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

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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


Between days 22 June and 13 of July Royal Theatre offer 15 functions from Lucia of Lammermoor, from Gaetano Donizetti, in the acclaimed production conceived by the American stage director David Alden for the English National Opera in 2010 and presented later in the operas of Washington D.C., Toronto, Bonn, Oslo and Gothenburg, always with great success.

Based on the historical novel truculent Walter Scott, The Bride of Lammermoor, what Salvatore Camarano He transformed into libretto, opera is the epitome of romantic melodrama: exacerbated emotions, impossible loves, ancestral conflicts, spectral spaces, duels, betrayals, madness, death…

Donizetti composed the music in just a month, influenced by the triumph of I puritani, of his rival Vincenzo Bellini, whose opera also has a shocking scene of madness and a foreboding tempest. (At the Teatro Real Javier Camarena was the protagonist of I puritani in 2016 and it is now too, at Donizetti's opera, debuting the role of Edgardo).

Lucia di Lammermoor is a young orphan, unbalanced and dreamy, in love with Edgardo, enemy of the family, He hated by his brother, that encourages marry a noble wealthy to save ruin. For that, with the complicity of the chaplain and the black arts of his guardian, Lucia led to believe that her lover has betrayed. Pushed to sign the marriage certificate, young, broken by grief and madness Dam, murders her husband in the wedding night, Alienated in a sort of angelic dream that culminates in his death and the subsequent suicide of her beloved.

With this gruesome story and the trade, brilliance and fecundity characteristic of Donizetti, the score flows, overwhelming, alternating fast-paced drama with long suspensions of theatrical action, in which the characters express their feelings with great expressive breath and a full vocal writing of artifices, often for the benefit of the psychological characterization of the characters. A) Yes, the extreme difficulty of the coloratura and high registers and demonized the role of Lucia give your character an unreal and dreamlike aura, immortalized singers Maria Callas, Leyla Gencer, Joan Sutherland O Edita Gruberová, who played the role at the Teatro Real in 2001, next to José Bros, with musical direction Friedrich Haider and scenic Graham Vick.

To give consistency to this dramatic plot hyperbolic, David Alden (Alcina Y Otello) Opera stands in a decaying Victorian sanatorium designed by scenographer Charles Edward, which it was inspired by the former residence of the British physician John Langdon Down, discoverer of Down syndrome. In a sinister and claustrophobic atmosphere the two brothers have a sick relationship, in which everything seems to happen in a spectral environment, reminiscent of Edgar Allan Poe's fantastic literature.

Two leading quartets will alternate in the 15 functions of the opera, which will be performed practically without cuts and with the original orchestration, including the celebrated crystal harmonica that accompanies the scene of madness.

The American of Cuban descent leads both casts Lisette Oropesa (Rigoletto) and Russian Venera Gimadieva (La traviata, I puritani, Y The Golden Cockerel), who will perform together with the tenors Javier Camarena (La daughter of the regiment, I puritani Y Bookmark) e Ismael Jordi (L'elisir d'amore Y Roberto Devereux), seconded by baritones Artur Ruciński Y Simone Piazzola (Enrico Ashton), the short ones Roberto Tagliavini Y Marko Mimica (Raimondo Bidebent), the tenor Yijie Shi (Lord Arturo Bucklaw), mezzosoprano Marina Pinchuk (Alisa) and baritone Alejandro del Cerro (Norman).

Daniel Oren, great bel canto specialist works, will be in front of Headlines Choir and Orchestra of the Teatro Real.

Within the framework of Opera Week (of the 2 al 8 of July), Lucia of Lammermoor will be broadcast on 7 July at 21.30 hours in museums, theaters, cultural centers, plazas, parks, auditoriums and town halls throughout Spain and also in Facebook Live, stage Digital Y Opera Vision, opera platform in streaming of Opera Europa.

Spain will sigh with all the misery of Lucia of Lammermoor, get carried away by their chimeras and enjoy a night of the best belcanto, sharing their experiences with the hashtag #LocuraConLucia.

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

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


ten functions of the opera will be offered with two different distributions between days 27 October 10 of November.

Alcina It is a co-production Teatro Real and of the Bordeaux National Opera, which premiered production 2012.

In the stage version, director David Alden pays tribute to the theater as a refuge and escape from reality, Inspired by the movie The Purple Rose of Cairo (1985), from Woody Allen.

Two select deals seven singers are responsible for the interpretation of the opera, including their choral parts, under the expert baton of British Christopher Moulds in front of the Head of the Royal Theatre Orchestra.

Around Alcina will be offered next 5 November countertenor recital Xavier Sabata with arias Händel written for castrato, which will take place at the Sony Auditorium Albéniz Foundation (Plaza de Oriente).

Concert programs Sunday Camera 8 November and children's workshop Everyone to the Gayarre! of the 15 November will also be inspired by the great figure Handel.

Until the day 17 from January, the National Library It offers an exhibition on major issues Orlando Furioso, from Ludovico Ariosto, part epic poem the libretto of Alcina.

Day function 10 November will be broadcast live on Digital Palco.

Between days 27 October 10 of November Royal Theatre offer ten functions from Alcina, from georg Friedrich Handel (1685-1759), New coproduction of the Royal Theater and the Opera National de Bordeaux, where production premiered in May 2012.

