reveal a dark and oppressive stage space, drifting towards an open and cheerful space where Elena and Arrigo can be seen on a lectern with Monforte, who announces the marriage commitment of both. At the start of Act V, the style of "reality show" is recovered, of Act I, with the party where the wedding preparations are made that of Elena and Arrigo, spiced with the interventions of dancers whose costumes and evolutions suggest a magazine show.

The tragic end of the story, with the revolt of the Sicilians against the French and the massacre where the protagonists die, is cushioned showing only their lying bodies, in the recovered stage space of the parliamentary chamber, at the bottom of which the first article of the Italian constitution appears projected "Sovereignty resides in the people, who exercises it in accordance with the form and limits established by the constitution ". The Livermore staging, results, at times, interesting and original, although excessively circumscribed to the Italian world. The Orchestra of the Valencian Community once again demonstrated its great quality, conducted in a solvent manner by Roberto Abbado, current musical director of Les Arts.

The orchestral sound was of great brilliance in the execution of the extensive overture, one of the most beautiful verdian symphonic creations, where the vibrant and repeated central theme stands out, together with another of great melodic impulse that will reappear in the great duet of Arrigo and Monforte from Act III. Excellent orchestral resolution of Act II, with pages of great dramatic intensity along with others of a folkloric nature such as "La tarantela" and "La barcarola". Magnificent performances of the orchestral introductions of the remaining acts, where the lightness of that music alternates in the form of a dance that preludes Act III, with the very bleak and gloomy that marks the beginning of Act IV, in comparison with the festive and folkloric nature introduced by Act V.

Also note that the orchestra shone brilliantly in the imposing concert that closes Act III and in the course of the last two acts, especially, in the dramatic ending of the opera. Inside the excellent performance of all orchestral sections, it should be noted that Roberto Abbado gave more preponderance to brass and percussion, enhancing the moments of greatest orchestral force, although the string had moments of extreme quality in the accompaniment of Monforte's aria from Act III. Point out the precious orchestral sound that accompanies Procida's intervention "Goodbye, my homeland " of Act IV. Abbado showed concerted ability taking maximum care of the accompaniment of the singers, especially to the soprano.

Among the solo voices it is worth highlighting Gregory customer, as Arrigo, who, shows his mastery of the Verdian singing style, with an incisive phrasing, and a brilliant high register, along with a nuanced and expressive interpretation. The recitative-aria stands out in its great scene of Act IV “The sign is from Monforte….Day of crying, of fierce pain ", followed by the long and intense duet with Elena, full of intense lyricism and dramatic accents, where it offers a whole interpretive lesson.

The North American tenor is magnificent in the heroic duets with Monforte in Acts I and III, and in his great interpretation of the triplet with Elena and Procida at the end of the opera, where his song, acquires, at times, intense dramatic tones. As opposed, Show lightness in the festive duet with Elena from Act V "The breeze hovers around to caress my face", though, emitting the conclusive D-flat over the word "Goodbye" with an ugly falsetto note.

The Uvense Baritone Juan Jesus Rodriguez performs a good interpretation of Guido de Monforte, showing the changing moods of the character and shining brilliantly in his solo intervention of Act III, with a magnificent interpretation of the aria "In the arms of the wealth", where it offers an excellent singing line in the best Verdian style.

Also note his interventions in duets with Arrigo, especially the one in Act III, with those beautiful phrases “As I contemplate that beloved face, I feel my heart leap for joy…” where one of the musical themes of the overture is taken up.

The bass Alexander Vinogradov, offered a somewhat guttural voice in the low and central registers, that when ascending towards the sharp one gains brightness and intensity.

Perform a nuanced rendition of the nostalgic Aryan "Or your Palermo, adored land " one of the most beautiful pages composed by Verdi for bass. also highlights, his interpretation of the beautiful page "Goodbye, my homeland " in the quartet with Monforte, Arrigo and Elena from Act IV. Y, has vibrant performances in the dramatic trio with Elena and Arrigo at the end of the opera.

The day of the premiere it was the turn of the young Jerez soprano Maribel Ortega, sing the very difficult role of Elena, with extreme vocal demands. Serious responsibility that the singer faced with a high degree of professionalism. His performance was not discreet, in Act I, especially in his interpretation of the cabaletta "Courage, his, courage". It was not very accurate in the "Bolero" of Act V. Improved in duets with Arrigo, especially in the long and intensely lyrical Act IV. Also in the big scene with Monforte, Arrigo and Procida that closes this act. He had his best moment in the conclusive triplet of the opera with Procida and Arrigo, where he placed a pair of towering treble. Well the rest of the interpreters, almost all from the Center for Perfection Placido Domingo.

Again, he Choir of the Generalitat, He once again demonstrated his great quality in his multiple interventions throughout the opera. His performance in the great concertante of Act III was very outstanding, in the breathtaking moment of Act IV, singing one of the psalms "Deep", follower of the concertante “Minister of death arrests!”That closes the act: a very beautiful Verdi page. Ya, at the end of the opera the choir shines in the impressive “Vendetta! Vendetta!”.
Text: Diego Manuel Pérez Mirror
pictures: Tato Baeza

Sicilian Vespers
Giuseppe Verdi (1813-1901)
Drama in five acts
Libreto by Augustin Eugène Scribe y Charles Duveyrier
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: Centineo saints
Locker room: Giusi Giustino
Lighting: Andrea Anfossi
Choreography: Luisa Baldinetti
Cor de la Generalitat Valenciana
Francesc Perales, director
Orchestra of Valencia
Distribution: Gregory customer, Maribel Ortega, Juan Jesus Rodriguez, Alexander Vinogradov, Andrea Pellegrini, Cristian Diaz, Nozomi Kato, Moses Marin, Andrés Sulbarán, Jorge Álvarez and Fabián Lara.

La clemenza de Tito at the Teatro Real Madrid

Turn away from our life everything that is not love ...”, They sing a duet Annio Y Servilia one of the most romantic moments of this opera. And so in love must be to venture successfully into the ice escenográfico proposed Ursel y Karl-Eenst-Rousset in its proposal last opera composed by Mozart written for the coronation pomp of Leopold II as King of Bohemia.

Time passes for this production was a success at its premiere, back in 1982. He had already aged when it came to this same theater 2012, and he has now aged further. Still it looks like the waiting room of a nursing home in the former Soviet Union, as we in 2012.

A scenic box of a brightly lit white that did not allow viewers stalls read subtitles, ended up getting bored and cooling, not only the public, singers also about those who found it difficult to keep up with the work. Partly because of the contagion scenario Arctic, and partly by the eternal silence to make minimal changes scenic Rome, one of the protagonists of the libretto, hardly suggests the appearance of a column. Not bad intention of stage directors wanting to emphasize the psychological aspects of the characters enhancing the absence of elements on stage, but it was not necessary to reach both.

Recitatives become routine when there is nothing in what support, visually or scenically. Luckily permanently Mozart came to the rescue of all, public and singers, They are immediately comforted by the music genius.

The musical direction Christophe Rousset, good knowledge of this repertoire and expert harpsichordist, He was becoming slow after a good overture. recitatives, Rousset itself accompanied by the fortepiano, They proved poor, if we consider his virtuosity, and they made eternal. Especially in the second part somewhat tedious.

No doubt the vocal ensemble of this production improves of 2012. Bernard Richter It is a lyric tenor with a good voice volume and enough agility to build a Tito solved. Its midrange and treble are powerful and bright. More difficulties had with the serious and the tempi of the recitatives.

Canary Yolanda Auyanet He was splendid in his role as Vitellia. A voice that is maturing with high quality. Clean and without artifice. Good phrasing that ran nimbly his particella. But he shone even more in the interpretive part. He put the spark and intent on stage desangelado.

He also shone pamplonesa Maite Beaumont as Sesto. He went that extra mile to make your voice heard. Best in proscenium.

Anna Palimina, born in Moldova, it unfolded very well in the role of Servilia. The penalty was the clothing that put him, especially shoes.

Another pleasant surprise of the evening was the Canadian mezzosoprano Sophie Harmsen as Annio. light and beautiful voice timbre. His sharp could well put him through soprano.

The Italian baritone Guido Loconsolo It has a good stage presence, but Publius felt very uncomfortable out of the worst records. As to the rest, slow and boring recitatives were more a problem than a relief.

The Holder of the Royal Theatre Choir as always, magnificent. participation as rain in May was expected to break the routine scenography.

A replacement has served to pay tribute to Gerar remembered Mortier, who commissioned this production. Outside this commemoration, this Clemenza not give much more.

THE MERCY DE TITO
Wolfgang Amadeus Mozart
serious opera in two acts
Libreto de Pietro Metastasio, adaptado por Caterino Mazzola
Released in the National Theatre in Prague 6 September 1791
Premiered at the Teatro Real 12 March 1999
D. musical: Christophe Rousset
D. scene: Ursel y Karl-Ernst Herrmann
Scenographer, costume designer and illuminator: Karl-Ernst Herrmann
D. choir: Andrés Máspero
Distribution: Bernard Richter, Yolanda Auyanet, Maite Beaumont, Anna Palimina, Sophie Harmsen, Guido Loconsolo
Headlines Choir and Orchestra of the Teatro Real

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

Angela Meade as Norma

Not surprising that Rule, which they say is the masterpiece of bellcantismo, and one of the repertory operas, it has taken 102 years to be represented at the Teatro Real in Madrid.

Bellini, bridge between classicism and romanticism, It took the curiosity of everyday emotions to a timid society by Catholicism. A true revolutionary of the romantic feelings he knew influence other composers. Chopin Bellini inherited the flexibility to address the tempo and harmony. Verdi Bellini moved the revolution from the private to the public, using the political connotations to create collective emotions. Wagner, one of the composers influenced by Bellini, he even compose a new version of the aria of the second scene Oroveso.

Why then it is not Bellini one of my favorite composers? Because of tastes ...

Norma is certainly a great work. It is full of small details, those who usually lives in the devil, but here they hide the delicacy of some extremely slow tempos that trace the romantic philosophy of work and full of complexity the work of singer, forced a slow release. Dilated melodies that require a well worked fiato, as it evidenced in one of the arias which is a "hit" from the opera, the long-awaited by the public "Casta Diva”, and summarizes the value of romantic time.

A time that Wagner had in mind to create Tristan und Isolde. A Isolde that, as Standard, It detonated himself on a wide and increasing melody.

But get down to earth. More specifically representation 21 October. This is a co-production with Teatro Real Palua Les Arts in Valencia, which already it premiered last season, y ABAO.

The scenery Davide Livermore It has clear cinematic influences. Through Game of Thrones or King Arthur, produces a dreamlike and fantastical atmosphere that features an overwhelming tree. It occupies much of the stage, rotates and moves as totemic element and oracle, where everything happens and everything is fulfilled. The intention is to create a claustrophobic atmosphere, as is the story itself. And it does.

The scenes are completed with projections D-Wok. that advance, as an oracle, the future that awaits the protagonists.

The energetic baton of maestro Roberto Abbado the overture began with excess volume. Onstage the dancers came and went, choir, scenic elements and projections amid an apparent bafflement. When it seemed that chaos had taken over the representation, He appeared on the scene, at the top of the tree, Angela Meade singing "Casta diva " Y, suddenly, reigned peace and harmony, everything is put in place and only then began Norma.

Before he made his appearance Meade, and part of the initial confusion, Roberto Arónica had begun its representation Oroveso. In woody and strident voice lacks depth and serious character. He improved in the second act and put more intention and nuance to their arias. His interpretation was cold and dispassion.

Simon Orfila He composed a Oroveso with good stage presence, but his voice, although well-pitched, not dark tones that have endowed his character that requires packing.

Angela Meade not only it came to bring order, It was the key to the appearance of the bel canto. powerful voice and clean emission, although with notable shortcomings interpretative, not stopped going up and down the many steps of the protagonist tree while singing. something worthwhile.

The Roman Veronica Simeoni, as Adalgisa, He was correct. Best in the duet with Norma second act, for which it seemed had been saving.
While Barcelona María Miró as Clotilde. It did not go unnoticed.

Norma waiting so long and has come up with a fundamental lack, the passion. It will have to wait. But other than another hundred years.

RULE
Vincenzo Bellini (1801-1835)
llirica tragedy in two acts
Libreto of Felice Romani, based on the work
Rule, or infanticide (1831) Alexandre Submits
First performed at the Teatro alla Scala in Milan 26 December 1831
Premiered at the Teatro Real 13 November 1851
New production of the Royal Theatre in co-production with
Palau de les Arts in Valencia and ABAO
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: wind Forma (Florian Boje)
Lighting: Antonio Castro
Video: D-Wok
D. choir: Andrés Máspero
Distribution: Roberto Aronica, Simon Orfila, Angela Meade,
Verónica Simeoni, María Miró and Antonio Lozano
Choir and Orchestra of the Teatro Real holders
Teatro Real in Madrid 21 October 2016

Text: Paloma Sanz
pictures: Javier del Real

Placido Domingo and Michael Fabiano in I Due Foscari at the Teatro Real

I due Foscari is one of the works composed by Verdi in the so-called "galley years". So the composer himself referred to the seven years in which he composed no less than eleven operas. Does not about, much less, one of his best works. Not even the best known. But there is something in I due Foscari so that it is represented more times than its quality and position in the repertoire grant it.

Maybe thanks to time and perspective, taking into account the later works of the Italian master, is positioning itself better.

The characters of this drama "family” Romantic (father, son and daughter-in-law) they have a strong personality. Some of them, specifically that of Jacopo Foscari, caused discrepancies between Verdi and his librettist Francesco Maria Piave. The faintness of the character, together with its scarce presence throughout the work, led Verdi to ask Piave for some important changes. The end result was a greater weight of this character from the beginning of the work and its prominence in some of the most beautiful vocal pages.

The representations that these days can be seen in the Teatro Real They are in concert version. O, more concretely, semiescenificada. Given the dramatization capacity of a very powerful group of singers who show that the absence of scenography, does not prevent a magnificent operatic performance.

The musical direction Pablo Heras-Casado has an energetic effect on the orchestra, the singers and the work itself. From the overture, the vigor with which Heras-Casado interprets the score is evident. With this same strength he directs some singers who fill his performance with nerve and tension. There are moments of peculiar beauty in the duets and quartets of violin and cellos performed by the soloists..

Lucrecia Contarini, Jacopo Foscari's wife, is interpreted by Angela Meade. This American from Washington performs vocally and dramatically under the strictest canons of traditional opera, although she suffers from a certain automatism. But what is really impressive is the stratospheric volume of his voice. Characteristic that did not prevent him from offering some very well-made philatos. The vibrations it emits, at least when listening to it from the third row, impress. As he demonstrated from the start with Tu al cui sguardo onnipossente ...

Michael Fabiano

The American tenor Michael Fabiano returned to the Teatro Real, as Jacopo Foscari. Much has evolved his voice since that Cyrano de Bergerac of 2012.

With a remarkable volume of voice and a tessitura more of spinto than of dramatic tenor, Fabiano has built a dramatic and desperate Jacopo Foscari. Fantastic in his romances, especially in the second, Night, perpetual night!. Very demanding for tessitura and drama and that Fabiano solves with taste and eloquence.

Before your intervention, was kind enough to answer some questions for Brío Clásica.

It wasn't until he got to college and started his studies, when he realized the enormous potential that his voice had. It was at that moment that he started his career.

Classic verve.: In its same position, Who are the singers you notice?

Michael Fabiano.: Aureliano Pertile, for the insurmountable magnitude of his technique. Mario del Monaco, for their commitment to interpreting. Franco Corelli, for his heroism and Plácido Domingo, for his deep passion and expertise.

B. C.: How do you feel when you are compared to a young Pavarotti?

M.F.: I feel a deep humility.

B. C.: It is not the first time that he sings with Plácido Domingo, How is this experience?

M. F.: It is an honor for me, taking into account his enormous career and his immense legacy.

B.C.: His roles as Rodolfo in La Bohéme and Luisa Miller have been widely accepted by the public. What other roles do you see yourself playing in the future?

M. F.: I see myself in operas like Un Ballo in Maschera, Simon Boccanegra , Attila, Ernani, The Battle of Legnano, Mefistofele , Manon, Werther, Romeo and Juliet o Carmen.

Soon we will enjoy it again in Spain.

The baritenor, as he calls himself, Placido Domingo, it was one of the biggest attractions of the night, interpreting to Francesco Foscari. The discussion on the tessitura of Plácido Domingo must cease to exist. Is an artist. A great artist, able to invent a tessitura according to the evolution of their vocal characteristics and use it, next to his skills on stage, with a single purpose, success in interpretation. Each of his interventions was applauded until reaching the final ovation. Incredible merit also has the fact of not being covered by Meade's cascade of voice.

Another one that is not lacking in vocal volume is the Italian bass Roberto Tagliavini in his role as the evil Jacopo Lorendano. At the height of the main cast were the soprano Susana Cordón, as Pisana and the tenor Mikeldi Atxalandabaso, as Barbarigo.

A fantastic night of opera, in which the audience enjoyed and demonstrated it by standing applause for several minutes. An end to the season that leaves an excellent taste in the mouth and the best business card for the next one.

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

Idomeneo, Mozart

The Palau de les Arts in Valencia He has made a strong commitment, by staging its own production, an opera by Mozart as Idomeneo, King of Crete, little-known Spanish public, despite its high quality music, as it is usually represented very rarely, at least compared with other famous titles like Mozartian: Le nozze di Figaro, Don Giovanni , Così fan tutte The Magic Flute. The five scheduled performances of Idomeneo, They have proved a success, by mass attendances, He has applauded tackles the end of the same.

Mozart received in summer 1780, the order of the elector Karl Theodor of Bavaria, composing a serious opera written in Italian, finally take the title Idomeneo, King of Crete, to be premiered at the Munich carnival 1781. Abbe Giambattista Varesco He was commissioned to develop the script, where the mythological drama narrating the King Idomeneo of Crete, on his return to fight in the Trojan War. The neat and extensive booklet prepared by Varesco offered a wide range Mozart to write music, but soon he began to have doubts about its dramatic structure, having to review it thoroughly, in an attempt to adapt to the maximum text and music. Mozart was especially interested in showing the contrasts between the two pairs of female and male performers: sweet and kind Ilia, as opposed to evil and manipulative Elettra, with his outbursts of hatred, jealousy and anger; Idomeneo faltering as opposed to the sincerity and idealism that always shows his son Idamante. Mozart began composing the score in late summer 1780 Y, once completed the first two acts, in November of that same year, he went to Munich where he finished third and final act, it cost a great effort, with continuous reviews, until very shortly before the premiere at the Court Theater in Munich 29 of January of 1781. Mozart eliminated at the Munich premiere and several arias composed for Act III: Idomeneo "Peace returns to the core”, of Idamante “No, the dead", the complex of Elettra "D'Oreste, of Ajax "and the Arbace (Idomeneo counselor) "If there is written the fates en". At the premiere in Munich, It also included a brilliant ballet music.

Mozart's Idomeneo conducted a review that was presented privately the 13 March 1786 at the Palace of the Prince Johans Adam Auersperg Vienna. The singers were all amateurs and belonging to the nobility. In that version of Vienna, the role of Idamante sang a tenor, while in Munich he had made a castrato. Mozart made some changes in the score: Idomeneo scene and Arbace at the beginning of Act II, It is changed by another which involved Ilia and Idamante. In Act III, a new duo Ilia and Idamante is included, replacing written for the premiere of Munich.

Idomeneo fell into the deepest oblivion, and recovery occurred at the Glyndebourne Festival 1951, with a series of representations directed by Fritz Busch, being his assistant John Pritchard, who becomes the great guarantor of this opera, which often lead, Version essentially Vienna: You can hear the recorded Idomeneo study, in 1956, with John Pritchard to the front of the orchestra of the Glyndebourne Festival, and performed by Sena Jurinac (their), Leopold Simoneau (Idamante), Richard Lewis (Idomeneo) Y Lucilla widows (Elettra). As well, with address Pritchard, there is a live take held at the Glyndebourne Festival 1964, with Idamante, beautifully sung by a young Luciano Pavarotti, next to Gundula Janowiz (their), Richard Lewis (Idomeneo) and Catalan soprano Enriqueta Tarrés como Elettra. Ya, from the seventies of the last century, He began to represent, fundamentally, "Version Munich", where the role of Idamante is sung by a lyric mezzo. This is the version that has been heard in Valencia, with the inclusion of very difficult Elettra aria of Act III "D'Oreste, of Ajax ", which as already mentioned was suppressed by Mozart at the premiere of Munich.

This new production of Idomeneo conducted by the Palau de les Arts, He has as stage director and set designer to his current Mayor Davide Livermore, who makes a visual component proposal stage strong, It manifested from the very beginning of the opera, when it is running the overture, showing at the same time, the image of the face of a statue party, which is becoming a face Idomeneo, aging rapidly, and one of whose eyes the camera to show delves an astronaut wandering through space (clearly inspired by the famous film 2001, an odyssey of space Stanley Kubrick) for, then, another image displayed at the bottom of a platform appears space launch, and in the foreground, Idomeneo figure saying goodbye to a child Your child Idamante! This series of images coincide with the implementation of the overture to the opera, and this That's a personal opinion- You can distract the viewer to concentrate on hearing the brilliant music that is playing.

strong visual component that is maintained throughout the representation, with projections, one reiterative both, a calm sea, or rough with large waves breaking against cliffs and reach a beach, which is continued on the stage itself, with a sheet water present during the entire performance. The scenery is completed by metal platforms that become gateways where roaming characters like Elettra, Modern lecterns or those used by Idamante and Idomeneo to address his subjects.

Aesthetics 2001, an odyssey of space, again present at the end of the opera: first, when the voice of the oracle is heard and appears elegant room dieciochesca, It is returning to look at the final moment of the opera, and all the symbols used by Kubrick in his film: monolith, fetal bags and a character moving towards Idomeneo for both merge into a hug mortal. Although, actually, Idomeneo not die in history, only abdicates in favor of his son Idamante. Successful lighting created by Antonio Castro, It produces beautiful effects that enhance the visual appeal stage.

Highlight the work of Mariana Fracasso as designer clothing, disparate and timeless, It is including spacesuits, mythical Greek warrior costumes, in contrast to modern uniform soldiers and police. Y, in the case of Elettra, the sumptuous model that exhibits in its scenic entrance, compared to the other dressed in a miniskirt and boots used in Act II.

But, the essential part of Idomeneo is its brilliant music, served by a sumptuous orchestral fabric. Here I had a very outstanding performance Fabio Biondi in front of the Orchestra of Valencia, which again demonstrated its high quality and from the same execution of the overture, with splendid sound rope developing a theme that resembles the violent ocean waves, and it will reappear repeatedly in different moments of the opera. Biondi great work in the recitatives: many with orchestral accompaniment that make authentic ariosos. The orchestral sound of greatly looks on the bright marches and in its various interventions with the choir, especially, In between the first two acts, imposing the final Act II, and the concluding opera. Highlight the conciliatory work of Fabio Biondi, since the orchestra is not limited to emphasize and complement the voices, but go above and ahead of them. Finally, point out the great orchestral performance in the execution of the brilliant ballet music (Chaconne), closing the representation, as well as other small ballet: “The dance of the Cretan women ", in this production resumed interprets the representation, after intermediate produced, during Act II, at the end of the aria from Idomeneo "Fuor del mar".

Outstanding performance Gregory customer as Idomeneo, already evident in its scenic entrance, in Act I, with recitative "Here we are at last saved" followed by the aria "Vendromi around" well sung, alternating moments of intense lyricism with other accents full of bravos. His performance is superb in the beautiful cavatina with chorus, marked by sound of the string pizzicato "Acogli, oh kings of mar " belonging to Act III, or that warm final speech "Peoples, to you the last law ". Kunde faces notably the famous aria from Act II "Fuor del mar", especially in passages requiring a song full bravura, or wearing his magnificent record high on the scale ascending to ending aria, where if naturally emits followed by do4. Has some difficulties in the passages adorned profusely dotting this aria and require great vocal agility. The young soprano Brazilian Lina Mendes, it is too light in her role as Princess Ilia troyana, but it offers its pleasant timbre, with good projection and excellent mastery of agility; Y, It showed, in each of his lyrical interventions: at the very start of the opera, to the performing expressively and delicate accents "Father, Germni, goodbye". Showing an excellent line of singing in her aria from Act II, "If the father I lost". His best time is produced fronting the beautiful and delicate aria "Zeffirelli flattering" Act III. In the role of Idamante, the middle veteran Monica Pods, He showed a high degree of expressiveness, although the voice was small and low projection, and this is apparent in her duets with Lina Mendes Ilia. Only proved correct interpretation of the first of its arias of Act I "I do not blame, and I condani ", improving its performance in the second "The father adored", sung with strong accents marked by the rapid pace of the orchestra. Bacelli got his best moments in the recitative-duet with Idomeneo in Act III "Father, My dear father ".

Elettra is the best dramatic character definition of the whole work, and he found an excellent performer in the Valencian soprano Carmen Romeu, beautiful and resounding voice, well managed. He made a great performance, full of theatricality in his big scene in Act I, which begins with the recitative "Extinct is Idomeneo", whose orchestral accompaniment gives a character of arioso, with a song full of anger and tension, whose tone will crescendo in the aria full of difficulty "All I hear in my heart", expertly solving octave jumps and excellent command of agility. And in Act II, His voice was warm accents in the recitative-aria "Who would I try my sweetest pleasure……Idol mio, if backwards ", with a beautiful form of dance music, where the singer showed full intention fraseo, in perfect harmony with orchestral music. Carmen Romeu's performance had its climax in the aria "D'Oreste, of Ajax " Act III, where he again offered that wild and crazy song of Act I, dominating a fiendish coloratura, with complex vocal inflections, where he showed a broad fiato. Some sharp suspenders did not dampen somewhat the excellent performance Valencian soprano.

This opera contains two pages of beautiful invoice: the trio of Act II "Men in partir, Oh God" which involved Idomeneo, Idamante y Electra, with the quartet of Act III of the Act "I'll go and just wandering", sung by Idomeneo, Idamante, Ilia y Electra, well resolved in both cases by singers, although imbalance between the great voices of Gregory Kunde and Carmen Romeu compared to smaller Lina Mendes and Monica Bacelli. Emmanuelle Faraldo in the paper Arbace, He showed in his aria in Act II "If your grief", a voice excessively ugly light and buzzer, although with ease in the upper register. Performances Alejandro López Y Michael Borth, respectively interpreting Voice and High Priest of Nettuno, no discrete passed.

Great performance of the Choir Generalitad in its numerous interventions: in Act I "Let us enjoy peace" festive tone dialing and “Pieta! gods mercy!” with glistening effect the chorus divided into two parts that produce sounds near and far. And in Act II, the beautiful "Placido is the sea" and imposing "What new terror" Y "Let's run, flee”. In Act III, the impressive "Oh tremendous vote" and the concluding opera "Get out Amor, fall Hymen ", with magnificent concatenation of choir and orchestra. The performance of the Ballet of the Generalitad “Chaconne” closing the representation, He was somewhat lackluster, to having its components to dance, with obvious difficulties, on the sheet of water in stage.

These performances of Idomeneo has been devoted to the memory of the director Nikolaus Harnoncourt, recently deceased, and great student of this score.

By Diego Manuel García Pérez

IDOMENEO, KING OF CRETE
Wolfgang Amadeus Mozart
dramma per musica in three acts, K 366
Libreto de Giambattista Varesco, adapted from a French text of Antoine Danchet
Premiere: Munich, 29 January 1781,
Residenztheater Edition: Alkor Edition Kassel GmbH
D. musical: Fabio Biondi
Stage direction and set design: Davide Livermore
Locker room: Mariana Fracasso
Lighting: Antonio Castro
Videocreación: D-WOK
Choreography: Leonardo Santos
New production Palau de les Arts Reina Sofía
Ballet of the Government
Cor de la Generalitat Valenciana
Francesc Perales, director
Orchestra of Valencia
Distribution: Gregory customer, Monica Pods, Lina Mendes,
Carmen Romeu, Emmanuel Faraldo, Michael Borth
and Alejandro López

Parsifal at the Teatro Real

Parsifal, last composition Wagner, He was released from his exclusive contract with Bayreuth he 31 December 1913. That night was premiered at the High school Barcelona and the next day Teatro Real from Madrid. Written in turbulent times, perfectly reflects a destroyed world and the need to find a liberating exit or something like a messiah. That deliverer looking Amfortas with his knightly brotherhood is Parsifal, the fool who does not know his name and only come to wisdom through compassion. Wagner is once again a visionary ahead of his time, because we all know the events after 1914.

That's why the elegant production Claus Guth inspired by The Magic Mountain Thomas Mann, It is just as relevant and pertinent. Located in the interwar period, a hospital is the perfect setting to reflect the consequences of the events that marked the European society of the first half of the twentieth century. A place where sickness and death reflect the great social contradictions, political and moral of the time.

Guth uses this scenery to express the same paradigm. This permanent wound Amfortas is the metaphor of Europe after injury World War I. Scenography illustrated by projections showing images that concern us and we are uncomfortable. This Parsifal Claus Guth directly challenges us and invites us to reflect. Seeing as over all, seeking changes or cathartic leaders can lead to uncertain places. And Nightmares, like dreams, sometimes also they met.

A magnificent turntable provides spaces where different frames are developed. Again, a flow without beginning or end.

Parsifal can only be the end product of a genius like Wagner. And it is. The music flows permanently and the concept of space-time is different from conventional concepts. For his musical director, Semyon Bychkov, "In this work the key is related to the severity. These key changes, that can occur in a second, They are like a loss of gravity. As if we were in another galaxy but never knew in which ".

This ongoing evolution of reasons makes the music flow continuously without apparent beginning or end, always supported by the residue motivations accompanying characters and situations.

The musical direction is by Semyon Bychkov of, who knows perfectly read that continuous flow of the sound that gives, from the overture, the balance that require different orchestral voices that owns this architectural score. It was powerful sound made by an orchestra that gave answer to all indications the master of Russian origin. It sounded with a transparency and delicacy only matched by the ease with which it was executed. Tension achieved by the ropes, safety and precision metal woods produce a solid and agile sound. The created atmosphere would have fulfilled one of the wishes of Bychkov, continue in the fourth and fifth act, prolonging an ending that does not exist.

On stage an unequal distribution ran the rotating Guth proposed the rhythm that marked an excellent direction of actors.

Christian Elsner Parsifal was expressionless and interpretive limitations. Issuance required great efforts and was more than enough of nasal sounds. He defended his character with some dignity but was swallowed up by the orchestra on several occasions. His clumsiness on stage ruined the hero who must interpret, remaining completely absent of the evolution of a character with many shades.

The German soprano Anja Matches, one of the most sought-after Wagnerian voices today, Kundry offered a superbly delivered and interpreted in different profiles has its demanding character. Deviled registry changes are resolved, duly, with some stridency. Especially in the second act. At bass and means they would have been fine a little more strength to build the darkest Kundry. But overall his performance was high.

Franz-Josef Selig, with an elegant line of song, He carved a Gurnemanz authoritative and powerful stage presence, well exploited by the stage direction. He offered a good first act, with staccato phrasing and timbre of voice and vigorous round. But his performance was over and ended up being diluted unless part.

The German baritone Detlef Roth he played a dramatic Amfortas and torn. But his voice did not accompany the interpretation, and the inability to reach the most extreme registers, the difficulties joined the voice to express the inner anguish of the character.

Croatian to Jerkunica, as Titurel, It exibió one of the most interesting instruments night, with a voluminous and wide voice. Quite the opposite of Klingsor played by the Russian baritone Evgeny Nikitin, who walked scarce precisely those qualities, volume and breadth.

The chorus is another of the main protagonists of this monumental work. And the owner of the Teatro Real, which we are accustomed to illustrious interventions, I was not going to be less this time. A vocal brilliance and filling must be added the ability to interpret, especially of them, composing a scene of flower girls delightfully fresh and appetizing.

Five and a half hours can be long or short. Y, as Bychkov says, Parsifal has a different conception of space-time. Perhaps that is why the five and a half hours of this Parsifal very short time, but space is immense filling.

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

PARSIFAL
Richard Wagner (1813 – 1883)
Scenic sacred festival in three acts.
Libretto by Richard Wagner,
based on the medieval epic poem
Percival de Wolfram von Eschenbach.
Coproduction of the Zurich Opera House
and the Gran Teatre del Liceu in Barcelona
Teatro Real in Madrid 27 – 4 – 16
D. musical: Semyon Bychkov
D. scene: Claus Guth
Escenógrafo y costume: Christian Schmidt
illuminator: Jürgen Hoffmann
Choreographer: Volker Michl
D. choir: Andrés Máspero
Distribution: Detlef Roth, to Jerkunica, Franz Josef Selig,
Evgeny Nikitin, Anja Matches, Christian Elsner, Stephen Vincent,
David Sanchez, Ana Puche, Kai Rüütel, Alejandro González,
Jordi Casanova, Ilona Krzywicka, Khatouna Gadelia, Kai Rüütel,
Samantha Crawford, Ana Puche, Rosie Aldridge, Rosie Aldridge.
Headlines Choir and Orchestra of the Teatro Real

Luisa Miller

Two performances had scheduled the Teatro Real of the Luisa Miller verdiana. A work unjustly considered minor in the repertoire. Perhaps because its composition, prior to the trilogy formed by Rigoletto, The Troubadour Y La traviata they put her in the background. Verdi account on this occasion with the librettist Friedrich von Schiller giving more importance to the love and social drama of the original work, Cabal and Love (intrigue and love). What the author himself will call "bourgeois tragedy". These new argumentative “motives” could well be justified in avoiding the action of censorship. Very active in those moments of European revolutionary upheaval in 1848.

