Temporada Arts

The Minister of Education, Culture and Sports, Raquel Tamarit, has presented the artistic offer of Arts it's from the season 2022 – 2023 accompanied by the artistic director of the institution, Jesus Iglesias Noriega, and the president of the Board of Les Arts, Pablo Font de Mora.

Les Arts covers five centuries of opera, from Monteverdi to the new creation of the 21st century, in which his universal gaze is maintained through the worlds of the lyric and the symphonic repertoire; of the baroque, the 'Lied' and Flamenco to other types of music, in addition to his essential commitment to dance.

According to the Minister Raquel Tamarit, “two thematic axes support the different proposals: light as motor energy and the celebration of life. further, within our commitment to an open and backbone programming, Les Arts starts in Altea, he 1 of September, its seventeenth season, with the first of three concerts outside the Valencia venue, by the principal conductor of the Orchestra of the Valencian Community, James Gaffigan. An autonomous conception that adds to the active presence in Castelló de la Plana; the new project of ‘Les Arts Volant’, with the opera 'Cendrillon', and the ‘Arts with You’ tour, with which the development of the activity of Les Arts is strengthened throughout our territory”.

"The programming also increases the number of opening and proximity actions with 'Les Arts és per a Tots', that grows with new proposals, and a new line of work: ‘Arts is Inclusion’, aimed at groups at risk of social exclusion and which this year will take the OCV and the Center for Improvement to different penitentiary centers in our territory”, Added Tamarit.

The capture of new audiences incorporates a new musical section: ‘Arts and Valencian Music’, with special attention to the musical fabric of the Community in its different styles and expressions.

The artistic director of Les Arts has detailed the programming in an operatic course that illuminates five new productions: ‘Cell', 'Anna Bolena', 'Cinderella', 'The coronation of Poppea' Y ‘Ernani’, unpublished titles in the theater repertoire that are added to those also unpublished ‘Jenůfa’, 'Alcine' Y ‘The singer of Mexico’; also three works highly appreciated by the Valencian public: 'Bohemian', 'Don Giovanni' and the expected return of Wagner with 'Tristan and Isolde'.

Renowned experts assume the direction of opera and zarzuela in the pit, with James Gaffigan for Puccini and Wagner; Gustavo Gimeno on his return to the Main Hall with Janáček; Riccardo Minasi (Mozart); Michele Spotti (Verdi); Maurizio Benini (Donizetti); Marc Minkowski (Händel); Leonardo García Alarcón (Monteverdi), and Óliver Díaz in the operetta 'El cantor de México'.

The stable bodies of Les Arts, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana (OCV) they will also work with first batons in the symphonic repertoire, in which, along with James Gaffigan, repeat Gustavo Gimeno, Pablo Gonzalez and Antonello Manacorda, and where consecrated batons such as Fabio Luisi will make their debut, Andres Orozco-Estrada and Vasily Petrenko.

The different programming lines dedicated to voice once again bring together the most sought-after performers, recognized specialists in their genre and emerging stars in the wide range of artists who will visit Les Arts.

Cecilia Bartoli and Juan Diego Florez, as the absolute protagonists of ‘The Arts are Great Voices’, lead an ambitious challenge with the first incursions in Valencia of several 'prima donna' of the operatic scene: Angela Meade (‘Ernani’), Ricarda Merberth ('Tristan and Isolde'), Magdalena Kožená ('Alcine'), Corinne Winters y Petra Lang (‘Jenůfa’).

Similarly, he cycle of 'Lied', that this year invites Christian Gerhaher, Marina Rebeka, Nadine Sierra Y Marianne Crebassa, will feature the premiere performance of Andre Schuen, designated successor to the great names of the genre, accompanied by the OCV under the direction of Anna Sułkowska-Migoń.

While the second edition of 'Les Arts és Barroc' brings together the most respected national performers: Maite Beaumont, Èlia Casanova, Quiteria Munoz and Vittorio Pine, inside this year's poster with La Tendresa, Concerto 1700, Chapel of Ministers and Al Ayre Español.

