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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

Caballé

The Theater Royal deeply regrets the death of Montserrat Caballé, undoubtedly one of the greatest sopranos of all time, to which he dedicated function Faust tonight as a symbolic tribute to his greatness.

The amazing career of Montserrat Caballe is one of the brightest in the history of the universal lyrical interpretation. The singular beauty of her voice, large extension, the rich color palette of timbre, his prodigious technique, the expressiveness of its refined singing line, the incredible dramatic plasticity of their vocal performances, Allied to his desire to explore unknown or forgotten works, They have placed his name in the exclusive gallery of the greatest singers of the second half of the twentieth century.

The last major Gala tribute to Montserrat Caballe It took place at the Teatro Real 9 December 2014, in which recognized related sopranos, somehow, with singer famous Barcelona, They played pieces will remember his triumphs in Madrid and its incomparable interpretations of romantic bel canto repertoire.

Montserrat Caballé is a great landmark in the history of the Royal Theater since its concert hall, with memorable performances by composers such as Vivaldi, Granados or Bellini. In this last stage of the Real, after reopening, Montserrat Caballe has offered a concert 2 July 1998 and it has starred in two performances of the opera Cleopatra, Jules Massenet, in concert, in December 2004.

bIOGRAPHICAL NOTES

After its first steps, in the years 50, at Teatre Fortuny Reus, his performances in the company of Municipal Theater Basel between 1956 Y 1960, and the contract with the Bremen Opera from that year, the dazzling Montserrat Caballé international career took off in New York, when in 1965 He replaced Marilyn Horne in the title role of Lucrecia Borgia, Donizetti, at Carnegie Hall. After the first aria the audience gave her a standing ovation twenty minutes at the end of the function began his meteoric career by leading opera houses of Europe and America: La Scala in Milan, Metropolitan New York, Staatsoper de Viena, Royal Opera House de Londres, Paris Opera, Liceu Barcelona, Teatro de la Zarzuela in Madrid, Moscow Bolshoi, Teatro Colon in Buenos Aires, San Francisco operas, Hamburg and Munich, etc., and Salzburg festivals, Aix en Provence, Orange, Glyndebourne, Pesaro and Verona.

Montserrat Caballé's repertoire is immense. With about 90 different operatic roles, It is unrivaled in its tessitura, in the world of opera. His record is equally wordy catalog, more than 80 Titles, half of which are complete operas.

Before its international hatching, Caballé played different roles in the theaters of Basel and Bremen, from the heroines of Verdi and Puccini to Arabella O Salomé, Richard Strauss. Over the years his career was forming around a small list of composers whose repertoire deepened and refined to achieve their indelible performances of Gioachino Rossini, Luigi Cherubini, Vicenzo Bellini, Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini, Blom or Jules Massenet.

He debuted in Madrid in 1967 with La traviata Y Manon, the latter sharing the stage with Alfredo Kraus. later would come, at the Teatro de la Zarzuela, interpretations of many of his greatest roles: Elisabetta (from Robert Devereux), Cio-Cio-San, Rule, Adriana Lecouvreur, Maria Stuarda, Leonora, Semiramide, Ermione, Maddalena (from Andrea Chénier), Silvana (from The flame, de Ottorino Respighi), Elisabetta (from Don Carlo) or queen protagonist Sancia, Donizetti, one of the composers who dedicated a devout attention as an interpreter, research and publishing. The public of Madrid has also witnessed his rare and exciting forays into the Germanic repertoire, giving life to Salome, Richard Strauss, or Isolde and Sieglinde, Richard Wagner.

As a soloist he has performed with the greatest orchestras and the most renowned directors of the second half of the last century, como Herbert von Karajan, Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Zubin Mehta, James Levine, Claudio Abbado, Seiji Ozawa, Riccardo Muti, Sir Georg Solti, Sir Colin Davis, Carlo Maria Giulini, etc.

In addition to its excellence as an interpreter, Montserrat Caballe has done meticulous research and enthusiastic lyrical repertoire almost forgotten or unknown, as Armide Gluck, the Danaides the Salieri, Sappho Pacini, La Vestale Y Agnese in Hohenstaufen of Spontini, Herodias Massenet, Medea and Demophon de Cherubini, Ermione e The trip to Reims Rossini, Sancia Donizetti and The flame the Respighi. Some of these titles are now common in operatic stages thanks to his curiosity and his pioneering work as disseminator of new scores. It is also known penchant for studying the works with facsimile editions, to appreciate all the notes of the composer.

