Il Trovatore burns en el Teatro Real
Giuseppe Verdi (1813-1901)
Dramma in four parts
Salvadore Cammarano libretto, based on the play
the troubadour (1836) of Antonio García Gutiérrez
D. musical: Maurizio Benini
D. scene: Francisco Negrín
Escenógrafo y costume: Louis Désiré
Lighting: Bruno Poet
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Artur Ruciński, Marie-Nicole Lemieux, Piero Preti,
Roberto Tagliavini, Cassandre Berthon, Lara Fabian, Moses Marin, Sophie Garagnon
El Teatro Real estrena Il Trovatore, one of the most popular and emblematic Verdi operas from the time of its release, and does so in co-production with the Opéra de Monte-Carlo and the Royal Danish Opera Copenhague.Fue made the same year as La traviata and Rigoletto, but Trovatore already contains the bel canto drama that evolved in later operas. Technical changes and vocal, start this period belcanto, the transition from youth to maturity of italiano.Otra master of the reasons why Il Trovatore is a fetish opera is the vocal challenge for singers. Partly, so it is written in the score and partly because it is not written, and that, by tradition, is sung. Many of the difficulties of the work, actually, They are not written by Verdi, but many singers who carry out. One such example is in the second cabaletta of Leonora in Act. In the version shown at the Royal Theater, interpreted, what makes this extremely difficult role. According to the master Benini, once this fragment was omitted at the request of the singer difficulty. Benini considers it necessary to keep "because the very form of the bel canto demands respect this structure, arc composed recitativo - aria - cabaletta. If we cut the cabaletta, we cut the melodic arc. "Another of the elements belonging to tradition is the famous Do Manrico in the aria from La pira. Actually, Do this appears penciled in the original score, but it was written by Verdi, It was added later. And the belcanto has always required an evolution of vocalism. It had to be faithful to these principles and demonstrate bel canto virtuosity of the singers and, maybe, I should also be reflected in writing, hence its incorporation, added as, to scores. But originally it does not appear.

The endiablada vocalism of Trovatore required, as Verdi himself, the participation of five singers of the first order. Not only the tenor and soprano, all must be the best singers at that time for these roles. For this production of Teatro Real, more concretely, the second division, this requirement is not met.

Also the script has been controversial for its convoluted plot. A succession of scenes impossible and difficult to understand and monitoring by the public. All the passions unleashed among the four main characters, and a gypsy curse, a troubadour, false son of the gypsy, an evil count and a lady, Leonora, to which the two protagonists seek. Love, her spell revenge and, are the main arguments of the libretto by Salvadore Cammarano that, his death, Verdi wanted to respect without making any changes in.

Stage director Francisco Negrin has taken fire as conductive element and protagonist of the scenery. Has a large presence throughout the work and represents a past that burning the possibility of present and future. for Negrin, We all have a burden of the past that affects us and affects our lives.

Dark and suffocating atmosphere that is achieved is the perfect item where the ghosts of the past of the characters are developed that mix with them. A darkness that is maintained throughout the work and ends resulting uncomfortable for the viewer. Especially in the first part, which it became soporific. A stage with little or no originality and little details that contributed to the work.

The great success of this production came from the pit. Maurizio Benini experience with the Verdian repertoire are those that grow confidence in both the orchestra and the singers. important element, The chorus, It was less more to finish dramatically.

Azucena of Marie-Nicole Lemieux was correct in interpreting, with a powerful bass accentuating the dark nature of the character. But it turned out a little screamer moments and a somewhat coarse ridge line d.

The Manrico Piero Preti went dwarfing as the work progressed. His timbre is nice but the feeling was weak, also in interpretive.

Roberto Tagliavini gave a more consistent picture of Ferrando, like the Count de Luna Artur Rucinski, that accompanied its powerful bass with good stage presence.

The most applauded of the evening was the Leonora of Hibla Hibla, with a ridge line more than correct, He endowed his character sensitivity and elegance.

With this work the Royal Theater celebrates another great success with his opera week, event that has already become traditional.

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

They offer 14 functions The Troubadour, between 3 and the 25 of July, in a new production of Teatro Real, in coproduction with the Monte-Carlo Opera and the Royal Danish Opera in Copenhagen.

He 6 of July, Saturday, to 21.00 hours, The Troubadour It will be broadcast Facebook, in the Video page of the Royal Theater, in Opera Vision (Opera Europa) and screens installed in all corners of Spain, programming beginning of the fifth edition of the Opera Week (6 al 14 of July).

Registration open until 30 June for all municipalities and institutions that want to broadcast the opera with technical and promotional support of the Royal Theater: as joining retransmission.

Outside Spain, the opera will be broadcast in China, India and several Latin American countries: Chile, Guatemala, Peru, Dominican Republic and Uruguay.

The staging of Francisco Negrin seeks demarcate the Dramaturgical wireless frame sinister The Troubadour, with constant flashbacks, based on Spanish drama of Antonio García Gutiérrez.

In the pit Maurizio Benini will, Italian veteran musical director, he will return to Real after his acclaimed performances Tosca Y L'elisir d'amore.

Three big deals Verdian voices give life to the protagonist quartet The Troubadour, headers, in the opening and relaying 6 of July, by Francesco Meli tenor, soprano Maria Agresta, mezzo-soprano Ekaterina Semenchuk, Ludovic Tézier baritone and bass Roberto Tagliavini.