This has been a concert version. But you can't say it wasn't staged. More and more operas in concert are, dispensing with the always uncomfortable music stands, are semi-staged by the singers, creating a lyrical atmosphere closer to an opera night with all its arming.

At the head of the management was the American James Conlon. A true lover of Luisa Miller. To the point of calling his daughter Luisa and thereby evoking the paternal filial relationship of the protagonists. His knowledge of the work is total, He barely consulted the score to which he printed a lively rhythm full of tension from the overture. Especially in the endings. He extracted a pure Verdian sound from the orchestra, mainly from the strings. The chorus, in his usual line, magnificent!.

On the sidelines of music, without a doubt the voices were the protagonists of the night. Leo Nucci, who embroiders the dramatic roles of Verdian father, retains extraordinary vocal qualities to its 74 years. The shortness of breath at times and your reservations, in others, to be able to undertake the finals, are compensated by a skill in dramatization that only experience provides.

The Croatian Lana Kos It was quite a surprise in her role as Luisa. Its large central register is the ideal support to move through a powerful lyrical soprano tessitura. Vigorous, homogeneous voice with enough headroom to refine the highs.

The evil Wurn was embodied by the Canadian baritone John Relyea. Robust, shadowy voice to compose an interesting character who fought a powerful duel with Walter.

Dmitry Belosselskiy played a magnificent Earl of Walter. He wore good treble in his aria "My blood, I'd give life " and his powerful and smooth bass in the duet with Wurn "The high heritage".

The Madrilenian Maria Jose Montiel played the always thankless role of Federica. Just a few days ago we listened to it in the Teatro de la Zarzuela in the role of a María Moliner flawless and, suddenly, appears on stage at the Teatro Real with a completely different register. With a verdi score of abyssal tones for a mezzo string, solve your character with a dense and compact voice, demonstrating that the radius of action of his voice is wide and that he is in one of the best moments of his career.

The young Neapolitan tenor made his debut at the Real Vincenzo Costanzo. He came to replace those initially chosen for this Rodolfo. It is not easy to approach this role with 24 years, singing on the proscenium and surrounded by well-established voices. And Costanzo does it with gallantry and determination. Your instrument is under construction, like his ability to interpret, but it aims a nice timbre and as soon as the fiato is prolonged and the technique exceeds the physical effort, you can tackle these demanding roles with all the guarantees. The applause of the public after the well-known aria “When night to calm” They gave him the confidence to tackle the rest of the work with greater security. Next season we will have the opportunity to listen to him again in this Theater in his role as Pinkerton and we will observe his evolution. Mimbres has.

Marina Rodriguez-Cusi played Laura. This Valencian mezzo-soprano is always a guarantee. His brief role showed his good work. Despite being located behind the orchestra and the rest of the cast, his voice was heard full.

The successful intervention of César de Frutos playing a villager.

This Luisa Miller left very good feelings in the public. From time to time a purely operatic title is appreciated, and nobody better than Verdi to provoke these kinds of emotions.

LUISA MILLER

Giuseppe Verdi (1813-1901)

Melodrama tragic in three acts

Salvadore Cammarano libretto based on the play cabal and Love (Intrigue and love, 1783) de Friedrich von Schiller. Premiered at the San Carlo Theater in Naples on 8 December 1849.

Opera in concert version.

D. musical: James Conlon

D. choir: Andrés Máspero

Distribution: Dmitry Belosselsky, Vincenzo Costanzo, Maria Jose Montiel, John Relyea, Leo Nucci, Lana Kos, Marina Rodriguez-Cusi, César of Fruits.

Choir Y Orchestra holders of the Royal Theater.

Maria Jose Montiel Maria Moliner plays at the Teatro de la Zarzuela

It is unusual brand an opera in Spain. It is even less so in the Teatro de la Zarzuela. And if opera is Spanish, more musical event, We talk almost a miracle.

María Moliner is a character with enough packaging to star a story. Packaging and heroics who made a formidable task from pure ostracism. Write a dictionary of use of Castilian in the solitude of her living room, isolated and surrounded by the censorship of the time, do it in only fifteen years, and discuss even own dictionary of the SAR and the members of his academy, It is not a minor event.

On an idea Paco Azorín It has been built and maintained rigorous work. Divided into two acts and ten scenes, It is the result of complicity between Paco Azorín himself, the composer Antoni Parera Fons y the librettist Lucia Vilanova. It is in music where lies much of the success of this opera. Expert on the dynamics jars and able to write specifically for voice, Parera Fons has composed a score perfectly recognizable and highly consistent from start to finish. He has been able to use different musical techniques in perfect balance and put them at the service of the work.

In this point, the work of musical director Victor Pablo Pérez It is flawless. Sensitive and attentive to everything happening around, he drew from his orchestra every nuance of the score, enriqueciéndola.

The libretto of Lucía Vilanova has been nurtured mainly from two sources, the biography of María Moliner Inmaculada de la Fuente, and own dictionary. The article tries to reflect the daily life of such a complex process as is the development of a dictionary, but mostly it tries to unravel his inner life, their dreams and the evolution of a project of this magnitude. Perhaps the script lacks the lyricism of an operatic work. Too vividly describes some difficult events to fit into a proper line of song. The libretto has added a dream, which imagines the time of writing the application for entry into the Academy. Moliner is then accompanied by other writers who, like her, They should have been part of the RAE. They help draft the letter Emilia Pardo Bazán, Isidra de Guzmán and of the Bristle and Gertrudis Gómez de Avellaneda.

Another pillar of this work is its protagonist. María Moliner's role was written specifically for Maria Jose Montiel. Delivery to the character is absolute. His stage presence is almost constant and both, Moliner and Montiel, They have the same burden of temperament tenderness. His consistent voice, extensive and generous smoothness, sways with its beautiful timbre every note issues.

The rest of the cast is headed by José Julián Frontal, as Fernando, her husband. The character is not extensive vocally but is very well positioned thanks to its great performance.

Emilia Pardo Bazán has been interpreted by the soprano vizcaína Celia Alcedo, voice strong and well armed, He endowed his character in the entity that is supposed.

At a very high level were, despite its brief interventions, María José Suárez Y Lola Casariego, who played Isidra de Guzmán and of the Bristle and Gertrudis Gómez de Avellaneda, respectively. Like an evil Sandra Fernández, CEU exerting inspector and later Carmen Conde.

Goyanes, the typesetter María Moliner, character that existed in reality and joined the libretto. It is played with grace by the Valencian baritone Sebastiá Peris.

Highlight the role of the three almanacs very dynamically introduced various important moments in the life of the protagonist. the tenor Gerardo López and baritones David Oller Y Toni Marsol.

Special mention should be participation, as an armchair B SAR, baritone Joan Pons. It is always a treat to hear his voice strong and mighty.

The work of Coro del Teatro de la Zarzuela He was at a high level in his numerous interventions.

The scenery of Paco Azorín has two main elements moving metal structures and whose protagonists roam the endless staircase creating scenes of great dynamism and visual appeal. Behind them images of different characters and historical moments are transposed. The result can not be more successful. Po stage characters and events unfold under good direction of actors.

María Moliner is never alone on stage. It is accompanied by a small army of women who recite the meaning of his words while they grow in number over representation. This beautiful allegory emerges from one of the leaders who had Paco Azorín to create your scenery, Marguerite Yourdenar, with which our protagonist bears some similarities. Yourdenar became part of the Academy of the French language in 1981. In his inaugural speech he said: "I come here accompanied by an army of invisible women who should have entered this academy before me. I feel tempted to step back to pass them ".

This seemingly invisible army of women end up flooding everything, first stage and then the room. By doing so present to all those women who went before.

MARÍA MOLINER
Antoni Parera Fons
documentary opera in two acts and ten scenes
Libretto by Lucía Vilanova
D. musical: Victor Pablo Pérez
D. scene and scenery: Paco Azorín
Lighting: Pedro Yagüe
Diesner video: Pedro Chamizo
stage movement: Carlos Martos de la Vega
Community of Madrid Orchestra
Coro del Teatro de la Zarzuela
D. choir: ALberto Trijueque
Distribution: Maria Jose Montiel, José Luis Front, Sandra Fernández, Sebastián Peris, Juan Pons, Celia Alcedo, María José Suárez, Lola
Casariego, Gerardo López, David Oller, Toni Marsol, Sara Rosique, Ana María Ramos,
Daniel Huerta y Mario Villoria.

Text: Paloma Sanz
pictures: Fernando Marcos

Benjamin

For a little ear given to the twelve-tone adventures like mine, nothing made him suspect that this Thursday 17 March would definitely conquered. Responsible for this full-fledged surrender has been the British composer George Benjamin and his work Written on skin. simply, a masterpiece.

The libretto Martin Crimp based on the reasoned 13th century anonymous, The eaten heart, is the legend of the provencal troubadour Guillem de Cabestany, already cited by Bocaccio at Decameron. The story is gruesome and full of stark situations. The lowest wishes, frustrations and fears of the protagonists are treated by Benjamin with an extraordinary theatricality directed by his artistic director Benjamin Davis.

Music, from which the British master masters all contemporary techniques, transports you down paths of unbearable tension.

Writtem on skin
From the first bars the music grabs you almost violently and does not let you go until the last bars that are, by the way, of silence. Percussion, to which the strings were also added in a conventional way, or not, they make a magnetic harmony with the text that was stirring inside as if they had added to the worst nightmare a soundtrack that the power.

The score chisels with millimeter precision each of the feelings of the characters. So much, that the minimal dramatization of the singers is sufficient to describe the plots.

Those responsible for such a revealing sound are none other than the impeccable Mahler Chamber Orchestra. And to the baton George Benjamin, who radiographed each measure with the knowledge of the work that, Of course, only he has.

Written on skin

The exceptional participation of the singers, both vocally and theatrically, they finished rounding off the show. Christopher Purves, who played a complicated and tormented Protector; Tim Mead, young British countertenor who was in charge of giving life to the Boy and the Angel with great delicacy in the details; Victoria Simmonds Y Robert Murray they completed with a meticulous work the song picture of which its protagonist stood out, the Canadian soprano Barbara Hannigan, for whom the character of Agnés is written and who, with powerful dramatization, created a figure full of vocal and theatrical nuances.

The feeling at the end of the play is what remains after having seen the most intelligent and disturbing thriller. A pleasant pleasure after a violent shaking.

Liebesverbot

The Liebesverbot, a rarity in the Wagnerian catalog, It is a perfect work to discover the origins of genius, It matured personally and musically very different ways in which we presented in this work.

sirbe also to remove some labels that have always accompanied the figure of the German composer. Thank you, many times, distorting the work of one of its familiates. Mainly Cosima and Winifred.

For this reason alone, the discovery of the Wagnerian germ, it is worth listening to this opera to which the Wagner he insisted on calling it a mistake of youth.

With only 21 years, Wagner was inspired by the work of William Shakespeare Measure for measure to create a composition that would reveal his rejection of German Puritanism and show a certain longing for frivolity, sex and playfulness. It also makes a clear defense of the ways of life of southern Europe against the severity of Central Europe. Not for nothing does he set the scene in Sicily, instead of vienna.

If anyone claims to identify in this opera the later Wagner, already mature, he is very wrong. Perhaps the error when approaching this work is the expectations. The Wagner of "The prohibition of loving" is a young man influenced by the conventions of the opera of the moment. Only a few short fragments evoke what may later be a "Tannhauser".
This work is pure French and Italian influence. It is not difficult to recognize in her Rossini O Donizetti. But it also sounds like German romanticism.

It is very interesting to hear the combination of influences in a creator who is forming his own musical personality.

The circumstances of its composition also had their influence on the work. In those moments Wagner was already the megalomaniac who would uncover himself without complexes in his maturity. The urge to succeed, for starting his career in a decisive way, they rushed him to premiere the play at the Municipal Theater de Magdeburgo he 29 March 1836. The result was disastrous. The singers did not know the role, even two of them fought and that day there was no representation. A work mired in chaos that was not given many more opportunities.

The production of Ivor Bolton and the stage manager, Kasper Holten, has dispensed with excessive repetitions of the score. Leaving it in two and a half hours and not the initial four. Kasper has focused on the comic aspect, almost operetta, from the script. It is located in the Red light district of Palermo and builds a multipurpose space that serves both as a convent and as a brothel. This is achieved with elements common to both such as stairs and small rooms. Video projection and lighting Bruno Poet they finish configuring the different environments. scenography, set in the 19th century, is completed with current items, because the characters interact through WhatsApp messages that are projected on the sides.

We attend the representation of the second cast. Serve as a complaint that there are already several operas in this Theater during the season in which the second cast is a long way from the first, orally speaking. Something unforgivable yeah, Besides, the price of the seats is the same in all representations.

You are right, a mediocre voice box in which he stood out, for unfortunate, Peter Bronder, who played Luzio. If the information in the hand program is true, His professional career is very extensive and the theaters he has frequented are important to offer this result. If so, a withdrawal on time is always more worthy. At some point we came to think that he was drowning.

He also had his problems Leigh Melrose, exerting Friedrich. But he was saved by some moment of inspiration.
Irregular too Mikheil Sheshaberidze, as Claudio. But he gave his character rhythm and humor.

The two female protagonists, Sonja Gornik like Isabella and María Miró, like Mariana, they were the best of the night. It wasn't very difficult either, but they knew how to keep up with arias and duets of good execution.
The rest of the cast did not shine especially.. Very small voices for a score that pointed to manners and that has a great choir and a great orchestra. Already glimpsing the Wagner that will be.

The chorus, that something untempered began, recovered immediately to offer his usual good level.
A very interesting work to listen to, trying for it a different contextualization. You need to forget about your composer and enjoy, despite some routine moment, of the different entanglements of its protagonists.
Text: Paloma Sanz
Photograph: Javier del Real
Videos: Teatro Real

THE PROHIBITION OF LOVE
Richard Wagner (1813-1883)
The Ban on Love or The Novice of Palermo Great comic opera en dos actos
Libretto by the composer, based on comedy
Measure for Measure by William Shakespeare
New production of Teatro Real, in collaboration with the Royal Opera House in London and the Teatro Colón in Buenos Aires
Teatro Real in Madrid, 1 March 2016
D. musical: Ivor Bolton
D. scene: Kasper Holten
Escenógrafo y costume: Steffen Aarfing
choreographer: sign Walker
Lighting: Bruno Poet
Video design: Luke Halls
D. choir: Andrés Máspero
Distribution: Leigh Melrose, Peter Bronder, Mikheil Sheshaberidze,
David Alegret, David Jerusalem, Sonja Gornik, María Miró,
Martin Winkler, Isaac Galan, Maria Hinojosa, Francisco Vas

Magic Flute

Credited is that the most critical situations extracted from each person his "self" most extraordinary. Transferred this theory to a genius like Mozart and mixed with Masonic ideals, the result is one of the most sublime works of art of music. A work that, far from being a children's story, browse the deepest dreams illustration.

With The magic Flute Mozart raised the Singspiel, the most popular music, at its best. Released in 1791 at Theater auf der Wieden, second theater of the city of Vienna, composition proved to be a masterpiece. Libretto by Emanuel Schikaneder, Mozart's friend and Mason as he, and influenced both by the winds of change coming from France, they created a work full of dualities. The transition between darkness representing religious ideas, and the light of the new ideals of the Enlightenment of the eighteenth century.

Based on this general concept that represents The Magic Flute, Barrie Kosky Y Suzanne Andrade have managed masterfully captures the essence of the opera by German composer. Just as Mozart gets the Singspiel as the most popular and intelligible way to reach the public in the suburbs of Vienna, Barrie Kosky also uses another popular and intelligible method as silent films. The theater company 1927, used to working with the keys to the film story, It was initially responsible for transforming this work in movie magic. A perfect operatic recoding with the same key that led to its composition and Mozart would enjoy the most of this production.

It is not easy to surprise the audience with an opera many times represented, but therein lies the success of this version of Barrie Kosky. always keeps public interest.

The scenery does not exist. It is replaced by a large screen where animations are projected with the singers-actors interact in a perfect gear went really silent films evoking the years 20. recitatives, of those who in many productions of this opera is omitted, in this are replaced by the projection of a concise text that singers perform mimed. Those texts puts music piano, which serves continuous, interpreting Fantasies in C minor and D minor by Mozart himself. The result can not be more seductive. Superb sharpness who has managed to integrate all these complex elements and whose result is the most stimulating simplicity. The screen layout on stage facilitates the projection of the voices for its proximity to the pit.

The only production but this may be their excess role. The show is so intense that it can distract from the voices or music.

The box has an important quality singers, the equilibrium. Two powerful deals in which it is noteworthy that 13 of them are Spanish. And well he said Joan Mataboch, "They are here not by Spaniards, but by extraordinary singers ".

The cast shone together, but there were also very good individualities. Debutant Real Joel Prieto, as Tamino, It was the most outstanding. Its beautiful timbre, full of smoothness, an elegant and smooth ridge line adds, perfect diction, remarkable volume and taste in interpretation. Sobre todo en el aria "This portrait is enchantingly beautiful".

The English Sophie Bevan, he served as Pamina-Louise Brooks fluently. It was less to more and gave the audience a heartfelt "ach, I fühl's ".

Another highlight of the evening was the baritone Joan Martin-Royo, Papageno-playing a big comic Buster Keaton, without ever falling into exaggeration. A wide and fresh voice, with perfect phrasing, Successful intention he filled all its interventions.

Christof fish eaters, in his dual role of Sarastro and speaker, He surprised by its timbre and tessitura. An extensive round voice, reaching a consistent dark and serious. Abyssal does not reach the low tessitura of another era, but it is usual and hear deep bass.

Mikeldi Atxalandabaso, como Monostatos-Nosferatu, It was another pleasant surprise. Had a brilliant interpretation interacting with images masterfully and fun. A mighty voice and bright printed accented character to character.

Cadiz Ruth Rosique He left us with honey on the lips as his role of Papagena not give more. Her pert interpretation was high and we hope to hear soon on a larger role.

The soprano of Macedonia Ana Durlovski she played a evil Queen characterized night large spider. It was the most applauded, as it is almost always this character. Pyrotechnic to interpret his two arias qualities are undeniable. Better second than the first. But both lacked emotion. His treble were devilishly agile.

Well the three ladies, interpreted by Elena Copons, Gemma Coma-Alabert Y Nadine Weissmann. Enliven some ladies full of charisma and sympathy vocally fell short of the powerful cast.

If there is a "character" which is always a guarantee on their interpretations, both impasto, Uniformity and expressiveness, that is, definitely, he Coro del Teatro. Impeccable.

Ivor Bolton from the pit all night was very inspired. It has a special sensitivity to this type of repertoire. His enthusiasm spread directing the Orchestra. Pending singers directed them even vocalizing their texts. a notable presence of trumpets noticed, the taste of the work and director, but at some point they are eclipsing the subtle interpretation of other instruments.

No doubt this magic flute has been, Until now, The best of the season. It has also been successful policy of attracting new audiences inviting children and youth trials. stimulating energy that brings us to the theater as one goes to a temple.

The magic Flute
(The Magic Flute)
Wolfgang Amadeus Mozart (1756-1791)
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
D. musical: Ivor Bolton
Stage directors: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade, Paul Barrit),Barrie Kosky
Scenography and figuration: Esther Bialas
illuminator: Diego Leetz
D. choir: Andrés Máspero
D. young singers: Ana González
Distribution: Christof fish eaters, Joel Prieto, Ana Durlovski, Sophie Bevan, Joan Martin-Royo, Mikeldi Atxalandabaso,
Ruth Rosique, Elena Copons, Gemma Coma-Alabert,
Nadine Weissmann, Catalina Pelaez, Celia Martos,
Patricia Ginés, Airam Hernandez, David Sanchez,
Headlines Choir and Orchestra of the Teatro Real,
Little Singers of ORCAM

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

Placido Domingo as Macbeth at Les Arts in Valencia Palau

The new season of the Palau de Les Arst Valencia, It has started six successful performances of Verdi's Macbeth, played by Placido Domingo, with a massive public attendance, demonstrating the real pull of this incombustible singer, dedicated in recent years to baritone roles.

Giuseppe Verdi I had a special admiration for the plays of William Shakespeare, adapting in his youth the Macbeth, and in his bright senescence: Otello, and a compendium taken from The Merry Wives of Windsor and Henry IV, with the title of Falstaff, that become his last two great operas.

The Grand Master of Busetto, had in mind to bring other Shakespearean dramas to the world of opera: The Tempest, Hamlet or King Lear, projects that never materialized. The composition of Macbeth was a real challenge for Verdi, since in the middle of the XIX century, It was unthinkable a work where the excessive passion for power and the way to achieve it at any price was raised, even through treason and murder, in contrast to tragic romantic stories, that the Italian public liked so much at that time. The premiere of Macbeth took place at the Teatro Della Pergola in Florence on 14 March 1847, with great success for its author, who had to go on stage to greet the public up to thirty-seven times. Verdi extensively revised this score to be performed at the Paris Opera, in 1865.

The main modifications included a new aria for Lady Macbeth "The tongue luce”In Act II, the rewriting of some passages from the scene of the spectral apparitions of Act III, the inclusion of a ballet in that same act, a new beginning of Act IV, with the chorus of exiles "Patria oppressed”And a new ending, which included a structured music in the form of a fugue for the battle, which is followed by a triumphal chorus "Victoria! Victoria”, eliminating Macbeth's death on stage from the first version "Bad for me that I entrusted myself”.

Macbeth practically disappeared from the stage after the Parisian performances of 1865, with very few representations during the first half of the 20th century. The definitive recovery of this score occurred at the opening of the season of the Teatro alla Scala in Milan on 7 December 1952 with the extraordinary and unique creation of Lady Macbeth by María Callas, with a masterful concert and musical direction by Victor de Sabata. That scalígera performance was recorded live and has remained since then as an authentic reference of this opera. It should also be noted, the great contributions made from the seventies of last century, by directors such as Riccardo Muti and the late Claudio Abbado, who have bequeathed us highly representative recordings and video footage of this attractive Verdi title.

The version represented in the Palau de les Arts is that of 1865, excluding Act III ballet, and the conclusive triumphal chorus of the opera "Victoria! Victoria”, and retrieving the end of the version from 1947, with the aria from Macbeth "Bad for me that I entrusted myself”.

It's a real shame this production doesn't include that brilliant final chorus and Act III ballet., taking into account that the Palau de les Arts has an excellent dance corps.

This production was carried out jointly by the Rome Opera House and the Salzburg Festival, where its premiere took place in 2011, with the address of the prestigious registry Peter stone.

In this Valencian replacement he has assumed the stage direction Carlo Bellamio, who expertly solves the staging of the final battle, where the contestants use authentic swords that when struck produce sparks. As well, it is truly novel to represent the three witches by dancers who act and pretend to sing, work performed by members of the female choir disguised as trees. The four killers of Banquo, They also appear dressed as dancers, and in this case, it is the male voices of the choir that sing hiding under great black cloaks. But nevertheless, Carlo Bellamio neglects to control the movements of singers and choir on stage, many times, genuinely erratic.

The scenery Ferdinand Wögerhauer it turns out to be minimalist at all costs, with very few objects, among them, the panel that slides across the stage, with a door through which Lady Macbeth exits at the beginning of her performance, and where Macbeth penetrates to assassinate King Duncan, reappearing in the development of the sleepwalking scene of Lady Macbeth. Highlight the excellent lighting design by Joachim Barth, with stage backgrounds projected in different colors, always based on the dramatic development of the action. Y, that zonal lighting, when it emerges from the ground, a big kettle, in the scene of Act III witches. Very attractive costume design by Anna María Heinreich, totally adequate - much appreciated- to 11th century Scotland, in which the action takes place.

The Orchestra of Valencia, again demonstrated its excellent quality, with an address the hungarian Henrik Nánási, flexible, contrasted, of great dramatic force and well concerted, facilitating the work of singers. The orchestra exhibited a bright and compact sound. all, it was already revealed in the interpretation of the initial overture, where strong sounds alternate, with a recurring and beautiful orchestral sequence, who will reappear in the scene of Lady Macbeth's sleepwalking from Act IV.

Highlight the performance of that brilliant music, in march form when King Duncan and his retinue appear, in Act I, or those musical moments full of lightness and color during the banquet of Act II, in contrast to the gloomy and haunting sounds of the previous scene , in which the murder of Banquo occurs. Great orchestral performance in the concluding concertgoers of the first two acts, in the musical introduction of the choir "Oppressed homeland!”, at the beginning of Act IV, as well as the brilliant escape in the final battle. Within the magnificent rendering of all the members of the orchestra, It is worth highlighting the excellent solo interventions by Cristina Montes to the harp, the english horn of Ana Rivero; Y, especially, of the oboe of Christopher Bowman, the clarinet of John Moon Enrinc and the flute of Alvaro Octavio.

Extraordinary performance of Coro de la Generalitat Valenciana, very well directed by its owner Francesc Perales, in his numerous interventions throughout the performance, with that squeaky and morbid sound of the female choir in the scenes where the witches appear, and especially in the chorus of Act III "Three times the rattling cat meows”. Components of the male choir, they also have a great performance at the Banquo murder scene, in Act II singing “Who requires you to join ni"With that dark and threatening phrase"Trembles, Banquo! In your side”. The choir in full, makes brilliant speeches in concerters, highlighting greatly, the imposing coral "Your anger is formidable and ready”Of the concertmaster who closes Act I. Of impressive dramatic force was his interpretation of “Oppressed homeland!”At the start of Act IV.

The stage appearances of Placido Domingo, they become real events that move a huge amount of public, to listen to an artist who has managed to combine his excellent vocal and interpretive quality, with a tremendous capacity to enhance his image through the media and become one of the great media phenomena of the last fifty years. June 2009 I had the chance to listen to him, precisely in this Palau de les Arts, one of his last tenor interventions, in his remarkable rendition of the Siegmund from La Valkyrie, with direction of Zubin Metha, where the singer already sixty-eight years old, showed a conspicuous decrease in his high register, still preserving its beautiful center and great interpretive capacity.

That same year he began a second and successful career as a baritone.: Domingo sings baritone roles, with tenor voice, and as much as I want to darken the broadcast, has no baritonal setting, which distorts his interpretations of Verdian roles as Simón Boccanegra, Rigoletto, The Count of Luna from Il Trovatore, Giorgio Germont of La Traviata or Francesco Foscari of I due Foscari. In these Valencian performances he has been heard in the role of Macbeth, his latest Verdi baritonal creation, with uneven results given the difficulties of this character. Ya, almost seventy-five years old, Domingo was short of fiato, which caused him real problems to link long sentences, as in the case of that extensive soliloquy "Know my brideWhich he performs before assassinating King Duncan in Act I. As well, a decrease in volume was evident, that made him lose vocal presence in duets with the powerful Lady Macbeth of Ekaterina Semenchuk, and make him practically inaudible in concert.

His performance improved noticeably in the last two acts., offering a good on-scene performance of the spectral appearances of Act III, and sing the aria "Pity, respect love"Of Act III, although far from the interpretations of Italian baritonal voices of splendid singing line, like Renato Brusson, Piero Capuccilli or Leo Nucci, not to quote the North Americans Sherrill Mines, and especially Leonard Warren, who allowed, even, conclude this aria with a monumental sharp. Domingo made his best intervention, singing, rather reciting, the concluding aria of the opera "Bad for me that but I entrusted”. It is necessary to point out, that despite the limitations stated in his portrayal of Macbeth, Domingo continues to show - miraculously to his years- a great timbral beauty, coupled with a magnificent stage performance, being loudly applauded at the end of the performance.

Ekaterina Semenchuk como Lady Macbeth, showed great vocal power, along with a remarkable theatrical performance, which was already revealed in his stage entrance reciting with true style “On the day of victory I met them"To lead to singing with an excellent interpretation of the recitative-aria"Ambitious spirit you are, Macbetto……Come! T'afretta!”, sung with authentic Verdian accents and conclude with the cabaletta “Now all arise”, moving well in the central and high register, although showing some inconsistency in the bass range and some problems in the agility of the cabaletta, which also occur again in that repeated toast of a marked bel canto character "Fill the chalice”, during the banquet scene that ends Act II. The Russian mezzo made a good interpretation of the aria “The tongue luce”At the beginning of Act II, although with difficulties in the emission to the acute natural si in the final part of the aria, and lacking incisiveness in the phrasing to show the intrinsic evil of the character. Notable was his rendition of the great sleepwalking scene, in Act IV, giving his performance pathetic accents, with a nuanced edge line, though ugly cutting off the climb to the final over-treble d. Note his magnificent performances in duets with Macbeth, especially the conclusion of Act III "Where am I?"Finished with the vibrant stretta"Hour of death and revenge”. It is worth highlighting his interventions in the concertantes, where his voice emerged with force, above chorus and orchestra broadcasting in forte.

MacDuff's Tenor Paper, is secondary in this opera, but it has an intervention of authentic brilliance in the recitative-aria “O my children…..Ah, the paternal hand”One of the most beautiful pages composed by Verdi and interpreted in a remarkable way, although with some tuning problem due to Giorgio Berrugi, who exhibits a beautiful voice, although excessively lyrical, for a character that requires a lyrical tenor-pushed, as is the case of the great Carlo Bergonzi, who has bequeathed us an extraordinary and referential interpretation of this page.

The bass Alexander Vinogrador Correctly sang the role of Banquo, showing a voice of certain rotundity but with a little refined line of singing, in his duet with Plácido Domingo, at the start of the opera, improving his performance in the aria "Study the pass, or my son….As it falls from heaven”That precedes his assassination in Act II. Well the rest of the secondary interpreters, highlighting Federica Alfano, in her short appearance as Lady Macbeth's Lady in the Sleepwalking Scene.

Text: Diego Manunel Garcia Perez
Photograph: Tato Baeza

Alcina at the Teatro Real Madrid

A baroque opera is always an event. First, and in the case of Alcina, for the excellence of their music. And secondly by the few opportunities we have to enjoy.

One can say that Alcina was the final product after the bad relationship of two geniuses of Baroque music. Haendel as a composer who was then a conductor at the Royal Academy of Music (1720-1728), based at King's Theatre, and the counter Senesino as interpreter of most of his compositions.

In 1734 the differences between the two are accentuated and they decide to separate. The composer leaves the King's Theater, to settle in Covent Garden, and Senesino starts working for a new Italian composer, Nicola Porpora, founding in the King's Theater the new company "Opera of the Nobility" (Nobility Opera).

This new business situation supposed an operatic duel between the former collaborators. Handel felt the obligation to create a work capable of competing with his rival in London at the time.. And this is where our protagonist appears, Alcina.

The taste for the most extravagant mythology that occurred at the time of its composition, led Handel to look at an anonymous script, based on L´isola d´Alcina from Riccardo Broschi, based in turn on Cantos VI and VII of the epic poem Orlando Furioso (1516) from Ludovico Ariosto. A tale in which the sorceress Alcina turns her former lovers into animals or rocks.

Alcina has long been unjustly condemned to remain outside the usual repertoires. Accused of "unrepresentable" and for alleged difficulties in dramatizing a devilish libretto where the interrelation of the characters almost forces the viewer to use a who's who guide.

This production of the Bordeaux Opera consists of different aspects to take into account. The first, and more important, Handel's extraordinary music. A baroque masterpiece second only to Julius Caesar. This is the main reason why it is not understood that the public does not finish filling the theater or, even, leave it in one of the two breaks of which it has consisted. But maybe we will find later the explanation to this urgent need for dinner.

The scenic proposal of David Alden It is inspired by the movie of Woody Allen, The Purple Rose of Cairo. Under the idea of ​​the theater within the theater, Alden discovers the fantastic key to the work. As two sides of the same coin it presents the dream and the reality. Maybe that's why Alcina sings her first aria behind the curtain.

From the world of dreams, of fantasy. It is at that moment when the story begins. A decadent theater and the entrance to the boxes, are the main stages of the play.

Despite this outpouring of genius by David Alden, the scenic proposal does not finish reaching the public. It is excessively static in some cases and in others lack of rhythm and balance. There are times when the disconnect between music and scene is evident. The slight illumination of Simon Mills knows how to fill the small details with light, but it darkens situations that require more brightness. A code book is missing, not just to identify the characters, also to know the meaning of some scenes.

The general impression is that, maybe, the Royal Theater is a bit too big for this production. But who is really big has been some of the components of this second cast.

María José Moreno brings to life a sharp and cheerful Morgana. Performing his main arias skillfully and displaying almost pyrotechnic qualities in the “Go back to wandering”. Its treble and lightness brightened its impeccable performance.

Sofia Soloviy it has been a very solvent Alcina, especially in interpretation. Its elegant singing line gave us an Alcina with a certain aristocratic appearance.

Jose Maria Lo Monaco, as Ruggiero, it didn't happen to be nice. Its "Verdi prati"The second act was full of emotion.

The rest of the cast did not have their night. A Angelique Noldus you could barely hear her and Johannes Weisser, as Melisso, made viewers suffer in some of his speeches. The same happened to Anthony Gregory Y Franceca Lombardi Mazzulli. Sometimes their voices didn't seem to come out of their necks.

A great theater should not allow the suffering of some singers on stage. Nor does that of some viewers who pay the same price to listen to leading figures.

