Madama Butterfly

He Teatro Real It joins the celebration of the European Days of Opera, They are taking place across the continent between 4 and the 13 May and with whom you want to share the heritage and cultural richness of the opera, two audiovisual activities aimed at all audiences, and for Spain, which will take place tomorrow, Thursday 10 of May.

On the one hand, it will be issued, through technology stage Digital to schools, the production of Dido and Aeneas, Purcell, in the version directed by Rafael R. Villalobos and designed specifically for young, in coordination with the Ministries of Education of the autonomous communities with which the Teatro Real has signed cooperation agreement: Andalusia, Aragon, Cantabria, Castilla y León, Castilla la Mancha, Madrid and Murcia.

For another, cinemas across Spain Screened in their rooms acclaimed and beloved version Madama Butterfly, Giacomo Puccini, directed by Mario Gas and starring soprano Ermonela Jaho, who has managed to move thousands of spectators worldwide.

Both initiatives are carried out through the Teatro Real audiovisual program, linking new technologies with projects of national and international collaboration, to make their performances leave the Madrid stage and reach a public increasingly broad and diverse.

Dido and Aeneas

The proposal Rafael R. Villalobos, responsible for the dramaturgy and staging, moves the action of this beautiful opera Purcell (1659-1695) to today, XXI century, to analyze the difficult period of adolescence and seek answers to the problems and experiences that young people today: The development of personality, friendship, love, jealousy, bullying ... with dialogue and youthful vocabulary close to the public for which it is designed.

The action takes place during the birthday party Dido, It celebrated in a colorful and cozy garden. Maite designs Agorreta, also responsible for figurines, lighting and Miguel Ruz, playful and cheerful form a framework in which crop up insecurities and jealousies group, whose intrigues weave a painful situation in which all border on the edge of "bad" and "good" and help us reflect on the search for balance.

Madama Butterfly

List of cinemas

this opera, one of the most demanded by the public, recovers the original staging of Mario Gas, so praised by critics, whose action is set in a movie set in Hollywood in the forties and the public attending the dual effect of the action, the history of the characters and the film. The representation is led by the soprano Ermonela Jaho and the Spanish tenor Jorge de León. With an extraordinary cast and the Choir and Orchestra of the Teatro Real Headlines, The musical direction is by Marco Armiliato.

The story of Cio-Cio San, young teen geisha who faces his family and his love culture official B. F. Pinkerton, US Navy, who understands the relationship as mere entertainment during their stay in Japan, He has touched generations of fans and had a prominent place in the life of Puccini until the last of his days.

Bohemian

Between days 11 December and 8 from January, Royal Theatre offer 19 functions from Bohemian, from Giacomo Puccini (1858-1924), in a co-production with the Lyric Opera of Chicago and the Royal Opera House in London, where it premiered last September, where he will appear next summer.

Genesis Bohemian, and also the development of their creative process until the premiere of the opera at the Teatro Regio in Turin 1 February 1896, They are thoroughly documented thanks to the extensive correspondence between Giacomo Puccini, his editor and mentor Giulio Ricordi, and librettists Giuseppe Giacosa Y Luigi Illica, who began their stormy and fruitful collaboration in this opera, then writing the librettos Tosca Y Madama Butterfly.

Based on the book Scenes of Bohemian Life, from Henri Murger (1882-1861), It born as a series of autobiographical stories published as folletín, the two librettists, always jealously led by Puccini, They built a coral libretto, in which four young bohemian artists circumvent the economic difficulties and inclement weather with humor and enthusiasm, looking for its place in a Paris effervescent, bustling and winter.

The tragic love story between one, Rodolfo, aspiring poet, y la sastrecilla Mimi, whose death, inexorable, the sorprende, articulates a kind of initiatory path Bouncing debauchery and dreams of youth and reveals the real life, with all its force and significance.

With his brilliant orchestral palette, his mastery of prosody and its huge dramatic talent, Puccini is building the personality of young people with their ability to articulate the most characteristic and amusing anecdotal glimpses of everyday life with the deepest feelings, passionate and sweeping. A) Yes, Interlace your sentences short "conversation" with other huge melodic breath and dramatic. His orchestration suggests, with great effectiveness tímbrica, from details as trivial as the flames snaking or the clinking of coins, until 'ambiences' the film almost bare garret, the bustle of the Christmas Paris, or loneliness and hardships of poverty.

The evocation of past moments as if they revive the memory flashes and updates is masterfully recreated using musical motifs associated with emotions, feelings, or even objects that Puccini gives an enormous symbolic power, like the sail of Mimì, the rose cofia que buys Rodolfo, Colline greatcoat, or sleeve that warms cold hands of the protagonist on his deathbed ...