In addition to its vast repertoire of classical music domain, Montserrat Caballe's curiosity led him to explore other types of sound universes, hand of some important artists like Freddie Mercury or Vangelis.

Caballé was recognized with numerous awards and decorations, including the Order of Isabella the Catholic, Commander of Arts and Letters Francia, Academic Honor and Gold Medal of the Academy of Letters, Science and Arts of Italy. It was, since 1974, Goodwill Ambassador of the United Nations.

Video: Teatro Real in Madrid

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Live excited by a profession for which has been prepared respecting the times. No hurry, as do those who know and love lyric. Its smooth and glazed voice and expressiveness on stage, They have made it increasingly claimed in the scenes and the most important directors in the world. extraordinarily nearby, Annalisa Stroppa enchants with its charm and energy, inside and outside escena.Brío Classic: Tell us a bit how they started in the world of opera.

Annalisa Stroppa: The truth is that since I was a little girl had pretty clear ideas: most he wanted to be a singer!!

But actually it has been a gradual way and a goal that had never imagined getting; dreamed, he wanted, expected, but finally he arrived!!! I entered the world of opera step by step, after getting my diploma first in the conservatory and after winning several singing competitions in Italy and international, which for me was very important because it confirmed that going in the right direction and in turn encouraged me to continue on the same path. I started singing chamber recitals, small operatic roles and then gradually more main characters and contexts, theaters and productions increasingly important. I also began to make my first auditions in theaters, but the real springboard was undoubtedly my first leading role internationally, I was Cherubino in Figaro due, Mercadante, under the direction of maestro Muti ... Soon they offered me the opportunity to debut the Rosina in Il Barbiere di Siviglia at the Rome Opera with Maestro Bruno Campanella address, and then I was in the best theaters in the world A dream come true!

B.C: How was the time when he discovered he had a proper instrument?

A.S: I began to approach the lyrical thanks to my grandparents, with whom I spent many afternoons after school; they listened to the three tenors (Sunday, Pavarotti and Carreras) and Mario del Monaco. Yes, all tenors! Thanks to them I began to discover the great arias and tried to imitate. So I discovered I had an important voice, special, and hence he was born the desire and willingness to be a singer. I remember at the age of 8 Y 9 years sang "Nessun dorma", "O sole mio","Whiskey facile", "A love so great"!!! There I discovered that nature had been generous to me and I had a special voice; I had within me a treasure that could not spoil but learn to use it in the best way. My paternal grandmother I inherited voice and the maternal grandmother, passion for opera. I had to build my voice; the voice was there naturally, start and placed, obviously to develop; so I studied a lot and worked a lot voice even today, because you never finished studying, but I have to say that I was lucky to have a voice, I have always considered a great gift.

At first, It is almost adolescent, I was told to study singing was still very young, my voice was not completely changed to the adult voice, and so I started studying music; I was admitted to the Conservatory to study piano and then, around 20 years the voice was finally ready and mature to face the studio singing, In addition already I had behind me a good musical preparation in which I could support me and I began to study singing at the Conservatory of Brescia, my hometown (near Milan).

He studied at the Conservatory and at the same time preparing exams college and worked a few hours teaching music at a primary school. When I think about it even could not understand how yet; I think it was because I had a strong will to bring energy to face all. I have to say I've always had the good example of my family; They taught me the spirit of sacrifice and work to get what he wanted. Although it was hard and very tired loved everything he did, teaching children, my studies at university and especially singing!!!

I love this profession; Singing is not only part of me, but involves my life 360 degrees and it is wonderful to have been able to realize my dream. I could not imagine it because you can not understand a thing until we live it in first person; even with all the difficulties and the remoteness of my loved ones (this race requires you to be many months away from home), when I go on stage and I know I've given it my best, the audience's applause reward all the effort. After years of study I look at the posters of the best theaters in the world and that's a great satisfaction. I feel really very lucky because I managed to, my passion, my job, and I thank you for it. I feel fulfilled, I am very happy and I hope to move forward and for many years.