The orchestral conducting of Cristopher Moulds it was a balm. Demonstrated how you can achieve a baroque sound without the need for vintage instruments. He always accompanied each instrument of the Orchestra and each singer on stage and always smiling. We must highlight the musicians who performed from the stage, Eva Jornet Y Red Melody, Recorders. Victor Ardelean, violin and a master Simon Veis a cello.

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

ALCINA
georg Friedrich Handel
D. musical: Christopher Moulds
D. scene: David Alden
Escenógrafo y costume: Gideon Davey
Lighting: Simon Mills
choreographer: Beate Vollack
Distribution: Sofia Soloviy, María José Moreno, Jose Maria Lo Monaco, Angelique Noldus, Johannes Weisser, Anthony Gregory, Francesca Lombardi Mazzulli.
Head of the Royal Theatre Orchestra

RobertpDevereux

Old woman, Bald and Toothless. This is how he presents Isabel I from England the librettist Salvatore Cammarano in fiction created for the opera by Donizetti. A powerful woman, overcome by his grotesque decrepitude, although his subjects was always the embodiment of virtue.

The season started on Teatro Real with Roberto Devereux. One of the operas of the Tudor trilogy of Gaetano Donizetti plunged into the abyss after the loss of his entire family. An abyss also looks like the dark scenery created by the Australian Alessandro Talevi. Simple and without distracting from music and scenes, something that is always appreciated, but its permanent and almost complete darkness ends up weighing down throughout the representation.

The austere figurines of Madeleine Boyd, niggas how is the stage, they only allowed themselves to adorn with a powerful red Elisabetta. The lighting, that everything darkens, has flashes of elegance and rest for the eyes. All to reflect the suffocation that was breathed in the English court of the seventeenth century.

Joan Matabosch commented at a press conference that Roberto Devereux had been scheduled when the right voices had been obtained. And certainly the voices are the true treasure of this production that comes from the Cardiff Opera. For another time we will leave the discussion about the convenience of premiering a season with a play for rent in a theater like the Real.

It is not easy to face a character like Elizabeth I in any of the works of the Tudor trilogy. But it is undoubtedly Roberto Devereux's Elisabetta who has the greatest difficulties. A soprano is needed with ease for dramatic agility and good support for the lower notes.
A Pushed agile and delicate not easy to find. Maria Callas, without going further, faced Anna Bolena, giving us some of the best characterizations of the character, but he never faced or Maria Stuarda ni a Roberto Devereux.
The great Joan Sutherland she played María Stuarda on numerous occasions and on some occasions Anna Bolena, already very late in his career, but she never dared to play the role of Elisabetta by Roberto Devereux. Further from its oral possibilities for being more dramatic than lyrical.

Possibly be Mariella Devia one of the best sopranos currently tackling this complicated role. Master all of the character's terrains. Of intense drama, without abandoning the marked belcantism of Donizetti. It lacked a little more support in the bass, those that accompany the most dramatic moments of the character, I don't know if it is due to tessitura or maturity.

She herself confessed that she had never played a character older than her before. La Devia, their 67 years, is able to stay above the orchestra with a pianisimo. The volume of his voice is extraordinary. When I am young I want to be as is now Mariella Devia. its "Ah come back what I hope for", along with the dramatic ending, have been the moments of greatest intensity.

If Isabel I was well represented with the great Mariella Devia, no less important has been the interpretation of Gregory customer, in charge of the role of Roberto Devereux. Its beginning with “Royal Woman!” with a forceful and enameled voice, marked the line of his performance, full of elegance and accompanied by its imposing stage presence. The heroic nuances that he prints on his characters are always in that bel canto line that dominates so beautifully.

Marco Caria did not clash at any time of the extraordinary cast. His Duke of Nottingham stood tall. Although we would have liked to hear the headline originally planned, Alessandro Luongo.

Another of the great winners of the night was the Valencian Silvia Tro Santafe. Its edge line is extremely refined. Like his exquisite phrasing and those tightly packed highs so moving and unusual in an alto. Its booming bass, his beautiful timbre and a mighty voice were evident in his interventions. Mainly outstanding was in the duet with Roberto of the second act, and the “All’ambrascia ond’io mi struggo”, duet with her husband, Duke of Nottingham, in the third act. We hope to hear it again soon in Madrid.

The chorus Intermezzo, that character that embellishes all the works in the Royal Theater, was in his line of usual delicacy. Protagonist in some of the moments of the scene with the greatest dramatic load.

Teacher Bruno Campanella proves to be one of the greatest experts in belcanto in command of the musical direction. His deep knowledge of the score and the character of the work allowed him to be emotional in the overture, especially the bars of the England anthem, and with agility, verve and drama appropriately distributed. Only a little anger was lacking in some moments.

A good start to the season. The first completely made by Joan Mataboch. We are looking forward. This is just beginning.

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

ROBERTO DEVEREUX
That is, the Earl of Essex
Gaetano Donizetti (1797-1884)
Lyric tragedy in three acts
Libreto de Salvatore Cammarano, based on the tragedy Elisabeth d´Angleterre by Jacques-Fraçois Ancelot.
Cardiff Welsh National Opera production, 2013
D. musical: Bruno Campanella
D. scene: Alessandro Talevi
Scenography and costumes: Madeleine Boyd
Lighting: Matthew Haskins
D. chorus: Andrés Máspero
Distribution: Mariella Devia, Gregory customer, Silvia Tro Santafe, Marco Caria, Juan Antonio Sanabria, Andrea Mastroni, Sebastian Covarrubias,Koba Sardalashvili.
Titukares Orchestra and Choir of the Royal Theater
Teatro Real, Madrid 25 September 2015

Otello

Memorable representation of Otello what took place the day 1 of August, in this edition of Festival Peralada Castle. An uncertain meteorology, propitiated continually look heaven in the presence of clouds-indeed, the night before had discharged a heavy storm- that could portend rains with the consequent suspension of representation. Fortunately, He could be seen this truly magnificent musical and theatrical Otello to level. In this new coproduction, commissioned by the Peralada and Macerata Festivals, the murcian Paco Azorín, as stage director, spins all the action around the wicked and manipulative Yago, masterfully performed by Carlos Alvarez, whose absolute mastery of the stage is already evident in the prolegomena of the performance, moving like a true "master of ceremonies", attentive to all the details, even, urging the head of lighting technology to change the big label of the show “Otello de Giuseppe Verdi”, by “Yago de William Schakelespeare”.

Azorín shows his predilection for the English playwright, when inserting, very aptly in the context of the action, his beautiful sonnets 43 Y 138, whose texts projected on the stage curtain introduce Acts II and IV. The scenography designed by Paco Azorin, results of absolute simplicity consisting of two large solid blocks, who are taking different positions and, at times, fit a steep central staircase. The blocks have ramps that allow the characters to position themselves in different dramatic planes. The scenic effects are complemented by various projections designed by Pablo Chamizo: a stormy sea at the start of the opera, and in whose end that beautiful sea is shown in total calm, as the background of the inert and intertwined bodies of Otello and Desdemona already united for all eternity.

As well, that willow tree that sets Desdemona's song, that is losing its leaves, turning into a sinister forest, as the scene drifts towards its tragic end, or that infernal reddish background in the development of the intense and dramatic duo of Otello and Yago, at the end of Act II. Y, when Iago is introducing the demon of jealousy into Otello, The silhouettes of Desdemona and Cassio can be seen in shadows, conversing, image manipulated by Iago makes Otello believe in the love relationship of both. The attractive lighting design by Albert Faura, complete this successful staging. The costumes designed by Ana Garay It is timeless and black in the clothes of all the characters, in contrast to the immaculate white that the naive and innocent Desdemona always wears.

In Yago's case, and to capture his double game throughout the work, we can see him with a leather jacket, typical of a badass biker, who changes into his official uniform when he is in the presence of Otello.

Notable performance of the Liceu Orchestra, with a detailed address of Riccardo Frizza, differentiating sound planes, seeking to establish tensions and conjugate the moments of greatest sound impact at the beginning of the opera, with others of intense lyricism, as the music that introduces and accompanies the duo of Otello and Desdemona at the end of Act I, or the beautiful musical theme on Desdemona's words “Dammi la dolce, happy word of forgiveness ", that reappears in the course of the Otello-Desdemona and Yago-Emilia quartet (both couples located in different dramatic planes) of Act II. The strong symphonic orchestral introduction of Act III was well executed. Good rendering of the different orchestral sections, although with some metals, at times, so much misfit.

Gregory customer has become in recent years a reference Otello, following in the wake of other great interpreters of this character: Francesco Merli, Ramon Vinay, Mario del Monaco, the recently disappeared John Vickers Y Placido Domingo. For his careful phrasing and total respect for all the notes written by Verdi, Kunde's Otello bears similarities to that of Vickers, although without possessing the serious register exhibited by the great Canadian tenor.

On the other hand, It is truly unusual for Gregory Kunde to be able to sing the Otello Rossini at the Teatro alla Scala within a few days, whose last performance took place 24 of July, and the Verdian Otello in Peralada, he 1 of August. His heroic “Esultate” at the beginning of the opera is already impressive, in contrast to the lyricism offered in his interpretation of the intense duet with Desdemona "Già nella notte densa" with which Act I ends. Ya, in Act II, his great interpretation of “Tu? Back! Flee….Goodbye now and forever ", together with the dramatic duet with Yago “Oh! Monstrous guilt…… Yup, pel ciel marmoreo giuro ”full of heroic accents. His extraordinary and nuanced performance of “Dio! You could have thrown me ", in Act III, where an impeccable phrasing shines, his ability to sing legato, the half voices and some easy and round highs. Doses its sound flow to reach the end of the opera in optimal condition and sing with pathetic and shocking accents "Niun mi tema". Along with his excellent vocality, Gregory Kunde gives a great theatrical performance.

Carlos Alvarez composes an exceptional Yago, combining his magnificent vocality with an extraordinary theatrical performance. This is a character that the great Malaga baritone masters to perfection, and that I was fortunate to hear him when he sang it for the first time, with great success, in the already distant autumn of 2002, at the Teatro de la Maestranza in Seville, with musical direction Jesus Lopez Cobos placeholder image.

In this representation of Peralada, Carlos Alvarez dominates the scene from the very prolegomena of the representation, wasting its evil plot, which concludes at the end of Act III, putting his foot on top of a faded Otello, with the despectiva phrase "Here is the lion". Ya, during the development of Act I, eminently coral, Alvarez shines theatrically in his duets with Roderigo and Casio. In Act II, performs splendidly the recitative-aria “Vanne! Your destination……Credo en un Dio crudel ”where he shows all his nihilism and evil, with a phrasing full of intentionality and emphasis, especially at the end of the aria "E poi? Death is nothing. Heaven is an old story ". His sibylline interpretation of “Era la notte, Cassio was sleeping "interspersed in his long duet with Otello, masterfully concluded when Alvarez and Kunde put their voices together “Yes, for the marble sky I swear ". In Act III his manipulative duo with Cassio “Vieni, the classroom is deserted ", with the presence on a different dramatic plane of a maddened Otello. Raids Eva-Maria Westbroek in various repertoires: wagneriano, bloody, Puccini, Verde, from Janacek, o Lady Macbeth de Shostakovich, they start to take their toll; Y, its powerful vocal media are affected by an ostensible vibrato together with a certain loss of homogeneity in the emission. This is evident in his interpretation of Desdemona, especially in the moments of most delicate lyricism, like the great duet with Otello from Act I, or in their interventions during Act II: dúo with Otello "Of a man who moans" follower of the cuarteto "If unconscious against you, groom, I sinned".

The Dutch soprano gets her best performance in Act III, in moments of greatest dramatic thrust: dúo with Otello “God, you play, or bridegroom…..Fixed fixed "y, especially, in “A terra! And, nel livido mud ”marked with pathetic accents before the contempt and humiliation to which it is subjected by Otello. And in Act IV, better control the broadcast by performing a good performance in "Piangea cantando nell'erma landa" (Willow song), followed by "Ave Maria", full of grace ". Seems to be, que Eva-Maria Westbroek, he was not in full vocal capacity and this was already evident in Otello's dress rehearsal. I remember your splendid Sieglinde (one of his great creations) by La Walkiria, in 2009, next to the Siegmund of Placido Domingo, at the Valencian Palau de les Arts, which marked his debut in Spain. Y, especially, his extraordinary creation of Lady Macbeth from Shostakovich at the Teatro Real in Madrid, in 2011, where I had the opportunity to interview her, in a very pleasant and relaxed conversation conducted in Spanish, where he showed his great admiration for Renata Tebaldi. Listening to a video recording of La Forza del Destino, in 2008, from the Brussels Mint Theater, you can see his magnificent creation by Leonora following the model of Tebaldi, and quite appropriate to the so-called "Verdian song". But nevertheless, the seven years that have passed have not passed in vain.

Report also, in this Otello, the remarkable performance as Cassio of the tenor Francisco Vas, as well as Mireia Pinto in the role of Emilia and Stephen Vincent as Roderigo. Good performance of the Liceu Choir, well run by Conchita Garcia, with his great role in Act I, or the magnificent concertante of Act III. Finally, point out good acting - just as actors- of the six minions of Iago.

Text: Diego Manuel Garcia Perez-Espejo
pictures: Miquel González / Shooting

Placido Domingo

He had scheduled the Teatro Real to end the season with his now traditional opera with Placido Domingo. It was about Gianni Shicchi, de Giacomo Puccini, that along with Goyescas, of the teacher Granados, together they form the poster for this end of year. The painful death of Sister Sunday, and humor with which Puccini's work refers to death, They have led to the now baritone to suspend its participation in that work. Instead, and how only the biggest do, Domingo offered a small concert in the break of both works.
The end result is a varied operatic program, difficult to marry, where the prominence and success belonged to Plácido Domingo in an anomalous evening, it is not frequent to find such a program.

The evening started with Goyescas. Granados' work was very well directed by a Guillermo García Calvo who knew how to perfectly delineate a different work. Composed backwards, as the director himself says, since the music was first and the lyrics were written about it.

The semi-staging, Poor by the darkness of the stage that appeared soulless, contributed to the tedium into which the work fell from the first bars. The attitude of the singers on stage, except Ana Ibarra, it didn't help expressiveness too much. Only the music was safe.

the soprano Maria Bayo, that we hadn't heard in the Real for a long time, dispatched the character with skill and rigor. Andeka Gorrotxategi Y César San Martín were often hidden behind the choir and orchestra. Especially the first.

After Goyescas came He, Placido Domingo. Preceded by a great ovation as soon as I set foot on stage, offered a short recital. “Enemy of the fatherland”, by Andrea Chénier from Giordano; “Pity, respect, love"From Verdi's Macbeth and"Madamigella Valery”, of La traviata with an extraordinary Maite Alberola. The concert was completed with “Be any of the daughters”, of La Cenerentola by Rossini by Brunó Praticó, whose cracked voice suited the character well. Y Luis Cansino who interpreted "L´Onore”By Falstaff with a grace that an already dedicated audience liked. The now traditional annual appearances of Domingo at the Teatro Real, their emotional load increases more and more. It is not surprising that the teacher wanted to have this "little" appearance on stage.. The energy and affection of your audience, so necessary in those days, it sure was worth it.

The last dish of the night was Gianni Schicchi Giacomo Puccini. The scenery designed by Woody Allen it was very colorful. A motley house, more typical of southern Italy than of Venice where it takes place, but to which not a single detail was missing. Very cinematic, as it could not be otherwise. It even started with a large screen where the credit titles appeared. The powerful music of Puccini, read like no one from the moat by Giuliano Carella, created an atmosphere of an Italian film of the years 50.

The painting of singers, very numerous in this work, they developed with ease and comedy through the busy and crowded stage. The paper of Nicola Alaimo it was not easy. It is not to replace Plácido Domingo in the role of Schicchi, but he solved it with success and a powerful voice. Even though she looks younger than her own daughter on stage.

The rest of the characters, Maite Alberola, a mischievous and refreshing Lauretta, Elena Zilio, Albert Casals, Vicente Ombuena, Bruno Praticò, Eliana Bayón, Luis Cansino, Maria Jose Suarez, Francisco Santiago, Tomeu Bibiloni, Valeriano boats, Federico de Michelis, Francisco Crespo, Darius Baron and the dead, Gabi Nicolas, they finished printing the comic character to the work in a masterful way. A very successful theatricalization and direction of actors. All perfectly disordered in that purely Neapolitan stage that delighted an audience that started the night bored, he continued it with emotion and ended it with a showy entertainment. Who gives more?

Fidelio at the Teatro Real

Since 1981 I have not addressed Fidelio and when I finished I said I would not do”. These words Hartmut Haenchen, director musical de Fidelio 34 years later, perfectly describe the character and the difficulty of this work.

The only opera Beethoven, of which he wrote three different versions and up to four overtures, It has two very different characters or souls who are influenced, each one of them, the operatic tendencies of the moment.

The first part has a clear influence of Singspiel Viennese. Small bourgeois comedy of errors. It was the most popular genre of Vienna Mozart contributed to dignify with works like The Magic Flute or Die Entführung aus dem Serail.
The second source comes from so-called "salvage parts”. Gender well entrenched in France at the end of the French Revolution who always had the same structure: someone is in prison for an unjust cause and is released, through a heroic act, reestablishing justice and order.

Beethoven constructed with these two sources of inspiration a work that begins as a Singspiel, light and fun, and slowly drifting toward the great romantic explosion that is. anecdotal disappears and gives way to the heroic drama.

34 years has taken the musical director Hartmut Haenchen meet again in this work of engineering beethoveniana. Listening to the overture, one could think that maybe should have waited a little longer.

But the doubts disappear hear the interlude scene change before the last act, where the music volume was higher than the rest of the performance, also the intensity and interpretive force, something so far away. Haenchen changed the tradition followed until now in which is usually interpreted the overture Leonore No. 3, interpreting the latest movements of the 5th Symphony. Haenchen showed the teacher know the work to perfection.

His work with the Fidelio manuscripts have enabled the location of numerous misprints that the publisher Alkor Edition Kassel GmbH will rectify through an addendum.

The scenery Pier´Alli, very classic and already represented in the Palau de les Arts Reina Sofia, It has its peculiarities. The video, with increasing presence in operatic productions as a tool that provides a great relief to the set designers, Fidelio achieved in this remarkable effects. A simulated camera takes us into the dungeons of the fortress where he is imprisoned Florestan. Pier'Alli has created a stage full of ambiguous and disturbing elements. It has introduced from the first scenes of torture instruments that are part of the daily scenes of the characters, creating a natural coexistence with foals, guillotines or hiking boots.

With these elements would have been more interesting to see the proposal initially announced scenery of La Fura.

Lighting is almost a character in some scenes. The light, They are returning to free the prisoners inhabiting the fortress, and the absence of that same light describes the situation of the imprisoned hero.

Beethoven, he preferred to dump their efforts in the instrumental rather than vocal, It offers scores that pose a challenge for the singers and chorus. Music is powerful and almost Wagnerian voices are needed to address porte papers.

It has not been the case of the protagonist. Canadian soprano Adrianne Pieczonka, timidly began his speech. With little forcefulness and very fair of breath when it was Fidelio. Much better as Leonore, got moments of great lyricism and drama.

Anett Fritsch It was a spark and life Marcelline. With sufficient volume and good treble sometimes it seemed to rival Leonore. Made good and balanced partner with Ed Lyon, applied tenor who played a friendly Jaquino.

The German-Canadian Michael King, we know of his artistic evolution (It does not miss any season for five), It has among its qualities of elegance in the line of singing, but does not sing badly, It does not make serious errors and gives all notes without being one. Given the difficulties of character, that is a lot.

Franz-Josef Selig. After his unforgettable Marke last season, It has composed an endearing Rocco. Dense timbre voice and warm and dim, He was accompanied with good stage presence and acting.

Alan Held
not excited anyone. Baritone is low and Pizarro was not being neat.

He choir, as usual, big!. Some moving prisoners exploded in volume and excitement at the end of the work. Very remarkable the two soloists, Enrique Lacárcel Y Carlos Garcia-Ruiz, with a vocal quality that sometimes not even a star.

Moderate success for this Fidelio. One more night to add to a season that is in danger of starting a routine was. Luckily my knowledge of luxury cars are being completed with the surprising and magical appearances in the lobby of the theater as imposing as unachievable machines. To do box.

FIDELIO
Ludwig van Beethoven (1770-1827)
Opera in two acts
Teatro Real, 5 June 2015
Libreto de Joseph of Sonnleithner, Revisado por Stephan von Breuning y Georg Friedrich Treitschke, based on the libretto of Leonore, or conjugal love (1798) of Jean-Nicolas Bouilly.
D. musical: Hartmut Haenchen
D. scene: Pier´Alli
choreographer: Simona Church
D. choir: Andrés Máspero
Distribution: Michael King, Adrianne Pieczonka, Franz-Josef Selig, Anett Fritsch, Ed Lyon, Goran Juric, Alan Held,
Enrique Lacárcel, Carlos Garcia-Ruiz
pictures: Javier del Real
Videos: Teatro Real

So

The Così fan tutte al High school, which they say is not a Mozartian theater. Since we know very well what is to be or not mozartiano, in the case of a theater, we are left with the doubt. Who does not seem very Mozartian is the stage director of this production, Damiano Michieletto. This young Venetian begins to be known for performing discrete extravagances. Some more successful than others. And it's not this Così fan tutte, that comes from La Fenice, one of his most celebrated productions.

The scenography designed by Michieletto trivializes the plot of Da Ponte. Based on nothing less than works by Bocaccio, Shakespeare Y Cervantes. This is not an opera buffa, but of a dramma giocoso. Or as well defined René Leibowitz, a "tragedy in the form of a game". But the stage manager has created too basic a game this time. He has not been able to see the intelligent proposal of the composer, so given to the game and fun. He has set the plot in a decaying hotel in 5 stars of which you have traced, this time with great success, that dim and daunting light that always invites you to leave the room.

Nor is it right when placing small parallel plots on stage that all they do is distract from the main plot and the action of the singers..

From the pit, the start of the work is promising. It is Mozart! the overture, always vigorous, fills everything. But after the first bars, the lack of spirit begins to show. That spirit that the composer, master of the game of infidelity, so aptly reflected. There is no orchestral line, a musical narration of history.
Pons doesn't pay enough attention to the singers or the chorus. The result is the helplessness of the interpreters and the disconnection between the pit and the stage. Especially in group arias, so important in this work. Untimely tickets and little coordination between singers. The masterful game of entanglements and exchanges proposed by Mozart in his score is absent. In the second act, you go from lack of spirit to boredom. The bad resolution of the end, that is halfway between joy and love disaster, does not fast to leave a good taste in the mouth among the public.

A Juliane Banse he had to play one of the most complete and complex roles written by Mozart, Fiordiligi. A soprano is required driven by agility, with a robust voice to approach arias such as For pity. Juliane Banse has a good central record, but suffered in the lower notes. It also had its difficulties in the complicated Like Scoglio. Aria with great technical demands for which she did not have enough encouragement or support. It was less to more, reaching the second act with a less strident and tighter sound.
Dorabella, Fiordiligi's vocal counterpoint, was interpreted by Maite Beaumont. A much more balanced and homogeneous voice. Nice timbre and good singing line. She was covered several times by her artistic sister, but it gave the character the right character, more shy and demure.

Despina was played by Sabina Puértolas. A soprano with higher tones than the previous ones. He animated the scene with his impudence, exaggerated sometimes, but it gave freshness to the whole work. Broad and expressive voice. She walked the stage while her companions remained static.

The pleasant surprise of the night was the young tenor Joel Prieto, playing Ferrando. His full lyric tessitura, they try hard, is the most suitable for this Mozartian role. He sang with remarkable taste, especially its main aria, Loving aura, who approached with finesse. Cavatina solved very well Betrayed, mocked, theatrically more demanding and for which good bass is required. Very good in the duet with Fiordiligi in the second act. Given his youth and the quality of his instrument, a brilliant evolution is guessed.

Joan Martin-Royo composed a solid Guglielmo. Its baritonal tessitura is reinforced with good bass, that correspond to the character that Mozart described. His acting work was meritorious and shone in the arias. Like the rest of the interpreters, the costumes and the scenery did not favor them too much.

A Pietro Spagnoli They commissioned him a Don Alfonso somewhat rough and with little spark, when what the character requires is an almost buffa. Vocally it was very well resolved by Spagnoli. A magnificent phrasing and a very good declamation in the recitatives. Your tables are noticeable.

The Liceu choir sounded great, Hand Conxita García, despite the shortage of items.

A Così fan tutte something poor and uneven the one that the Liceu has presented on this occasion. Can be improved in any case, but always extraordinary when it comes to Mozart. Let's not think that the Liceu is not Mozartian. Let's give it another chance.

Nabucco

The seven representations Nabucco, which they have taken place in the Palau de les Arts in Valencia, with a massive public attendance, They have been the real triumph of a season full of ups and downs and difficulties of all kinds.

Nabucco is composed of the third opera Verdi, libretto by Temistocle Solera, and its premiere took place at the Teatro alla Scala in Milan, he 9 March 1842, constituting a great success, to the point of being represented in that season and the next, in 57 occasions, something that had never happened before. Nabucco may be influenced by Donizetti Y Bellini, but his vigorous melodies, with passionate vocal language, and they are typically verdianos. In this opera, and for the first time, Verdi gives great importance to the baritone, assigning the title role of Nabucco. Y, Abigaille -of the extreme difficulty- a soprano dramatic agility, He is sung in its premiere by Giuseppina Strepponi, destined to become sentimental companion of Verdi and his future wife.
After a few years when this opera was massively represented worldwide, He fell somewhat forgotten, It is recovered by the teacher Vittorio Gui, in the thirties of the last century, also directing, in the famous performances, with a live recording- which they took place in December 1949, Teatro San Carlo in Naples, with the creation of Abigaille unsurpassed by Maria Callas.

Nabucco production has been seen in the Palau de les Arts, Bayerische Staatsoper comes from Munich, and it was released in 2008, He is its creator Yannis Kokkos, responsible for the scenography, stage direction and costume design. It is a dark and simple scenery, a background where geometric shapes predominate: in Act I, six windows with large gilt frames and a staircase representing the Temple of Solomon in Jerusalem; Y, in Act II, a large door the palace of Babylon.
Ya, in Act III, the door overlies the windows, meaning the oppression of the Babylonians about Jews. Only a scenic change occurs, when the famous interpreted "Va pensiero”, where members of the choir, They are representing the people of Israel, They are located behind a fence, in a possible allusion to the Nazi death camps, during world war II. Moody lighting dim and fails to alleviate the grim and gloomy stage space, except the two times when a panel of lights symbolizing the emergence of "God of Israel”, descends from on high and is increasing its power to produce a real flash that dazzles audiences. The scenery changes, with rapid movements of the scenic elements, moving horizontally and vertically, as in the case of the arrival of King Nebuchadnezzar in Act I, wrapped in a cloud of smoke and on a raised platform that descends slowly. Unattractive and unoriginal is costume design, where Jews appear dressed in black, and dark blue Babylonians guards, who use guns instead of spears, to give the work a sense of timelessness.

proven and energetic address Nicola Luisotti, the head of the Orchester de Valencia, which again proves to be a set of high quality, and this is evident from the excellent performance of the overture: a long page, very attractive, and full of contrasts, where and different musical motifs that will reappear throughout the opera exposed, among them, -with the accompanying minor modifications, the famous chorus "Va pensiero”. The orchestra has an outstanding performance, during the entire performance, shining in moments of intense lyricism: introduction and accompaniment of arias of Abigaille, Act II respectively and the closing of the opera, or Fenena's aria in Act IV. Y, by contrast, It shows an uncontrollable force, in the vibrant end of Act I, when Nabucco bursts onto the scene, whose musical theme -recurrente- and exposed in the opening, It is taken up in the orchestral introduction of Act III, and the coda of the final cabaletta performed by Nabucco, in his great scene of Act IV. Report also, the magnificent orchestral intervention Nabucco and Abigaille duet of Act III and, attractively, and full of contrasts overture Act IV. To address Nicola Luisotti, It is blamed tendency to use sounds in forte. Finally, and in the high level offered by the members of the orchestra, include the splendid performance of the solo flute Alvaro Octavio, and the magnificent intervention Rafal Jezierski cello and Pierre Antoine Escoffier al oboe.

The big winner of these representations, It has been the Neapolitan soprano Anna Pirozzi, Abigaille who composes a great vocal and dramatic stature, the singer has matured in his numerous interpretations of this character, especially, which performed at the Salzburg Festival 2013, with a resounding victory under the leadership of Riccardo Muti. voluminous voice and bright timbre, good breath, excellent ability to regulate the sound, and a treble and treble well placed and perfectly cast, what, even, stand strongly, in moments of greatest orchestral forcefulness. It provides a good command of bel canto coloratura, and meets with expertise deviled octave jumps that punctuate much of their interventions. Makes a great performance in his big scene of Act II, initiated with violent recitative "Well I t'inventi”, to move to the lyrical and intimate singing the aria "Anch 'opened one day" Y, then, show an overwhelming force in the cabaletta "I climb the throne already aurato”. also highlights, his great performance in the duet with Nabucco Act III, inserting in its dialogues with a pleading Nabucco, a vibrant cabaletta, whose musical theme appeared exposed in the initial overture. Anna Pirozzi looks back his vocalism and interpretive force, in the beautiful aria from the opera conclusive "its me, dying, essanime"Exquisite middle voices, and issuing delicate notes "pianissimi”.

I had planned my attendance at the function of the day 10 of May, to hear the Nabucco, sung by veteranísimo Leo Nucci, its still active 73 years, and already become a legend of opera. I had occasion to watch on DVD, his magnificent performance at the Arena di Verona, year 2007, with excellent and temperamental Abigaille of María Guleghina and address orchestral Daniel Oren. Finally, Nucci canceled, It is replaced by last minute David Cecconi, Voice unattractive tímbrico, although well managed, that during the first two acts, He could not project forward. His performance improved significantly in duet with Abigaille Act III, and the great scene of Act IV, noble accents singing the aria "God of Judah!”, and hard and force the cabaletta "O my brave, follow me”.

The role of Zaccaria great vocal and stage requirement, It was played by the Russian bass Serguei Artamonov, who showed an acceptable central register, having serious difficulties in the range of bass and treble and, so, frequent breaks in the eighth, to be performed in its many interventions throughout the work. His performance was not discreet, in scenes of authentic brilliance as the aria "Sperate, or children…"Followed by the cabaletta"As night sun shining"Act I or, the end of Act III "Oh,those who weep?…The future discern in the dark”.

The middle Armenia Varduhi Abrahamyan, in the role of Fenena, She wore a beautiful, warm voice, in his only major, the aria "Oh disclosed is the firmament"Act IV, which shows a delicate and elegant singing line. also note, Speaking at the "terzettino"Act I, Abigaille with Ismaele and interpreted by the American tenor Brian Jadge, powerful voice timbre and brightness, exhibiting, especially, in its vibrant arioso "l”, pertaining to Act II. Correct in their brief interventions Hyekyung Choi como Anna, Zaccaria's sister, el Abdallo (Nabucco faithful officer) from David Fruci Y Shi Zong as High Priest, three belonging to the "Training Center Placido Domingo”.

"The Choir of the Generalitat Valenciana", directed by Francec Perales, He shone high, Obviously highlighting- in his extraordinary interpretation of the famous "Va pensiero”, It ended with an almost unquenchable note "pianissimi". As well, noting their great performances from other great choral moments: “The furnishings Holidays broken down Cadona”, very beautiful invoice, with which starts the opera. As well, el de los Levitas chorus of Acto II "The Damned has no brothers", whose vibrant musical theme, already he appeared exposed in the initial overture. Y, interventions in the concluding concertantes of Acts I and II, or its significant presence throughout the end of Act III.

NABUCCO
Giuseppe Verdi
Palau de les Arts Reina Sofia
Valencia, 10 of May 2015
D. musical: Nicola Luisotti
D. scene: Yannis Kokkos
Lighting: Michael Bauer
Production: Bavarian State Opera
Cor de la Generalitat Valenciana
D. choir: Francesc Perales
Orchestra of Valencia
Distribution: Anna Pirozzi, David Cecconi,
Serguéi Artamonov, Brian Jadge,
Varduhi Abrahamyan, David Fruci,
Hyekyung Choi, Shi Zong.

scenery of the public at the Royal Theatre

“irrepresentable work, made to be whistled ". With these words he described García Lorca his work The public. What manifests the extraordinary complexity that hides the text.

When Gerard Mortier took over the artistic direction of the Royal Theater, He was determined to investigate and think about what would be the literary substrate that represented modern Spain. It was then that he commissioned Mauricio Sotelo the composition of an opera inspired by the work of Lorca. But he did not commission a Spanish opera, but universal, like Federico himself.

And the difficulties and complexities that this mysterious work contains begin in the libretto itself., which is not a script as such, but a handwritten draft that the author gave to his friend Martínez Vidal in Madrid, with the task of destroying him if something happened to him. The manuscript was not destroyed and that draft is all that exists. You could say that it is an unfinished work, since Lorca, exquisite as he was in the formal design of his works, would have defined in him a much clearer idea had he had time.
This takes us to the depths of the most authentic genius, without limits or ties. The most complex, inscrutable and impossible. Raises your deepest sexual conflicts, theatrical and vital in an explicit and surreal way.

Both the composer Mauricio Sotelo, like the librettist Andrés Ibáñez, They have had a complicated task to interpret and elaborate a “coherent” work with those wickers. Always walking on the edge of the razor trying not to fall from either side. For one the original work, surreal, loaded with madness and absurd dialogues, stripped of any logic. And on the other, try to make it intelligible, put it together and give it meaning.

