Placido Domingo

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

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

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

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

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

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

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

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


The next 30 June the Teatro Real will premiere Goyescas, from Enrique Granados (1867-1916), first and only opera Catalan composer, with which he triumphed at the Metropolitan Opera House in New York 1918. On his way back to Spain, at the dawn of World War I., the English ship he was traveling in was bombed by the German navy, leaving his life cut short before their 50 years.

This little opera, which will be presented for the first time at the Royal Theater, will be offered in concert version, led by the soprano Maria Bayo, the tenor Andeka Gorrotxategui and baritone José Carbó, who will act together with Headlines Choir and Orchestra of the Teatro Real, under the direction of Guillermo García Calvo, debuting at Real.

Two years before, also at the Metropolitan Opera House, Giacomo Puccini (1867-1916) had premiered his last complete opera, Gianni Schicchi, with which his famous Triptych, after Il tabarro and Suor Angelica, created from the three volumes of the great trilogy of Dante.

This fabulous comic opera will arrive at the Royal Theater in a production from the Los Angeles Opera, with stage director Woody Allen and set design and costumes by Santo Loquasto. It will be starred by baritones Nicola Alaimo Y Lucio Gallo, who will alternate in the interpretation of the title role. They will be accompanied by a mostly Spanish choral cast and by the Titular Orchestra of the Royal Theater, under the direction of Giuliano Carella.


first box

A group of majos and majas have fun under a bright sun in the prairie of San Antonio de la Florida, on the banks of the Manzanares river, in Madrid. Some kept a wimp. The bullfighter Paquiro struts through the crowd and compliments the young women. His fiancee, the popular Pepa, He arrives in a buggy and they both make the court. Rosario also appears, distinguished aristocratic woman who hopes to meet her lover Fernando, captain of the Royal Guard. Paquiro, insinuating, invites Rosario to accompany him to the popular Candil Dance, provoking the jealousy of Fernando, who forces Rosario to go to the dance, but in his company.

second box

The Candil Dance is in full swing. Fernando's arrogant attitude, fueled by Pepa's provocations, does not bode well. Rosario faints, and Paquiro and Fernando take advantage of the incident to challenge each other in a duel that same night. The party comes back to life once Rosario and Fernando have left.

third table

In the garden of his residence, Rosario listens to the song of the nightingale and accompanies him singing a loving melody. Fernando arrives and together they sing a love duo. A bell announces the time of the challenge. Rosario begs Fernando not to go, but he ignores their pleas and goes in search of Paquiro. She, afraid of what might happen, follows him and finds him mortally wounded. Fernando dies in Rosario's arms.


Buoso Donati has died, a rich landowner. His family surrounds his bed, in which the deceased still lies, and deeply mourns his loss, although they show much more interest in the content of their will. Among those present are, among others, Donati's cousins, Zita y Simone, his brother-in-law Betto di Signa and Zita's nephew, Weather in Rinuccio, in love with young Lauretta, daughter of Gianni Schicchi. Given the rumor that Donati has bequeathed most of her inheritance to the monks of the local monastery, the family starts frantically looking for the will to change it. Rinuccio finds him, who before opening it persuades her aunt Zita to, since the family is going to be tremendously rich, let him marry Lauretta.

Family fears are well founded: Donati has bequeathed her inheritance to the monks. Rinuccio suggests asking Schicchi for advice in the face of general reluctance, because he is considered an upstart. Llegan Schicchi y Lauretta, that are received in a hostile way by the family. Finally, Schicchi is agreed to examine the will. After sending Lauretta to the balcony and making sure no one else knows that Donati is dead, Schicchi impersonates him and assures the doctor, on medical visit, that is much better. The doctor leaves and Rinuccio goes to look for the notary while the family fights over the distribution of Donati's assets. Schicchi dictates a new testament to the notary in which, before the fury of the relatives, grants the best assets to "my loyal friend Gianni Schicchi". On the terrace, Rinuccio and Lauretta declare their love already exempt from barriers, since Lauretta now has a juicy dowry.


the tenor Placido Domingo will not participate in opera performances Gianni Schicchi, from Giacomo Puccini, planned for the day 30 June and 3, 6, 9 Y 12 of July, as it was advertised.

The recent death of his sister, to which he was very united, It prevents it from playing a role of comic character and delivered to the public with the intensity and dedication that have always characterized.

Instead, the role of Gianni Schicchi will be played by the baritone Nicola Alaimo, the days 30 of June; 3 Y 6 July 2015, and for the baritone Lucio Gallo functions in days 9 Y 12 July 2015.