B.C: How did your selection by Muti to debut at the Salzburg Festival? Was this a turning point in his career?

A.S: Yes. I had the wonderful opportunity that I heard in a hearing Mrs Cristina Muti and director of the Theater of Ravenna Angelo Nicastro. Until that time he had sung solo concerts and some small roles. The audition went well and I set out to make "cover" in the production of Betulia Liberata di Mozart (Carmi) directed by maestro Muti in Salzburg. Right after I was asked to study the role of Cherubino in I due Figaro to introduce myself to auditions for that specific character in which also the master Muti and Emilio Sagi régisseur were present, and I was awarded the role!!

A) Yes, I due Figaro Mercadante coincides with my first leading role internationally. A wonderful role in transvestite. Staged the premiere took place in Austria, in the prestigious setting of the Kleines Festspielhaus in Salzburg 2011; after the show was replenished in Alighieri Theater Ravenna, in 2012 at the Teatro Real in Madrid and the Colon of Buenos Aires.

It was part of an absolute premiere of a rediscovered opera and never displayed so far in the prestigious Salzburg Festival, an event that were pending around the world of opera!!

Naturally I was very excited because I felt that the time represented my starting point; It was absolutely unknown and I had hit on the international scene. The truth is that I am very grateful to Maestro Muti and all those who contributed to be chosen because it gave me the opportunity to learn and grow a lot as an artist. I have a very nice memory of the end of the first function, with enormous satisfaction Whatever had gotten! Say was able to break the ice with strength and firmness.

After years of study and a lot of sacrifice I am here, in major theaters, as in the wonderful opening of the Scala conducted by Riccardo Chailly and now at the Royal Theater; in Spain I have also been fortunate to singing at the Liceu in Barcelona, in Bilbao, in Valladolid, in Manorca and Las Palmas.

B.C: How would you describe the characteristics of your voice?

A.S: I'm a lyrical mezzosoprano. I face mainly roles of bel canto and French repertoire. I think this repertoire is perfectly suited to my vocalism and my character. I like to spread among authors to make my voice fits well to the vocalism and writing each composer.

B.C: Their repertoire is very wide. It ranges from Rossini to Verdi, through Mozart. Rossini requires agility, Verdi, drama and Mozart, a bit of everything. Which of them feel more comfortable in the interpretation?

A.S: Authors of the eighteenth century, as Mozart, or that is later Rossini, They have been a balm for my voice, especially during the study period and the early career. If he aprende to sing "on the breath", to recognize the importance of the word recitatives, phrasing, the "legato"; all these elements are also part of the styles that followed later and so back now and then to Mozart and Rossini's always a pleasure. As for Verdi at the moment I approached only with Meg of "Falstaff" and Fenena in "Nabucco". I feel very comfortable with the characters that have been incorporated, as I said before about the nineteenth-century French repertoire.

But if I had to pick a composer at this time I would go for Bellini because his music expresses something superlative combining few notes in a masterly way. Bellini loved and knew the voices and had an inimitable ability to appeal to the great feelings: It is pure poetry that takes shape thanks to "legato", the purity of sound, art declaimed, allowing the performer to use a wide range of vocal colors. Romeo roles as Adalgisa or vocally cover a very large area, requiring uniform voice from the low notes to the extremely sharp; Besides, excellent "legato" demanding much mastery of agility. I love the purity of its melodic line and richness of feelings that transcends each of the notes of his works. I try to cherish this writing valorising the fraseo, and "tied" y "Voice setup".

B.C: What technical characteristics best about each of the composers mentioned when addressing his music?

A.S: All kinds of repertoire is faced with the same basic technique, but other than that there is in each case must be used in different ways our instrument. Verdi requires decidedly more "pulp" -o specific-weight and have to pass a very different orchestration of a Mozart or Rossini, for example. The same discourse is valid for the bel canto or the "verismo". The voice is like a glove to suit different requirements. Rossini, Bellini y Donizetti, with types of writing and different styles, They have in common the fact that they love and value the voices and leave the performer great freedom to accommodate the orchestral accompaniment that sustains. The singers are like athletes in this repertoire which must take everything with purity of sound, aspect that is not as evident in other composers. Everything is in the fraseo, in the "legato", en the "Voice setup", the importance of the word: Rossini is distinguished by declaimed and coloratura, Bellini per unmatched purity of melodic line and Donizetti per dramatic cut, the psychological depth of his characters-and pathetic acting with a new romantic sensibility. Donizetti was the direct precursor of Verdi.

