ABAO Bilbao Opera

After the announcement of the new measures decreed by public administrations to control the COVID-19 pandemic, that include strong restrictions on mobility and capacity, ABAO Bilbao Opera is forced to postpone the expected premiere of the opera Alzira, scheduled for 21 of November.

Opera Giuseppe Verdi the historic project of the Tutto Verdi Association was going to close this season, an unprecedented cultural program around the world, in which throughout 15 years have been represented in the Bilbao scene 30 Verdian catalog titles, conference cycles, recordings and various publications

Current measures taken to contain the spread of the virus, prevent more than half of ABAO members and lyric fans in general, go to functions. further, These restrictions also affect Europe and make it extremely difficult to carry out pre-production preparations, making it difficult to carry out the premiere of an opera with guarantees of success that has aroused enormous interest in the world of lyricism due to its uniqueness, and that would put a finishing touch to this emblematic project of the Association and a worldwide lyrical reference

To be able to give the appropriate closure to the Tutto Verdi project, the Association is working, together with all those involved in the staging of this opera: all the cast, orchestra and technical and creative teams, in search of a new agenda that allows to carry out this extraordinary premiere of such an unusual work in the history of opera. Alzira will be represented in a next season, becoming the sixth subscription title of the same.

Since the start of the pandemic, ABAO is working with the clear will to keep cultural activity alive, always collaborating with the authorities and modifying the programming to adapt to the circumstances arising from this extraordinary situation. Until now, everything possible has been done to move forward with the planned programming, but it is becoming increasingly difficult to do so with the quality and excellence that have always characterized the Association., trying in addition to minimize the economic damage as much as possible.

If circumstances permit, ABAO Bilbao Opera will resume the season next January with the staging of Samson and Delilah Camille Saint-Saëns, twenty years after his last replacement in the Bilbao season. The Association aware that culture must be considered as an essential good for society, bet that opera continues to be present in the social life of our community, maintaining their activity as other economic and social disciplines are doing whenever circumstances allow.

LaTraviata

morning,15 of July, to 20.00 h*, lives in direct a Traviata history from the Royal Theater of Madrid.

Enjoy in My Opera Player from La traviata Verdi in a careful semi-staged version by Leo Castaldi and with Marina Rebeka and Michael Fabiano in the main roles.

With this exciting proposal, adapted to the new current context, the Teatro Real becomes one of the first coliseums in the world to raise the curtain again.

Once issued, will be added to the My Opera Player catalog so you can see it again when and where you want within your subscription.

See you on My Opera Player!

Don Carlo, Infante of Spain

The Palau de les Arts Reina Sofia enacts 'Don Carlos, Infante of Spain ', German playwright Friedrich Schiller, what He inspired the opera libretto by Giuseppe Verdi, 'Don Carlo', currently it is shown in the Main Hall.

Les Arts and La Farseria co-produced this dramatic reading with scene address Andres Poveda, and adaptation of the text and proposal stage itself and the Poveda Anselmo Alonso, from the translation of 1881 in charge of Josep Yxart.

As they explained Alonso and Poveda, They have compressed 80 minute adaptation of Schiller's text in order expected in a dramatized reading: Fast and clearly show the message:

"That's why we have faced the issues of this 'Don Carlos', with scissors Precision, so that the political idea, The philosophy, the function of love, the idea of ​​the motherland and religion speak in a clear language ", the authors.

The cast is made up Christian Giner (Don Carlo), James Ibáñez (Felipe II), Laura Pellicer (Isabel de Valois), Lucrecia Cervelló (Princess Eboli), Miguel Segui (Inquisitor and Marquis of Posa) Y Toni mISO (Duke of Alba).

Activity, It included in the proposals of the Didactic Program, It has an open session on Saturday, 16 from December, to 18.00 h, in the Aula Magistral inputs to eight euros.

Verdi's opera is the backbone of a wide range of educational proposals. On the one hand, from the day 12 until Saturday morning, arts center offers introductory workshop to the opera 'Don Carlo', organized jointly by the Department of Education of Les Arts and Alzira-Valencia center associated of UNED. In addition to receiving academic training, attendees will witness a "Don Carlo 'function Verdi, in the Main Hall, as well as a representation of the dramatized reading of Schiller's work. Among the various speakers of the course, Jordi Claramonte appear, Professor of Aesthetics and Art Theory at UNED, and Mercedes Jorge Serra, professor of music history at the Conservatory of Music in Valencia.

Likewise, Les Arts has hosted workshops as' book to script, Text on relations Schiller and adaptation to the score of Verdi, and 'The construction opera' in which the smallest discover the production process of this title, that Les Arts offers a Marco Arturo Marelli assembly.