The libretto is a succession of very disparate characters and poetic lines. In it, the differences and preferences between outdoor theater are presented as a metaphor., more conventional, traditional and low risk, and the theater under the sand, looking for the hidden, the furthest thing from conventionalism, almost the forbidden.

To convey all these emotions, Mauricio Sotelo has created an exaggerated and disparate score. The play has superb moments and others tedious. Avant-garde musical techniques have been dispensed with, but spectral melodic lines have been achieved as an acoustic phenomenon at the hands of the percussionist. Augustine Diassera.
The good work of the masters of the Klangforum Wien was at times accompanied by an overlay of electronic sounds that subtly introduced a refined sound through 33 speakers scattered throughout the room. They tried to remember the resonant vessels that were used in Roman theaters to convey affections to the audience with greater intensity..
The end result is a very uneven work. The recollection of some moments and arias lead to authentic sound orgies after a developed arc of tension protagonist throughout the work.
The best thing about the score is, definitely, how two sound worlds as disparate as contemporary music and the most traditional flamenco have been interspersed, interwoven within the harmonic and dramatic texture of the work forming part of it.
Not fused as a folk element, but as the deepest of flamenco roots is all its splendor. This apparent difficulty for singers Archangel Y Jesus Mendez, has been solved masterfully. The pilot whales contained in the score have allowed the freedom of their "complaints".

The guitar of Cañizares has contributed to creating the sound universe dreamed of by Lorca. Making easy something as difficult as adapting to the rhythms and character of the work. "The result is a dialogue, and whenever there is dialogue there is understanding ". Fascinating.
How fascinating is the dance he performs Ruben Olmo interpreting the horse. The perfect choreography of Darrel Grand Moultrie is brilliantly executed, symbolizing desire through his character, who is finally subdued by the Juliet whom he woos.

The address of Pablo Heras-Casado it is magnificent. This work is one of those rarities in which it is essential to have certain keys to interpret its content. Having traveled the Albaizín since childhood, or know the secrets of a seguirilla, give you the authority to order all the elements that this score has.

The work of the singers, given the complexity of the text and the score, it is more than meritorious, for the extraordinary effort they make. Highlight the young voice of Isabella Gaudí, and his coloratura aria.

Very good chorus, with a very relevant role in the last painting in which some of its members participate from the proscenium also actoralemnte.

The scenery Robert Castro it also had ups and downs. Soulless and cold at times, baroque in others and always surreal, like the work itself. The most impressive stage moment due to its background, is where the stage is transformed into a large mirror where the audience is reflected. Perfect metaphor for Lorca's text. A mirror that confronts the public with itself. That public that never participates in artistic production. An audience that also emigrated on this occasion, partly, during the break.

That public upset at being exposed to their own contradictions, fears and prejudices and the masks that hide them. The same fears, contradictions and prejudices that persecuted Lorca. The theater under the sand. The most heartbreaking and heartfelt of theaters. Life…

pictures: Javier del Real
Videos: Teatro Real

The public
Mauricio Sotelo (1961)
Opera under the sand, in five tables and a prologue
Libreto by Andrés Ibáñez on the work of Federico García Lorca
Commissioned and new production by the Teatro Real, dedicated to the memory of Gerard Mortier
D. musical: Pablo Heras-Casado
D. scene: Robert Castro
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
Illustrator: Urs Schönebaum
Choreographer: Darrell Grand Moultrie
Distribution: José Antonio López, Thomas Tatzl, Archangel, Jesus Mendez, Ruben Olmo, Josep Miquel Ramón, Antonio Lozano, Dun-Brit Barkmin, Erin Caves, Isabella Gaudí, Jose San Antonio
Percussionist: Augustine Diassera
Lead guitar: Juan Manuel Cañizares
Klangforum Wien
Titular Choir of the Teatro Real

Hansel and Gretel

A large packaging as a curtain hides the surprise and magic of the story that recreates the music of Humperdinck and the scenery of Pelly. A production of Hansel and Gretel what, since its premiere in Madrid 1901, there had again been represented in this Theatre.
With the denomination of Fairy tale opera (opera-fairytale), Humperdinck plays the adaptation of the tale of the Grimm brothers. Eliminate the steepest parts and preserve the forest as an important element in the German tradition. That magical and romantic place that provides accommodation to the most disturbing dreams and fantasies.

Pelly's delicious scenography manages to transform a situation of extreme poverty for the protagonists, in an endearing fairy tale. The sharpness and imaginative talent of the scenery is reflected in every detail that appears on stage. The house built with cardboard. The forest littered with bare trees and covered in garbage bags. The screens that appear showing the gluttonous dream of children. The magical appearance of fairies. And all wrapped up in music and light that make that scrubbed and dirty forest the mysterious and magical place where all the children in the room had already lost ourselves at that point in the performance.. Only the end of act two woke us up, Of course, hungry.

In the third act, the leading role is played by the large supermarket that replaces the traditional chocolate and ginger house. All of it heaped with succulent junk food. From it arises a well characterized José Manuel Zapata playing the evil witch. Brief but leading role. Show Zapata, once again, his extraordinary ability to play quirky and histrionic characters. Without abandoning the vocal part that skillfully solves. It was for all this the one that obtained the greatest recognition from the public.
The address of Paul Daniel it was brilliant and well worked. Of a great aesthetic neatness to which there would not have been an extra point of sweetness. The orchestra sinned at some point in excess of volume. This punctually spoiled the work of some of the singers. Highlight the openings, the fairies scenes, the music that accompanies the sweet dream of the brothers in the forest, and the splendid moments of tension of the strings evoking the musical transparency of a Wagner conductor and inspirer of Humperdinck.

The pair of brothers composed of Alice Coote (Hansel) Y Sylvia Schwartz (Gretel), they interpreted their characters with great ease, moving across the stage with grace and ease. Alice Coote, with its interesting bass, drew a mischievous and vocally nuanced Hänsel.
Sylvia Schwartz had some problems with the volume of the orchestra, but the agility and subtlety of her voice were perfect for the character of Gretel.
Peter and Gertrud, the children's parents, are played by the Danish baritone Bo Skovhus and the british mezzo-soprano Diane Montague. They form a neat vocal couple and perform well thanks to their stage presence. Skovhus maintains a good projection, but they have increased their difficulties with the lower notes.
Montague made a perfect hysterical mother overwhelmed by the family situation.

The goblins, of the dream Elena Copons, and the dew Ruth Rosique, they were splendid in their brief speeches. Two good voices that we hope to hear more often.

Very well Little Singers of JORCAM from the hand of its director, Ana González, although they moved with enough difficulty around the stage, dresses for the occasion with large padding to make them extra fat.

A delicious production with a good response from the public that left the Happy Theater. A work that provokes a smile full of tenderness.

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

Hansel and Gretel
Elgelbert Humperdinck
(1854-1921)
Märchenoper in three acts
libretto Adelheid bet
Based on the homonymous tale
From the brothers grimm
Premiered in Weimar,
he 23 December 1893
Premiered at the Teatro Real,
He 4 December 1901
Production of the Festival of Glyndebourne
D. musical: Paul Daniel
D. scene: Laurent Pelly
D. scene and costume: Barbara de Limburg
illuminator: Joel Adam
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Bo Skovhus, Diane Montague,
Alice Coote, Sylvia Schwartz, José Manuel Zapata,
Elena Copons, Ruth Rosique
Headlines Choir and Orchestra of the Teatro Real
Little Singers of JORCAM

Image of Death in Venice opera at the Royal Theatre

When Benjamin Britten I was contacted by letter Golo, the third son of Thomas Mann, to request your permission to write an opera based on his work Death in Venice, He did not suspect it would be his last work. Or maybe if. Upon hearing this disturbing work it is not known to what extent Britten was aware of the little time he had left.
Death in Venice is a compendium of all his artistic work starring his alter ego, Gustav von Aschenbach. A victim writer and creative staff and full decline of emotional contradictions.

The main feature of this work is the use of a single main character. With this stagecraft, Britten pursues more eloquently about thinking and sensitivity of Aschenbach. The result is an absolutely introspective work that the stage manager Willy Decker captures extraordinarily, transforming inside Aschenbach monologue in a bright theatrical performance with all symbolic elements described by Mann.
This is an important stage challenge. Their 2 acts and 17 scenes require a fast-paced change, film, Decker performed masterfully. With the conceptual elegance and panache that provides film and that is achieved in this production. The beauty of the scenic pictures, nuanced and surround lighting, the extraordinary direction of actors and attention to detail make Death in Venice a work full of attractive and aesthetic reflections.

The other main character, the score, sound is full of peculiarities. What is striking first it is the role of percussion, that far from being a mere accompaniment, becomes the skeleton and protagonist of the play. The symbolic importance containing the text is also displayed. For example, the young man Tadzio, by which Aschenbach is attracted, and who does not speak throughout the representation manifesting the communication problems the protagonist, It is represented by the vibraphone at the beginning and then the lira. Emotions and moods also have their orchestral representatives within a complex score, disturbing, almost dark, intimate and full of strength.

Another important element in the work of Britten are the many recitatives. It may be more an element of expression of that ongoing analysis and inner reflection, or it may be the composer, and conscious of the deteriorating health, he feared not being able to finish on time opera.

British tenor John Daszak plays a harried Gustav von Aschenbah introspective. And it does so brilliantly. It is not easy role, a character so dark and full of contradictions, which it requires more effort than vocal interpretation. The end result is a well-armed Aschenbach and equipped with the most contradictory aspects of the character.
The voice of Apollo, interpreted by the American countertenor Anthony Roth Costanzo from paradise, It is a little tight but looks good on the character who represents.
Leigh Melrose he played various characters chameleonic way. It shone in all, mainly in the most histrionic, showing great acting talent.

Worth waiting so long to see this production at the Royal Theater. Once again, much of the audience of this theater lets out another opportunity to appreciate an extraordinary work.

Death in Venice
Benjamin Britten (1913-1976)
Opera in two acts and seventeen scenes
Record of Myfranwy Piper, based on the story Der Tod in
Venice (1912) the Thomas Mann
Coproduction of Teatro Real and Gran Teatre Liceu of the
D. musical: Alejo Pérez
D. scene: Willy Decker
D. choir: Andrés Máspero
Director D. scene: Rebekka Stanzel
Scenographer: Wolfgang Gussmann
costume designers: Wolfgang Gussmann, Susana Mendoza
illuminator: Hans Toelstede
Playwright: Klaus Bertisch
Choreographer: Athol Farmer
Distribution: John Daszak, Leigh Melrose, Anthony Roth Costanzo,
Duncan Rock, hope Mentxaka, Vicente Ombuena, Antomio
Lozano, Damian del Castillo, Nuria García Arrés, Ruth Iniesta.

Plasson

Last 16 December the Teatro Real premiere, concert version, Romeo and Juliet, from Charles Gounod. A fantastic night of opera thanks, mainly, to the baton of the Master Michel Plasson. Orchestra won a highly refined sound and a delicacy and romance that managed moments charged with emotion, as the end of the second act. His baton was definitely the best of the night.

In the role of Roméo, role that you know perfectly, Roberto Alagna. His presence on stage is still charged with a certain magnetism. Of great theatrical expressiveness (somewhat exaggerated at times), you could say that his voice is in frank decline. His vocal line is very good, but there were too many details that left her in evidence. Rushed in the treble and some out of tune note. He expected much more in his debut.

Sonia Yoncheva shone like Juliette for the intensity and power of her instrument, who must learn to clamp in some moments. A natural and light emission that grew with the work and reached final moments full of emotion.

Highlight, for its brilliance, a Marianne Crebassa, in the role of Stéfhano. And the worst of the night, Laurent Alvaro, como Capulet, with a very unpleasant emission.

The rest of the cast: Diana Montague, Mikeldi Atxalandabaso, Antonio Lozano, Joan Martin-Royo, Damian del Castillo, Toni Marsol, Roberto Tagliavini y Fernando Radó, were high. All of them helped from the pit by Master Plasson, always attentive and taking care of the singers.

Desirée Rancatore in the Daughter of the Regiment

As rightly says Jaume Radigales in the playbill, “Daughter of the Regiment is a delightfully useless opera ... This work shows that the opera can also be, definitely, Pubic show for all and to have fun without trying to find metaphysical sterile.”

And it is not easy to make a play without much intellectual pretensions without falling into vulgarity or simpleza. This opera shows his qualities dint of representations. This acclaimed production in particular, of Pelly, It has provided a great value. This has also greatly contributed to the adaptation of the original texts has made Agathe Mélinand, updating naive dialogues that have become natural, spontaneous, affordable and timeless.

Paris, 1840, Donizetti. Who considers himself the greatest composer of Italy at the time, after the death of Bellini and Verdi still youth, he was commissioned an opera comique Paris, something that would be essential to devote his career to another level. Write two works, both gender, The faborite is the daughter of the regiment. It is in the latter in which Donizetti makes a great effort to undergo the canons and tastes of the moment. Write a comic opera, popular and with the obligatory love affairs and social criticism.
As recalled by the artistic director Joan Mataboch, the extraordinary success at its premiere at the Opéra Comique in Paris, He raised the ire of Berlioz that he wrote in a Parisian newspaper: “We treated as a conquered country”.

For a work purely repertoire as this consolidates, You need a musical and stage director who work in the same direction, under well-defined codes that left the composer. It is easy to understand the keys to a seemingly simple opera, but it is not at all. And who can better decipher the coordinates of a romantic bel canto work like La Fille du Regiment, it is without a doubt Bruno Campanella, one of the leading experts bel canto and an expert in all its nuances, Hand stage director Laurent Pelly, They have placed this production of Donizetti's opera in a privileged position within the current repertoire.

This is the first time the set designer Laurent Pelly in the Teatro Real in Madrid, and it is presented with one of his most famous and celebrated productions. I find meaning to French patriotism that distills the work, Pelly has placed the action in the First World War and has been able to cull the most tender part of such a dramatic historical situation. Also highlight their figurines, classically inspired, elegant and full of imagination.
The scenery is exquisite. Very full of elements, all essential. without excess, without extravagances, nothing distracts from the scenes. Each item carries the ear and look at the right place. Everything has coherence and sense of theater full of meaning. the brilliance of the set designer is noted Chantal Thomas and choreographer Laura Scozzi.

In a work like this, where the depth of the plot does not exist, It is when they acquire weight and prominence singers. Our particular function corresponds to what we call second deal, which sometimes it is not so.
Desirée Rancatore He did not act in the Real from 2006 and of course, the first thing you can check is the evolution of his voice and his office. Marie is a character for which a light but strong voice is needed. And this is where the difference is marked with the other cast, Rancatore addresses his character boldly. At its tremendous security on stage must be added his strong voice, his handling of the fiendish coloratura and treble of descending with ease while peeling potatoes or is lifted into the air.
The vocal difficulties of Marie occasionally forced him to lie on the mud, Palermo but has character to get out more than airy so many demands. His theatrical ability is undoubted. Able to give the character the spark and character of a young woman with male mannerisms and, both, the melancholy of Marie tenderest. This was demonstrated in the aria of the first act “we must leave”, transmitting emotion and earned him the first night bravos.

Antonio Siragusa, as Tonio, let flashes of a beautiful ring she wore on the high notes. More trouble was in the midtones and bass, that must accompany more and better support. best known aria “To my friends”, not therefore more difficult, It was very well resolved until the last Do, which he looked frightened and which could have looked much more.

Madrid Luis Cansino, as Sergeant Sulpice, It was funny without eccentricities, which is appreciated. He did not have to overreact and be endearing comedy show. Strong and forceful voice accompanied balanced the rest of the cast on the set arias.

Rebeca de Pont Davis He compiled a Marquise de Berkenfield enough. Ewa Podles is not vocally, but it has other artistic qualities. Fun and theatrical without ever leaving elegance on stage.

also he debuted at the Royal Music Director, Jean-Luc Tingaud, and did so with ease and verve. It has great sensitivity that succeeded in passing the pit and the singers. The orchestra sounded bright.

The presence of Angela Molina, playing an evil and cruel Duchess of Crakentorp, It is a more attractive production. his stage presence is noticed, craft and art, that raise the level of theatricality, one of the qualities of this opera.

It was time the public did not enjoy the Royal Theatre and nor was as satisfied. effectively, everything is metaphysical and is already a major achievement that the audience leave the theater with a big smile, but we want everything, the simple and the sublime.

Daughter of the Regiment
Gaetano Donizetti (1797-1848)
Comic opera in back actos
libretto by J. H. Vernoy de Saint-Georges are Jean-François-Alfred Bayard
Estrenada in the Opéra Comique de París, he 11 February 1840
Coproduction of MET in New York, la Royal Opera House Covent Garden
London and the Wiener Staatsoper.
D. musical: Jean-Luc Tingaud
D. scene and costume: Laurent Pelly
Director of stage direction: Christian Räth
scenographer: Chantal Thomas
Word adapter: Agathe Mélinand
illuminator: Joel Adam
choreographer: Laura Scozzi
D. chorus: Andrés Máspero
Distribution: Desirée Rancatore, Antonio Siragusa, Rebecca de Pont Davies,
Luis Cansino, Isaac Galan, Mathieu Bettinger, Pablo Oliva.
Headlines Choir and Orchestra of the Teatro Real.

pictures: Javier del Real
video: Teatro Real

The Marriage of Figaro

The Royal Theatre has started its season having to give explanations to the many changes that are taking the announced new season. Go ahead that the theater has experienced in recent months a complicated situation. The death of his former artistic director, Gerard Mortier, and the appointment instead of the present, Joan Mataboch, They are not an anecdote. As it is not preparing a season with just six months in a world where it is working with much wider margins.
Different programming changes are due to different reasons. The world premiere of The City of Lies, Elena Mendoza, based on texts by Julio Cortazar, it is postponed until 2017 without clear reasons they have been. It falls to the poster Fidelio, This time the charge is Alex Ollé, La Fura dels Baus. Gollescas will be offered in concert version, and not with the staging of José Luis Gómez and the painter Eduardo Arrollo. Hänsel und Gretel at the stage direction is replaced. Initially going to be Joan Font, Els Comedians, and Agatha Ruiz de la Prada managers, Laurent Pelly but eventually will.
also falls poster soprano Natalie Dessay in La Fille du Régiment. Theater here has nothing to do, It was the singer herself who announced his retirement from the operatic stage to devote himself to the recital. In exchange replaces Aleksandra Kurzak, that comes from having a tremendous triumph in Vienna with this same role.
Hopefully new lows will not occur in a season that can be called transition, given the events and difficulties that have marked.

The season begins with a reset (and makes three in five years) production that The Marriage of Figaro He conducted Emilio Sagi.
This work, inspired by a text of the controversial Pierre Beaumarchais, thanks to its expertise in managing satire, He was considered the scourge of the nobility. It would fall during the French Revolution and which had soliviantada with his works and political writings.
Figaro trilogy by Beaumarchais written about representing the socio-political moment that lived Europe. The fall of the aristocracy, represented in the figure of the Count and Countess Almaviva, and the rise of the popular classes, with the servant Figaro starring. These texts were the inspiration for both the composition of The Barber of Seville Rossini, who he was more interested in the first part of the trilogy, The Marriage of Figaro and Mozart, which it was inspired in part.

Mozart decided to instruct his new librettist, Lorenzo Da Ponte, adaptation of the text for opera. there were many changes introduced in Da Ponte's work, especially to get down from the high tone critical and transforming it into a comic book. The opera premiered in Vienna 1786, just three years before the start of the French Revolution. Composer and librettist collaborated later in Cosi fan tutte and Don Giovanni.

The scenery saga It is classic and conventional. At some point it bare, but the responsibility to fill this stage although scarce items, It is not so much of the stage manager, but the artists themselves.

At the classicism and romanticism that does have the scenery, They contribute greatly beautiful wardrobe Renata Schussheim, and adequate lighting Eduardo Bravo. Emilio Sage knows his works give brightness and showiness. This time, a body incorporating dance and castanets, They give the work a pure-blooded touch that gave life to the work.

While Ivor Bolton It is an excellent director, Le nozze di Figaro these can not say I've got the right tempo and much less with the character of the work. His leadership lacked spark and verve from the overture off. He had no spirit, What it is unforgivable in an opera buffa as is this. To his credit that was pending at all times of the singers.

With Andreas Wolf We have witnessed the representation of stiff Figaro most tasteless and has been. As sparkling as Figaro character can not be solved so rigidly. His voice is nice, sometimes beautiful, but a character with such dramatic importance requires, not only an effort in interpretation, Also qualities for it.
Sylvia Schwartz It was a Susana at the height of Figaro, if not by conviction or influence it, but they made good partner in the lack of expressiveness in the interpretation. The strength of her voice does not succeed this time with the character.
Luca Pisaroni, as Count Almaviva, It was the best of the night with the Countess, Sofia Soloviy. Gala both made good job on stage, but mostly, thus they are endowing his characters packaging and distinction. Soloviy was applauded in some of his arias, especially in "Dove sono", for its musical quality and extraordinary legato.
Elena Schneiderman Nor he was brilliant with his Cherubino. far too, like the rest of the cast, of comedy that characterizes this work and the mischievous spark of his character that goes almost unnoticed I.
The rest of the cast was lost amid the boredom of representation. Attempts to José Manuel Zapata by recreating a jocular and humorous Don Basilio, They were not enough.
Some interpreters without looseness, hard, without giving rise to the slightest detail theatrical, offer only result boredom for an audience that reaches the Teatro predisposed to the enjoyment.

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.
D. musical: Ivor Bolton
D. scene: Emilio Sagi
Scenographer: Daniel Bianco
Costume designer: Renata Schussheim
illuminator: Eduardo Bravo
Choreography: Nuria Castejón
D. choir: Andrés Máspero

Distribution: Luca Pisaroni, Dofia Soloviy, Sylvia Schwartz, Andreas Wolf,
Elena Tsallagova, Helene Schneiderman, Christophoros Stamboglis,
José Manuel Zapata, Gerardo López, Khatouna Gadelia, Miguel Sola,
Pilar Moránguez, As Continents.
Choir and Orchestra of the Teatro Real holders

perelada

Andrea Chénier Jonas Kaufmann
(Diego Manuel Garcia Perez-Espejo)

He Festival Peralada Castle It held its XXVIII edition, with a program of high-rise, which opened 11 of July, with the recital of tenor Piotr Beczala and soprano Erika Grimaldi, with the Cadaqués Orchestra directed by Marc Piollet. Beczala began hesitantly concert aria how demanding the "Tombe degli'avi miei" of Lucia di Lammemoor, without being able to project good voice. In his second intervention significantly improved, to cope with the vigor and intensity and in the best Verdian style "recitative-aria Forse the attinse soglia……Ma se m’ lose strength ", belonging to A masked ball.
Erika Grimaldi, he faced with great elegance the difficult aria "S'allontano Alfin…opaque jungle "of the Guillermo Tell from Rossini. The concert raised temperature, with good performances of both singers, the entire final scene of Act I of pucciniana Bohemian.
Ya, in the second part, Polish tenor focused on the French repertoire where he wore his beautiful voice in the aria "L'amour! Oh Love! Leve-toi soleil "of Romeo and Juliet from Gounod, and "Porquoi révieller me" of the Werther from Jules Massenet, sung with melancholy accents and showing his stylistic and idiomatic mastery of this repertoire. He also exuded good taste and excellent line singing "Pays merveilleux…A Paradise "by The African from Giacomo Meyerbeer.
Erika Grimaldi played with style and expressiveness the aria "Voi piangete….to guide me sweet "de Anna Bolena from Donizetti, y "He returns not yet… I do not know the gloomy images "de Il Corsaro from Giuseppe Verdi.
Beczala and Grimaldi joined their voices in the beautiful duets "Va, I have forgiven you "to Romeo and Juliet, y "It is late…adieu! I imploire you in vain "del Faust Gounod. Marck Piolet got a discreet performance of the Orchestra of Cadaqués, playing in the first part of the Intermezzo Cavalleria Rusticana, and second Waltz Fausto. Either program the two singers performed the beautiful duet "Lippen Schweigen" of The Merry Widow from Franz Lehar and the famous "Brindis" La Traviata.

He 25 of July, and in the Church of El Carmen Peralada, there was the memorable performance of countertenor Xavier Sabata, Next to the Evening of Baroque Orchestra Arnadi, with direction from the key Dani Espasa. The concert was entitled "Furioso or the footsteps of Orlando". Xavier Sabata showed her beautiful timbre, with a refined technique to master song ornamented, All this combined with a great theatrical performance He's a consummate actor- that deal with fortune allowed each of the five pages of the Orlando from Händel, highlighting its interpretation of "per the man Giah d'Orlando…..Already the drunken my brow ", full of expressiveness and delicacy. As well, "Ah Stigie larva", introducing a beautiful bass and cello, and where the artist showed his excellent singing line, giving prominence to every sentence, every word, and showing unsurpassed theatrical, with looks of pure madness. In "Verdi allori unito semper" executed trills with rare perfection, and an absolute mastery of the melisma on "Fammi combattere", or en la página "If the happy sortisce deception" to perteneciente Ariorante Handel. El Air "Arise the angry cloud" of Orlando Furioso from Antonio Vivaldi, It was one of the great moments of this concert, with a bright introduction and orchestral accompaniment, and where the singer again showed his great acting ability, and absolute mastery of the melismatic singing. The orchestra, well directed from the key by Dani Espasa, He had a lucid performance with the performances of the Concerto grosso Opus 3 No 3 Handel, and Concerto for two horns of Vivaldi.
To loud and long applause from the enthusiastic audience that filled the Church of the Cármen, the artist sang outside the program aria "Cara sposa" from the Rinaldo Handel, She is singing conferring an aura of melancholy sad, which contrasts with moments when the voice takes on a tone of unusual violence. In summary, Xabier an absolute triumph of Sabata in the concert that supposed its debut in Peralada.

The festival had its two large events lyrical day 26 July 3 of August, respectively representing Andrea Chénier from Umberto Giordano, and the German tenor recital Jonas Kaufmann.

Aristocratic verismo Andrea Chénier

AndreaChenier

Before the start of Andrea Chenier, the organization of the festival conveyed his sorrow over the death Carlo Bergonzi. Disappears one of the greatest tenors of the twentieth century, belonging to that extraordinary generation formed by voices like: Maria Callas, Renata Tebaldi, Victoria de los Angeles, Joan Sutherland, Fedora Barbieri, Franco Corelli, Giuseppe Di Stefano, Alfredo Kraus, Ettore Bastianini, Piero Capuccilli, Dietrich Fischer-Dieskau, Hermann Prey, Cesare Siepi, Nicolai Ghiaurov, and only left alive: Nicolaï Gedda, Leontine Price Y Christa Ludwig.

Andrea Chénier It can be ascribed to the so-called verismo movement. When you talk about <<Verismo>>, immediately associated with titles like Cavalleria Rusticana from Pietro Mascagni Y Pagliacci from Ruggiero Leoncavallo, which they arise with all its rawness, truculent situations and the most hidden passions that affect humans, It is its main characters of popular extraction. There is also a <<verismo>> aristocratic court, where the features outlined above, without losing a bit of drama, They move to stage more refinement and sophistication. Participate in these operas features like Andrea Chénier Y Fedora ambas de Umberto Giordano, next to Tosca from Giacomo Puccini Y Adriana Lecouvreur from Francesco Cilea.

This assembly Andrea Chénier It is a coproduction of the Festival of Peralada ABAO (Bilbaina Association of Friends of the Opera). Very suitable and full of symbolisms, is the set designed by Ricardo Sánchez Cuerda, embodying the ideas stage director Alfonso Romero Mora, and showing a single space, that changes depending on the development of the action: during the course of Act I, It is presented as the ballroom where a party takes place in the palace of the Countess of Coigny, with the roof cracked and sloping floor, heralding the future collapse of a decadent class, to succumb to the pressure of the French Revolution, and budding. Appears that roof and demolished in Act II, as a clear allusion to the chaos produced during the period of terror. In the third and fourth acts the initial decorated has become respectively, in the hall of the Revolutionary Court, and a prison where ironically Magdalena de Coigny- it will be caught by Chénier, in the ballroom of his own house converted into prison.

Andrea Chénier It has been called <<Opera tenor>> since the protagonist, He has to sing four arias in as many events. Opera buffs have in mind, the great creations of the revolutionary poet made in the past century Beniamino Gigli, in the thirties and forties, and by Franco Corelli in the fifties, sixties and seventies. As well, interpretations Mario del Monaco Y Richard Tucker. Y, in more recent times, those of Placido Domingo Y Josep Carreras. So, for poetry and voice timbrada Marcelo Alvarez, It could be a challenge to face a role as Chénier, which it requires a lyric tenor character spinto. In the Argentine tenor lacks that great dramatic thrust, at times, It requires the character. However, He resolved remarkably and boldly his hard part, highlighting their solos: the famous <<Sudden>> the Acto I "One day all blue space", offering a line of singing full of expressiveness, alternating lyrical sections, with other stronger dramatic content. The same is true of the emotional aria from Act III "Sì, I was soldier….Transfer my life like a white sail ". He got his best performance in the arias "Credo a possanza arcana" of Act II, y "Like a beautiful day in May", of Act IV.

Hungarian soprano Csilla Boross, who he debuted in Spain, It is in possession of a good vocal media and a not inconsiderable scenic capacity, doing an excellent interpretation of Magdalena di Coigny, managing to capture the deep psychological evolution of the character. His performance was less to more, and in Act II and offered a good and nuanced interpretation of the aria "Erabate possente", until you reach the famous "La mamma morta" from Act III, excellently sung. Y, Marcelo Alvarez very attuned to, in the beautiful duet of Act II "Udite! They are single!…Now suave, Now sublime love ", and that's it, to the end of the opera, in the intense, vibrant and snatched "Vicino a te s'acqueta", in both cases with great performances of the two singers.

Carlo Gérard It is one of the great baritone roles for the entire repertoire, and brightness greatly Carlos Alvarez, both from the vocal point of view as a theater, and from the very beginning of the opera "Son sessant'anni, o vechio”; Y, moving with great elegance on the stage in his big scene in Act III, culminating with a great interpretation of "Nemico della patria", seguida of dúo "I t'voluta whenever one of you little one", with a pathetic and pleading Magdalena de Coigny.

Andrea Chénier is an opera with many characters, some of them with important interventions as in the case of Bersi mulatta, well played by the Catalan mezzo Mireia Pintó, singing at the beginning of Act II "Temer? Why". The half Galician Nuria Lorenzo López He also had an outstanding performance in his dual role as Comtessa I Coigny; Y, especially, like the old Madelon in his speech of Act III "are the vecchia Madelon". Valeriano boats He offered his powerful vocalism as Roucher friend Chenier. While the rest of the performers. Destacar el precioso concertante of Acto II "The woman you asked me to look", with the participation of the choir of the Liceu, very toned throughout the performance and directed for the last time Jose Luis Basso. The delivery of the Liceu Orchestra, directed by Marco Armiliato, had good moments and others less fortunate, with some sounds that made it difficult to hear forte singers. A real shame, since this beautiful score allows the showcasing of an orchestra.

The beautiful, warm voice of Jonas Kaufmann

Kaufmann_08

Quite an event was the recital Jonas Kaufmann, with his usual collaborator Jochen Rieder, to the front of the Cadaqués Orchestra, which opened the concert with the performance of the overture The Cid from Jules Massenet, page orchestral brilliance with indubitable Wagnerian influences. Kaufmann see centro one Giuseppe Verdi, during the first part, starting his performance with the aria "Io l'ho perduta…I saw her .. ", from Don Carlo, where he showed her vocal and dramatic ability to enter Verdian style of singing. Then the orchestra performed the first part of the ballet that Verdi composed for the French version of The Troubadour, which it served as a prelude to the interpretation of the "recitative-aria Il baleful omen….Ah! And, ben mio…"In this opera, well sung by German tenor, although with some problem tuning in <<Half Voice>> closing the recitative and, as well, some difficulties in the agility required in this aria complicated. Kaufmann was one of the brightest moments of the entire evening, with interpretación of the recitative-aria "Life is hell… Oh you who have breast angels…"La forza of the destiny, preceded by the long orchestral introduction, in which he shone the clarinettist John Moon Enrinc, and where he knew tenor masterfully alternate singing and piano forte, to run the final note of the aria in pianissimi, and gradually open the sound Forte, He is sparking the enthusiasm of the public.
Showing his versatility, Kaufmann closed the first half with a page of the French repertoire: the beautiful aria "Ah! All is well finished…..sovereign O, ô jude, pere…" from The Cid Massenet, elegant phrasing sung, great musicality, with round sharp and well placed.
Apart from the aforementioned fragments, the orchestra performed during the first part of the overture The force of Destiny, and genuine curiosity: Micaela's aria from Act I of Carmen, where the concertino violin replaced the soprano.

The second part was devoted to the Wagnerian repertoire pages, starting with the overture The Flying Dutchman, well played by the orchestra, seguida del monólogo de Sigmund "A sword promised me the Father", from La Walkiria, sung by Jonas Kaufmann with real power and emotion, alternating sections of great dramatic content -Awesome when repeatedly utters the word "Wälse- with others of intense lyricism, always well accompanied by the orchestra. Impeccable turned its interpretation of the two Wesendonck Lieder: "Pain" y "dreams", the first sung in a voice expansive lyricism, and second, displaying a ridge line of extreme delicacy, with some beautiful pianissimi. Exciting and full of drama was her rendition of "Amfortas! The wound", from Parsifal, where the tenor sang with subtlety and variety of accents. The orchestra during this second part, and with commendable results, It sandwiched Prelude Act III Meistersinger and Prelude Act III Parsifal.