B.C: How do you prepare Annalisa Stroppa a new role and what are the selection criteria?

A.S: I think to choose new roles or authors just need to hear your voice and respect the possibilities of voice at all times: voice guides you and tells you the most correct and healthier repertoire to deal.
I've never had the pretension to be able to sing all because I think knowing well your voice is when you require an effort and give you the maximum.
When you study a new role I get involved fully in the study libretto and score finding my own way of playing the character.

As for the frames based on historical themes, such as Anna Bolena, I document everything I can to get an idea of ​​how accurate was the historical character and which character was in order to give my own characterization, whether that voice interpretative.
I think this is a wonderful aspect of my work, that is to say, make my mark and doing my part of my character that I face every.

B.C:- It is in Madrid to participate in Faust, Gounod, in the premiere season of the Teatro Real. Tell us about this work and his character, Siebel, it has moments of great beauty and lyricism.

A.S: Gounod catch you and you fall in love with an extraordinary melody, hypnotic, sensual, irresistible; French music starts prosody in a sublime way. Faust is an opera of extraordinary beauty, rich in various aspects: in it are a mixture of narrative singing (almost declaimed), choral waltzes, poignant moments, a great expressive intensity and lyrical intimismo; why so many composers of the second half of "Ottocento" were inspired by him: between ellos Massenet, Bizet, Debussy o Ravel.

Gounod is based on a story that for centuries has inspired not only musicians and librettists, but also poets, novelists and painters. The fascination of this story is probably linked to the universal themes addressed, as the struggle between good and evil, la fe, love, the transience of earthly life; definitely, true motives, of our culture and are masterfully treated by the composer.

Siebel in the opera, the character that I interpret, It is beautiful and positive, leal, with a constant and sensitive presence with Marguerite; He has promised his brother, he had to go to war, to ensure his and Siebel is actually the only one who supports to the end. Faust seduced and abandoned by, Scorned by all, and cursed by his brother Valentine, Siebel will only remains true and it only comforting faith. Siebel meanwhile try a pure love for Marguerite, in fact he devotes the first aria, which it is lovely: "Make her my confession", in which he transferred his romantic and youthful character with the enthusiasm and joy of a young man who defeated the curse of Mephistopheles, who after wetting his hand in holy water, You can pick flowers for your beloved without these wilting.

Among the roles I've faced, I've been fortunate to play several in transvestite.

For a woman playing a male role is a challenge as an actress. I always try to observe as much as possible the attitudes and movements of men, from children (I think of Hänsel) to teens (for example Cherubino or Romeo), or more mature men (as Ascanio or Orfeo), and I try to find ways to immerse myself as much as possible in the role I should play. It is not easy, but it is possible! The important thing is to identify with the character and everything else, the movement, voice and indications of stage director, is only a little.

My first role was in transvestite I due Figaro Cherubino in Mercadante, and then I could get into the skin of Cherubino mozartiano, Orfeo in Orfeo ed Euridice,Gluck, the Stéphano s Roméo et Juliette de Gounod, and Hänsel in the charming tale of the Brothers Grimm Hansel and Gretel Humperdinck music. The interpreter pasada temporada Ascanio in Benvenuto Cellini by Berlioz and Romeo in I Capuleti e i Montecchi.

Siebel sing in the Teatro Real de Faust, so we could say that I already have eight roles in transvestite in my repertoire.

I am very excited because next season will debut Nicklausse of The Tales of Hoffman at the San Carlo in Napoli.

B.C: The scenery of Faust is run by Alex Olle, in front of La Fura dels Baus. The sets of Olle usually very potent, What do you think and how it unfolds? In general, How it is worn with stage directors?

A.S: It is a staging non-traditional, but modern, innovative and very interesting. Faust is not a doctor in search of eternal youth, but a scientist working in a research center. The first stage is a laboratory with a sterile chamber behind glass in which scientists are in tight suits that are floating between tanks and containers in which human figures loom. Doctors and nurses constantly cross the stage. Siebel is a young medical intern. When the project comes to a standstill and frustrating, Fausto uses Mefistofele and in the next scene the scientist's life gives way to his adventures with demonic contrafigura.