Strong casts underpin each of the opera titles, in which the debut of Eleonora Buratto as Anna Bolena stands out, which marks the start of Les Arts' co-production of the 'Tudor Trilogy'. The Italian diva, who will put on the skin of the three queens of Donizetti in this project, will be accompanied by Alex Esposito (Enrico VIII), Ismael Jordi (Lord Riccardo Percy) and Silvia Tro Santafe (Giovanna Seymour).

Federica Lombardi and Saimir Pirgu will play Mimì and Rodolfo in 'La bohème', with Marina Monzó as 'Musetta', while 'Don Giovanni' will bring together acclaimed singers at Les Arts: Davide Luciano, Ruth Iniesta, Xabier Anduaga, Gianlucca Buratto, Elsa Dreisig, Riccardo Fassi y Jacquelyn Stucker.

Wagner will return to the Main Hall ten years later with some of Bayreuth's favorites, Stephen Gould –Tristan of reference–, Ain Anger (Rey brand) y Elena Zhidkova (Brangäne). Meanwhile, Angela Meade will debut with 'Ernani' surrounded by great Verdians: Piero Pretti, Franco Vasallo and Evgeny Stavinsky.

Representatives of the already established tradition and the most cutting-edge creativity sign the range of aesthetics offered by the Season 2022-23. Renowned directors such as the British Katie Mitchell (‘Jenůfa’), la hollandesa Jetske Mijnssen ('Anna Bolena') and fellow songwriter Jamie Man ('Cell') work for the first time in Valencia together with the young, but rising, Andrea Bernard (‘Ernani’).

New values ​​and names, who will coexist on stage with consolidated artists in the theater, as Ted Huffman in the new montage of ‘L’incoronazione di Poppea’; Joan Font for the new production of ‘Cendrillon’, along with renowned works by Davide Livemore ('Bohemian'), Damiano Michieletto ('Don Giovanni'), the ‘Tristan und Isolde’ by Àllex Ollé or the infallible seal of Emilio Sagi in ‘El cantor de México’.

One more year, 'Les Arts és Dansa' maintains its programmatic axes with Sara Baras as the undisputed star of Spanish dance in her first performance at the theater, together with the presence of the great repertoire of the National Dance Company and the award-winning 'Carmen' by John Inger, and the talent of the Valencian Marcos Morau and his company La Veronal in 'Opening Night'.

Les Arts will not miss its appointment with the different manifestations of the voice, with names like Marina Heredia, Alba Molina placeholder image, Pansequito, Rancapino and Tomatito family, in the flamenco cycle, the Melody Gardot, Wim Mertens and Rufus Wainwright in the chapter dedicated to other music.

Photograph: Mikel Ponce

Teatro Real

Due to the exceptional meteorological situation and following the recommendations of the authorities and emergency services, he Teatro Real has decided suspend the function of Don Giovanni scheduled for today saturday, 9 from January, to 19.30 hours.

Likewise, The family functions of the Todos a la Gayarre cycle are canceled scheduled for tomorrow, Sunday 10 from January, to 12.00 and to the 17.00 hours, and the session of Opera in Cinema, which was to take place in the main hall at 11.00 hours.
The Royal Theater will proceed to refund the amount of the tickets throughout the month of January to all buyers and subscribers, by the same means of payment for which they were acquired. It will not be necessary to request said return, since it will be done automatically.

The world premiere of the opera Marie, by the Madrid composer Germán Alonso and the Alicante playwright Lola Blasco, that was to be held this afternoon at the Abbey Theater, remains postponed to next Tuesday, 12 from January, to 19.00 hours. Tomorrow's show, Sunday 10 from January, It is also postponed to a date yet to be determined, but of which we will inform as soon as possible.

We apologize for the inconvenience these changes may cause and have been made to protect security., both the public and the artists and staff of the Theater.