It is these moments that come and go back to memory, that they are hidden and show with the experiences that add up and build the way life, which form the backbone of the new production Bohemian which can be seen at the Royal Theater.

In its dramaturgical proposal, the prestigious British stage director Richard Jones and set and costume designer Stewart Laing opera presented as a succession of Scenes of Bohemian Life presented to the viewer without concealing jobs backstage which normally develop technical backstage. A) Yes, the public sees as the sets are changed, how different devices are used to achieve theatrical effects and how props pile up in the wings, as if they were pieces of life crammed into memory.

Reaching the privileged place, the viewer constantly contemplates the past and present of the characters, unable to dive into the cold and fizzy Paris of the young bohemians because it will always represented on stage. But this artifice of 'play within a play', that the real time and the theater are confused, public space and artist, the drama of the opera and its metaphors, will take the viewer to a richer interpretation of Puccini's work, enhanced by the view from different angles, but also with their reflections.

Two deals give life to this popular choral opera, which highlights, in the lead roles, las sopranos Anita Hartig Y Yolanda Auyanet (Mimi), tenors Stephen Costello Y Piero Pretti (Rodolfo) y las sopranos Joyce El-Khoury Y Carmen Romeu (Musetta), seconded by baritones Joan Martin-Royo Y Esteve Manel (Schaunard), Etienne Dupuis Y Alessandro Luongo (Marcello); the short ones Mika Kares Y Fernando Rado (Colline) Y Roberto Accurso (Alcindoro); and tenor José Manuel Zapata (Benedict).

The musical direction will be borne by Paolo Carignani, which will lead the Headlines Choir and Orchestra of the Teatro Real and Little Singers of ORCAM.

This new production brings once again the popular Puccini opera at Teatro Real, which has offered 60 functions Bohemian since its reopening, in 1997, always with the famous production directed by Giancarlo del Monaco, with scenery Michael Scott, released in December 1998, response in seasons 1999-2000 Y 2005-2006 and recorded on DVD, with musical direction Jesus Lopez Cobos (available on demand stage Digital).

AGENDA | PARALLEL ACTIVITIES

20 November to 12 from December | Teatro Real

Course Exposed opera: how to ride a big production. Bohemian

3 from December, to 12.00 and to the 17.00 hours | Teatro Real, sala Gayarre

family workshop Everyone to the Gayarre!: Poet's garret, the musician, the painter, dressmaker and singer.

Address and presentation of Fernando Palacios.

4 from December, to 20.15 hours | Teatro Real, sala Gayarre

approaches: the artistic director of the Teatro Real, Joan Matabosch, moderates a meeting with artists involved in the production of Bohemian.

16 from December, to 11.00 hours | French institute

creative workshop around production. Bohemian: to imagine, create drawing… like a true artist.

In French (all levels) for children 4 a 8 years

17 from December, to 12.00 hours | Teatro Real, living room

Chamber Sundays: works of Eugène Bozza, Giacomo Puccini, Respighi y Nino Rota

Soloists of the Titular Orchestra of the Teatro Real

7 from January, to 12.00 hours | Teatro Real, living room

Opera theater: projection Cavalleria rusticana, de Pietro Mascagni, Y Pagliacci, de Ruggero Leoncavallo, Teatro Real production with musical director Jesus Lopez Cobos and stage director Giancarlo de Monaco.

Date to be determined | Spanish Film Library

Film Series. Teatro Real: Opera night

Goodbye Mimi, de Carmine Gallone (1949)

Madama Butterfly

The Palau de les Arts Reina Sofia recreates the destruction of World War II in Japan in its new production ‘Madama Butterfly’, from Puccini, the first assembly of the III Preseason popular prices, which will be released next 11 October.

This has been explained today at a press conference Davide Livermore, Mayor of Les Arts, together with the musical director of this work, Diego Matheuz, stage director Emilio López and soprano Liana Aleksanyan, who plays the title role.

Livermore has stressed the good reception of the Puccini opera, with sold out for all functions for weeks, with only five per cent of capacity available for purchase the same day of the performance.

"This figure confirms that there is interest in opera and what is done at Les Arts, to which must be added over 1.100 localities that have been sold in just two hours when we opened the online sale of season tickets ".

Mayor of Les Arts has stressed that, with the intention to program titles of the great repertoire "to discover the beauty of opera to new audiences", It has decided to make a new production of 'Madama Butterfly'. A fact made possible "thanks to the team of Les Arts, a template of genuine creative, which it allows a comprehensive quality programming, but with a much lower budget compared to other major theaters ".