Faust reading La Fura dels Baus makes you reflect on the understanding of the contemporary era and shows the reflection of the inner desires of the individual, balanced between desire and frustration, between self and unit; is not only the struggle between good and evil as external realities, but among these inherent pulses within one person. Faust, in fact, coexists the same Mefistofele. At the end of the opera, Mefistofele wear the same clothes Faust, thus revealing the nature of alter ego of the protagonist.
It must emphasize the crucial importance of video projections and lighting; the dominant color is red, which represents passion, the blood, the wine, the miraculous transformation of water into wine, here is reversed sacrilegious, etc…

Today's stage direction has become increasingly important; I am lucky to work with directors always fantastic scene.

Overall I am always well prepared because I think the stage directors can get useful information to better your own expressiveness. For me a good stage manager is one who knows that music and singing have to respect and adapt its leadership in the service of music and song, putting interpreters in the best conditions to sing.

Today there is no longer the idea of ​​a static stage direction; you have to keep alive and present opera to capture public attention, and I think this is the winning formula.

B.C: Where his repertoire goes?

A.S: For the moment would follow in my field, which it is the bel canto and French repertoire of "Ottocento". I feel my voice is expanding and is becoming more weight and maybe in the future I can also face the great masterpieces of Verdi. We will see! Time to time. I do not want leapfrog if not taste all the beautiful repertoire of my vocalism to give the best of me right now.

On the other hand I always make the comparison with the dressing, that is to say, If I have a size "M" I can not get an "S" or "L". The same goes for the choice of repertoire. We need to know just wait and change size when the voice suggests you.

B.C: Although this is a very demanding and absorbing career, a non-dedicated only to her, What do you like to do when not working?

A.S: My passion coincides with my job and that is priceless!
My free time to devote to other activities is somewhat limited, but when I have, I like to spend with my loved ones.

I travel a lot and during productions am much time away from home, so I take the moments of pause to enjoy the beauty of the cities I visit, appreciate cultural differences, I savor the local cuisine ... I enjoy it also in the kitchen, so I experiment with new recipes.

B.C: You have very good dramatic skills on stage, How important is for you the dramatic part of a work and how to channel all that energy into the public?

A.S: For me it is essential that an artist of his personal seal when interpreting a character to try to make him his; that is to say, study the character in depth to reach deeper details and nuances. And can provide a reading that reflects our personality and sensibility as artists. When I play a character I try to internalize it and get into it as much as possible to feel on stage their same emotions. It's wonderful to get into different characters, each with its own personality and character, and hacértelos yours.

My studies have helped me not to stand on a superficial view of the role I play, If you do not enter fully to understand its complexity and character, psychology, its relationship with the other characters in the opera; I try to offer a "soul" rather than a body the character I play. It is only with a careful analysis when we get this takes shape. further, I am excited to understand the opera I play a three-dimensional shape, from the script, texts, its historical context and setting. Only then the role will you do yours.

I also think about people and public. Interpreters have an important role in this, because we must move, enthuse and to understand who we listen to what the character says, your mood, etc…

Among other things we have ever wider duty to bring opera to a public; education and public awareness of today and tomorrow especially when it is essential. In fact, It is vital!

It is also important to emphasize in music education in schools; It needs to sensitize children to appreciate and know our musical and operatic heritage; They must learn to enjoy it and love him.

On the other hand, I love the contact with the public because it is what gives you the strength, energy, the heat I need when I'm on stage. The public is my engine, a living and integral part of the show.

Interview: Paloma Sanz

Faust

morning, to 20 hours, live broadcast of Faust the television network Mezzo and Classical Radio, the RNE, Opera will offer the countries of the EBU (European Broadcasting Union).

As part of its international expansion policy and its firm commitment to bring opera to all corners of Spain, Royal Theatre significantly increases its audiovisual offer in the different media: projections in commercial cinemas, Edition DVD and Blu-Ray, broadcasts television and radio, plataformas online, outdoor screens, auditoriums, museums, polideportivos, schools, etc.