Placido Domingo

He Teatro Real will end their season with three functions Macbeth, from Giuseppe Verdi, in concert, the days 11, 14 Y 17 of July, with musical direction James Conlon, which he has already demonstrated its sensitivity and depth in reading pages Verdian The Sicilian Vespers, in 2014, Y Luisa Miller, last year. It will be a somewhat special concert version. El propio Plácido Domingo ha explicado en rueda de prensa que los ensayos están orientados para ofrecer una versión no escenificada pero si dramatizada. “Para interpretar a Verdi hay que ser actor”, señala Domingo. Quieren con ello evitar que una escenografía que no se entienda distraiga de la verdadera esencia de la obra.

Placido Domingo, which is playing in recent years some of the biggest papers Giuseppe Verdi baritone roles ─los holders Simon Boccanegra, Nabucco, Rigoletto Y Macbeth; Miller, in Luisa Miller; Francesco Foscari, in I due Foscari; Count di Luna, in The Troubadour; Giorgio Germont, in La traviata; or Rodrigo, in Don Carlo─ encarnará ahora al atormentado personaje shakespeariano en el Teatro Real, después del éxito, the last summer, de su cabal Francesco Foscari. Estará acompañado por Anna Pirozzi, una de las más reconocidas sopranos dramáticas de la actualidad, cuya carrera está muy vinculada a España, aunque no había actuado en el Real. Lo hará ahora con la pérfida Lady Macbeth y volverá la próxima temporada con Aida, dos personajes de gran talla musical y escénica, que demostrarán sus dotes como intérprete verdiana.

Entre los restantes papeles principales cabe destacar al bajo-barítono Ildebrando D’Arcangelo (Banco) ─que interpretó The Barber of Seville en el Real en 2004─, to the tenor Brian Jagde (Macduff) ─que debuta en Madrid─, y también al Titular Choir of the Teatro Real, ya que Verdi consideraba al coro como el tercer protagonista de la ópera, dada su importancia en el desarrollo dramatúrgico de la partitura. Estará preparado, as usual, by Andrés Máspero, cuya labor perfeccionista es unánimemente aplaudida por público y crítica.

THE OPERA

In 1846, Giuseppe Verdi, with scarcely 33 years, es obligado, por serios motivos de salud, a hacer una pausa en su frenética carrera creativa. Había compuesto nueve óperas en apenas seis años, arrastrando paralelamente las secuelas de sus sucesivas tragedias familiares: la muerte de sus dos hijos en 1838 Y 1839, y de su esposa en 1840.

Después de algunos meses de reposo, el poder arrebatador de Macbeth, de su idolatrado Shakespeare, le impulsa a retomar el trabajo: escribe el esbozo de un libreto, cuya escritura en verso confía a Franceso Maria Piave, con el que había trabajado ya en Ernani e I due Foscari. Las exigencias e intransigencias de Verdi relativas al texto hacen del proceso creativo de la ópera un duro penar para ambos.

La primera versión de la partitura se estrena, con enorme expectación, en el Teatro della Pergola de Florencia, he 14 March 1847, después de un largo período de ensayos en los que Verdi trabajó obsesivamente, interviniendo en todos los detalles de la dramaturgia y escenificación. El éxito fue tal que el compositor tuvo que salir a saludar al escenario 38 times.

But nevertheless, para la reposición de la ópera en París, in 1865, Verdi decide escribir una nueva versión de la partitura, in French, con cambios estructurales y añadidos importantes.

Pese a la indudable mejora de la dramaturgia y de la música en esta segunda versión, el estreno parisino de Macbeth no obtuvo el éxito esperado y la partitura fue perdiendo fuelle poco a poco, pasando a ser la menos glosada de la trilogía shakesperiana, que incluiría años más tarde obras maestras como Otello Y Falstaff.

At the Teatro Real Macbeth se presentará por tercera vez desde su reinauguración, siempre con la segunda versión, pero en italiano, como suele ser habitual desde que la ópera se ha instalado en el repertorio de los teatros de ópera. This time, but nevertheless, se incluirá el aria de la muerte de Macbeth ¨Mal per me”, de la partitura original de 1847.

With Macbeth Giuseppe Verdi stands at a crossroads between the use of structural conventions, Stylistic and plot prevailing in the booming Italian operatic creation in the mid-nineteenth century, and search and exploration of new ways to flourish in later works.

La fuerza arrebatadora de Shakespeare lleva al compositor a someter su música a la endemoniada tensión dramática de la obra teatral y a la corrosiva tortura interior de los protagonistas. Las líneas de canto pasan a servir la expresión del texto y la instrumentación a enfatizar las diferentes atmósferas que se suceden en el desenlace de la tragedia.