Photograph: Javier del Real

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

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

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

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

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

Don Giovanni

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

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

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

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

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

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

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

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

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

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

ENDESA'S SPONSORSHIP

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

Davini Rodríguez

The agenda Davinia Rodríguez continues to consolidate on the international circuit. He is having debuted in February as the protagonist of the opera Thaïs by Massenet at the China National Center for the Performing Arts in Beijing (NCPA), Canary diva back in November that scenario this time to get into the skin of Donna Elvira, one of the women deceived by Don Juan, the Spanish erotic myth that inspired Mozart for his great Don Giovanni. "I have a great memory of my debut in this amazing theater in the capital of China", said the singer, "Where I was struck by how attentive and caring which is the Chinese public, and now I return with another character who I love and who already sang at the Festival dei Due Mondi in Spoleto (Italy)”.

The Spanish interpreter knows very well the work, as it also has in the other great repertoire deceived by Don Juan, Donna Anna, who sang in Bilbao. "These are two characters who complement each other and each has great moments in this masterpiece of the history of opera is Don Giovanni". Finally he added that "what they say that Mozart again now and then is very healthy for the voice is a great truth, because it helps you stay in good condition, even more so if I come to sing more demanding as Verdian roles are roles, they have to contend with orchestras much larger than the Mozartian ".

Davinia Rodriguez just won the Verdi Festival in Parma, the most important dedicated to the work of Italian composer, nothing less than tucked into the skin of the dreaded role of Lady Macbeth, which debuted in Vienna in 2016. Now, in this new return to the Mozartian repertoire, will perform in Beijing days 27 Y 29 November and 1 from December. Later, he 28 Y 29 from December, They expect him two New Year concerts with the Symphony of Las Palmas Alfredo Kraus Auditorium in the capital of Gran Canaria.

More information

Carmela Remigio

After reaching at the Salzburg Festival last record 400 performances in Don Giovanni, the famous Italian soprano, Carmela Remigio, recently awarded as best singer with the prestigious "Abbiati Prize", debuts at the Gran Teatre del Liceu as Donna Anna, the next 19 of June.

Claudio Abbado chose her personally to give life to Donna Anna in the prestigious edition of Don Giovanni with the Deutsche Grammophon seal. Since then, the soprano born in Pescara, Has made 350 performances on the most prestigious lyrical stages in the world, in the role of Donna Anna and, fifty, as Doña Elvira, in the famous drama playful from Mozart.

The Italian soprano, probably the best Donna Anna of today and the most requested, points: “Anna is one of the most refined Mozartian characters. There is something miraculous in every pulse, as well as the germ of so many other characters in the belcanto. His recitatives and arias are of a perfection and a neatness, that is unmatched in the history of music. They seem to anticipate the melody and phrasing of successive masterpieces such as Anna Bolena, Rule e I puritani. To understand, precisely, in depth to Anna - continues Remigio -, I have also sung the role of Donna Elvira in some productions of Don Giovanni and I'll sing it again at La Fenice in Venice in the fall. They are two very different characters: Elvira is more dramatic, while Anna, instead, is more enigmatic and sinuous. Y, so, they complement, in some way; one is a mirror of the other. "

I was only eighteen, when Pavarotti fell in love with the crystalline color of her voice and became the new winner of her famous “Luciano Pavarotti International Voice Competition” in Philadelphia. Later, Carmela Remigio would accompany him in hundreds of concerts and tours around the world.

Heir to the best Italian vocal tradition, soprano Carmela Remigio has sung in the main theaters, international festivals and concert halls: Teatro alla Scala in Milan, Salzburg Festival, Royal Opera House de Londres, Teatro San Carlo in Naples, the Mint of Bruselas, Teatro Massimo of Palermo, Aix-en-Provence Festival, La Fenice in Venice, Rossini Opera Festival de Pésaro, Carnegie Hall in New York or Royal Albert Hall in London, among others.

Carmela Remigio makes her debut at the Barcelona coliseum, after his recent successes on his return to the Teatro dell ’Opera in Rome, playing for the first time the role of Elisabetta in Maria Stuarda of Donizetti and in the Maggio Musicale Fiorentino, in the demanding role of another Mozartian heroine, Elettra (Idomeneo, King of Crete).