Given the intense and repeated applause, Jonas Kaufmann felt generous adding to the program four tips. La primera "Donna non vidi mai" de Manon Lescaut, exquisitely sung. He followed the famous lament of Federico "storia e la solita of PAStore" of La Arlesiana from Francesco Cilea, with a full interpretation of melancholy accents, sandwiching sbellísimos pianisimi, and displaying a magnificent record high. The tenor concluded his performance with two pages of operettas Franz Léhar: "I am happy to nab the Frau'n gekusst" perteneciente a Paganini y "Yours is my heart Gance's" de The Land of Smiles, where he squandered musicality and good taste. Anyway, a magnificent concert.

(Diego Manuel Garcia Perez-Espejo)

 

 

“Dance risk of dissolving if it continues narcissistically contemplating herself .... The boundaries between theater, plastic, dance and literature are blurred in a mirror restores its enlarged image and, to some warped point of its own origins being and not being ballet, being and not being theater, plastic, dance literature and even philosophy”.
(Adolfo Vasquez Rocca, Pina Bausch: Abstract dance and Analytical Psychodrama)

Gluck wanted through his work to reform opera he had hitherto marked the baroque. Would lighten everything that was fitting and that only served to overloading. In Orfeo y Euridice (1774), like in Ifigenia in Tauride (1781), I wanted to put on an equal footing the various elements that made up, and thus he expressed it: "The voice, the instruments, all sounds, even silence, must serve the same objective, The expression; and unity between words and song should be so narrow that poetry does not seem to be less important than the song, music or poetry unless ".

Pina Bausch, the German dancer and choreographer who revolutionized European dance history of the twentieth century, He elected in 1975 the first version of Orpheus and Euridice who composed W. Gluck 1774, creating a danced opera in which coreógrafa marking is respected principle in their compositions Gluck. uniting, to artistic expressions that conform, Dance. Building makes a parallelism between voices and dancers resulting in the fusion of both elements on stage.

This version, in which the gods do not allow the meeting of lovers, Bausch was divided by four pictures, Duel, Violence, Peace and Death. Reflecting from the outset the prominence it gives Bausch emotions produced by dance. In the same way as Gluck, Pina Bausch dance stripped of all accessory. The result was the essential. That place from where only geniuses depart to build their works.

In the first scene, "Duel", Euridice appears on a high chair, still, with an aesthetic almost of Andalusian Macarena. A dry tree with its roots appears lying on the stage. This being an element with a great symbolic load. All this inside a large white cube where the dancers begin to unfold. They give way to "Violence". The forces of hell are those involved in this act. The Furies weave the labyrinth with white threads while the dance of the “Can Cerberos” takes place, who guard the gates of hell so that the dead cannot leave, and the living cannot enter.

Then comes the "Peace", the moment of recollection between Orpheus and Eurydice, although they are aware that the moment of separation is approaching. It is also a moment of calm after the intense and violent scene of hell.
At the moment of "Death", like the previous ones, is loaded with intensity, Eurydice appears dressed in red and Orpheus appears content and taciturn. The Can Cerberos appear again, preventing Orpheus from accompanying Euridice on his journey to hell., separating them forever.

The voices, essential elements in this danced opera, were high. Maria Riccarda Wesseling, played an intense Orpheus, dramatic, powerful and full of expressiveness. It was the most acclaimed by the public. His dancing Orpheus Stéphane Bullion Y Nicolas paul they were very contained in some moments, Bullion even bland.

Yun Jung Choi, como Euridice, has a magnificent and well-timbred voice, powerful and agile that, united to the expressiveness of Marie-Agnès Gillot Y Alice Renavand, they built a Euridice full of plasticity and emotion.

The role of love was played by a Jaël Azzaretti loud and unpleasant voice. Far from the elegance of Charlotte Ranson, that with its movements gave life to the most delicate love.

A magnificent musical direction by Thomas Hengelbrock leading his orchestra and choir, Balthasar-Neumann-Ensemble and the Balthasar-Neumann-Chor. An orchestra nothing massive but enough, and a choir from the pit without score, elegantly it resolved the most dramatic pieces of work.

Delicate exquisiteness with which the National Paris Opera Ballet interprets the creation of Pina Bausch, It has been received by the public of Madrid with enthusiasm and great recognition. hopefully the Teatro Real become tradition the presence of the best dance companies each season. Something that has also become accustomed Gerard Mortier. Brigitte Lefèvre, Director of the Dance of l´Opéra de Paris, remembered the missing Gerard Mortier and Pina Bausch referring to them, "We always had his eyes and his spirit, and we no longer have them. I am very optimistic because I think both are there somehow, that is art ".

Tales of Hoffman at the Royal Theatre

E. T. A. Hoffmann (1776-1822), that writer, composer, orchestra director, tenor and remarkable jurist, He earned his greatest artistic recognition for his role as writer. He was part of the Romantic movement and his works, a disturbing style between humor and terror, They influenced the work of other renowned writers like Allan Poe or Gautier.
They were just some of his stories chosen by the French composer Jacques Offenbach (1819-1880), to be set to music. Specifically three of his stories: "The Sandman", "The counselor Krespel", and "Night Adventures San Silvestre", They served as inspiration for Tales of Hoffmann.
Offenbach died when he had just finished a third of the work, but he left a lot of written music, enough for at the least three more operas. This is the main reason why there are multiple versions exist Stories. According to the director Cambreling, some of the versions that have been made so far are not of the friendly all with the original libretto. For him the work is like a big collage, elements glued together. Parallel stories that have nothing to do, necessarily, each other. With this premise have made this new adaptation of the version of Fritz Oeser. The main effort was to respect the maximum surrealism of the original script. And they have succeeded, I do not know if you respect the libretto, but develop a surrealist work, full of content and disjointed details that make it difficult to follow an argument that it's, per se, devilishly complicated.

He has found inspiration this time Marthaler in the halls of the Fine Arts in Madrid. Place that were quoted by Mortier to begin work on site, as this is a place where different artistic disciplines are intertwined in a chaotic manner suggestively. And this confusion is based on delicate on which is built the collage missed by Cambreling and Marthaler. If the purpose was confusion, the result is excellent.
The play takes place in a unique setting where different areas are reflected in the Fine Arts. Cafeteria, the playroom, the painting room, by parading models to be portrayed and an initial transfer incessant chorus walking onstage and visitors of the Circle. All in the nearly ten initial minutes elapse without music.
Stage, although it loaded with all kinds of distracting elements: singers, extras, props, among other details, It does look decaying, lonely and sad that it is mainly due to the lighting Olaf Winter. This accentuates the tragic background of the work, while they have played almost all the humorous aspects, which they are few in this work, and lightens the underlying drama. Nor they have taken into account important key scenic, as the scene of Olympia, which it has been deprived of his mechanical problems contributed fantasy tale to the scene. The large empty space up, very industrial and very pleased to Marthaler, ends of cooling the environment.

The box singers is balanced and homogeneous. A work as coral (never better said) requires a strong team secondary voices, and in this production this requirement is met.
The first character is involved Anne Sofie von Otter, which is divided between the Musa and Niklausse. It is always a pleasure to hear, although on occasion it is fully covered by the orchestra. His characters are somewhat bland but retains its elegance on stage and a beautiful bell, at this stage of his career, It will be much more interesting performances in operas complete.
Eric Cutler Hoffmann interprets a craven that sometimes seems to wander around the stage. Its emission is uneven throughout the representation, but overall, his character correctly solved. At sharp they lacked intensity, but it was less to more, especially in the second act.
Measha Brueggergosman fronted papers Antonia and Giulietta. He managed to endow each of the characters in the nuances and personality enough to differentiate. He created a deep Antonia and Giulietta sultry. Your records will allow ample voice to obscure the taste and this time there was excess power. Its ability to enhance the expressiveness dramatization characters.

Ana Durlovski
It was the most applauded with his devilish Olympia. Although slightly strident timbre, dominates the coloratura of her aria, to which he did not miss a single note. Too bad the playwright Ubenauf decided to strip the character of its elements dreamers.
Vito Priante He struggled with his four villains and good characterizations, credible in all. Her voice is versatile without being too dark. It was diluted as they moved acts.
Jean-Philippe Lafont, Maestro Luther and Crespel, he moved on stage with some difficulty and his voice is almost as tired as he.

Christoph Homberger
He solved his four characters very correctly that, because of the lackluster scenery, They were poor and boring.
Spalanzani occurrence that has been played by an actor (Graham Valentine) and not a singer, I could not have been a bad idea if they had not been wandering around the stage without further. An actor badly exploited and wasted an opera singer.
Gerardo López He does not have a great voice but his sharp have a nice metal. Nasality you must correct their midtones.

This has not been the best performance of the choir, It was much better the acting part and strangely enough had to move with their ridiculous characterizations.
Orchestra in the hands of for Drömann It rang with precision and energy. Accelerated at times, Nor it will go down in history Theater.

It was the last opera staged who scheduled Gerard Mortier. It wanted to make his mark, if you can identify and, a través del Person poem (under the name of Alvaro de Campos) "Ultimatum" which recited by Costa Rican Altea Garrido, just he drew attention beyond the weirdness.

The d'Hoffmann tales
Jacques Offenbach (1819-1880)
Opéra fantastique in five acts (1881)
D. musical: for Drömann
D. scene: Christoph Marthaler
Lighting: Olaf winter
Playwright: Malte Ubenauf
choreographer: Altea Garrido
D. choir: Andrés Máspero
Distribution: Eric Cutler, Anne Sofie von Otter, Vito Priante, Christoph Homberger, Ana Durlovski, Measha Brueggergosman, Altea Garrido,
Lani Poulson, Jean-Philippe Lafont, Gerardo López, Graham Valentine, Tomeu Bibiloni, Isaac Galan.

Lohengrin

"This opera conquest throughout Europe in a very short time, and even Verdi attend, fascinated and hidden in a box, the premiere in Bologna, directed by his friend Mariani. The reasons are in sight: from a musical point of view, sounds are heard hitherto unknown, both the prelude and the desecration of the gods by Ortrud and narration about the Grail Lohengrin, and naturally one of the most complex choruses from Bach with the appearance Swan "ein Wunder, a wonder…". From the dramatic point of view, opera meets all the desires of the bourgeoisie then, Restoration disappointed by Metternich and the "juste milieu" of France; frustrated in his desire for a new world order, convinced of the special place of the artist but also his loneliness (Lohengrin), afflicted by melancholy arising from the frustration of unfulfilled utopia. And all this reflected in oversized forms and also used Meyerbeer, although this will fail to provide them with more than a similar efectismo the current Hollywood productions.
Lohengrin is an incredibly sad work, because at first it promises the realization of a new world and end, as Elsa, We abandon us to our loneliness, because society could not find the courage to follow the requirement of the artist, Utopian messenger Grail castle: "No I never interrogate". Elsa wants to know instead of believing, and therefore it can not be released, while Lohengrin must return to his ideal realm of the Grail castle alone ... as Wagner in exile. "
(The eternal struggle between truth and glare Theater, Gerard Mortier).

Gerard Mortier's enthusiasm has led to the present Teatro Real, for the first time, own production of the most romantic work of Wagner, Lohengrin.
This is a work that develops all own archetypes of romance, the tragic fatality, the medieval legend, the contrast between the divine and the human and a dark and eerie atmosphere.
Like the ancient Greeks reality expressed through legends, Wagner, emulating the Greeks, He tried to express the universal truth also using legends. Where appropriate, medieval legends of German origin with one of the topics that most interest aroused in him, The Holy Grail.
Lohengrin is a work that marks a turning point in the music of his time, because it will trace the operatic style of the future. A novel instrumentation in which Wagner no longer up to the classic mode, but it creates different musical levels as shown significantly prelude, where the strings, They are divided and grouped creating a different sound, only, Wagnerian distinctive instrumental.
Wagner had to flee Dresden, where he planned the show opened, after participating in the Revolution 1848. Before he had left written all kinds of information on the orchestration and staging. For this new production Real, They have taken into account all these sources to be thoroughly faithful to the ideas of Wagner himself.
Some of these indications have been faithfully respected, as the appearance on stage of 12 trumpets, or the composition of an extraordinary chorus, by number of members and volume of sound.

The first thing that draws the attention of this production is the use made of the stage. Lukas Hemleb Y Alexander Polzin They have created a scenery away from the static sense we can imagine in a production of this size. The result is a totality, a romantic universe almost sculpted hands Polzin himself in his role as sculptor. They have achieved a particular balance, mystical and legendary, which can not be identified with any present time, not historical. It is out of time and fills a spontaneous form of sensitivity.
It was certainly the Master Hartmut Haenchen the most deservedly cheered after the performance. He managed Orchestra titular one of his best performances since the reopening of the Teatro. the overture, a tension and overwhelming intensity, only it surpassed by a final full of magnetism, It is transmitting the same work as a whole. The experienced German director, extracted orchestra sound full maturity, product of evolution that this body stable theater has experienced in recent years.

Coro del Teatro holder, Coro Intermezzo, strengthened to address the volume of sound required Lohengrin, He had an extraordinarily important role, especially the male choir. He moved around the stage like a living body unit, in the great cavernous stage. The quality of this choir, conducted by maestro Máspero, It never ceases to amaze. The quality achieved great places him among the best in Europe, something that may have to be thankful, as well, Gerard Mortier.

The set of key voices was balanced and a high level. the tenor Christopher Ventris, as Lohengrin, You can not qualify as a voice specifically wagneriana, but he contributed a heroic tone, plus a light metal which is always welcome in these characters. He lacked emotion in some passages but color has a beautiful voice.
Catherine Naglestad he played a very believable in their naivete Elsa. Sweet excess, It has a brilliant highs and expressive.
Deborah Polaski as Ortrud shone high. A magnificent dramatization made her the most evil far. He managed to be the protagonist in each of the duels he had with the other major voices. His experience on stage voice softened some lack, especially in the high notes.
Franz hAWLATI as King Heinrich has been a pleasant surprise. The German baritone has improved since his last speeches in this theater. This time his performance has been very correct.
Thomas Johannes Mayer, as Telramund, He had a flawless first act and a compelling dramatization. This German baritone possesses a powerful and deep voice filled with intensity their interpretations.

The end result is a round work, seeking total art that Wagner pursued his compositions. Do not get it, but the result is more than worth to pay tribute to his inspirational, Gerard Mortier one floating in the air.

Lohengrin
Richard Wagner (1813-1883)
Romantic opera in three acts (1850)
Libretto by the composer, Parzival based romances, de Wolfram von Eschenbach, and Lohengrin, anonymous author
New production of Teatro Real
Obituary Gerard Mortier
D. musical: Hartmut Haenchen
D. scene: Lukas Hemleb
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
illuminator: Urs Schönebaum
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Christopher Ventris, Catherine Naglestad, Thomas Johannes Mayer, Deborah Polaski, Franz hAWLATI, Anders Larsson, Antonio Lozano, Gerardo López, Isaac Galan, Rodrigo Alvarez

isa Marcello

The last Sunday 23 of March, at 18pm, he National Dissemination Center Musical (CNDM) He is closing the current edition of its cycle BAROQUE UNIVERSE Symphony Hall in the National Music Auditorium with an unprecedented program in Spain: the version written in Rome 1720 Opera Tito Manlio from Vivaldi. To this end, it has had some of the leading voices of national and international baroque scene, he Concerto de´Cabalieri, directed by Marcelo on Lisa and voices Maria Espada, Ann Hallenberg, Vivica Genaux, Magnus Staveland Y Nerea Berraondo.
The recovery of a lost opera Tito Manlio (Version of Rome, 1720)
As it very well says Frédéric Delamea , "During Carnival 1719, being maestro di cappella of the Austrian prince Philipp von Hess-Darmstadt, governor of Mantua, Vivaldi composed the music for an opera to be performed at the Teatro de la Villa de Mantua. The opera was titled Tito Manlio and was composed on a libretto by the poet Matteo Noris. this booklet, which he was put to music for the first time 1696 in Villa de Pratolino Florence, He had already obtained a huge success by the theaters of Venice, Ferrara, Livorno, Naples, Genoa, Verona, Reggio or Turín.
The success of the work was due both to music and to the libretto, which cast a whole new light on the tragic opposition between the Roman consul and his son Tito Manlio, as it narrated by Livy, through a frame cleverly constructed around the shadows and highlights of Vertus romaines, founding and unifying values ​​of the young Republic. Thus, It was almost natural for the following year, 1720, the Teatro della Pace in Rome made to Vivaldi, and Red Priest, his first Roman custom, to compose a new opera Tito Manlio on, based on the same libretto by Matteo Noris music but totally new and different from the composite Mantua.
The invitation was received by Vivaldi, anyway, particular conditions: Vivaldi accepted, but according to common practice of the time the opera was written in collaboration with two brilliant Roman composers, Gaetano Boni and Giovanni Giorgi, who made important contributions to opera. Vivaldi was commissioned to write the music for the third Act of this new Tito Manlio, but he certainly supervised the other two acts, respectively entrusted to Boni and Giorgi.
Unlike the Mantua score, the music of Tito Manlio of Rome was unfortunately lost, but its musical wake has come down to us through a recent discovery of three collections of arias in Rome copied and kept in various libraries in Europe that made it possible to revive the opera. Today it is possible to identify more than twenty arias, two duets and a choir, that offer a vivid and enthusiastic image of this work and allow its reconstruction in the form of a recital of arias and ensembles, respecting the dramatic chronology of the libretto.
The representation of this magnificent lost and recovered work is the occasion to reveal the last dramma per musica still unpublished by Vivaldi. This also allows, thanks to the reputation and fame of the famous Venetian, rescue from the shadow two brilliant Roman musicians forgotten but of whom, thanks to this collaboration, we can show his enormous talent. "
Although the work as a whole is extraordinary, without a doubt the genius was Vivlaldi, and so it is reflected in the significant differences between the first two acts, Boni and Giorgi, and the third, composed Vivladi. The arias, of extraordinary beauty and complexity in this third act, pose a challenge for interpreters.
Maria Espada, who played Vitellia, It has a uniform technically voice, high strength and expressiveness. Extremadura thrilled with some of the most beautiful arias of the work. A clear voice, smooth and full of nuances.
Alaskan-born mezzo-soprano Vivica Genaux played Manlio. It is one of the strongest voices in the universe Baroque. His first aria was excessive reverberation, but it was less to more and gave a dramatic aria in the third act of great emotion. Mastered his instrument with great ease.
Ann Hallenberg, as Servilia, demonstrated mastery of acute records also demanded the character. Like the rest of the cast, he looked more in the arias of the third act, more complex and elaborate.
Norwegian tenor Magnus Staveland, He recreated a somewhat intemperate Tito to the beginning. Tuning their problems were resolved over the work until a final aria of great emotion.
Nerea Berraondo played Lucio. It was the surprise of the night. It has a long record, bright treble and bass cavernosa. Too bad his voice low volume, especially in agility, and the second of his two arias where little was heard. Is this an aspect, the voice volume, which can affect the career of a singer. Let's hope that is not the case with Nerea Berraondo since she has a beautiful instrument.

Alceste

“Whoever wants to listen to music in 'my' operas to stay at home and put helmets ".
With these words the set designer was dispatched Krzysztof Warlikowski in a recent interview on ABC. More than a declaration of intent, I would take this comment as a recommendation.

This is the second version of Alceste, one of the operas reform Gluck, premiered in Paris in 1776, in which notable differences can be seen with the first version in Italian. a little lost vocal virtuosity of the performers and the beautiful melodies, to vindicate, according to the composer himself, “simplicity, the truth and the absence of involvement”.
On the more technical aspect of the score, in the new French version of some characters disappear, others appear and modify the second and third acts. The taste of the French public took the time to make some concession Gluck introducing ballets and pantomimes that just now account. an obvious transition begins therefore between Baroque opera and classical, marking the conceptual and aesthetic aspects that define the way of the future opera.
In this version, darker and austere than the first, Gluck shows greater fidelity to the drama of Euripides. In her, the tragedy and the emotions reach a higher intensity.

Krzysztof Warlikowski He has moved the scene today. Alceste is now Lady Di. On a big screen, the dramatization of the famous and controversial interview in which convulsed unveiled the secrets of her marriage to Prince Charles projects. Projections accompany the course of the work by enhancing the dramatization.
Warlikowski is one of those registas to lack only go on stage. Or maybe not, it gets all the attention of the work to focus on his work and his person. Makes a genuine manipulation of the libretto by François-Louis Gand Le Blanc. Rectify allowed librettist and composer adding text to better adapt to your current criteria. Frivolous dramatic Origin representing Hades turned into morgue, where sex scenes post mortem distracted throughout the third act.
But the greatest moments of confusion and they start in the first act, especially from the scene of the banquet. When, suddenly, a flamenco tablao is mounted on one of the most emotional moments. From now on, all the work is trivialized and it is difficult to get into the music composer approaches. To all this must be added an annoying and cold lighting that contributes, as he usually does this set designer, to create an environment inhospitable and intemperate.

Ivor Bolton
performs an extreme concentration exercise. First, because the spotlights focus on it after being presented as principal conductor from the season 2015-2016. Secondly, because it is very difficult to abstract from the general to the stunning scenery leading. Nonetheless, and although reduced, the orchestra sounded good. The start was discreet, sometimes the sound was lackluster. But his leadership grew as he advanced representation and extracted appreciable moments of delicacy, especially some original metals. always attentive to the choir and the nuances of the orchestra, only lacked one point more dramatic at times.

Angela Denoke
It is a good actress, but it seems that does not stop believing vocally Alceste. It stays in Ladi Di. During the first act difficulties were noted, especially in the high notes. At the end came the voice Denoke firm and beautiful timbre.

the tenor Paul Groves as Admete, he caught the scenery. He roamed the stage with his voice dull and dull. I do not blame.

Once again, and they are already many, He highlighted the Jamaican baritone Willard White. The strength of her voice, large and well timbrada, and their interpretations, They are always a guarantee and can cover exemplarily, such as, two roles, the high priest and Thanatos.

The Hercule baritone Thomas Oliemas, but relegated in this production, maintained the type and vocal presence unperturbed too. Mentioning the young Argentine Fernando Radó low. With 27 years and making Heraldo and oracle, promises a brilliant career.

The chorus in this opera is an important element. Their interventions are numerous and are not without complexity. Barring some untimely entry was in his usual line. Highlight good interventions of some of its members solo, Oxana Arabadzhieva Y César de Frutos, as coryphaei and Rosaida Castillo as a governess.

Warlikowski says his works are for public intelligent. Not be sorry.

ALCESTE
Christoph Willibald Gluck (1714-1787)
Tragédie-opera in three acts
Libreto of Ghent Francois-Louis Le Blanc Roullet, based on the original Ranieri de 'Calzabigi
New production of Teatro Real
D. musical: Ivor Bolton
D. scene: Krzysztof Warlikowski
Illuminator: Felice Ross
Video-Maker: Denis Guéguin
Choreographer: Claude Bardouil
D. choir: Andrés Máspero
Distribution: Paul Groves, Angela Denoke, Willard White, Magnus Staveland, Thomas Oliemans, Isaac Galan, Fernando Rado, María Miró, Oxana Arabadzhieva, César de Frutos, Rodrigo Alvarez, Amparo Bengal, Alberto Junco, Celine Peña, David Moreno, Rosaida Castillo and Christophe Linéré.
Orchestra and Chorus of the Royal Theater Headlines

Brokeback_Mountain

Normal people who love”. This is, essentially, global vision Mortar He wants the audience extract Brokeback Mountain, whose opening has attracted an exceptional expectation. More than a hundred foreign journalists attended the world premiere 28 from January, and such interest must be attributed to the subject of the work.
Homosexuality has been treated previously by other composers, Berg and Britten as, but it is true that in Brokeback Mountain is reflected more explicitly. You can not say that this opera question about homosexuality as such, either on homophobia, but about love, human relationships and the need for them.

The story is deliberately placed in a scenario that is particularly hostile, a rural area within the United States. In the presentation of the work, Gerard Mortier insisted on finding audiences that do not conform only with music and divertimento, but is able to reflect, through opera, on current issues. He thinks that "a society like ours is forced to open certain discussions”.

Brokeback Mountain with the Teatro Real closes the so-called "cycle of impossible love". This is how wanted to name the element they have in common (for different reasons) the latest titles represented, L'elisir d'amore, Tristan und Isolde y Brokeback Mountain.

Little known is for the Spanish public its composer, American Charles Wuorinen. His work has focused more on symphonic compositions, Brokeback Mountain being his second opera. In 1970 he became the youngest composer to win the Pulitzer Prize with a composition of electronic music, Time's Encomiun.
With this score has managed to give each character that identifies music, and describe every moment and situation, especially those most disturbing. The work begins with an intensity that grows in emotion as you go. Ending at the most emotional moment, the dramatic and devastating end.

The scenery Ivo van Hove It is limited almost entirely to projections on a large screen that occupies the entire stage background. He wanted to make an independent visual element of Ang Lee film, and he has achieved. He moved to the mythical and real Brokeback Mountain to roll on the ground. This illustrated the scenes set there and shared by the two protagonists. The rest of the scenery, formed by few elements, decadent and arid, chill up the asphyxiating and living environment in its two stars. Caught in a more immediate life outside them where the guidelines set by the social environment, pushes them back to that mountain that frees them.

Annie Proulx, the author of the book, He has made a very good fit for an opera libretto. exact phrases short and very appropriate time to be interpreted. With a phrasing that is well suited to the music of Wuorinen, despite its difficulties.

It is disturbing how slowly passing scenes in darkness and silence of the stage. Ennui contribute to the fact that a work declaimed rather than sung. There is no expectation argument much less emotion. Everything is predictable. The few lyrical moments fade away at the hands of twelve-tone music. Two hours of declamation on an almost bare stage are eternal.
The two actors perform a more important role as actors and singers. Daniel Okulitch innterpreta Ennis del Mar, the cowboy more introverted and less sociable. Tom Randle es Jack Twist, more extroverted and positive part of the couple. Both with great presence on stage and running very successfully a complicated score by low lucimiento.

The rest of the cast did his brief role. hearing voices strong Spanish is appreciated and experienced as the soprano Celia Alcedo. a guarantee.

Orchestra shone again, this time, hand German Titus Engel. Great expert in directing premieres of contemporary operas, as already he demonstrated in this same theater with the blank page of Pilar Jurado.

Violeta Urmana in the role of Isolde

Human science is not able to understand. No experience can describe. Only the one who has been there knows what it means. Although there are no words to express it”. (John of the Cross)

With these words tried Bill Viola to explain the true meaning that it has Tristán e Isolda. Isnpirado by one of the mystics who has most influenced his work.
Wagner he went to Listzt by letter 1854 in this way: “Since I have not known life the true happiness of love, I want to erect a monument to the most beautiful of dreams, in which must be met, from beginning to end, that love”. This idea, fruit of the stormy love between Wagner and Mathilde Wessendonck, influenced various works of the German composer and, especially, in Tristan and Isolde.

Wagner's claim to create "the art of the future”, fully satisfied seen in production these days is represented in the Teatro Real in Madrid. Bill Viola video recordings add, adding beauty, this score so demanding both for the orchestra and for singers. A requirement that the public moves to the wealth of information that provides music, the script, scenography and projections. The depth with which all these elements are expressed, its wealth and its contradictions, They create a unique and extraordinary intellectual and artistic experience, that immerse the viewer in an ocean of sensations of such magnitude, that is overwhelming.

A CHORD WITH ALL BEGAN
The work begins with a chord of three notes in a serious and ascending register of the cellos in unison. This is the great peculiarity and greatness of Tristan and Isolde. A chord that develops throughout the play and only works out to the end, with the death of Isolda. Love solves death dissonance. harmonic and only treatment is thus created, never before heard, from that moment that will change the approaches of musical structure. He "Tristan chord”, which always pushes forward in an infinite musical envelope just relax in a couple of interludes. The harmonic richness and the fact that all the instruments of the orchestra play in continuity, always moving from darkness to light, from the concrete to the infinite, on an emotional journey that only resolved at the last minute.

THE PLOT
Wagner described as Tristan and Isolde "plot”, (action, plot). A timeless opera, that it is not based on any historical event, but something mythological. Shows two frames or two worlds, the real, rational or contrived, they belong Brangäne, Kurwenal, Melot and King Marke; and the inner world, the world of the heart of Tristan and Isolde.
That inner world, which confuses day and night, space time, and brilliantly it describes the score Wagner. The composer should focus on this inner frame in the absence of specific events or stories. The actions corresponding to real life, to that to which the two protagonists live outside, They develop in the end of each act. The rest of the work belongs to the realm of dreams.
It is this field of dreams which is brilliantly reflected in the videotaping of Bill Viola. No one has described with images what Wagner said in his score the way it does Viola. The cadence of an infinite time flowing with music. pictures, like the music, They never stop. Viola wants to represent the flow of life. You whatever happens nothing stops. Two completely different walking speeds surprisingly unison. A plastic beauty that borders on genius and marks a harmonious discourse. Poetry in motion that accompanies and describes the scenes providing magic.
Water is the conductive element for Viola. What used to facilitate the timelessness and create an atmosphere in which it can, float up. In contrast is the fire, in which vanishes Isolde, Tristan as it does in the water. Magic is the moment when Tristan and Isolde are immersed, literally, in profundidaz feelings after taking the filter of love.

Little has changed since the premiere staging of this production in Paris, in 2005. Peter Sellars He created the most discreet of his stage productions. That nothing distracts, It had to be used by the maximum Sellars, and it has been the most successful decision. The result is the refinement and quietness of characters expressing, through the containment, the intense feelings that music and images put on stage.

Darkness is a feature of this production, creates atmosphere of introspection and mystery, but the lighting is not always the right one. Neither it is well resolved the presence on the scene in the second act of Kurwenal. Forced to sing idly and hieratic attitude.

Bright and spectacular is the entrance to the King Marke at the end of the first act, down the center aisle of the stalls while the choir sings on the balcony of the fourth floor while the entire theater is illuminated. They are very well used these scenic resources so rarely used, and contribute to the effect of the entire work envelope.

Substitution in the musical direction of Teodor Currentzis by the French Marc Piollet, He had generated some concern. Especially if it occurs with just one month in advance. Ya the opening, any doubt was cleared respect. The relationship established between the conductor and orchestra, It produces a deep sound, a tempo well run. A strict interpretation of the score. With excessive sound volume sometimes, that afearon some moments that should be more sensitive. The sound of the strings was extraordinary, and the effect of some instruments placed in boxes, finally he beautified the whole.

Violeta Urmana it complies to face a work of Wagner with guarantees and solvency: power and resistance. Power is needed to avoid being swallowed by the torrent that reaches orchestral waves from the ditch. Resistance is essential to maintain the intensity for a work of these dimensions. This intensity was evident in his magnificent "Love Death” final, shivery. A powerful Urmana always on stage. Offering a heartfelt drama and excited, Isolde composing a sharp and haughty. Consistent and voluminous voice, which he spared no sobreagudo and which only lacked one point more than emotionalism at times. It was the most rewarded by the audience. A public increasingly cold ,which reserves the effusiveness for boos and left the room at the speed of an ordinary parliamentary.

the tenor Robert Dean Smith It is a width appropriate for a lyric I Tristan. Too bad you only listen to the most lyrical fragments, when the orchestra did not accompany him. The rest of the time he was just intuited low volumes of the orchestra and vigorous Isolde. We trust you have, at least, good self-esteem.

Ekaterina Gubanova, as Brangäne, with a strong, intense voice, He had some emotional moments, their warnings to lovers of the second act from the fourth floor. Onstage he knew very well unfold. It is not always easy to sit still.

One of the best voices was that of King Marke played by Franz-Josef Selig. deep, authoritarian and majestic. Center vocal well-defined, balanced and elegant sound. Its interpretation is a question I, Will I seemed to understand that Marke is in love with Tristan?. Would be, in any case, Sellars license.

No doubt this Tristan and Isolde is the most intense seen in the newly renovated Royal Theater, something much appreciated in an already, per se, intense season.
Thank you, monsieur.

Tristan and Isolde
Richard Wagner (1813-1883)
Action in three acts
Libretto by the composer
D. musical: Marc Piollet
D. scene: Peter Sellars
Videoartista: Bill Viola
Costume designer: Martin Pakledinaz
illuminator: James F. Ingalls
D. chorus: Andrés Máspero
Distribution: Robert Dean Smith, Violeta Urmana,
Franz-Josef Selig,Ekaterina Gubanova,
Jukka Rasilainen, Nabil Suliman,
Alfredo Nigro, César San Martín.
Headlines Choir and Orchestra of the Teatro Real

Celso Albelo en L'elisir d'Amore

The story of L'elisir d'amore from Gaetano Donizetti Real, It dates back to the early history of the Madrid Theatre. He went on stage for the first time 1851, one year after its opening by Queen Elizabeth II. Since then the opera is more often depicted, with the functions of this production will be more than 80, and always with great success of public.
This work of Donizetti, which it has the influence of Rossini and Bellini contemporaries, bufo and romantic melodramma, It presents all components of the genre postbelcantismo. But it is not only bufa, It has a dramatic and emotional charge that is clearly reflected in the melancholy Nemorino. his argument, traditional and simple. A great economy of means, both orchestration and action and gimmicky and harmonious music, though seemingly simple, it is beautiful. To this freshness and optimism that distills the work together. sufficient grounds to offer, with guaranteed success, audiences of the time he did not need more to be satisfied.
I think that these reasons are not sufficient at present. Although you should never neglect the necessity and importance of leisure, even for a moment, but it is more than appreciated attend a production with some added value, precisely to give continuity to the mastery of its composition. The importance of the voices, musical direction and scenography, They are as fundamental.