La declamación del canto, las frases entrecortadas, los suspiros a media voz, los silencios y otra serie de efectos vocales confieren a los personajes una veracidad jamás alcanzada en sus obras anteriores y Verdi sube un peldaño más en su camino hacia la quintaesencia del drama musical.

David Afkham

David Afkham, principal director National Orchestra and Choir of Spain, will lead the Requiem from Giuseppe Verdi in the last symphony concert of the season 16/17, scheduled for Friday 30 June and Saturday 1 of July, to 19,30 and Sunday 2 of July, to 11.30 hours. After a successful season in which he has returned to captivate audiences and critics, these concerts next weekend have generated great excitement again and tickets are already sold out on Friday.

Likewise, This same program will travel to 66 International Festival of Music and Dance in Granada on Wednesday 5 of July.

the soloists Aga Mikolaj, soprano Y Marina Prudenskaya, mezzo soprano, replace Camilla Nylund Y Veronica Simeoni, after the last minute cancellation of both.

http://ocne.mcu.es/programacion/una-misa-una-opera

NATIONAL CHOIR AND ORCHESTRA SPAIN

Program: REQUIEM / GIUSEPPE VERDI (1813-1901)

DAVID AFKHAM DIRECTOR

Aga Mikolaj SOPRANO

Marina Prudenskaya MEZZO

Tenor Saimir Huddle

Baritone Christopher Purves

The National Choir of Spain will end the season with Carmina Burana in the Plaza Mayor of Madrid, the day 12 of July, to 21 hours, directed by Miguel Angel Garcia Cañamero. He will participate in the cultural summer cycle Madrid City Council, Veranos de la Villa, offering a free concert and thus contributing to the celebration of the fourth centenary of the famous Plaza.

Miguel Angel Garcia Cañamero direct the National Choir of Spain to play a version for two pianos and percussion Carmina Burana, from Carl Orff, one of the most emblematic and fascinating symphonic and choral works of the twentieth century.

More information

Celso Albelo

Uno de los papeles que han hecho famoso en el mundo entero al tenor canario Celso Albelo es su visión del Duque de Mantua del Rigoletto verdiano, a debauched character who is in charge of one of the most famous sites around the lyric repertoire: “La donna e mobile”. “It is a role that pulls the strings of the whole opera”, Spanish singer says. “Es quien empuja a Rigoletto a dejarse llevar por la venganza. El Duque solo quiere divertirse, es un enamoradizo donjuanesco y para él las mujeres son objetos. Su concepto de moral hoy resulta completamente anacrónico”.

Celso Albelo vuelve a Oviedo -cantando por primera vez en la temporada operística asturiana- después de haber interpretado hace unas semanas este mismo papel en el Teatro Comunale de Bolonia con un gran éxito. “Todas las producciones de esta ópera presentan un perfil más o menos similar del personaje”, apunta Albelo. La que se verá en Oviedo proviene de la Opéra de Saint-Étienne (France) y lleva la firma del cotizado regista Guy Joosten, compartiendo escenario con la Gilda de la soprano australiana Jessica Pratt y con el barítono español Juan Jesus Rodriguez. “Me encanta volver a Asturias, donde he cantado varios recitales y recibido dos premios Campoamor, galardones, by the way, que me apena que se hayan desconvocado ya que eran un aliciente para toda la profesión”.

Las funciones ovetenses serán los días 26 Y 29 January 1 Y 4 February.

More information.

Placido Domingo as Macbeth at Les Arts in Valencia Palau

The new season of the Palau de Les Arst Valencia, It has started six successful performances of Verdi's Macbeth, played by Placido Domingo, with a massive public attendance, demonstrating the real pull of this incombustible singer, dedicated in recent years to baritone roles.

Giuseppe Verdi I had a special admiration for the plays of William Shakespeare, adapting in his youth the Macbeth, and in his bright senescence: Otello, and a compendium taken from The Merry Wives of Windsor and Henry IV, with the title of Falstaff, that become his last two great operas.

The Grand Master of Busetto, had in mind to bring other Shakespearean dramas to the world of opera: The Tempest, Hamlet or King Lear, projects that never materialized. The composition of Macbeth was a real challenge for Verdi, since in the middle of the XIX century, It was unthinkable a work where the excessive passion for power and the way to achieve it at any price was raised, even through treason and murder, in contrast to tragic romantic stories, that the Italian public liked so much at that time. The premiere of Macbeth took place at the Teatro Della Pergola in Florence on 14 March 1847, with great success for its author, who had to go on stage to greet the public up to thirty-seven times. Verdi extensively revised this score to be performed at the Paris Opera, in 1865.