After the success of the documentary film The heart of the Royal Theater, released last 23 September in 95 island, October starts with the projection Aida in more than 50 commercial cinemas in Spain, Europe and the United States, thanks to an agreement with the distributor Rising alternative, which will in its national and international network also other two acclaimed productions of Teatro Real: Madama Butterfly, in March 2019, Y La Traviata in May of the same year. These operas can be seen in Austria, Belgium, Denmark, France, Slovakia, Estonia, Holland, Italy, Czech Republic, Switzerland and, in North America, Canada and the United States. (see attached list).

La Traviata Y Madama Butterfly They also come China -40 important theaters 10 big cities- under the agreement with the Royal Theater National Centre for the Performing Arts (NCPA) Beijing, which also screened productions in their auditoriums.

Throughout the season they are also planned other screenings in national cinemas and international productions that triumphed at the Royal Theater, as Billy Budd, Benjamin Britten ─Opera Award 2018─, Street Scene, Kurt Weill Y Faust, Charles Gounod, currently on stage.

national and international distribution increases DVDs The Royal Theatre: in September it hits the market the DVD and Blu-Ray Billy Budd, Award-winning Opera 2018. Will follow, in the coming months, Death in Venice Y Gloriana, Benjamin Britten also, Y Rodelinda, Handel.

Likewise, continues the relay Royal Theater Productions, Live and delayed, in television and digital platforms worldwide, thanks to agreements signed with major channels, as ARTS Concert, Half, Classica Stingray.

ARTS Concert will include the Royal Theater productions in its select range of opera and Half continues to offer live and on demand Royal Theater productions.

In the scope of its collaboration with the Teatro Real Classical Radio, the RNE, will broadcast live Faust, Charles Gounod, e Idomeneo, King of Crete, Wolfgang Amadeus Mozart, and offer deferred Only the sound remains, de Kajia Saariaho; Turandot, Giacomo Puccini; the Rheingold, Richard Wagner; La Calisto, Francesco Cavalli; Agrippina, the Georg Friedrich Handel; over, Robert Gerhard, Y Giovanna D'Arco, de Giuseppe Verdi. Likewise, Faust, Idomeneo Y La Calisto member countries of the EBU will be retransmitted (European Broadcasting Union). Lyrical concerts will be broadcast delayed.

With this active and ambitious policy audiovisual production significantly increases the catalog of operas available stage Digital, the online platform Teatro Real.

Faust

The Royal Theater opens its 22nd season next 19 September with Faust, from Charles Gounod (1818-1893), in a co-production with Teatro Real national Opera & Ballet Amsterdam, which premiered production, with an enthusiastic reception, in May 2014.

Estrenada en el Teatro Lirico de París, he 19 March 1859, with an icy response from the French public, Faust It has been imposed gradually in the operatic repertoire, despite the reluctance of critics, who have fallen into the trap of evaluating the score based on the immeasurable greatness of the work of Johann Wolfgang von Goethe (1749-1832).

While it is true that the librettists Jules Barbier Y Michel Carré They reduced the plot of the opera diabolical pact and the love affair between Faust and Marguerite away from the philosophical complexity of the text of Goethe, perhaps it is precisely the simplicity and spontaneity of the score the secret of his success.

The play, which departs from the grandiloquence of the grand opera French, He has seduced the public, who revels in the beauty of the melodies, refined orchestration, choral parts formidable, the contrast between the numbers, the sarcasm of some dialogues and delicacy of the most intimate nature scenes.

Alex Olle, for the fourth time addressing the myth of Faust throughout his career La Fura dels Baus --after F @ ust 3.0 (1997), The Damnation of Faust, Hector Berlioz (1999) and the movie Splendor 5.0 (2001)─ it moves away from the shallowest reading score, delving into the issue that crosses all the work of Goethe: the pursuit of unlived life. Instigates Mephistopheles Faust to satisfy the desires that has hidden, He has sublimated drives and perversions that has camouflaged. Mephistopheles and Faust alter ego: the devil wears hidden.

In the purest style 'I Fura', Alex Olle and the scenography Alfons Flores dramaturgical resort to artifices of great theatrical effectiveness, Fausto placing in a laboratory, where he works on a huge computer that simulates the human brain, with their traps and fantasies, which are emerging archetypes of modern society, very recognizable by the public.