In the acclaimed production of Don Giovanni, as firm Kasper Holten, with musical direction by Josep Pons, soprano Carmela Remigio will sing with Mariusz Kwiecen (Don Giovanni), Eric Halfvarson, (The Commendatore), Dmitry Korchak (Don Ottavio), Miah Persson (Donna Elvira) and Simón Orfila (Leporello).

http://www.carmelaremigio.net

Don Giovanni ABAO-OLBE

ABAO-OLBE (Bilbao Association of Friends of the Opera) program for the third time in its history Don Giovanni from Mozart, masterpiece of history and culture. The following days 18, 21, 24 Y 27 February, sponsored by the Provincial Council of Bizkaia, up on stage this opera to which Wagner he called "the opera of operas" and Rossini considered "their particular Bible".

This dramma giocoso, that recreates the myth of Don Juan, so popular in all areas of culture, It is a drama with winks bufos, in which a complex and ambiguous story is depicted, full of pain, amorous passion, revenge, anger and death. To give life to the protagonists of this title that closes the trilogy of Da Ponte Austrian composer, ABAO-OLBE has assembled a cast led by British baritone Simon Keenlyside CBE who debuts in Bilbao Association to give life to libertine dazzling vitality 'Don Giovanni'. Beside the Menorcan returns to Bilbao on Simon Orfila as the servant 'Leporello', the role of 'Donna Anna' rests on the Canary soprano Davinia Rodríguez in which is also his return to Bilbao. Joining them complete the lineup Italian soprano Serena Farnocchia as 'Doña Elvira' in which is its presentation in ABAO, the comebacks of Navarre tenor José Luis Sola as 'Don Ottavio' and soprano donostiarra Miren Urbieta-Vega as 'Zerlina' and Italian debuts low John Romeo Y Gianluca Buratto as 'Masetto' and 'Comendador' respectively.

The musical part is in charge of a baton known for the Bilbao public, Canadian musical director Kery-Lynn Wilson, who takes charge of the Symphony to direct one of the masterpieces of Austrian genius. The choral part is once again task Opera Choir BilbaO, with Boris Dujin in front.

On stage a production of the Palau de les Arts in Valencia designed by one of the great revolutionaries of the operatic scene Jonathan Miller CBE, who also signed the scenery and lighting. Classical conception, corporeal and absolutely respectful of the libretto, It features a sumptuous wardrobe full details signed by Claire Mitchel. Replenishment directs Bilbao Allex Aguilera, and it includes minuet and the bands on stage where they act forty choristers and twenty actors and dancers.

Conference on "Don Giovanni"

In order to analyze, in advance the premiere, the most important aspects of this opera of Mozart, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 17 February in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time, Carlos Imaz, musician, baritone and a regular contributor to ABAO-OLBE, discover the ins and outs Don Giovanni.

Davinia Rodríguez

The versatile Spanish soprano Davinia Rodríguez again get into the skin of a Mozartian character, this time in the season bilbaína ABAO-OLBE:
Donna Anna will be the Don Giovanni mozartiano the Bilbao Opera proposes day 18, 21, 24 Y 27 February. "It's always healthy again Mozart”, Canary says singer, "Because their music and the way they are written vocal lines of his characters have such perfection and freshness that will do very well to the voices".

Davinia Rodríguez, already known to the public Bilbao, It is "very happy" to return to sing in this artistic season, "One of the most important in Spain; in Bilbao, Besides, I am very happy, It is like coming home ", points. Now it does after incorporating to its repertoire in recent weeks to two iconic characters such as Lady Macbeth in Verdi's Macbeth considered among the most complex and difficult of his rope- in Vienna and Nedda, de Clowns, de Leoncavallo, in Turin. "Como Donna Anna, this is characterful and women who know how to function in their respective environments. Of course the Lady and Nedda not end anything right, but neither Donna Anna, because although he avenges the death of his father, the Comendador, it runs out of her seducer beloved ".

Don Giovanni de Bilbao, A production of Jonathan Miller, will feature musical direction Keri-Lynn Wilson and with Davinia Rodriguez lead the cast Simon Keenlyside, Simon Orfila Y Maria Bayo.

More info:
www.daviniarodriguez.com

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

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