The main modifications included a new aria for Lady Macbeth "The tongue luce”In Act II, the rewriting of some passages from the scene of the spectral apparitions of Act III, the inclusion of a ballet in that same act, a new beginning of Act IV, with the chorus of exiles "Patria oppressed”And a new ending, which included a structured music in the form of a fugue for the battle, which is followed by a triumphal chorus "Victoria! Victoria”, eliminating Macbeth's death on stage from the first version "Bad for me that I entrusted myself”.

Macbeth practically disappeared from the stage after the Parisian performances of 1865, with very few representations during the first half of the 20th century. The definitive recovery of this score occurred at the opening of the season of the Teatro alla Scala in Milan on 7 December 1952 with the extraordinary and unique creation of Lady Macbeth by María Callas, with a masterful concert and musical direction by Victor de Sabata. That scalígera performance was recorded live and has remained since then as an authentic reference of this opera. It should also be noted, the great contributions made from the seventies of last century, by directors such as Riccardo Muti and the late Claudio Abbado, who have bequeathed us highly representative recordings and video footage of this attractive Verdi title.

The version represented in the Palau de les Arts is that of 1865, excluding Act III ballet, and the conclusive triumphal chorus of the opera "Victoria! Victoria”, and retrieving the end of the version from 1947, with the aria from Macbeth "Bad for me that I entrusted myself”.

It's a real shame this production doesn't include that brilliant final chorus and Act III ballet., taking into account that the Palau de les Arts has an excellent dance corps.

This production was carried out jointly by the Rome Opera House and the Salzburg Festival, where its premiere took place in 2011, with the address of the prestigious registry Peter stone.

In this Valencian replacement he has assumed the stage direction Carlo Bellamio, who expertly solves the staging of the final battle, where the contestants use authentic swords that when struck produce sparks. As well, it is truly novel to represent the three witches by dancers who act and pretend to sing, work performed by members of the female choir disguised as trees. The four killers of Banquo, They also appear dressed as dancers, and in this case, it is the male voices of the choir that sing hiding under great black cloaks. But nevertheless, Carlo Bellamio neglects to control the movements of singers and choir on stage, many times, genuinely erratic.

The scenery Ferdinand Wögerhauer it turns out to be minimalist at all costs, with very few objects, among them, the panel that slides across the stage, with a door through which Lady Macbeth exits at the beginning of her performance, and where Macbeth penetrates to assassinate King Duncan, reappearing in the development of the sleepwalking scene of Lady Macbeth. Highlight the excellent lighting design by Joachim Barth, with stage backgrounds projected in different colors, always based on the dramatic development of the action. Y, that zonal lighting, when it emerges from the ground, a big kettle, in the scene of Act III witches. Very attractive costume design by Anna María Heinreich, totally adequate - much appreciated- to 11th century Scotland, in which the action takes place.

The Orchestra of Valencia, again demonstrated its excellent quality, with an address the hungarian Henrik Nánási, flexible, contrasted, of great dramatic force and well concerted, facilitating the work of singers. The orchestra exhibited a bright and compact sound. all, it was already revealed in the interpretation of the initial overture, where strong sounds alternate, with a recurring and beautiful orchestral sequence, who will reappear in the scene of Lady Macbeth's sleepwalking from Act IV.

Highlight the performance of that brilliant music, in march form when King Duncan and his retinue appear, in Act I, or those musical moments full of lightness and color during the banquet of Act II, in contrast to the gloomy and haunting sounds of the previous scene , in which the murder of Banquo occurs. Great orchestral performance in the concluding concertgoers of the first two acts, in the musical introduction of the choir "Oppressed homeland!”, at the beginning of Act IV, as well as the brilliant escape in the final battle. Within the magnificent rendering of all the members of the orchestra, It is worth highlighting the excellent solo interventions by Cristina Montes to the harp, the english horn of Ana Rivero; Y, especially, of the oboe of Christopher Bowman, the clarinet of John Moon Enrinc and the flute of Alvaro Octavio.

Extraordinary performance of Coro de la Generalitat Valenciana, very well directed by its owner Francesc Perales, in his numerous interventions throughout the performance, with that squeaky and morbid sound of the female choir in the scenes where the witches appear, and especially in the chorus of Act III "Three times the rattling cat meows”. Components of the male choir, they also have a great performance at the Banquo murder scene, in Act II singing “Who requires you to join ni"With that dark and threatening phrase"Trembles, Banquo! In your side”. The choir in full, makes brilliant speeches in concerters, highlighting greatly, the imposing coral "Your anger is formidable and ready”Of the concertmaster who closes Act I. Of impressive dramatic force was his interpretation of “Oppressed homeland!”At the start of Act IV.