Next to Valentina Carrasco (collaborator in stage direction), Luke Castles (costume designer) Y Urs Shönebaum (illuminator), They have created an inventive production, Sarcastic and spectacular, which it has the complicity of a double cast headed by tenors Piotr Beczala e Ismael Jordi, in the title role; las sopranos Marina Rebeka Y Irina Lungu in the role of Marguerite; baritones Luca Pisaroni, Erwin Schrott Y Adam Finger as Mephistopheles, Stéphane Diverting Y John Chest, as Valentin; y las sopranos Serena Malfi Y Annalisa Stroppa transvestite role in Siébel.

The musical direction will be Israeli master Dan Ettinger, debuting in Madrid in front of Headlines Choir and Orchestra of the Teatro Real and preparing the chorus, with great prominence in the score of Gounod, is in charge, as usual, its director Andrés Máspero.

Premiered at the Royal Theater 1865, six years after his cold first in Paris, Faust He seduced since the public of Madrid, It is one of the most represented operas until closing theater 1925. Since its reopening have been offered 10 functions, on February 2003, with a production of Gotz Friedrich tribute to. Faust returns to the Royal Theatre 15 years later, a drama that will bring a new reading of the inexhaustible richness of this universal myth.

AGENDA | PARALLEL ACTIVITIES

13 September at 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with artists participating in Faust and Joan Matabosch, artistic director of the Teatro Real

19 September to 7 October| National Museum of Romanticism

a work, an opera: Mephistopheles, Joaquin Espalter (1872), box representing Goethe's Faust at the time kidnaps Marguerite

30 of September, to 11.00 hours | Teatro Real, Great room

Opera theater

projecting The Tales of Hoffmann, Jacques Offenbach, with musical direction by Sylvain Cambreling and stage director Christoph Marthaler.

2 October to 22 February | Complutense Institute of Musical Sciences

The excitement of opera (exposition): a tour of the nineteenth century opera through scores, images and unpublished documents. Tailoring includes pieces and props Royal Theater.

Historical Library Marqués de Valdecilla

4 October at 20.00 hours | TV Half | Classical Radio and EBU European Broadcasting Union

Streaming and Faust in the television MEZZO, in Classical Radio, the RNE, and stations that make up the EBU, European Broadcasting Union.

7 October, to 12.00 hours | Teatro Real, Great room

Chamber Sundays

Soloists of the Titular Orchestra of the Teatro Real

7 October at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: music workshops for the whole family, direction and presentation of Fernando Palacios.

First session of the season: The devil lurks

ballerinas: Aurora Constanza, Elena Di Mare Ruiz and Inés Calderón.

Annalisa Stroppa

After inaugurating two consecutive seasons during the Teatro alla Scala in Milan with Madama Butterfly and Andrea Chénier, The Italian mezzo-soprano Annalisa Stroppa will participate in September at the opening of Teatro Real in Madrid as Siebel in Gounod's Faust raising the curtain on the Spanish lyrical Coliseum in a montage of La Fura dels Baus (days 20, 23, 27 Y 30 September and 3 Y 6 October). Before, the next 1 of September, the cycle Summer Music Nights in Zaragoza organized by the Government of Aragón and producing the Opera association Aragon, again give a boost to the international lyrical in the region with a recital with which Stroppa debut in the city. Recent winner in the title role of the opera Carmen in the season of Las Palmas -character resume this summer at the Bregenz Festival (Austria) in the production of Kasper Holten she herself premiere last summer-, Annalisa Stroppa will perform at the Museum of Zaragoza, next to the piano Aurelio Viribay, arias and songs by Ravel, Massenet, Bizet, Granados, Rossini, Donizetti y Luna. The latter Italian singer wanted to include a zarzuela aria, "In Spain I come", of The Jewish child.

In future commitments, Italian mezzo be consecrated Adalgisa Norma at the Teatro Colon in Buenos Aires, Rosina the Barber of Seville and la Unter den Linden the Berlín, Suzuki in Madama Butterfly at the Bayerische Staatsoper in Munich and Nicklausse Les Contes d'Hoffmann of the San Carlo in Naples.

http://www.annalisastroppa.it

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