Les Arts professionals: Manuel Zuriaga (scenography), Antonio Castro (lighting) Y Miguel Bosch (video creation) along with the renowned Italian figurinista Giusi Giustino make up the creative team of this show, under the stage direction of Emilio López.

Diego Matheuz runs for the first time this score at Les Arts. This is the second time that the musician Barquisimeto addresses the Orquestra de la Comunitat Valenciana, after its debut last January in Castelló, and the first that works with the Cor de la Generalitat. Matheuz, which he has been musical director of the legendary Teatro La Fenice in Venice, He expressed his satisfaction with the quality of stable bodies of Les Arts as well as "flexibility to deal with very different repertoires". Considered the new star of the Venezuelan Orchestra System, Gustavo Dudamel has in its most international baton, Diego Matheuz plays an important career in Europe, In addition to addressing performances in North America and Japan.

Emilio López, takes over from Antonio Diaz Zamora, Valencian first who led an assembly opera Les Arts, Why 'Mror', Palau in 2014. The young Valencian director is commissioned to represent one of the most popular titles of the great repertoire, in Valencia staged above the 'régisseur' Japanese Keita Asari and Polish director Mariusz Treliński.

As he explained in his speech: "To make 'Madama Butterfly', I started working, especially, in the character and psychology of Cio-Cio San. I have always seen as a "broken wrist", which is under enormous internal destruction. That inner destruction I wanted to capture the scenery in the mount, e, historically, the warlike atmosphere of the Second World War, between 1941 Y 1945, from the US blockade until the end of the war is the perfect setting ".

"The character of Pinkerton adds López- It is inspired by the pilot who dropped the bombs on Hiroshima and Nagasaki, Charles Sweeney, when I 25 years then. An unconscious boy, he was never able to see the consequences of their actions. A coward".

The soprano Liana Aleksanyan sings the role of Cio-Cio-San, with which debuted at La Scala in Milan under the direction of Riccardo Chailly. This is the ninth time that the Armenian diva enlivens Madama Butterfly, a role that has placed in front of the opera scene.

For the role of Pinkerton, Livermore has announced that, by prescription, Sergio Escobar can not sing the first three functions and will be Alessandro Liberatore Italian tenor who replaced day 11, 14 Y 17 October. The main quartet is complemented by Nozomi Kato (Suzuki), which for two years has formed at the Center of Perfeccionament Plácido Domingo and the Spanish-Brazilian baritone Rodrigo Esteves (Sharpless).

Close the deal of this work artists Plácido Domingo Center: Moses Marin, Marianna Map, Arturo Espinosa and Jorge Eduardo Alvarez, the singer Cor de la Generalitat José Javier Viudes and baritones Pablo López and Javier Galán.

 

Mademe Butterfly at the Festival of Peralada

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Text: Diego Manuel García Pérez
pictures: all Ferrer

Madama Butterfly

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MAdama Butterfly

The next 27 of June, Tuesday, the stage of the Royal Theater will live all the passion and drama of Madama Butterfly, Giacomo Puccini. this opera, one of the most demanded by the public, recovers the original staging Mario Gas, so praised by critics, who has the support of Ezio Frigerio, in the scenery, y Franca Squarciapino, in the dressing room. The action is set in a movie set in Hollywood in the forties and the public attending the dual effect of the action, the history of the characters and the film, which can be seen on screen in the room.

The great sopranos Jaho Ermonela Y Hui He They will alternate functions to step into the shoes of the young Butterfly and share the stage with tenors Jorge de León, Andrea Carè Y Vincenzo Costanzo, in the role of Pinkerton, Y angel Ódena, Vladimir Stoyanov Y Luis Cansino, como Sharpless. Along with the rest of the cast and Headlines Choir and Orchestra of the Teatro Real, musical direction will be in charge of Marco Armiliato.

Madama Butterfly It premiered at the Royal Theater in November 1907. They are met now 110 years of that date and, since then, It has been one of the most beloved operas and demanded by the public. this opera, a favorite author, It represents, as few, the clash between two cultures, a traditional East that begins to disappear, against the growing and modern West, juxtaposing innocence and kindness overwhelming selfishness, thus building a sweeping drama. But it is also an extraordinary musical reflection of Puccini that combines delicately traditional Japanese music with its unmistakable style, to step ahead of his time.