Musical director wanted to recover the original score and orchestration fresh light. With the intention of obtaining a result of finesse and elegance in music performance. But Vicente Alberola, directed only two functions, not complicated and address, is not that prove low risk, It is that it had no substance. The result was flat and uninspiring.

Quite the opposite happened with the scenery of the young Damiano Michieletto. It was his debut at the Royal and had some curiosity about their successes, a growing recognition and some other resounding failure.
His bet for L'elisir d'amore has been to an actual beach that was not lacking in detail. Or props or peculiarity and variety of characters. In principle all very original.

Eleonora Buratto, as Adina, It has evolved from its Don Pasquale last season. Her generous voice volume is accompanied by good projection and diction. It started with some nasality that corrected immediately. Beautiful voice and good looks of a character with little theatrical requirement.
To young man Antonio Poli he came a little big the role of Nemorino. His voice suggests very good manners but has work ahead. It has a good melodic line but lacks fiato and tension in pianos. Lacks comic vein, capacity and importance theatrical scene, especially when dealing with a major role.
Erwin Schrott, bass-baritone (more baritone than under) Uruguayan who played Dulcamara, He had an appearance in spectacular scene. The time redbull, including hostesses, marketin and all-terrain, He was the delight of a, until that moment, mortecino Público. His Dulcamara was not exactly breath. This is a tacky beach that trapichea with certain substances. One the protagonist substance. His voice is powerful, sometimes too and, although it did not chart the appropriate character in the theatrical, If you picked up the work since it appeared on the scene. The audience celebrated and thanked the applause.
Fabio Maria Capitanucci as Belcore was not up to the character. His voice lacks brightness and nuances nor resolved scene. Missing spark, although he was more successful in part buffa that Schrott.
Ruth Rosique, as Giannetta, He left us all wanting more. It is time to offer this young soprano sanluqueña a more important character. We have high-quality voices that fill very well main characters without resorting to third-party international deals. But the third deals, such as, They are also God.

L'elisir d'amore
Gaetano Donizetti (1797-1848)
Teatro Real, 8-12-2013
Melodrama playful en dos actos (1832)
Libreto of Felice Romani, based on the text
Eugene Scribe para la ópera The potion of
Daniel Auber
New production in co-production of Teatro Real
with Oalau de les Arts in Valencia
D. musical: Marc Piollet
D. scene: Damiano Michieletto
illuminator: Alessandro Carletti
D. choir: Andrés Máspero
Distribution: Antonio Poli, Eleonora Buratto, Fabio
Maria Capitanucci, Erwin Schrott and Ruth Rosique.

Valkyrie

THE BICENTENNIAL OF VERDI AND WAGNER, VERY PRESENT AT THE OPENING OF THE SEASON VALENCIANO Palau de les Arts.

Although immersed in a deep economic crisis that has led to a drastic budget cut, as we pointed out to the media Helga Smith, top leader of the Valencia Palau de Les Arts: the planned schedule for this season 2013-2014, It is attractive and with undoubted quality productions, having been chosen by the presence of young singers, and with significant baggage behind and good future prospects.

We are in the year of bicentennial from Verdi Y Wagner, whose races together, They occupy much of the nineteenth century. The first two operas of Richard Wagner: The fairies (The fairies) composed 1833, whose release did not occur until 1888, five years after his death; Y, The Ban on Love (The Liebesverbot) released in 1836, and it has not come to Spain until last summer, Festival Peralada Castle, and I offered an extensive review in our magazine. Verdi premiered in 1839 with Oberto conte of San Bonifacio.
So, and considering together the works of Wagner and Verdi, that long period of the nineteenth century, It covers sixty years between Die feen (1933) and last opera Falstaff Verdi (1893).

I had occasion to attend The Valkyrie last 9 November and La Traviata the next day. Truly, a luxury that few theaters worldwide are able to offer.

In THE VALKYRIE one could see the Palau de les Arts co-Maggio Musicale Fiorentino "La Fura dels Baus”, which it was for the first time at the Palau de les Arts in 2007, and subsequently 2009, with the important presence, the function I attended, Plácido Domingo and Eva María Westbroek, respectively as Siegmund and Sieglinde. So, the initial shock that caused me this production has been more diluted, although these are always very interesting and original projections shocking panels upstage. They have less attractive, gadgets as cranes perched where they appear: Wotan, Brünnhilde, Fricka and Valkyries.

Grand Orchestra of Valencia, showing cohesive, with perfect definition of sound levels, highlighting, within the high level shown by all orchestral sections, thumping and refined metals. The interpretation of the famous Ride of the Valkyries was of great brilliance and showmanship. Zubin Metha masterfully directed this orchestra he knows so well, and which undergoes extensive testing to obtain very high yields. Anyway, the great Indian master, He showed us his great knowledge of this monumental score; Y, a public fully delivered, that filled the theater, He showed his enthusiasm by dedicating long ovations.

The vocal cast was a remarkable height, the presence of Heidi Melton como Sieglinde. American soprano began with a volume of voice not too big, but it was widened considerably in the course of representation, especially when he left the quadruped position (like an animal), by erecta- to offer a magnificent voice and dramatic performance, highlighting those long and beautiful duets with Siegmund, well sung and played by Nikolai Schukoff.
As well, an excellent and rotunda providing dramatic soprano Jennifer Wilson as Brünnhilde, is those long, philosophical parliaments with his troubled father god Wotan, whom he gave a convincing voice and theatrical performance Thomas Johannes Mayer. Magnificent and very strong vocal work Stephen Miling as Hunding, showing, in all its splendor bad grape character.

Elisabeth Kulman He brought his beautiful stage presence, performing a remarkable interpretation of Fricka, especially in that vast duet with her husband Wotan, who materially, crushes with his reproaches. Anyway, Die Walkure a very remarkable, with good voices, especially original scenography, for those viewers who did not know her- Y, a musical high altitude resolution by the Orchestra of Valencia, superbly directed by Zubin Mehta.

Y, as to LA TRAVIATA, we offered the minimalist production famous Salzburg Festival 2005. famous, fundamentally, that marked the international launch of the Russian soprano Anna Netrevko, then flanked by the Mexican tenor Rolando Villazón, Also at that time, rising star in the opera scene, and consecrated by the American baritone Thomas Hampson.

With the omnipresence of that big clock circular also -used as a casual gaming table- whose progress is accelerated or slowed depending on the events surrounding the protagonist, and in relation to the presence of that old character and dour, which marks the evolution of Violetta, and already, in the last act, It goes back into the role of the doctor who certifies death.

The scenery Wolfgang Gussmann, despite its simplicity it is successful and itinerant operations with those sexy red sofas, as the protagonist dress, who is torn between his harmful and crazy life of courtesan, and that sincere love for Alfredo Germont, materialized in the background decorated flower-based, resembling the Violetta and Alfredo stay in a cottage on the outskirts of Paris, both living an intense and full idyll, truncated by the presence of the calculator and mean end -at human shows sensitivity- Giorgio Germont character named.

Again, Zubin Mehta, in a real pirouette evolving musical germanismo proposed the day before with Die Walküre, the Southern music composed by Verdi La Traviata. The results are again outstanding, and the great Indian master shows his wisdom and stylistic adaptation to extract brilliant sonorities of the Orchestra of Valencia, from that much-a grim overture, that is reiterated at the beginning of the last act- to the colorful scenes and you desenfadas Act II. Very bright, the performance of the Choir of the Generalitat Valenciana directed by its owner Francesc Perales. As well, highlight the good performance of the ballet of the Generalitat, directed by Immaculate Gil-Lazaro.

As for the solo voices emphasize the presence of the young Bulgarian soprano Sonya Yoncheva, winner 2010 Operalia competition, Plácido Domingo. We find a lyrical singer significant volume and attractive voice timbre. In Act I, greatly exceeds the requirements of cut belcantista, although at the end thereof, at "always free”, omits the optional Mi5. His performance earn enough integers from Act II, until the end of the opera pathetic, both from the point of view vowel, as dramatic. Emphasize her performance in the long duet with Giorgio Germont, vocally and theatrically well played by baritone Simone Piazzola, who has his best moments in the famous aria "Of Provence on Tue"And subsequent cabaletta"Do not you hear reproaches”.

Italian tenor Ivan Magri, whom we heard last season, in this same theater, the Duke of Mantua in Rigoletto and Jacopo Foscari I due Foscari of verdiano, begins his performance somewhat intemperate, to improve substantially as the representation progresses. His singing line is acceptable, but has serious difficulties in coping with their great start scene of Act II, “Long from her.."Whose interpretation requires great technical skill and style, which compels us to remember the creations of this Alfredo Kraus or a Carlo Bergonzi. Magri has an excellent high register that allowed him to finish the cabaletta "O my remorse.."With a blunt C4. In sum, a good representation of La Traviata, where again shone high orchestra conductor Zubin Mehta and.

THE VALKYRIE
Richard Wagner
D. musical: Zubin Mehta
D. scene: Carlus Padrissa (La Fura dels Baus)
Allex Aguilera (replacement)
Videocreación: Franc Aleu
Scenography: Roland Olbeter
Locker room: Chu Uroz
Lighting: Peter van Praet
Copoducción de Palau de les Arts Reina Sofía y Maggio Musicale Fiorentino
Orchestra of Valencia
Distribution: Nikolai Schukoff, Stephen Milling, Thomas Johannes Mayer, Heidi Melton, Jennifer Wilson, Elisabeth Kulman, Eugenia Bethencourt, Bernadette Flaitz, Julia Borchert, Pilar Vázquez, Julia Rutigliano, Patrizia Scivoletto, Nadine Weissmann, Gemma Coma-Alabert

LA TRAVIATA
Giuseppe Verdi
D. musical: Zubin Mehta
D. scene: Willy Decker
Girl Barbara Hummel (replacement)
Scenography: Wolfgang Gussmann
Locker room: Wolfgang Gussmann and Susana Mendoza
Lighting: Hans Toelstede
Choreography: Athol John Farmer
Coproduction of De Nederlandse Opera, Amsterdam, based on the original production of the Salzburger Festspiele
Immaculate Gil-Lazaro, Ballet director of the Generalitat
Francesc Perales, Director Cor de la Generalitat Valenciana
Orchestra of Valencia
Distribution: Jessica Nuccio y Sonya Yoncheva, María Kosenkova, Cristina Pupil, Ivan Cordoba, Simone Piazzola, Mario Cerdá, Javier Franco, Maurizio Lo Piccolo, Luigi Roni, Valentino Buzza, David Astorga, Germán Olvera, Olivieri Mattia

image of the opera The Indian Queen

And finally it comes Purcell to the Royal Theater. It does so with one of his lesser-known works and represented, The Indian Queen. Y, as, surrounded by previous controversial. Especially by those who boast in the second or third production intentions. History decontextualise, ago the 500 years, like ago 70, It is a pending task for many.

It should be said that the audience of the premiere function has its own peculiarities. There are many occasions in which the final verdict is very different from the rest of the representations. And so it has also been on this occasion. The boos at the end of the first part of this show, applause turned into later performances. Is this a mystery that could be the object of study. From here I launch this hypothesis in case some curious are interested in the subject.

The Indian Queen is the last work of the English composer Henry Purcell in 1695. It is an unfinished work. The composer died frozen in the street one drunken night after his wife did not let him enter the house. It was his brother who was in charge of finishing it with an unfortunate Mozartian style.. Since then, there have been several occasions in which it has been tried to endow this work with another ending that has not always been the most successful.

But let's place ourselves before assessing the true proportionality of the new version of Peter Sellars. Purcell began his compositions at a very early age, with scarcely 15 years his first works were published and soon he began a brilliant professional career. The England of Purcell's early years was that of the time of the Puritans. Almost all artistic expressions were prohibited and theaters were closed. The young Purcell was then limited to compositions of a liturgical nature since the opera, as such, it was not yet known in England. It would be Handel who introduced the first Italian-style operas. With the monarchical restoration and the arrival to the throne of Carlos II, Theaters were reopened and cultural and social life returned to English cities. In this unprecedented situation, the demand for new cultural "products" was extraordinary. And Purcell's concerns for music, theater or dance, led him to make the first compositions. Thus are born the so-called semi-operas, musical dramas performed by supporting characters, often allegorical, while the main action is reported orally.

The Indian Queen, whose original score barely lasts 50 minutes, It is a semi-opera formed by the so-called masques or divertimentos that brings together poetry, music and complicated sets where dance and other artistic expressions have a place. The version that Peter Sellars has created after more than 25 of admiration and deepening in this work, has had a necessary collaborator, Teodor Currentzis. He coincided with him when they both rehearsed Iolanta and discovered their common passion for the English composer and for this particular work. The result responds almost millimetrically to the classic concept of semi-opera. With a duration of almost four hours after the incorporation of hymns and psalms by the composer himself, mostly liturgical, but perfectly embedded in the new literature of the work, providing dramatic balance and coherence. That dark and heartbreaking drama with which Purcell says goodbye to the world. Sellars has also transformed the original libretto with a rewriting commissioned for the occasion from Rosario Aguilar. Nicaraguan writer, author of "The white girl and the birds without skin". That white girl is Leonor, daughter of Teculihuatzin (Mrs. Luisa) and the conqueror Don Pedro de Alvarado. Both protagonists of the story.

The work begins with the dynamism of the dancers painting evolving in silence until the music begins. Dynamism that will be a constant in the work. As will the silences too, those evaluative silences that Sellars resorts to as a reflective element between interludes. The stage is simple and clean. Only the expressionist works of Gronk They dress the stage from side to side, filling each of the masks with strength and symbolism. The discreet and delicate lighting of James F. Ingalls gives life and movement to these immense canvases that in turn embellish with the effects of shadow games.

The group of dancers formed by Burr Johnson, Takemi Kitamura, Caitlin Scranton Y Paul Singh it is one of the different artistic planes that take place at the same time on stage. They have an extraordinary weight and prominence. American Christopher Williams, has created a current choreography, elegant and precise, based on baroque court dances and is performed with masterful brilliance by these four artists. Highlight Caitlin Scranton's exquisite movements.

The play is narrated by Leonor, the white girl, played by the Puerto Rican actress Maritxel Carrero. His presence is scene, discreet but emphatic, is presenting the interludes where women, conquerors and indigenous, they are the protagonists. Bringing the importance of women to the fore, always omitted by history, is one of the purposes of this work, granting them a mediating role between the conflicts that the male protagonists engage in. But so much narration is excessive and, despite perfectly understandable English, and a very good voice projection without any amplification. Much public ended up deserting the subtitles. The story tells of the tragedy that took place during the Spanish conquests in the New World, Sellars has focused on the drama of spiritual conquest. Stripping a people of their gods to force them to worship others. Argument in tune with the deeper questions that Purcell posed through his music, and that they make their way through the hymns and psalms chosen by Sellars to complete the work.

The cadre of young singers is headed by Jilia Bullock, who plays Queen Teculihuatzin or Doña Luisa, once christianized. With a physique and a presence very appropriate to the character, his long and consistent voice, accompanied at all times a very good dramatization. Very good in the final scenes of his illness and death, despite the slowness, on the brink of boredom, which at that time reached the work.

The Belarusian soprano Nadine Koutcher gave life to an extraordinary and serene Doña Isabel with a round and polished voice. Its "O solitude”, breathtaking drama and wonderful pianissimi in "See, even night herself is here”Which was moving.

The Korean countertenor Vince Yi, owner of an exotic and beautiful voice, impressed by its lightness in colorature and extraordinary highs. Did not accompany him, like most of the protagonists, costumes.

The other countertenor of the night, the French Christophe Dumaux as Ixbalanqué, performed some of the most moving pieces, performed with exquisite taste and dramatic timbre as in "Music for a while”.

The male leads, Markus Brutscher, as Don Pedrarias Dávila and Noah Stewart, Don Pedro de Alvarado, who only sings in the second part, are the least brilliant vocal elements of the production. Stewart did not go beyond the discretion and had difficulties in the emission if his position was not totally vertical. The military uniforms they wore and some beer scene, they faded a bit in the midst of so much scenic beauty.

Definitely, the most important voice of the night was that of the choir, MusicAeterna. Impeccable unity that can only be the product of constant and tireless work under the direction of its owner, Teodor Currentzis. There was no coldness, quite the opposite. The discipline at the service of the highest artistic expression. Always attentive to the entrances, to the silences, to a perfect rhythmic breathing. Powerful volume or growing inputs, and all this wrapped in the mystique of emotions.

Currentzis es, definitely, one of the fastest growing directors on the international scene and one of the most powerful batons. The dramatic tempo with which he led the orchestra and choir. The communication and knowledge that exists between him and the stable bodies of the Perm Opera, it is appreciated in every moment of the work. A neat and refined sound, full of emotional effects. The sound of the continuum, directed by Andrew Lawrence-King, and that of the archludes and the psalter. But the sound drawn from the lute and theorbo, creating a dark atmosphere, dramatic accompaniment to the psalms, centering the baroque character of the entire work and the feeling that Purcell put into it. A polished sound in its thick, that invited permanent recollection, to contained exaltation or, simply, to inner enthusiasm, the one with which it is transmitted.

Sensitivity, dramaturgy, strength, Balance, delicacy, beauty ... Literature, music, theater, dance, painting, singing… The World on Stage.

The Indian Queen Henry Purcell (1659-1695)
Semi-opera in five acts and a prologue with music by Henry Purcell and libretto by John Dryden
New version of Peter Sellars with texts by Katherine Philips, George Herbert and others
Spoken testimony taken from the novel "The white girl and the birds without feet", by Rosario Aguilar
New production of Teatro Real, in co-production with the Perm Opera House and the English National Opera, London
D. musical: Teodor Currentzis
D. scene: Peter Sellars
Scenographer: Gronk
Costume designer: Dunya ramicova
illuminator: James F. Ingalls
Choreographer: Christopher Williams
D. choir: Vitaly Polonsky
Distribution: Vince Yi, Julia Bullock, Nadine Koutcher, Markus Brutscher, Noah Stewart, Christophe Dumaux, Luthando Qave, Maritxell Carrero
dancers: Burr Johson, Takemi Kitamura, Caitlin Scranton y Paul Singh
Perm Opera Choir and Orchestra (MusicAeterna)

Rigoletto

Interpret over 500 sometimes the same character without falling into the routine, It is more than a merit, It's art, craft and passion. Y Leo Nucci, sobrado of powers, at this stage of his life he is full of resources on scene, and also outside it. He knows how to manage the emotions of an audience, the Bilbao, eagerly I awaited him after his last cancellations in I Due Foscari and Nabucco.

His interpretation of Rigoletto Went from less to more. Heating of his voice and the public came up with the duo Ah!, just for me l'infamia, which it was the prelude to a magnificent Cortiggiani vil raza and impeccable dramatic vendetta which it was bisada. Despite some lack in the fiato, which she led him to shorten a phrase, the vocal ability of Leo Nucci is a man of prodigious 71 years. He showed great knowledge of the score and the concept of Verdian drama. His voice retains its color and features almost intact despite years. And Rigoletto is certainly his character. No plays to Rigoletto, it becomes.

And if Leo Nucci had taken all the initial role, night reserved a big surprise, Romanian soprano Elena Mosuc in the character of Gilda. It was his debut in Bilbao and that always creates a certain expectation, rather hope, that they never lost. And we had the chance to attend an increasingly rare event, especially when it is dealing with such classic. One of those works that everyone has referenced in the head with his singers, director, stage ... and they make hollow hardly any other versions.
Elena appeared Mosuc, with that discretion and scenic delicacy with which Verdi described the character of Gilda. Then came Caro nome, and they began to shake the memories to make way for this time. Elena Mosuc has some canoros resources already deployed hardly on stage. Either for lack of them, out of fear or shame. The facility for legatto. Apianar a note with languid abandonment and finish with a subtle crescendo. All with a finezza and exquisite taste. some sobreagudo and agility allowed as a gift to a public who at that time was absolutely delivered. Craft and experience of both Leo Nucci as Elena Mosuc, It was also noted in the perfect binding of the two leading voices.

The interpretation of Ismael Jordi, como Duke of Mantua, a step down interpretive level than the other two protagonists. He started something intemperate and improved in the second and third act. His voice has improved in recent years but fails to convince. Its color changes with ease and is very evident change destabilizes some sharp passage. But his singing is refined and elegant. No bad stage presence, but perhaps the bearing is tight for the character of Duca. Especially when he appeared on stage Maria Jose Montiel with a temperamental Magdalena, lush and, especially, castiza. Well in the quartet, He balanced and rounded out the magnificent picture of singers. They were not his height his fellow wanderings, ni Felipe Bou, as Sparafucile, ni Javier Galan interpreting Marullo.
Ainhoa ​​Zubillaga, as Giovanna, not convinced. It does not have a nice voice. The feeling is of heaviness, a distressing pain issuance. Sharpness phrasing is nonexistent.

The musical direction was by far the weakest throughout the performance. He surprised cancellation director Daniel Oren, which it has been replaced by Miguel Ángel Gómez Martínez. The direction of the latter has sinned excessive slowness. Dilated few times in excess, which they did not favor the drama but boredom at times.

There are scenes that age very bad. Such is the case that concerns us, from Emilio Sagi, which premiered at the same theater seven years ago. His replacement has been in charge of Ricardo Sánchez-Cuerda and the result is dark and poor. They not recognize him or known classical elements. Changes and transitions are made public view through mobile platforms. Singers forced to move between items as in a labyrinth. Directing actors fails at times in which Rigoletto is offstage being the protagonist. He wants to be a simple scenery, but it remains simple.
The lighting, in charge of Eduardo Bravo, He wants to help create a spooky atmosphere, but it cheapskate and light, limited.

The Bilbao Symphony Orchestra He had a discreet performance, more shortcomings of the musical direction of resources that form teachers.
The choir shone and contributed to the success of the representation. Well and forceful entries in the tables set.

Will be those who think that the success of this premiere of Rigoletto is exaggerated, in the room was much nucciniano tiffosi. The reality is that the opera and those involved in it only have an obligation, ignite passions. Mission accomplished.

Conquest of Mexico

The conquest of Mexico, of the German composer Wolfgang Rihm, It is one of the bets for this season's new artistic adviser now Royal Theatre, Gerard Mortier. A mortar that, with the usual enthusiasm, It gives a lecture on the work and its composer who can see and hear in this article. A contemporary opera or, as the composer called, music theater. It premiered in Germany 1992, in Mexico was presented in concert version 2003 and now it opens in Spain in a production of Teatro Real.
the libretto, of the composer himself, and back to music, It is based on texts Antonin Artaud and Octavio Paz. French Artaud has tried to reflect the impossibility of understanding between two cultures that are not known and confrontation between the two civilizations, Christian evangelizing, with a clear representative, Hernan Cortes, and pagan pre-Columbian through the character of Montezuma. Artaud theater proposals, almost always baffling to the public, They present a sensible and balanced indigenous people with nature. In contrast to the Christian barbarity of the conquerors. All this is part of its new theatrical concept: the so-called Theater of Cruelty.
Wolfgang Rihm ha dear, through its composition, transmitting a cathartic feeling. Aims to create a magical and transcendental atmosphere and the use of voices is essential to achieve. The clash between the two cultures is clearly defined and polarized. The representation of the indigenous world corresponds to female voices. It is the soprano Nadja Michael, who we were recently heard in this theater in Wozzeck, by Alban Berg. His powerful voice, a support and extraordinary projection, shape and character to Montezuma. Accompanied on stage by Caroline Stein Y Katarina Bradic. With them, the character of Malinche, played by Ryoko Aoki Japanese. Great connoisseur of contemporary opera and musical theater Japanese. What a great dramatic force otroga its interpretation.
The onírico environment is achieved through the score of Rihm, It reflects the consequences of war. All this enhanced with lighting by Urs Schönebaum, colorful costumes of the Polish figurinista Wojciech Dziedzic and videographic projections of the German Alexander Polzin.
Although the scenes unfold in a very dynamic way, the feeling of slowness is evident at times. Perhaps this is the best way to express the heavy burden of protracted wars.
Good transitions between social conflicts and those occurring between the protagonists, more personal and close. A seemingly complex way right out with simplicity.
Not forget that Rihm composed the music before having the script. It shows a great expressive capacity of the score. Percussion reproduces discrete noise battles, without being a mere accompaniment as is often constumbre, but pacesetter especially the beginning of the work. And nothing, no sound, however small or short it is, irrelevant or prominence.
The location of the orchestra, this time distributed by boxes, proscenium, boxes and stalls, generate an envelope and atmosphere efectista. Also the voices of the choir, live and through recordings, contribute to the dream-musical assembly work.
The result is a new contemporary production to which the public responds with a certain coldness. Rather by confusion that rejection. The audience of the Teatro Real, in general, has evolved during these years was Mortier. Otherwise hear contemporary music, before almost nonexistent, and can distinguish and appreciate the different qualities of a work of these characteristics.

The conquest of Mexico
Wolfgang Rihm (1952)
theatrical music in four parts (1992)
Libretto by the composer, based on texts by Antonin Artaud and Octavio Paz
D. musical: Alejo Pérez
D. scene: Pierre Audi
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
Lighting: Urs Schönebaum
Video: Polzin, Claudoa Rohrmoser
Playwright: Klaus Bertisch
D. choir: Andrés Máspero
Distribution: Nadja Michael, Georg Nigl, Graham Valentine, Ryoko Aoki

Wozzeck

Wozzeck It is a complex work that requires, among other things, a small initial dose of patience. Is an opera with constant challenges that must be overcome permanently. I can not say I liked it, but not otherwise. One can feel overwhelmed, restless, overwhelmed, and always espectante. And that Wozzeck is an opera with a different purpose.

The unrest has befallen the Royal Theater as a light rain that barely noticeable, but to the bone. And the charge is none other than Wozzeck, composer Alban Berg and based on Woyceck, de Georg Buchner (the difference between the name and the title is due to an error in the first edition chose to retain Berg). Their participation in World War I., Berg led to develop a pronounced anti-militarism that, but nevertheless, It did not prevent the composition of this work with a schizophrenic military old as protagonist.
Never a few cheers were so strangely timid. The audience had just been subjected to a pressure unresolved all in this production.
Wozzeck is not easy listening. Its musical and story language is described with the abstraction of atonal music, presenting a dramatically unjust universe and transferring public concern whose origin is not located easly. Is the music?, It is the argument? A strange discomfort that led some viewers off guard to leave the room.
The staging of Christoph Marthaler, production premiered at the Paris Opera 2008, It was somewhat lackluster and their everyday routine and simplicity. It was a unique setting, in the foreground a tent as fair and behind it a park playground we could find in any city. In fact, Marthaler discovered her walking the streets of Ghent. The scene of the children playing and the isolated elders in their world, each occupying a table alone, It was his inspiration to draw two distinct worlds and none of them free of melancholy. The scenery does not have the strength that we could see in the Wozzeck by Calixto Bieito in 2007. This time, Marthaler's proposal lowered the intensity and strength that has the score of Berg.
And waiting tables placed in the tent, one distraught Wozzeck, restless, maniático, Compulsive and naive. Interpreted by Simon Keenlyside, Wozzeck's character was very convincing in the theatrical. You get to feel some compassion for this poor man who reaches madness pushed by an oppressive society and medicine, far from seeking their remedy, use their weaknesses to satisfy their curiosity and ego. Keenlyside's voice is not at all bulky, at some point it was hard to hear, but the drama was reserved for the end of the third act. Touching.
Nadja Michael, as Marie, It is equipped with an instrument with a remarkable power and forceful. Your score is not easy since it must maintain a delicate balance to express emotions and cries no excesses. The result is very satisfactory and eloquent.
Captain, interpreted by Gerhard Siegel, He had a histrionic point, almost desapacible, which he potentiated the character. His voice and interpretation were very sharp and incisive.
The doctor, Franz hAWLATI, He played a villain rightly paper. She contributed to this a escasísima voice quality, very suitable for the character, vile and despicable, but not for a scenario like the Real.
Jon Villars, as drum, He starred in a steamy scene with Nadja Micael. His rough appearance, one aptly tacky costumes and theatrical ability, They gave great credibility to the character.
The rest of the cast, Roger Padullés, Scott Wilde, Katarina Bradic, Tomeu Bibiloni, Francisco Vas, Magno Antonio and Enrique Lacárcel, They perfectly balanced picture of singers and some like Katarina Bradic and Francisco Vas, with a perfect dramatization of his characters.
The orchestra, a little intemperate to the beginning, as the score itself, and as we were all, it was intoning to offer shocking moments, a power sometimes raptured, but without fanfare.
Sylvain Cambreling is not a director of great passions, but his technique is quintessential and knew extracted from the orchestra sounds and spectacular moments and full of intent. Everything to reach reflection on a familiarly dramatic story.

Alban Berg (1885-1935)
Opera in three acts and fifteen scenes
Libretto by the composer, based on
Woyzeck de Georg Buchner
New production at the Theatre Royal,
from the National Opera of Paris
D. musical: Sylvain Cambreling
D. scene: Christoph Marthaler
Set and costume designer: Anna Viebrock
illuminator: Olaf winter
Playwright: Malte Ubenauf
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Simon Keenlyside,
Nadja Michael, Jon Villars, Roger Padullés, Gerhard Siegel, Franz hAWLATI, Katarina Bradic, Scott Wilde, Tomeu Bibiloni,
Francisco Vas, Antonio Magno,
Enrique Lacárcel, Alvaro Vallejo

Otello

Mucha was the expectation that had generated the premiere of Otello from Zubin Mehta Y Davide Livermore at Palau de Les Arts. And timely and deserved success that has garnered.
While others look inward, finding nothing, Les Arts ends its season with a magnificent show of force. Neither threats of the crisis, nor the difficulties in obtaining resources have been an obstacle to Valencia has offered an important opera season, culminating with the brilliance of this work of own production.
Otello, la perfecta tragedy concocted by Giuseppe Verdi Y Arrigo Boito, It is a heroic and intense work with which Verdi achieves musical and dramatic continuity through its intense monologues and duets, declaimed more than sung, and an orchestration that emphasizes the drama and subtlety throughout the work.
The opera starts and runs with a great display of visual effects. The stage manager and lighting, Davide Livermore, surprised with its scenic approach formed by a spiral platform, a plunger.
On the same stage all the scenes unfold, each defined by a efectistas projections, from a stormy sea to intimate rooms where the tragedy and death of Desdemona develops. Although it was precisely the images that illustrated the crime the less fortunate to stay out of context.
A stage full of symbolism. jealousy, resentment, treachery… represented by a big black hole that actors roamed toward or away from the core.
And as master of ceremonies, Zubin Mehta as a, despite having the work at a tempo maybe too slow, deployed variety of shades in a direction pulcrísima, explosives brighter moments in the delicate.
The Orchestra of Valencia, deservedly ovacionada, He responded with flexibility and ease to the orders of the baton, getting moments of great beauty, especially by the ropes, and reaching sound effects so decisive in Otello.
American tenor Gregory customer, which he reached Aleksandrs Antonenko replacing Palau, It was another pleasant surprise of the night. Although for the voice of Otello I like a darker timbre and less rossiniano, Kunde was the outstanding Otello. Without pretending to look serious sonorities, better defining the character, but he does not have, the best was the variety of harmonics, especially in the high notes that attacked without fear. Too bad to lose his voice apianar consistency. But he gave his character an exciting drama, especially in the last act and scene, loaded with symbolism, in which Yago repeats like a shadow every move.
Maria Agresta, as Desdemona, Went from less to more. It has a beautiful timbre and a deft ability to control his voice. He built a delicate Desdemona, innocent and great feeling, but you must work dramatization.
Another attraction of the evening was to hear again, this time as the Machiavellian traitor Iago, baritone Carlos Alvarez. His comeback is being carefully paused.
His voice is not before. The volume has decreased and showed difficulties in promotions. But his phrasing, nobility on stage, elegant singing and first and second acts in which his instrument was firm and full of musicality, They leave the door open to an undeniable voice evolution. Visibly moved he received a standing ovation.
Marcelo Puente, as Cassio, and especially as Emilia Cristina Faus, They resolved with dignity their roles.
Well the Choir of Valencia. Powerful and well jaunty around the stage. More discreet was the performance of the children's choir, Choir of Our Lady of the Abandoned, improvable.
Escelente directing actors. Verdi has the difficulty of its great scenic pictures, with crowds on stage that are not always easy to manage. This time Davide Livermore makes an excellent acting direction. The balance on stage is permanent, also when it is filled with choir, soldiers, singers, children ... It is not easy to move so many people in such irregular surface, but Livermore gets it.
Costumes, Livermore's own, rounded characters packaging, especially Otello and Iago. Although I confess that I understood styling women's chorus.
Definitely, one that Otello, with all its dramatic charge, It is full of freshness, Light and talent on stage and behind it is.

OTELLO
Giuseppe Verdi (1813-1901)
1 June 2013
Opera in four acts
Libreto of Arrigo Boito. Based on the eponymous drama of W. Shakespeare
D. musical: Zubin Mehta
D. lighting scene: Davide Livermore
Videocreación: D-WOK
New production of the Palau de Les Arts Reina Sofía.
Gregory customer, Carlos Alvarez, Maria Agresta, Marcelo Puente, Cristina Faus, Mario Cerdá

Barber of Seville

This Valencian Barber of Seville, with a very original and modern scenery of Paolo Fantin: and rotating building a popular neighborhood, where the eyes of viewers can scan, as in the case of casting James Stewart (Jeff. B. Jeffries), that was dedicated to look, from Rear Window, the activities and developments of all its neighbors in the great Alfred Hitchcock Read Window.