Between the 42 Handel composed operas, Alcina -estrenada in 1735 Covent Garden in London in its final stage as operístico- composer is considered one of the most successful in the characterization of the characters and the expression of emotions. Its modern dramaturgy, his inspired melodies and brilliant orchestration justify the growing presence of this work in the programming of theaters and festivals around the world since its 'rediscovery' in the years 60 last century, after more than two hundred years of neglect.

In Alcina, Händel resort for the third time the epic poem Orlando Furioso, from Ludovico Ariosto (1474-1533) -after do in Orlando Y Ariodante—, to portray human emotions and passions with the freedom that gives the allegorical world, fantastic and supernatural Italian poet.

In its scenic conception of this opera, the meticulous director of American scene David Alden which he has directed eight titles Händel, including two different productions AlcinaHe makes a tribute to the cinema and theater as spaces for escape from reality.

Inspired by the film Woody Allen The Purple Rose of Cairo, Alden transforms the enchanted island Alcina in a small theater, Ruggiero where escapes to escape the routine life with his beloved Bradamante. There enjoying the erotic pleasures and the charm of the sorceress Alcina impetuous and perfidious, who unleashes her sexual desires, rejecting his successive lovers and transforming them into stones and wild animals.

The plot thickens when Alcina succumbs to true love for Ruggiero, while he is finally rescued by his beloved Bradamante and guardians of order and morality. But his release from the clutches of the sorceress also represents a return to real life, which will haunt forever nostalgia for that world dream, lust and debauchery.

In Alcina Seven characters express a huge and rich palette of emotions over more than three hours of music, including 26 arias, choral parts (performed by the seven soloists) and orchestral, in a scathing lyrical and poignant epic, which it will be interpreted by two select Real and deals Head of the Royal Theatre Orchestra, under the direction of renowned British director Christopher Moulds.

the score, inscribed in the canons of the call opera seria baroque, alternating recitatives advancing action and arias expressing the emotions of the characters and give wings to the virtuosic display singers.

In the Real cast it includes two transvestites papers: Ruggiero Bradamante The young man promised to love the insatiable sorceress Alcina- It was written for a castrated and it will be played by the mezzosopranos Christine Rice Y Jose Maria Lo Monaco; Oberto young and pert -character Handel created for a virtuoso soprano boy who had called his attention to a performance of his opera Ariodante- will be played by sopranos Erika Escribá Y Francesca Lombardi Mazzulli.

Karina Gauvin, interpreter of the title role, It has been one of the muses director and musicologist Alan Curtis, recently deceased, with whom he performed and recorded regularly over the last ten years. With him and a whole, The complex Baroque, He was unveiled at Real with Tolomeo, the same Händel, by the contralto Sonia Prina, another great specialist in Baroque, that accompanies this time as an interpreter of the role of Bradamante (Real he debuted in the season 2007-2008, next to Les Arts Florissants, in The orfeo Monteverdi). The trio protagonist is completed with the mezzosoprano Christine Rice, who acted in two productions directed by Pier Luigi Pizzi at Real: A Midsummer Night’s Dream, Benjamin Britten e The Return of Ulysses to Ithaca, de Claudio Monteverdi.

These three singers will alternate with Sofia SoloviyPoppea e Nerone, Alceste Y The Marriage of Figaro- in the title role, and the mezzosopranos Jose Maria Lo Monaco Y Angelique Noldus, debuting at the Royal Theater.

Sopranos complete both deals Anna Christy Y María José Moreno, as Morgana, Y Erika Escribà Y Francesca Lombardi Mazzulli, as Oberto.

Male roles are played by tenors Allan Clayton Y Anthony Gregory, as Orontes, and low Luca Tittoto and baritone Johannes Weisser, as Melisso.



Exposure The Furious in the BNE '

Selection of the main issues Orlando Furioso, of Ludovico Ariosto
6 October 2015 – 17 of January of 2016

Museum of the National Library of Spain. minimum room



Meeting with the directors and actors of Alcina

22 October, to 20.15 h.

Teatro Real. Sala Gayarre

Street entrance Felipe V

Free access until full capacity

Recital of the countertenor Xavier Sabata
Markello Chrysikopoulos, key
simos Papanas, bass
5 November 2015. 20.00 hours

Albéniz Foundation. Sony auditorium

Plaza de Oriente. Requena Street entrance, 1


Chamber Sundays

Alrededor de George Frideric Handel


part I

George Frideric Handel / Johan Halvorsen: Passacaglia for violin and viola

georg Friedrich Handel: Trio Sonata for two oboes, bassoon and key, Gorge 381

Franz Joseph Haydn: Trio in D major for flute, viola and double bass

François Couperin: The nations: The Spanish

part II

Hugo Wolf: Italian Serenade, for string quartet

Ludwig van Beethoven: String Quartet op. 59 No 3, "Razumovski"

Soloists of the Titular Orchestra of the Teatro Real

8 of November, to 12.00 h.

Teatro Real. Great room


Everyone to the Gayarre!

Alcina, the sorceress

She is beautiful, but, watch out, you can turn into a cockroach ...

Workshop conceived and presented by Fernando Palacios

15 of November, to 12.00 and to the 17.00 h.

Teatro Real. Sala Gayarre

Street entrance Felipe V