The drama of Cio-Cio San, young teen geisha who faces his family and his love culture official B. F. Pinkerton, US Navy, who understands the relationship as mere entertainment during their stay in Japan, He has touched generations of fans and had a prominent place in the life of Puccini until the last of his days. His immortal music is the perfect pillar in the libretto by Giuseppe Giacosa and constructed Luigi Illica, based on the eponymous play by David Belasco, who in turn seeks inspiration in the story of John Luther Long, probably close to more than a fact.

Around this release, and as part of the celebration of the Opera Week, will be two major events, the opening of the exhibition Madama Butterfly and attraction for Japan, at Thyssen-Bornemisza Museum, and retransmitting the opera, for free, from the Royal Theatre, at numerous points throughout Spain and beyond our borders.

Between 22 June and 27 August will be open, in the Thyssen-Bornemisza Museum, an exhibition that will highlight the fascination with Japan that swept the West in the last third of the nineteenth century. Through paintings, posters, prints, porcelains, Photographs, fashion accessories and theatrical scripts from the National Museum of Decorative Arts, ABC Museum, the Museum of the Performing Arts Theater Institute and the Center for Documentation and Archive of the SGAE, among other museums and collections. Access to the exhibition is free.

On Friday 30 June will be carried out relay Madama Butterfly, to be offered in places, auditoriums and cultural centers in Spain, for free. this initiative, already involved in more than 200 municipalities in all regions, will feature three big screens in the Plaza de Oriente in Madrid and forty other similar distributed by squares and gardens throughout the Spanish geography.

Those who can not travel to any of the emission points will have the opportunity to continue broadcasting through the channel Facebook Royal Theater, connecting for free stage Digital, online platform and Canal Theater The Opera Platform. Spanish television broadcast that evening representation, starting at 22.00 hours, through the 2.

As in other editions, Also part of the initiative's most important museums and art centers in the country, to open their halls and rooms enabled projection. Among them are: he Prado Museum, he Thyssen-Bornemisza Museum, he National Archaeological Museum, he Circulo de Bellas Artes, the National Film Archive, the Foundation Giner de los Rios, he Official College of Architects of Madrid, the Student's residence, and the Fundación Canal de Isabel II in Madrid; he Niemeyer center Aviles; he Bilbao Guggenheim Museum; Carmen Thyssen Museum Malaga Y Collection of the Russian Museum St. Petersburg, from Malaga; Science Museum of Castilla-La Mancha, in Cuenca, Y he Diocesan Museum of Barbastro-Monzón, in Huesca, among others.

In Madrid, In addition to the three screens placed the Teatro Real in the Plaza de Oriente, You can follow the live broadcast 21 city ​​districts, with the collaboration of Veranos de la Villa, in places, summer theaters, municipal auditoriums and cultural centers.

At the international level, Madama Butterfly will arrive at the Instituto Cervantes in Beijing (China) and to different parts of Colombia and Mexico, among other countries. In Europe, the connection will be made through the web The Opera Platform.

Cedolinis

The Italian soprano Fiorenza Cedolins will sing the role of ‘Cio-Cio-San’ in Madama Butterfly, Giacomo's opera Puccini that ABAO-OLBE comes on stage the days 14, 17, 20 Y 23 in February 63 Opera Season ABAO-OLBE in Bilbao. Cedolinis, who already played the same role in ABAO-OLBE in 2006, replaces the one originally planned Barbara Frittoli, who due to an acute laryngotracheitis condition has had to suspend their performance in Bilbao. The fact of debuting a role of this magnitude and a minimum rest of ten days that has been prescribed, make their presence in Bilbao unfeasible.

In 1996 Fiorenza Cedolins won the Contest Luciano Pavarotti with whom he played Tosca at the Philadelphia Opera, starting a brilliant international career that has taken her to the most important theaters in the world.

Its wide repertoire includes: I Masnadieri, Tosca, The Battle of Legnano, Suor Angelica, Madama Butterfly, Rule, The Troubadour, Adriana Lecouvreur, Bohemian, Verdi's Requiem Mass, Manon Lescaut, Il Tabarro, Falstaff, Luisa Miller, Otello, Don Carlo, The swallow, Maria Stuarda, Lucrezia Borgia, Carmen, Turandot, Andrea Chenier or La Traviata, among others.

In 2014 Tosca has sung in Barcelona, Falstaff and Amsterdam, Aida in Macerata and Tokyo and Die Iustige Witwe in Salerno.

Her upcoming commitments this year include her debut as Tatiana in Eugene Onegin., Pagliacci and Tosca.

In ABAO-OLBE he has sung I Masnadieri (Amalia) 2004, Madama Butterfly (Cio-Cio-San) 2006, Poliuto (Paolina) 2008, The Troubadour (Leonora) 2008, Rule (2009) and Luisa Miller in 2012.