The stage appearances of Placido Domingo, they become real events that move a huge amount of public, to listen to an artist who has managed to combine his excellent vocal and interpretive quality, with a tremendous capacity to enhance his image through the media and become one of the great media phenomena of the last fifty years. June 2009 I had the chance to listen to him, precisely in this Palau de les Arts, one of his last tenor interventions, in his remarkable rendition of the Siegmund from La Valkyrie, with direction of Zubin Metha, where the singer already sixty-eight years old, showed a conspicuous decrease in his high register, still preserving its beautiful center and great interpretive capacity.

That same year he began a second and successful career as a baritone.: Domingo sings baritone roles, with tenor voice, and as much as I want to darken the broadcast, has no baritonal setting, which distorts his interpretations of Verdian roles as Simón Boccanegra, Rigoletto, The Count of Luna from Il Trovatore, Giorgio Germont of La Traviata or Francesco Foscari of I due Foscari. In these Valencian performances he has been heard in the role of Macbeth, his latest Verdi baritonal creation, with uneven results given the difficulties of this character. Ya, almost seventy-five years old, Domingo was short of fiato, which caused him real problems to link long sentences, as in the case of that extensive soliloquy "Know my brideWhich he performs before assassinating King Duncan in Act I. As well, a decrease in volume was evident, that made him lose vocal presence in duets with the powerful Lady Macbeth of Ekaterina Semenchuk, and make him practically inaudible in concert.

His performance improved noticeably in the last two acts., offering a good on-scene performance of the spectral appearances of Act III, and sing the aria "Pity, respect love"Of Act III, although far from the interpretations of Italian baritonal voices of splendid singing line, like Renato Brusson, Piero Capuccilli or Leo Nucci, not to quote the North Americans Sherrill Mines, and especially Leonard Warren, who allowed, even, conclude this aria with a monumental sharp. Domingo made his best intervention, singing, rather reciting, the concluding aria of the opera "Bad for me that but I entrusted”. It is necessary to point out, that despite the limitations stated in his portrayal of Macbeth, Domingo continues to show - miraculously to his years- a great timbral beauty, coupled with a magnificent stage performance, being loudly applauded at the end of the performance.

Ekaterina Semenchuk como Lady Macbeth, showed great vocal power, along with a remarkable theatrical performance, which was already revealed in his stage entrance reciting with true style “On the day of victory I met them"To lead to singing with an excellent interpretation of the recitative-aria"Ambitious spirit you are, Macbetto……Come! T'afretta!”, sung with authentic Verdian accents and conclude with the cabaletta “Now all arise”, moving well in the central and high register, although showing some inconsistency in the bass range and some problems in the agility of the cabaletta, which also occur again in that repeated toast of a marked bel canto character "Fill the chalice”, during the banquet scene that ends Act II. The Russian mezzo made a good interpretation of the aria “The tongue luce”At the beginning of Act II, although with difficulties in the emission to the acute natural si in the final part of the aria, and lacking incisiveness in the phrasing to show the intrinsic evil of the character. Notable was his rendition of the great sleepwalking scene, in Act IV, giving his performance pathetic accents, with a nuanced edge line, though ugly cutting off the climb to the final over-treble d. Note his magnificent performances in duets with Macbeth, especially the conclusion of Act III "Where am I?"Finished with the vibrant stretta"Hour of death and revenge”. It is worth highlighting his interventions in the concertantes, where his voice emerged with force, above chorus and orchestra broadcasting in forte.

MacDuff's Tenor Paper, is secondary in this opera, but it has an intervention of authentic brilliance in the recitative-aria “O my children…..Ah, the paternal hand”One of the most beautiful pages composed by Verdi and interpreted in a remarkable way, although with some tuning problem due to Giorgio Berrugi, who exhibits a beautiful voice, although excessively lyrical, for a character that requires a lyrical tenor-pushed, as is the case of the great Carlo Bergonzi, who has bequeathed us an extraordinary and referential interpretation of this page.

The bass Alexander Vinogrador Correctly sang the role of Banquo, showing a voice of certain rotundity but with a little refined line of singing, in his duet with Plácido Domingo, at the start of the opera, improving his performance in the aria "Study the pass, or my son….As it falls from heaven”That precedes his assassination in Act II. Well the rest of the secondary interpreters, highlighting Federica Alfano, in her short appearance as Lady Macbeth's Lady in the Sleepwalking Scene.

Text: Diego Manunel Garcia Perez
Photograph: Tato Baeza