The overflowing grace of The Barber of Seville, He born of the perfect combination of a magnificent libretto by Cesari Sterbini, basado en la comedia The Barber of Seville, or The useless precaution of Pierre Beaumarchais, and the brilliant musical score Rossini, to be surpassing ingenuity and resourcefulness, with each of your numbers, truly amazing progression. From the "Piano pianissimo"To stretta that ends Act I. Y, from the duo "Peace and Joy I"Until the end sextet dazzling, the whole opera is a real growing wealth of melodic, perfectly adjusted to the action posed lighthearted.
In addition to a series of numbers, indeed "milestones", all the repertoire as "Ecco, laughing in heaven"Or aria-cabaletta"Cease to resist any longer ... Ah, more pleased”, loaded very difficult agility, magnificently resolved, we remember- by tenors as Alfredo Kraus, Cesare Valetti, Nicolaï Gedda, Fritz Wunderlich or Argentine Raul Gimenez (great stylist of the belcantismo); Y, nowadays, by Juan Diego Florez, we remember his magnificent Count Almaviva, at the Teatro Real in Madrid, also released on DVD- O, the "Largo to the factotum" of Figaro, and "Slander" Don Basilio. Not to point out that "A voice just now”, where so many singers have failed, in the attempt to give a truly expressive content to the phrase ma my toccano.
The Barber is another irrefutable proof of the orchestral mastery of Rossini. "The overture" or accompaniment "slander”, can testify.

something also, Highly noteworthy is the portrayal of different characters through music: the full character of great nobility Song Count, the various aspects of the personality of Rosina exposed in their "a voice just now" O, the bad idea of ​​Bartolo in "To a doctor”, and the graceful rococo imitation of the language in its Arietta of Act II, reminiscent of his youth. All these aspects contribute to this Rossini opera has been compared without any resort to Mozart masterpieces as The Abduction from the Seraglio and The Marriage of Figaro. Report finally, Act I that is greater than the second, and this is not a defect, since the sum rapidity of the outcome of this opera, serves as a balance to the prolonged presentation constitutes the entire Act I.
In this Rossini opera, we can find clear reminiscences of the famous trilogy of Mozart-Da Ponte: The Marriage of Figaro, Y Don Giovanni and Così fan tutte.
After this long introduction I am thinking didactics- to put the reader on, back to focus on this Barbero has been seen during last March in Valencia.

This production from the Grand Théâtre de Geneve, , as it has already been pointed out- with excellent and modern scenery, consisting of the faithful reconstruction of a popular multi-storey building, where even, we see parked the Ford 'All right! propaganda of the Valencian factory- of Count Almaviva, madly in love with the pert and graceful Rosina, who lives in this protected building, rather subdued, the dodo and jealous Don Bartolo.
This set can rotate completely, to allow see the internals of the different floors, and that viewers can scan and target different actions sung, simultanean that other merely theatrical; Y, all, complemented by a successful lighting design that marks the temporal transitions of action arises. So, a remarkable, remarkable scenery.

Excellent music created by Gioachino Rossini is outstandingly performed by the orchestra of the Valencia Grand, well directed by its owner Omer Meir Wellber, wearing of excessively on the "overture" (true prodigy of colorful and concise music), and if the provision is important throughout the opera, reaches heights of high in the long -very end to the Mozartian style- of Act I. The Omer own Wellber, deals with the key, accompanied recitatives.
And in the vocal level include the most serious voices: the remarkable Figaro Mario Cassi, who exhibits a broad and emphatic voice, showing that dynamism on stage that requires this role, whose personality shows clearly, in his famous aria "largo al factotum”. Grand Basilio of the young under Bulgarian orlin Anastassov, voice of a great package that looks exceedingly in the famous aria "Slander is a breeze”, and in all other interventions within a great vocal and stage performance.
Orlin Anastassov only sang in the functions of day 12, and the day of my attendance 15 of March. Anyway I know the magnificent performance of the great under Georgian Paata Burchuladze, in other representations. Funny and very theatrical Bartolo of Marco Camastra always following the slipstream of Rosina, and solving its expertly Act I aria "To a doctor of my fate”. Special mention of the Valencian mezzo Berta Marina Rodriguez Cusi, brilliant career in the last twenty years.
Rodriguez-way, It gives a lesson theater, because without singing, acting alone, comes to focus fully, with their stage movements the attention of viewers, and already wearing his vocalism attractive during Act II, in her little duet with Bartolo "Ah, wretched me!"Followed by her aria"The antiquated Coming”.
As for Rosina from Valencia de Sagunto Silvia Vázquez, It is pretty well in theatrical background, and a remarkable vocalism shooting, especially in the resolution of the bel canto agility shining in his famous aria "A voice just now”.
Uruguayan tenor Edgardo Rocha (bright pupil other Almaviva: American tenor Rockwell Blake), It has a good vocal technique, associated with a voice inhomogeneous, total absence of serious, and a central register no light but ultra-light tenor; what, only takes up a width body and to move well in acute. These features will remain lucimiento in their important interventions of both acts. El Figaro de Mario Cassi, tells true brilliance in the duo both in their duet of Act I "The idea of ​​that metal”. The large number of magnificent set that closes Act I, with that excellent Coro de la Generalitat Valenciana. Anyway, a very remarkable Barbero, especially for its theatrical approach and the most serious voices.

The Barber of Seville
Gioachino Rossini
Palau de les Arts in Valencia
D. musical: Omer Meir Wellber
D. scene: Damiano Micheletto
Mario Cassi, Silvia Vázquez,
Edgardo Rocha, Marco Camastra,
Orlin Anastassov, Marina Rodriguez-Cusi,
Oliveri Mattia

Don Giovanni

Mortier defends against the evident failure of Don Giovanni, saying that the Spaniards do not have ownership of the character, since this is universal, and also speaks of the right to Tcherniakov to expose their particular vision of the work. Of course, Sr. Mortar, missing more. Don Giiovanni But this is not the result of a provocative scenery and caused public and stimulated. Nor is it the result of a mature intellectual approach that requires greater reflection on the part of the public.. It is not even a contemporary risky and incomprehensible proposal product of an artist's delusion.. The result is, simply, a bad and boring Don Giovanni. If you prefer, extraordinarily mean and boring, that's what Real is for.

It was well thought out to program Don Giovanni after Così fan tutte. They both talk about love, freedom and fidelity, but both are very different works. The version that the Royal Theater offers us on this occasion is that of Vienna, which has two arias for tenor and one for Donna Elvira, more than Prague.
Don Giovanni is a long-range myth. When Mozart writes his, already exist 80 operas dedicated to the character. A myth that can walk in many different directions. Although in some of them, how is this, I walked awkwardly to failure.
They say that we all carry a Don Juan inside. All but Russell Braun. What a coincidence and what bad luck for the Real's public.
A pity that for Mr.. Mortier there are no quality Spanish singers. That must be the reason why he has been forced to hire a cadre of singers with this level of mediocrity that is so difficult to overcome. Being Ainhoa ​​Arteta (famous australian soprano) the only performer in this production who stayed afloat.

It is important to highlight the artistic and theatrical talent of Tcherniakov. Suffice it to remember his Eugene Onegin in this very Theater. Talent that would be undoubtedly evident with the creation of a work from the beginning. A contemporary work that allows you to expose your artistic approaches directly, without the need to twist an initial approach on a whim and take it to the abyss of disappointment.
Tcherniakov's insistence on depriving the main characters of the works he directs of dignity, and permanent rectification to the teachers who write them, requires better a therapeutic review than an artistic one.
With the excuse of demystifying the character, he created a Don Giovanni chase, irresponsible, devoid of all gallantry, visibly alcoholic and weighed down by the incoherent staging.
The scenery is absolutely flat. Tcherniakov insists once again in large salons exclusively, since all the work is represented in the same set, dwarfing the stage once again. Thus contributing to the tedium of production.

A large part of the hopes of a Madrid public who, after his performance last season with Plácido Domingo, I was waiting for her generous and excited. It can be said that among the confusion of this production it is almost the only one that is saved. Accepting this role at Mortier's proposal, It has been a great success. The shift towards more demanding and complex roles can cause your career to abandon mediocrity and acquire, at last, a new dimension. Qualities not lacking.
His voice, powerful emission and pleasant timbre, she began somewhat unmoved, maybe bothered by the montage and the failure of the premiere, but he immediately took over the reins of an energetic and mocking Donna Elvira, although less painful. He had serious difficulties in the first act that were evident in "I want to take out his heart”. Better in the second act where she was rotund, although scarce of fiato in some aria of prolonged volata. Also recognize his interpretive improvements.

Another of the voices to highlight was that of Leporello, interpreted by Kyle Ketelsen. A great voice, rotund and harmonic that, along with Arteta's, highlighted the shortcomings of the rest of the cast.
Christine Schäfer he just fulfilled his role. It went from less to more until it reached “Beat or handsome Masetto”Which he gladly interpreted. The best, the drama that he imposed on his recitatives.
Paul Groves, which we enjoy in Iphigénie in Tauride and Persephone, it was a sad surprise as Don Ottavio. With permanent problems keeping in tune, with a shrill voice, guttural and falsely falsified, was reprimanded by the public at the end of any of his interventions. Don Ottavio did not enter it, nor he in Don Ottavio.
The young German soprano Mojca Erdmann solved her role as Zerlina discreetly. A beautiful and mozartian voice is aimed,, although small. You must improve your dramaturgy a lot, and if they can also improve their wardrobe, the character would win a lot.
David Bizic, como Masetto, It was a hulk that moved around the stage as such. Cold and expressionless, seemed to be in a school performance.

Russell Braun it was the biggest blunder of the night, that's saying. A brittle voice, little, inconsistent. Point of collapse at various times, I don't know if out of fear or mimicry. Russell Braun is not a voice for Don Giovanni. It was not at any time, despite the many that the score offers to show off. He was not even able to get carried away by the beautiful mandolin performance, in the skillful hands of Araceli Yustas interpreting the aria “Come to the window”. Waited for him at the entrance, braising delicately so as not to cover him, showed him the right path to show off but, it was all in vain.

The musical direction Alejo Pérez is non-existent. From an overture sometimes unrecognizable, until the progressive decline of the second act. As a positive aspect to say that his routine in front of the orchestra allowed, at least, the placid dream of some spectator. Alejo Pérez complained, days before the premiere, that the scenography had affected and altered the tempo of the work. But the musical result showed more alterations than that. The orchestra, that has us used to great nights, it sounded thin, flat and out of time.
Be a chorus in the production of someone who, as is the case with Tcherniakov, he doesn't like choirs, is resigned to remain hidden throughout the performance. This time, as in others, he was hidden in the pit, and the pit rang.

Don Giovanni
The dissolute punished or Don Giovanni
W. A. Mozart (1756-1791)
Libreto de Lorenzo da Ponte
D. musical: Alejo Pérez
D. scene: Dmitry Chernyakov
D. choir: Andrés Máspero
Don Giovanni: Russell Braun
The Commander: Anatoli Kotscherga
Donna Anna: Christine Schäfer
Don Ottavio: Paul Groves
Donna Elvira: Ainhoa ​​Arteta
Leporello: Kyle Ketelsen
Masetto: David Bizic
Zerlina: Mojca Erdmann
Piano: Eugene Miichelangeli
Choir and Orchestra Titulares del
Teatro Real

Juan Diego Florez

Con The Pearl Fishers, Georges Bizet places on record, through his music, new artistic currents that were developed in Europe from the second half of the nineteenth century. Literature, painting and, music course, They reveal a new aesthetic.
He lyrical drama, genre characteristic Second Empire, It distances itself from the political and social conflicts to enter into individual events and costumbristas. Faced with large and complex sets and multitudinous Tablets, drame lyrique focuses on the intimacy of the characters and their amorous passions.
With Pearl Fishers, Bizet enters the exoticism prevailing at that time. Exoticism that will develop up to Carmen.

There are few occasions that play in Madrid to the Peruvian tenor Juan Diego Florez. The last time 2010, By participating in Sledge. Also in concert version. And it is even more difficult to see him as an actor.
Flórez always raises great expectation in Madrid and was once again revealed to the paper run out lockers nothing offered for sale.
And Florez did not disappoint his audience, but neither can rate their extraordinary performance and round. His instrument remains intact, almost perfect, and his voice is still light, air, homogeneous, released, penetrating, although they not appreciated that night Bronzing their high notes.
But nevertheless, It was full of insecurities throughout the first part. He was not comfortable and you could tell.
Nothing to do with their bel canto performances. And perhaps that is the reason for insecurity. The role of the fisherman Nadir did not allow him to show firmness of his usual vocal line.
The second and third acts were solved better than the first. Thanks mostly to duets with Patrizia Ciofi, where his voice and his confidence soared.
He risked just what Juan Diego Florez in one night than expected, as on other occasions, unforgettable, but this time seemed to be unfinished. Always it expected more from one of the best voices of the international opera scene.

Light soprano Patrizia Ciofi, which it seems to be a good eternal moment, exerted, in his role as priestess Leïla, perfect replication his castmates. His big voice, sometimes delicate, He showed occasional shrillness and begin to notice the lack of a voice approaches, inevitably, a clear wear. But none of this prevented that would achieve great moments. It was secure its role at all times, perhaps excessive in some gestures, but his interpretation was the most applauded.

Marius Kwiecien It began with serious problems and it was not until the beginning of the second part, when he warned the public of his throat problems. Even so, and as always in deference, He played his role to the end. Too bad not being able to hear in its splendor to this Polish baritone who already know from his recent performances for Real in Le nozze di Figaro, Eugene Onegin and Król Roger.

The brief role of Nourabad, defended by the young under Italian Roberto Tagliavini, He caused me to pass almost unnoticed, If it were not for his imposing stage presence. But it provided a clue why it is one of the most sought low lately at major theaters.

The chorus, he received a deserved standing ovation from the audience, rang tuned, powerful and tempo in one of their magnificent performances this season. It is already an essential and recognizable player in each representation.

The musical direction of the Israeli Daniel Oren It was quite discreet. The orchestra sounded slow and excessive, almost like gestures. Lack of delicacy and lyricism that requires score.

 

Georges Bizel (1838-1875)
28 of March, Teatro Real in Madrid
Opera in three acts in concert version
record: Michel Carré are Eugene Carmon
D. musical: Daniel Oren
D. choir: Andrés Máspero
Leila: Patrizia Ciofi
Nadir: Juan Diego Florez
Zurga: Mariusz flowers,
Nourabad: Roberto Tagliavini

DiDonato

March a very active at the Royal Theatre. Tras Cosi fan tutte de Mozart y Haneke, un Roberto Devereux de Donizetti, To listen to Edita Gruberova, Night of Real for the showcasing of Joyce DiDonato and, unbroken, Bizet's Pearl Fishers, with a desired Juan Diego Florez with Patrizia Ciofi. All this to give input, in April and, a Mozartian Don Giovanni in debuting, for the second time, Ainhoa ​​Arteta.
Weeks of vertigo in which the quantity is accompanied by quality.

After the premiere of Glass's opera, and "Così fan tutte" Mozartian under the stage direction of Haneke, Teatro Real respite programming for March and April takes some of the most attractive plays of the season. This time the appeal lies, only, in music and performers, something much appreciated.

ROBERTO DEVEREUX
Three performances in concert version of "Roberto Devereux" from Donizetti, They have been the opportunity to listen to the Slovakian soprano Edita Gruberova incombustible, after 10 year absence in this theater. preserve, their 66 years, a powerful voice that left no trodden by the orchestra, and magnificent pianissimi, although clearly the decline of voice, but it has the ability to dress their characters in the drama, tenderness and personality that only experience gives and so lacking on stage today.
In reply he had to José Bros.
Even for a concert version is undemonstrative, but the whole night was confident, especially in duets. His voice was powerful and voluminous, even emotional at times.
Vladimir Stoyanov was widely applauded by the public. His performance was very correct, he managed to live up to the rest of the voices. His voice is of great beauty.
Sonia Ganassi was the most applauded. With great drama and a voice powerful and compelling, Sara gave birth to a very great.
The orchestra, under the direction of Andriy Yurkevych, sounded almost deafening, spirited and agile, balanced with the singers. Well also directed the choir, delicate and exciting, especially in sound volumes managed to reach. Magnificent opera night.

Gaetano Donizetti
Lyric tragedy in three acts
D. musical: Andriy Yurkevych
D. choir: Andrés Máspero
Gruberova, Stoyanov, Ganassi,
Bros, Atxalandabaso, Orfila,
San Antonio, Stanchev

JOYCE DIDONATO
"I was here as a boy and I love coming back like a queen". With these words, in Italian, American mezzo-soprano was presented last 8 March at the Teatro Real in Madrid. And made reference to his previous performance at the Coliseum in Madrid 2010, playing the young Octavian, in Der Rosenkavalier.

"Reinas" is the purpose of this recital and they are the protagonists. And like a queen shown on stage DiDonato. Wearing a spectacular red dress that was several pieces sandwiching, Il Complesso sheltered by Baroque, under the direction of the violin Dmitry Sinkovsky, Joyce DiDonato has deployed all its virtues and performing canoras, transmitting the intensity of the works with a formidable energy. The public has enjoyed with her and she with the public in an exchange of emotions that ended with four encores.
Dominator of the coloratura and demanding change records of some of the arias he has played, They are certainly dramatic arias in which develops better and which has reached an exceptional level of interpretation. A night full of emotions thanks to a lovely woman on stage who has gotten to the public in the pocket.

Cosi Fan Tutte

And Haneke arrived in Madrid, to dirigir and "Cosi fan tutte" with 5 Oscar nominations and accompanied by considerable media hype. A, that fails to get used to the stage directors erected in only protagonists of current opera performances, I feared the worst. But there is nothing to fear, It is true what they say, Haneke is a master.

The intensity of emotions are not always synonymous with torture. As well he explained Haneke about suffering that can come to break his films, "It is those who suffer with them who must wonder why, since it is not my intention to suffer ". And so he has addressed and resolved the stage direction of this work, intensely, is taking advantage of the most deeply elaborate work of Mozart. A convulsive Mozart at the time of its composition and this is reflected in the score. Definitely, of the most beautiful he wrote.

But let's start to crumble the ins and outs of this representation. Upon entering we find the pleasant surprise return to the labor program 32 pages replacing the ridiculous pastern which has been distributing lately. Hopefully this is a final gesture.

Hoisting curtain reveals the mystery so ridiculously jealous and kept for months. A large window separates the interior of a baroque palace seventeenth century Italian. Abroad, a Neapolitan balustrade and timeless columns that offer a great depth, revealing the sky and the light to be one of the protagonists in constant motion, moving from a bright day to a night estrelladamente closed. Both effects of unquestionable beauty.
Inside, an elegant simplicity, the only elements are the fireplace and loggia napolitanas, armchairs and modern style, as a counterpoint to this splendor, a refrigerator that is almost a protagonist of the play as it is constantly visited by all the characters.
On stage an interesting symbiosis between the seventeenth century occurs and XX. They interspersed unmixed and very elegantly, characters and costumes for both seasons. A perfect fusion that causes indiscriminate and subtle identification.

Mortier had spent a long time, Cambreling and Haneke himself to selection, through auditions, the most suitable set of singers. The result is a remarkable musical and interpretive balance. All within a certain discretion. Joven highlight the tenor Juan Francisco Gatell. He played gallantly "A loving aura", endowed with a beautiful timbre, although with slightly tremulous, aspires to an important race.
Another outstanding voices was Fiordiligi, played by Anett Fritsch. Subtleties and refinements away but with a powerful tool in the screening, spacious with large capacity. It seemed to be able to sing everything that he had put that night ahead.
It is missing from the singers, not if given his youth, or reverential respect for the demanding teacher absent, a certain burden of dramatic depth in the interpretation of the arias. A work so full of momenta is required to listen more hearing organs.
They have shone sets, most important in this opera arias that. Duos have displayed an extraordinary rapport.

Musical direction by Cambreling must be divided into two parts. always considering that Mozart is not his specialty. The first part was somewhat slow due to lack of verve. something very different was the second part, met with brilliance and energy.
Deliberate dramatic way Cambreling and Haneke marked the musical tempo and, incorporating significant silences, they were better understood as the work progressed. These evaluative Haneke breaks to which we are accustomed in his films, here are accurate when they are the complement to the moments of greater intensity. Allow breathing deeply the scene just witnessed. Recitatives carry all the interpretative weight and become a conductor dramatic element essential, placing the scene accurately.

Haneke's hand movements breathe, the details, nothing is left to their fate. Everything that happens, and what not, It is deliberate. A magnificent direction of actors that allow a scenic view of a perfect distribution.
Without realizing it, a story that seems unlikely, it becomes perfectly credible and that the end is expected enthusiastically, one well known end but which it is expected surprise.

A Così fan tutte to fully enjoy and for a final thought. What would be said of this same production if the teacher was not Haneke scene?.

AS FAN ALL
Teatro Real, Madrid, 26 February 2013
W. Amadé Mozart (1756-1791)
Playful drama en dos actos
Libretto by Lorenzo Da Ponte
New production of Teatro Real. Coproduction with De Munt La Monnaie in Brussels
D. musical: Sylvain Cambreling
D. scene: Michael Haneke
Scenographer: Christoph Kanter
Costume designer: Moidel Bickel
illuminator: Urs Schönebaum
D. choir: Andrés Máspero
Orchestra and Chorus of the Teatro Real holders
Fiordiligi: Anett Fritsch
Dorabella: Paola Gardina
William: Andreas Wolf
Ferrando: Juan Francisco Gatell
Despina: Kerstin Avemo
Don Alfonso: William Shimell
Key: Eugene Michelangelila

I Due Foscari

It has started the year VERDI, at 200 anniversary of his birth, and the Palau de Les Arts celebrates the anniversary with a title young Verdi I due Foscari, along six performances that began -exitosamente- last 24 from January, and will run until 8 February. Y, to be followed by the roles of Otello, one of the peaks of art verdiano- which will take place the next months of May and June, directed by Zubin Mehta, Festival of the Mediterranean.

DEATHS IN VENICE
In the famous film of Luchino Visconti in 1971 Y, as well, the last opera by Benjamin Britten 1973, Death occurred in Venice, of the tormented musician Gustav von Achenbach: -A Francesco Maria Piave from the drama of Lord Byron, The two Foscari- He wrote the libretto of the opera by Verdi composed sixth, the title italianized I due Foscari. It presents an oppressive and highly dramatic plot, that ends with the deaths, in the Venice of the Quatrocento, of the Doge of the Serene Republic, Francesco Foscari and his son Giacopo.
This opera inaugurates a period of frenetic creative activity for the composer of Busseto, who since 1844 (year of the premiere of I due Foscari) until 1850, will compose eleven operas. These intense seven years are known by the name of "galley years". This name is based on a letter from Verdi himself to his friend Countess Maffei, in which he complained about the way
next: “From Nabucco it can be said that I have not had a single hour of tranquility. It was seven years of galley!"Later the expression reached fortune, but applying it to the six-year period between I due Foscari and Stiffelio premiered in 1850.
Two may be the reasons for this great creative effort: the requests of the theaters to represent new operas and the strengthening of the economic position of the composer, whose triumphs on stage were providing him with a healthy financial situation. Both reasons are plausible, although the first is usually used to the detriment of the second, less romantic. Certainly, back then there was a real public craving for, materially, devour new operas; this circumstance forced the composer to create one opera after another incessantly, and travel continuously to attend premieres or supervise rehearsals and reruns. But it is no less true, that due to its humble origins, Verdi had a great attraction for money.
So, that frenetic work of "the years of galley", to which can be added the period between 1851 Y 1853 where he composed his popular trilogy, that make up Rigoletto, Il Trovatore y La Traviata, make you a millionaire songwriter who, since then, it is gradually slowing down its production, as, in the next forty years, and even his last Otello premiered in 1887, and Falstaff from 1893, he will only compose eight operas.

But, let's go back to this Valencian and very remarkable I due Foscari: where, again, as in the previous cases of Rigoletto and La Bohème, during this season, we are shown an original scenography. Ya, at the very start of the representation, we can see a dynamic sea projected on a transparent backdrop, that symbolizes that beautiful Venetian blue horizon, through which one can glimpse the ugly and sinister prison universe that, once that maritime curtain was raised, can be seen in all its sordid sharpness, and where Jacopo Foscari is imprisoned in a cage,to the son of the Doge Francesco Foscari, surrounded by torturers, and some inquisitive clergyman who blesses the punishment of the captives. Again, in Act III, this oppressive underground universe interacts with a colorful merriment, where the characters sing and dance in the celebration of that historical festive event called "Venetian Regatta". Very successful costume design by Mattie Ullrich, with proliferation of red and white colors, along with the pretty outfits worn by Chinese soprano Guanqun Yu, in the role of Lucrecia Contarini. Excellent stage direction by Thaddeus Strassberger, getting the characters to show the tension and drama that afflicts them.

musically, in this opera you can see the progress in orchestration achieved by Verdi in relation to his previous works. Here the composer experimented for the first time with the so-called "recurring themes" or "leit motiv", that announce the stage presence of the different characters, and including the choir. So, Busseto's teacher shows in I due Foscari, new forms of musical expression, mainly with those recurring themes, by which each character is defined by a musical motif that identifies him on stage. For the octogenarian Francesco Foscari, it's the bass strings: cellos and basses, that develop a beautiful melodic descending figure, that reflects fragility and old age. Lucrecia Contarini's appearance on the scene is marked by an "allegro agitato" played by the string, with a restless and fiery melody that shows the high degree of constant agitation of the character. Even the chorus, in the interventions of the "Council of Ten", has its musical motif: a "walker with a motorcycle", what reflect, somehow, cruelty and intransigence.

Omer Wellber conducted the Valencian Community Orchestra with a good pulse, from the very beginning of the opera, with those strong and vigorous chords that start the overture, and the execution of that funereal and melancholic theme in minor mode, played first by the clarinet and later by the flute, with evident brilliance of both instruments, and that the presence of Jacopo Foscari is going to mark musically.

The orchestra shows off its benefits at the start of Act II, with that beautiful chamber music, with shining violin and cello alternating and talking, to which the voice of Jacopo Foscari joins, well performed by the tenor Ivan Magri - covering the passage, verdiano good style of singing- at the beginning of his great scene “Notte! Perpetual night that reigns here ... ". The tenor also lucidly confronts his intervention in Act III, "His inexorable rock core". Although Ivan Magri is far from the extraordinary performances of the young Carlo Bergonzi, in the live shot of this opera performed in 1951, with musical direction by Carlo María Giulini or the young Josep Carreras, in the magnificent Philips recording of 1976, directed by Lamberto Gardelli, and where the Catalan tenor offers us his beautiful timbre of then, together with a Verdian temperament - especially in the cabalettas- of the first magnitude.

Last season, Plácido Domingo faced a lyrical baritone role, como el Athanael de Thais de Jules Massenet. Again we listen to him in this position, embodying the old Francesco Foscari who, actually, requires a more dramatic baritone as in the cases of Renato Bruson and Leo Nucci, who have played this role repeatedly in theater, and they have left us with DVD recordings of undoubted quality. Anyway, Domingo is successful in the test, still showing us that youthful and beautiful timbre, incredible in a singer who has already turned seventy-two.
Y, is notable in his first stage appearance "Eccomi solo alfine ...", that presents the ruler in the solitude of power. As well, in his solo interventions of Act III “Egli ora parte!… And inocent part!”, to finish his important performance around the end of the opera “Questa dunque è l’iniqua mercede… Principe”, where, then dies before so much misfortune. But, maybe, where Domingo shines more strongly in duets with his daughter-in-law Lucrecia Contarini, magnificently performed by young Guanqun Yu, -big winner of the night- winner of the edition 2012, of the Operalia-Plácido Domingo contest, and disciple of Carlo Bergonzi, Reneé Fleming y Eva Marton. The Chinese soprano has a nice timbre, and a very well projected voice, with round and sharp treble and treble. But nevertheless, its bass range, results limited. His performance was very lucid, since he first appeared on the scene, during Act I, with the recitative-aria-cabaletta "No, leave me ... you look at me omnipossente ... O patrices tremble ... the eternal", of a Donizettian bel canto style and great difficulty. Likewise, He also had a brilliant intervention in the Act III cabaletta “Piu non vive! The innocent .. ". Special mention deserves the performance of the vibrant Act II quartet, with Lucrecia, Francesco, Giacopo and the evil Loredano, very well played by that bass of great vocal media that is Gianluca Buratto. As usual, magnificent performance of the Choir of the Generalitat Valenciana, directed by Francesc Perales. Anyway, an opera by the young Verdi well resolved vocally and scenic.

Perfect American

The world premiere of an opera can be somewhat inconsequential (Faust-Ball see), or may be a special time, almost magical. What element makes the difference between the two situations? Definitely, quality and specific gravity of the author.

Philip Glass is the essential element able to meet expectations before an event like this. But with a score well above the libretto, perhaps a little disappointed benevolence with which the end it is the character of Disney, given initial expectations. The novel on which the play is based, The King of America, the Peter Stephan Jungk, It is far more ruthless than the final The Perfect American results.

The world premiere of an opera can be somewhat inconsequential (Faust-Ball see), or may be a special time, almost magical. What element makes the difference between the two situations? Definitely, quality and specific gravity of the author.
Philip Glass is the essential element able to meet expectations before an event like this. But with a score well above the libretto, perhaps a little disappointed benevolence with which the end it is the character of Disney, given initial expectations. The novel on which the play is based, The King of America, the Peter Stephan Jungk, It is far more ruthless than the final The Perfect American results.
Who knows the work of Glass knows that his musical language is not a traditional operatic language. It is full of minimalist peculiarities that make their music is unmistakable in its particularity. But in the American Perfect Philip Glass we discovered a different, which it is an extraordinary creative moment.
After a matured evolution, It has created a line equipped with an unusual musical coherence. The cadence of the music is irresistible from the first chords. An almost hypnotic way, virtuous pace set mainly percussion, trace an impossible way to leave until the end of the work. Under the influence of Brukner, produces recurring long fragments. Glass apparently hidden notes foregrounds and becomes the main theme.
His broad sense of time, almost quiet, reminiscent of the music of Ravi Shankar, It is masterfully combined with sudden changes of pace.

A SIMPLE AND SCENERY brilante
The proposal stage director Phelim McDermott part of an initial challenge, create a dramatization Walt Disney without using any of his famous drawings. Not forget that Disney is, first of all, one of the world's leading brands, including rights.
This has enabled a greater margin of creativity and freshness. For that, It has built a stage space onírico, which resembles an old film studio with some decadent air, almost melancholic, where projections used as main thread descriptor layers or frames that differentiate the different scenes, creating a gap between reality and dreams.
The images of developing simple drawings, creating figures and complementing spaces, pose one of the first reflections of the work, the artistic creative process. The real protagonist over the final work and representing it as a production.

The work is not about the life of Disney, deals with specific time, mainly his last months of life. The relationship with his brother Roy, with the rest of his family. Their fears about the nearness of death and the desire to live forever.
the always delicate dilemma also arises intellectual property. Disney did not create any of the characters, and this conflict have a strong presence in the work through dealing with one of its cartoonists.

The box singers this time is a remarkable balance. The libretto is not extensive, nor is great the difficulty of different characters. But this does not prevent an extraordinary job to make Christopher Purves, widely recognized by the public. It is a well characterized Disney and vocally transmitting the power and personality of the character. The same vowel forcefulness that showed David Pttsinger, Roy Disney. Both singers pasted perfectly into duos.
Donald Kaasch, another big name in this theater, created a cartoonist defiant and obstreperous than the Disney brothers faced in a plane of balance and equality.

Wall Disney had built an automaton of Abraham Lincoln that appears in the work and is used to discover the darkest personality of the protagonist. An awesome (for its size) Zachary James, Life al autóata Lincoln.

Another of the figures that appear related to the protagonist is Andy Warhol, represented by tenor John Easterlin, well known and recognized by the Madrid public and master equip their characters a necessary histrionics to round.
Highlight this time, and they are already many, the performance of the choir. A perfect filling for a beautiful particelle which are produced by Glass, along with a pair of single cello, the most beautiful notes of this new work so full of delicacy and intimate moments.

The musical director Dennis Russell Davies demonstrates his perfect knowledge of the author and his work. Orchestra draws a delicate sound, crisp and full of freshness and put your grain of sand in the growing professionalism and quality of the Madrid Symphony Orchestra. The percussion sounds are primarily responsible for the personality of this work.

It is important to record some details. The almost unanimous favorable opinion from an audience that applauded amply, and the abundance of young audience in the stalls. east end, together with the international impact that has had this world premiere, satisfy two of the reasons why Gerard Mortier was hired by the Royal Theater: attract new audiences and put the theater on the international scene.

The Perfect American
Philip Glass (1937)
Teatro Real, opera in two acts
Rudy Wurlitzer libretto
D. musical: Dennis Russell Davies
D. scene: Phelim McDermott
Purves, Pitt Inger, Kaasch, Kelly,
McLaughlin, Tynan, Fikret, Lomas,
James, Easterlin, Noval-Moro, Gálvez, Buñuel.

this expanded version expected in the Real Boris Godunov from Musorgski. But since the decision of its programming by the artistic direction, until its premiere this season, three years have elapsed, and in all this time, some issues have gone to more and others, inevitably, unless…

Boris Godunov is based on the eponymous historical drama Aleksands Pushkin and the book Nikolai Karamzín, History of the Russian Empire (1829). Mussorgsky tells us in this opera, not just the story of a character, but a story about Russia and the Russian people.

This time, and unlike the same theater production offered in 2007, They have had the good sense to offer the most complete version of 1872 including, Besides, the Scene St. Basil's Cathedral and of the Kromi forest. The result is a much rounder work.
The second version, that of 72, more political, It is based on three main reflections: oppression that can be exercised from power, whose referent is Boris, populism and propaganda, representing the false Dimitri, and the town.
The same people that the beginning of the work calls for the appointment of Boris as Tsar and the conclusion is asked to kill the same Zar. This is coupled with the psychological analysis version 1869, Boris featuring a haunted by their ghosts of the past. Ghosts appear represented by children in their delusions.

There are several aspects that draw attention to this work. The first shows the genius of its composer. Not easy to imagine that an official coming home, sick of working, is dedicated to the composition of such an important operatic work. And it is, Besides, reference and influence for composers like Debussy, Messiaen o Berg. And nobody like Mussorgsky set, after
Monteverdi, so well the relationship between music and the story told, creating a universe completely different sound to that of his contemporaries.

The scenic aspect is one of the first disappointments with which we. Budget shortage, poor excuse for a wardrobe, It does not justify itself a mammoth building of the former Soviet Union. Stage director Johan Simons He has created an open stage, Grey, cold and decadent. On it a gateway where the characters parading in power while the people observe or participate from a lower step unfolds.
The scenery is full of common elements in modern productions that are beginning to be a bit boring for excess use. Filming and simultaneous projection, the current dress or coldness and ugliness of the scene.
Simons transmits an oppressive atmosphere, the suffering of the Russian people and the tormented Boris.
Neither it was successful this time the dressing room with some of the main characters remain descontextualizados, something that in a work like this is unforgivable.

In the attempt to establish a clear parallel between Russia described by Mussorgsky, and the current, Simons has covered in balaclavas face of some members of the choir, making an allusion explicit to the Russian punk group Pussy Riot. Remember that some members of this group were recently convicted of issuing a video at the Cathedral of Christ the Savior in Moscow, on charges of "undermining the social order”.
The message is clear, Then and now, explains Simons, “anonymous individuals, here by a balaclava as Pussy Riot, They may be condemned and destroyed, but the ideas remain in other. Theory that also serves the political sphere and religious”.

But let's talk about the characters, and let's start with the most important, the village, he Choir, accompanied by Little ones (big) Singers JORCAM. With a volume of sound and expressiveness so overwhelming that get really breathtaking scenes, as the Polish scene. The choir is one of the elements that this theater can be very proud, and this time they have been extraordinarily led by Haenchen.

The other protagonist of the opera, Boris, interpreted by Günther Groissböck, It is another disappointment of the night. Boris has a personality that makes her absences are almost more important than his appearances on stage, why he is blurred to the not respond to such excitement. It is a lustrous voice, but of little size and organization. Godunov debora a Groissböck.

Not so with Pimen, the voice of Dmitry Ulyanov. The old monk unctuous voice and extensive and severe severe, that they give the character the authority to reveal, through its chronicle of Russian history, Boris hatched the plot to assassinate the small Dimitri, son of his predecessor Ivan the Terrible and true heir.

Prince Shuisky, from Marguita, It has a sharp bright, a clear and well-tempered metal for an intriguing character in the Duma. Pity the poor direction of actors not ubicase you more properly on stage. The charcoal gray suit also gave him the deserved packaging.
Grigori, the false Dimitri, interpreted by Michael King, It was another disappointment. His sharp were in some unpleasant moment and their corpulence, inappropriate for the character, She hampered his movements among employees of the Real that circulated around the stage, to the astonishment of many, carrying tables and chairs.

Anatoli Koscherga He created a histrionic aptly Varlaam. julia Gertseva, Marina, brighter midtones that at some acute that failed to hit, but his voice is compact and smooth.
The duality of the "idiot", which it allows through innocence, I tell the truth without fear of being taken into account, and deep understanding of their observations. Often the idiot is the one who is right. You can not say the same for the people. It comes up a phrase of Stuart Mill, “society will be overwhelmed by the weight of collective mediocrity”.

Hartmut Haenchen, who last season led in this Theater a huge Lady Macbeth of Shostakovich, He has offered here a sober and efficient direction. You may be required a little more refinement in the nuances,but it sounded a resounding score that was probably very pleased to composer. Perhaps the coincidence of both in totalitarian experiences, Haenchen comes from East Germany, encourage greater attention to elements more frugal than pyrotechnic. His address the choir, there may be overtaken orchestra.

The enthusiasm of the public to the term of representation, It was rather content. Awaken those sleeping! Opera is very large, listening, s and, it feels, you enjoy and, at times like this, you think…

Boris Godunov
Modest Musorgski (1839-1881)
D. musical: Hartmut Haenchen
D. scene: Johan Simons
D. choir: Andrés Máspero
Headlines Choir and Orchestra of the Teatro Real
Small Singers JORCAM
Groissböck, Kadurina, Yarovaya, Margita, king, Gertseva,
Nikitin, Kotscherga, Vazquez, Popov, Nekrasova

C(h)oeurs8

Given that most of our principles, They are nothing more than prejudice, lay aside prejudice, even to some principle and desvistamos C(h)oeurs of burden or political reference. Let's see what's left. He had presented its new production Teatro Real, C(H)oeurs, as the product of reflection and analysis of the mass against the individual. Movement as "the Arab spring" or 15M movement. To provide a patina of intellectuality such a series of events was used to comparisons, or philosophical inspirations of a book like "The benevolent", Jonathan Littell. Anyone who knows this reading and has attended a representation of C(h)oeurs, agree with me that, any overlap between the two is not, not even, product of chance.

"... I gave him a friendly pat on the shoulder. "Do not worry. Everything will be fine. But do not let the wine, that we are going to need it. ”…” (benevolent, Jonathan Littel)

It all starts dramatically with the wrath of God, the "Day of wrath" and "Sound strange”, of the verdiano requiem. The metals, located on the proscenium, They give greater resonance and the room is flooded with sound. The sounds impressive score in the voices of the choir. Immediately the early stages can be made out of the overture of Lohengrin. The delicate tension of a sea of ​​violins makes us think that we will be saved by the major music as he grabs a float when a wreck guess. On stage, asincopadas contortions of Les Ballets C de la B, a while ago have begun, first concern, and then to disturb the public, but especially the chorus trying to cope on stage.

Ridicule this music minimizes it, anything is less ridiculous with such musical background. That's why we continue to cling to it and the spectacular voices of the choir, but it is increasingly more complicated this work. Deliberately truly important, what is music (not forget that it is Verdi Y Wagner) You are losing weight, it is diluted and gives way to absurd scenes. You can not say it's a choreography, It is mourners and spectral creatures that roam the stage, bothering al chorus, as dying human ruins while trying ponserse underwear until then had between teeth.

then begins, to the dismay of the public first, and then teasing, the retaíla of the chorus saying one at his name while holding banners with words or messages as hackneyed as trasnochados. I remember on Ash Wednesday at school, when we wrote down our sins on paper before we burned them. And the memory was not for the words themselves, that also, but for the school of the scene. In the course of these events, the rhythm has definitely been broken never to recover again. The public, between pissed off, boring and mocking, wait in their seats for the next occurrence, if they have not deserted by now. The music has disappeared and recorded reproductions of Macbeth or La traviata sound while a voice recites apparent phrases but that were already completely banal.
The show is, in sum, of a very low quality, painful. It's really amazing, First, that a stage production can be charged with a stroke of the pen choirs by Verdi and Wagner performed by one of the best European orchestras and choirs. And second, that a theater like Real de Madrid make artistic proposals of such excessive poverty. Maybe the discussion is that, that some consider a genius this capacity for destruction.

Dice Alain Platel who has been mounting this work for 6 years and that when the events to which he refers, they decided to carry it out. This is totally incoherent, and it would be opportunistic, if it weren't because he's already late.
Platel believes he is at the top of European culture, he wants us to discuss his clothes, when it becomes clear that he is naked. What culture needs are really risky proposals. That the encephalic mass is above the populist mass. Examples we have had, without going any further this season at Real, by the hand of Peter Sellars and his Iolanta and Persephone. And we could go back and cite more works that have generated high-profile controversy.

The feeling left by this "performance" is emptiness and sadness.

You have to recognize a certain skill for not including a break, no need to explain the reason. And the media success, normal, What does a mediocre need to not go unnoticed? NOISE!!

“… But don't ever discard the thought that maybe you were luckier than me, but that you are not better. Well, if you have the arrogance to believe that you are, that's where the danger begins ... "

"... Like most people, I did not ask to become a murderer. If it had been in my hand, I said it already, I would have dedicated myself to literature ... "

(benevolent, Jonathan Littel)

 

C(H)oeurs
(Choirs / Hearts)
Madrid, 12 March 2012, Teatro Real
Alain Platel's project, with music by Giuseppe Verdi (1813-1901) y Richard Wagner (1813-1883)
D. musical: Marc Piollet
D. scene and choreography: Alain Platel
Scenography: Alain Platel
Dramaturgy: Hildegard De Vuyst
musical dramaturgy: The Jan ndenhowe
Costume designer: Dorine Demuynck
Lighting: Carlo Bourguignon
D. from the choir: Andrés Máspero
Les Ballets C de la B
Choir and Orchestra of the Teatro Real holders
(Intermezzo Choir and Symphonic Orchestra of Madrid)

Iolanta Persephone

IOLANTA. THE GREAT LIE

I have always been fascinated by works that failed to premiere”. With these words Peter Sellars justifies, Between other reasons, the choice of Iolanta for this production. Despite having been released alongside the Nutcracker, Iolanta is not an opera for children. It is the most personal and visionary work of Chaikovski. It was his last composition a few months before he died, quiet, but voluntarily. That is why it contains the deepest emotions of an incredible and tormented composer.. And this corresponds to an extremely beautiful melody.

The plot is full of the romantic symbolism that permeates almost all the arts in the late 19th century..
Iolanta would deserve for its musical characteristics, and above all for its dramatic intensity, do not share a poster with any other. But its duration, just an hour and a half, makes this impossible in any theater programming. The need to complete the poster leads us to the first question, With what work do we accompany Iolanta?. Considering that it is a co-production with Russia, it seems inevitable that it is another Russian composer, so Stravinsky's choice seems normal. What is somewhat disconcerting is that Persephone was chosen. Both are works of a very uneven intensity. The explosive energy with which Iolanta ends has no continuity with the delicate sobriety that gives entrance to Persephone. The transit between the two, a thirty minute break, not enough to get the balance.

Neither of the two works has a routine moment. Iolanta has a prodigious libretto, although it may seem like a trivial or corny story. A king who hides his blind daughter who is, and that for this he uses a great lie of which he makes the rest of the court an accomplice.

With these wickers, stage director Peter Sellars, has shaped a scenography with which he wants, using the San Francisco dramatic line, convey a message of hope. On how to live better, change our life regardless of the material and wealth. Is this effect really achieved?

The setting is almost absolute sobriety. Just a few frames that, by way of doors, act as reference elements on stage. It is completed by background panels that alternate throughout the scenes, limiting themselves to providing different colors, first on a stage full of darkness, and intense light to project the end.

The artistic team consisting of Peter Sellars and the young musical director Teodor Currentzis, have been allowed the license to incorporate into the work a passage that does not belong to them. It is a sacred choir by the same composer.
They have placed it at the end of the work, just before tableu final, Y, despite not corresponding at all to the musical line, it is a success. It is loaded with an intensity and containment that gives the end of the work an even greater force.
At times it appears in both works, a string quartet that accompanies the characters on stage making those moments on stage special.

Iolanta's score is incredibly beautiful. There are times when a ravishing atmosphere is created, sublime. Intense and beautiful moments of the strings, especially the first violin. Or the harps and the female voices of the choir accompanying a tercetto the set aria.
The Orchestra was very good again, and we're getting used to it, hand in hand with Currentzis. A young director who already shows experience and solvency.

We had been told that the singers are the best that Russia currently has. Some proved to be in that elite, as Dimitry Ulianov, who plays King René. A very solvent and unassuming bass that accompanies his voice with a great stage presence.
The already known, and almost from home, Willard White as Ibn-Hakia, undertakes his character with dignity. A correct voice, polished and compact with good projection.
Pavel Cernoch, as Vaudémont owns an instrument with many brilliance, almost sparkles. An enameled voice that certainly has to evolve.
Somewhat disappointing was the performance of Ekaterina Scherbachenko, Iolanta, a voice with a beautiful and charming timbre, expressive and round, until the slightest difficulty came and he failed in a not stratospheric treble that adorned his role. Sufficient bellows but little support.
The rest of the cast was very solvent, contributing to a balanced and compact group of singers..
Once again we must pay tribute to a choir that does not accompany, but it is one more character each time he participates and not a minor character. Sparkly.

IOLANTA
Piort Ilich Tchaikovsky(1840-1893)
Lyrical opera in one act
Libretto by Modest Tchaikovsky
Based on Henrik Hertz's The Daughter of King René
Ulianov/Markov/Cernoch/Scherbachenko/
White/Efimov/Kudinov/Semenchuk/Churilova/Singleton.
New co-production of the Royal Theater with the Bolshoi Theater in Moscow.
D. musical: Teodor Currentzis
D. scene: Peter Sellars
Scenography: George Tsypin
Lighting: James F. Ingalls
Choir and Orchestra of the Teatro Real holders
Little Singers of JORCAM

PERSEPHONE. THE RENAISSANCE

This is the story of the resurrection, of the renewal of life”According to the criteria of Peter Sellars. At a time when fascism and Stalinism are spreading across Europe, Stravinski makes an effort to return to the myths of salvation. The earliest Greek myths about the harvest, with the birth of culture. Just at those times (or in these), where civilization seems to be breaking down, para Sellars “Tchaikovsky and Stravinsky create music full of tenderness, fragility and deep delicacy”. In this show "music tells a story, dance another, the visual part another and everything works to create the wealth of a multiple and democratic society”, concludes.

With Perséphone the second question arises, Can it be considered an opera or is it "simply”A scenic show? For Sellars it is about “a ritual, a ceremony”About the mythological character of Persephone who lives between earth and hell.

On stage, the same elements as in Iolanta. Only a greater activity of the mobile panels and the change of lights make a scenic difference between the two sets.

French actress Dominique Blanc, an entire institution in your country, declaims the text as a dramatized recitative. The Canadian tenor Paul Groves plays Eumolpe with aseptic brilliance.
The dance part is performed by a group of Cambodian dancers who are a perfect metaphor to accompany the plot of the play, the town that returns from hell. As Cambodia did after the Pol Pot mandate that exterminated, among others, to all the dancers of traditional dances. Amrita Performing Arts They constitute a new generation born from the ashes of that massacre.
The titular choir, accompanied on this occasion by the little singers of the JORCAM, continued in his line of brilliance. Just qualify the incomprehensible entering and leaving the choir stage as if it were an appetizer.

The bottom line is positive. If you want to be surprised by the captivating music and by the positive energy that is generated in the Royal room during both performances, feel free to buy a ticket or, failing that, listen to it on the radio or attend it through the Digital Box that the Theater makes available to those who want to attend via Internet on the day 24 from January.

PERSEPHONE
igor Stravinski (1882-1971)
Madrid, Teatro Real 14-1-12
Melodrama in three frames
Poema by André Gide
Paul Groves/Dominique Blanc
dancers: Sam Sathya / Chumvan Sodhachivy / Nam Narim / Khon Chansithyvka
(Amrita Performing Arts, Cambodia)

Lady Macbeth

Chaos instead of music "composer" formalist ", He sentenced to 1936 Pravda on the successful Lady Macbeth de Mtsensk, premiered at the Small Academic Theater of Leningrad 22 of January of 1934. After that sentence the official newspaper of the regime, and after learning that Stalin had not liked all his work, Shostakóvich, He received the anathema of "enemy of the people" by Stalinist cultural bureaucracy coming to fear for his life. He thought the same fate awaited him two of his friends, Tuchachevsky and Meyerhold, (geniuses of the theater) who they were deported and executed.

He was eventually acquitted, but his works had already been fulminated of all opera houses and concert halls. Until the death of Stalin in 1953, his works always suffered harsh criticism of the means of the regime.

Lady Macbeth is the work of a young man 26 years decides to put music to a risky and unusual argument. Namely, characters mean and unscrupulous in a dark place of deepest Russia, where everything is boredom and repressed sexuality. The result is a work that vindicates sexual freedom while officialdom treated sex as exclusively oriented fertility. The Soviet state made every effort to put sexual urges to service the growth of the nation. Opera Shostakóvich It is a reaction against this ideology and constitutes an act of sexual liberation. and is also a complaint against the humiliating situation of women in Russia. No wonder then Stalin's displeasure.

Little does this production of Lady Macbeth with Rostropovich ten years ago in this same scenario. A Rostropovich to Soviet officialdom which left no access to the original score 1979. It is from that point, when Lady Macbeth of Mtsensk born for the rest of the world.

Grandiose! So the Lady Macbeth can be summarized that represents these days in Real. I thought nothing could match that ran majestically from the stage Master Rostropovich.

It is being criticized by some of its high voltage erotic scenes, but that is the essence of the work, rawness, almost violent, of reality that wants to show. And a reality that sometimes do not like, an end all happy.
Shostakovich's music, deliberately mocking in the most dramatic moments, It maintains constant tension of the work. There are many moments that evoke other great works on which decisively influenced. Hence his greatness and expertise.

The address of Hartmut Haenchen It was widely applauded, without going into comparisons with Rostropovich. He ran very well the Titular Orchestra of the Teatro extracting from it the best score with a complex and demanding. The interludes were magnificent, some a curtain down, but lacked continuity at times. A success of the production was put metals on walkways on either side of the stage. Increased energy and sound volume. This helped to highlight the drama of the work, which it is already much.

The big winner of the night was definitely Eva-Maria Westbroek. It seems that the role of Katerina had been written for her. He filled the stage with a dramatic interpretation at the height of his voice. He moves well on stage, what capacity of expression, how transmits its role. An extensive voice, round, enameled and forceful. With a high voice and dramatic level maintained throughout the work. ¡Brava!.

Other performers was at an acceptable level. Vladimir Vaneev Boris had its difficulties. Often his voice was swallowed by the majestic orchestra.
Michael King I was a little disappointed. He fulfilled his character but his voice lacks agility and harmonic. Highlight the scene of intercourse that was, interpretatively with music and lighting effects, extraordinary.

One of the protagonists and winners of the night was the choir. Especially noteworthy Lani Poulson, who it agreed to a production demands not easy. The chorus sounded magnificent, sometimes spectacular, especially in the wedding scene and the final scene, in the long march to Siberia. Sound volume and power were exciting at times. Máspero He is doing a good job.

The scenery was very successful and faithful to the spirit of the work. Able to recreate an asphyxiating atmosphere harboring many other atmospheres, of each character, and all equally oppressive. By the way, They are not like animals on stage.

Definitely, quite a sight. Far from traditional operas, works are enjoying a high-level shake, remove the inside and not always comfortable. For this reason I am afraid not come good times for this type of programming or for Mortier. The knives are sharpened and if no one remedy, soon we can enjoy casposas conventional works and productions that merit no more thought than an analysis of the singers. Now, we are getting used to the good…

LADY MACBETH DE MTSENSK
Dmitri Shostakóvich (1906-1975)
Opera in four acts and nine pictures
Libretto by Alexander Preys and Dmitri Shostakovich
based on the story of Nikolai Leskov
Madrid 9 from December, Teatro Real
musical direction: Hartmut Haenchen
stage direction: Martin Kusej
Eva-Maria Westbroek, Vladimir Vaneev
Head of the Royal Theatre Orchestra
New production at the Theatre Royal
accruing de la Dutch Opera Amsterdam

Pelleas and Melisande

One day at dusk found her crying next to a spring, in the forest where I had lost. I do not know your age, or who is, or where he comes, and I do not dare to question it must have been a great terror, and when asked what happened to him, suddenly breaks to mourn as a child and sobbed so much pain scary.” (Pelléas et Mélisande).

Pelléas et Mélisande from Claude Debussy, It is based on the eponymous drama Maurice Maeterlinck, contemporary of Debussy, to which he granted permission to work with his work. Debussy took six long years to finish the work to which, using own Maeterlinck, made deep cuts in the script to fit a tempered score.

The Paris premiere of Pelleas et Melisande in 1902, He was involved in many difficulties. Because of the discussion about who would play Melisande, Debussy and Maeterlinck came to court. Once the reason, Debussy had to deal with a smear campaign that reached the day of the premiere itself. All these public events divided between supporters and opponents of the work. In favor, Of course, Symbolist writers. Faced with such excitement, eighteen performances that season were to packed houses, and those of subsequent seasons. Becoming an opera repertory, over time, He has been finding your site, ever closer lovers of music fans to the more conventional opera.

The play, one of the clearest examples of the symbolism of the time, is, Of course, enigmatic. It is in music but mostly they are only outlined characters, without ever to define their feelings.
The plot suggests only event, such as death or adultery. The latter without ever coming to fruition. A priori is not a work with which you connect easily. It is a score full of apparent contradictions. Conveys brightness and darkness, joy and melancholy, Sometimes it seems that the mystery will be solved and, suddenly, lose. Always oscillating.

It is a work of a beautiful musicality, and address formidable Sylvain Cambreling, great connoisseur of the score, delicately conveys the background of the work of Maeterlinck.

The singing is syllabic. It contains arias, ni agudos, nor virtuous moments. It's almost a recitative sung slightly. Only the different tessitura break the monotony of constant fraseo, recalling the beginnings of opera, although this time, not accompanied by a continuous, but an elaborate score. All these elements make Pelleas et Melisande is an impossible play music once heard.

The scenery Robert Wilson It contains aesthetic elements of great beauty and capacity. The initial effect of the forest, the gap of the well or the cave. All loaded elements of this symbolism that surrounds the work and facilitates the enigma and delicately melancholic atmosphere. But all this magic resented by the movements of the characters on stage. Frida Parmeggiani He created a static and slow figures, almost indolent that sometimes verged on the ridiculous. a disconnect between music and the scene that made it difficult to follow the argument then produced.

Regarding the singers, not very stimulant together. The sheet music for them is not very demanding, maybe that's why they do not have too difficult to solve it. Camilla Tilling It has a crystalline voice and showed us in his angel San Francisco de Asis. On this occasion fully consistent with the innocent character who represents Mélisande, but its projection is scarce, too small a voice that sometimes is totally smothered by an orchestra, if anything showed, It was delicate and never stridency.
French tenor Yann Beuron He was correct in its interpretation. He learned to shape the character but his sharp were scarce, although without falsifying. His voice, like the rest of the cast, It is small and also had its difficulties to compete with the orchestra.
Laurent Naouri, as Golaud, He was the only one who deployed some volume. He did not have too much difficulty because his character is fairly flat and, Fortunately for him, It does not have too many ups.
Although I do not like children, either on stage, the small Seraphin Kellener well he fulfilled its role. Having to sing while doing foolish moves across the stage should not be dish taste, and less for a child.

Although the public is ultimately Real cold, especially in this opera, it's worth attending one of his performances and enjoy, especially, of the music.

Pelléas et Mélisande
Claude Debussy (1862-1918)
Lyrical drama in five acts in French
New production of the Teatro Real from the Paris Opera and the Salzburg Festival.
D. musical: Sylvain Cambreling
D. scene: Robert Wilson
Costume designer: Frida Parmeggiani
Yann Beuron, Laurent Neouri, Franz-Josef Selig, Seraphin Kellner,
Jena-Luc Ballestra, Camilla Tilling, Hilary Summers, Tomeu biblion

Tosca

ahhhh….! Tosca! Dice Scarpia full of desire for her. A similar desire was the classic public of Real towards Tosca. Or to any great opera repertoire they could be an avant-garde way after season and culminated, Besides, by an intense and brilliant San Francisco de Asís.
It is rough as a soothing balm, relaxing, to reposition the amateur classic after having spun his chair and suddenly stop.

And the best way was to rescue the classical and romantic Tosca Nuria Espert It premiered at the same theater in January 2004.

As a grand opera Tosca is not easy to represent today. Partly by known and partly by expectations that. We all have our idea about the work, on each character and whom we associate.
Another difficulty for representation stands at the artistic level. It is not easy for a musical director, encourage some players who have represented countless times these characters. Having the ability to offer a little more in this dramatization of Tosca, or that evil Scarpia, It is not easy. With these great operas must try to flee, At first, Of the routine, and then try to make a success of such a big score like this. Nor is it easy to gather in July a cast as presented on this occasion. musical direction Palumbo, scene of Nuria Espert, scenographer, Ezio Frigerio, Violeta Urmana as Tosca, Marco Berti as Cavaradossi Antoneli side as Scarpia.

Palumbo address was correct. The orchestra was able to draw some important and nuanced moment but, such an important score calls for more, much more. The fighters They were not such delicacy even if was present.
scenography (already known) Frigerio remain unconvinced seven years later. Dark and somewhat deslabazada, as made so rushed, and as I say, in seven years they could do with retouched a bit. It does not improve the direction of Nuria Espert with an approach unrefined. While directing actors on stage, hand there if it shows Espert.

also correct the large crowd that makes up the ecclesiastical entourage at the end of the first act. overwhelming, almost threatening (Espert own Cundo to refer clergy), with a choral presence that reinforces the intensity of the moment.

Marco Berti, as Cavaradossi, He displayed an impressive voice power. Although he released some pepinazo, his sharp are good, little subtlety but good. In the first act lightweight metallic tones appreciated. Very bad record in the passage, poorly balanced, something lacking depth and halftone and lower than detracted emotion in his arias more committed.

Antoneli side, as Scarpia, He was correct. Perhaps he lacked some degree over evil. He would have gotten with a darker voice and powerful, but sings with taste and expressiveness. His end of the first act was at the height of the set, and this, the height, was much.

Violeta Urmana He offered an important Tosca, but it would be great. He lacked coquetry in the fríbolos moments of the first act but from the second, He filled the scene canoro drama with a clean emission, round and sober. A central registry when it was dark and gloomy required, sobrecojedora resulting death of Scarpia and his judgments to this. It is a lady of the scene although his stage performances are poor. Its "did D'arte"I was not round and lacked subtlety, but if it was applauded by a public hungry for lyricism.

TOSCA
Giaconmo Puccini (1858-1924)
Teatro Real, Madrid, 15-7-11
Melodrama in three acts
D. musical: Renato Palombo
D. scene: Nuria Espert
Scenographer: Ezio Frigerio
Distribution: Urmana, Berti, Ataneli,
build, boats, Bosi, Szemerédy.

San Francisco de Asis

There were many challenges he faced the Teatro Real with production Saint Francis of Assisi, only opera composer Oliver Messiaen. A monumental work, artistically and musically. An almost personal project of artistic director Gerard Mortier to, in his first season in charge of the Madrid Coliseum, He has had the determination and the courage to offer it for the first time in Madrid.
And the project was really risky. An orchestra formed by over 110 teachers; a chorus of 130 voices; dome 22 tons, 13 meters in diameter and 14 high with 14.000 fluorescent; all to accompany St. Francis of Assisi in his path of redemption on stage surrounding all the above items. A San Francisco accompanied on stage by only 6 Franciscan brothers more, a leper with leprosy in tow, and an angel.

curious, even stranger, be in a different enclosure and hear the usual welcome from the Royal Theater and the request-off with mobile phones. But when the music starts, it takes just a few minutes to forget where we are (and the annoying initial purr of air conditioning). And then when it makes an appearance a transcendental music, that unfolds, senses working at different levels and directions, pulling you so do not ever ask how a child as missing. In this internal struggle of good and evil held the night of the premiere, those less permeable went to the beauty of this music (after the second act) and they were those that yielded the properties himnóticas containing this score.

Oliver Messiaen, deep Catholic, It took eight years to complete this composition. His little appreciation for theatricality, She led him to conceive a booklet with just eight characters and scenic development and evolution extremely slow. But that slowness, with sublime musical moments, as a viola solo in the second act, which definitely favor the spirituality of work.

The great dome, that changes color in a barely perceptible transition, (perhaps because the majesty of music do anything to distract her, even the dome) presides over the scene as a symbol of eternity. An eternity to the Brother Francisco becomes often as desire or goal.
Despite the majesty of the dome, The setting is austere in its composition, only the catwalks surrounding the choir and orchestra dressed in dark. Cupulares changes colors accompanied the musical changes, Messiaen with the eagerness to grant a color to music.

The orchestra had before it a complex score in its interpretation that the expert knowledge of the musical director, Sylvain Cambreling, I knew directing and extract containing mysterious nuances. The ovation the audience gave her to him and the orchestra make clear the great work done that night. The use of instruments from different sources, especially Oriental, enriched the palette of sounds transcendent endowing exoticism.

The choir impressive, Choir composed of the head of the Royal Theater and the Choir of the Generalitat Valenciana, this work has a very strong presence Messiaen. It shone with own lights (candles lit them with an air of some mystery). The third act was his and had very high moments spiritually, how could it be otherwise.

The standing ovation of the night went to the angel, Swedish young soprano Camila Tilling. With a clear issue, one pulidísimo and extensive sound, ample and sonority, blue as the light that accompanied it in their speeches. With a portamento well supported. also say that the role of angel solo part has the most beautiful and lucimiento.

San Francisco, played by the Swiss baritone Alejandro Marco-Buhrmester, a few days before the premiere recognized the difficulty of the role, had a performance worthy. Although the work is theatrically poor, I could have done a little more effort to demonstrate the sensitivity required by this interpretation. It looked like a block of ice on stage. Reminding that is playing a St. Francis of Assisi at the time of his life more important and closer to God.
Highlight the involvement of the other characters. Wiard Witholt, as Brother Leo. Tom Randle, as Brother Masseo, which he introduced some rhythm scenic. Gerhard Siegel, brother Elias. Vladimir Kapshuk, brother Sylvestre. David Rubiera, Brother Rufino and deep voice Victor von Halem as Brother Bernardo. the leper, interpreted by Michael King, He was somewhat overreacted and histrionic within the general interpretative line.

The big cage full of pigeons which stood at one side of the stage, illustrating one of the most important aspects in the life of Francisco de Asis. Depth study of the singing of birds by Messiaen, who it was also an ornithologist, It is reflected in his music imitating and very beautiful songs achieved.

Evaluate the work of the entire team of the Royal Theater very pleasantly surprised that, while working on all productions that continued to take in the Theater, (which they are numerous) He has been able to organize and develop an impeccable job in a new enclosure, with a complex production in material and personnel, It has managed to create a cozy atmosphere, nice and full of fizz, giving detail all kinds of services to a capacity of more than four thousand people. Hence a summer opera festival in Madrid is a single step. Mortier dreamed his San Francisco in Madrid and here is. With your permission, I'll dream ...

SAINT FRANCIS OF ASSISI
Olivier Messiaen
Teatro Real, Madrid
6 of July, 2011-07-08
D. musical: Sylvain Cambreling
Coro head of the Theater and Choir of Valencia.
Theater Orchestra holder and SWR Baden-Baden Sinfonierorchester
Installation: Emilia y Ilya Kabanov
D. scene: Giuseppe Frigeni
Distribution: Camila Tilling; Marco-Buhrmester; Michael King; Wiard Witholt; Tom Randle;
Gerhard Siegel; Victor von Halem; Vladimir Kapshuk; David Rubiera.

Krol Roger

Who branded the scandal of the premiere in Madrid king Roger from Warlikowski, It is that they have not attended real scandals in Real. This dissatisfaction of the public could well have another reading, besides his displeasure with the work, Mortier and slapped his face next season of Warlikowski.
I have Mortier delivered a noble task to develop a taste for the music of the twentieth century in a public too accustomed to the classical repertoire. Hopefully the artistic director of the Real is endowed with a good dose of patience, the same patience that have not had those who left the room before the end, or they are not interested in renewing their season tickets for next season. They will miss.

The disturbing mounting Król Roger begins a risky way brave. During the opening minutes of the play's protagonists they are making entry into the stage and begins his performance, all without music make an appearance. This prolonged initial silence, gives greater intensity the beginning of the orchestra and, especially, from the choir. A majestic choir and an initial score that, as an oratorio, volume fill the entire room.
Accompanied by the music of the first act, on a large translucent screen is projected video work Denis Guéguin (also heckled, as), on Warhol and Pasolini mounts. behind them, images of the choir in real time, although it was the first moments efectista, its extension throughout the first act did nothing but divert attention from the scenes that unfolded behind the screen.
In the second act they start performing extravagances. Often it seems some stage directors intend to take ownership of the opera through the scenic Mount, instead of valuing and help magnify the music and voices (in this case they deserve) through a subtle staging. Originality does not have to be fanfarriosa and enigmatic (enigma: or thing that is not reached to understand, or that can hardly be understood or interpreted).
All was more or less accurately to the appearance on the scene of a nursing home pool, that if, with efebos handsomest accompanying splash assuming the elderly. But the highlight of the incongruity came to the end, when the music and the libretto was more intense, Pastor appeared, undressing mouse and followed by a cutting young mice dancing the conga. topping well ( say well, topping) a work musically delicious.

The vocal quartet was at high altitude. Olga Pasichnyk He performed a stylish Roxana, with a constant projection, round and full, with great sensitivity in the emission. Mariusz Kwiecien Roger, He demonstrated his baritone voice have a sharp powerful and very balanced midtones. The pair formed by Roxana and Roger were the lucky ones on the scene. Perhaps that proved more difficult was canoras Will H