Around The Troubadour multiple cultural events are offered at the Royal Theater. [See schedule at the end.]

Functions The Troubadour Endesa you are sponsored.

Retransmitting opera, in coproduction with RTVE, integrated into the Opera Week, It is sponsored by Endesa, Telefónica, State Lotteries, Mutua Madrileña, Redexis and ENIT (Italian Official Agency for Tourism).

Between days 3 Y 25 of July Royal Theatre offer 14 functions a new production from The Troubadour, from Giuseppe Verdi, in co-production with Monte-Carlo Opera and the Royal Danish Opera, production that have premiered last year.

Seventeen years after the great victory Antonio García Gutiérrez (1813-1884) with his work the troubadour (1836), Giuseppe Verdi He instructed the veteran librettist Salvatore Cammarano imbricated transform the drama of the Spanish Romantic poet in a script that shun traditional operatic numbers ─arias closed, easels, cavatinas, duos, threesomes, choirs, etc.─ and Primara continuity and fluency of speech dramaturgical. Cammarano ─ which died without reaching the conclusion of the ópera─ created, but nevertheless, a script that incorporates all the formal clichés of the time, although structurally balanced: four acts divided into two scenes of unequal length.

In opera two plot lines intersect: the thirst for revenge of the gypsy Azucena, whose mother and son died at the stake, and the love triangle in which Leonora is disputed by two hostile suitors, They are representing families, classes and opposing ideologies.

With these wickers, Verdi composed an opera filled with dramatic nerve, melodic beauty and great theatrical effects, inexhaustible flowing and vertiginous, avoiding inconsistencies and excesses of the libretto: high voltage music welling, overwhelming, dragging the public to a collective catharsis, lewd and inevitable.

The production of The Troubadour which can be seen in Real, conceived by Francisco Negrín, It aims to help the viewer to demarcate the dark meanderings of drama, highlighting their hidden drives. Based on the metaphoric elements of the libretto ─el time, Negrin fire and noche─ shows ghosts and visions of the protagonists, caught in the inheritance of a truculent past, exposed in constant flashbacks weft.

The musical direction of this popular title will be verdiano Maurizio Benini ─ which he has previously directed Tosca Y L'elisir d'amore in Real─ and staging Francisco Negrín, who was seen in 2010 L'arbore di Diana, Vicent Martín y Soler.

Three distributions give life to the popular 'gothic drama' Verdi. up the leading quartet at the premiere and global relay of the opera the tenor Francesco Meli (Manrico, the Troubadour), soprano Maria Agresta (Leonora), mezzosoprano Ekaterina Semenchuk (Azucena) and baritone Ludovic Tézier (Count de Luna). In the same roles they will alternate with Piero Pretti, fiber Gerzmava, Marie-Nicole Lemieux is Artur Rucinski (second division); Y Piero Pretti, Lianna Haroutounian, Marina Prudenskaya Y Dimitri Platanias (third division). With all the Italian act under Roberto Tagliavini, soprano Cassandre Berthon and tenors Lara Fabian Y Moses Marin.

It will be the third time The Troubadour is presented in the Royal Theater reopened ─en 2000, with Garcia Navarro and Elijah Moshinsky; and in 2007, Nicola Luisotti and with the same producción─, after more than 300 Opera features that have taken place between 1854 (release date in Madrid) Y 1925. So, like now, This title is one of the most beloved of the Spanish public.


Until the 30 of June | Teatro Real, Great room, workshops, rehearsal rooms

Opera exposed: The Troubadour: A workshop to discover all the secrets of staging of the opera The Troubadour with people who make it possible, showing from the operation of the stage itself, to the staging and the choir, orchestra and set. The workshop will culminate with the assistance pregeneral opera rehearsal on Sunday 30 of June.

6 July at 21.00 hours | Teatro Real, Plaza de Oriente, international points and Palco Digital

Great international relay The Troubadour: the Teatro Real opera take to the streets across three giant screens in the Plaza de Oriente to retransmit The Troubadour from the Main Hall Theater. More of 150 cultural centers, plazas and theaters in Spain, the rest of Europe, America and Asia will join this relay; and further, It will be available through the online platform Digital Palco for free.

Of the 8 al 11 July at 19.00 Y 12 of July 18.30 hours | Teatro Real, Sala Gayarre and Digital Palco

A Verdi who: on the occasion of the 155th anniversary of the birth of Giuseppe Verdi, a film series will be held in the Sala Gayarre, retransmitting five operas by Italian composer conducted the Teatro Real in previous seasons, these being: La traviata, Aida, Falstaff, A masked ball Y Otello.

9 July at 18.00 hours and 11 July at 12.00 hours | National Archaeological Museum, strong room

Touching story. Coins The Troubadour, the arras of Manrico and Leonora undreamed: The National Archaeological Museum held an exclusive visit to the vault the very conservative Numismatic Department, which will show a series of coins of the XV century they could use the protagonists of The Troubadour. Free activity (capacity of 10 plazas), with prior booking

10 July at 19.00 hours | Aljafería Palace, Zaragoza

Aljafería, opera and legends: Aljafería Palace Zaragoza will host a conference with the writer Miguel Angel Yusta as speaker, followed by a subsequent one-hour visit to the Torre del Trovador, in which Antonio García Gutiérrez developed part of the plot the troubadour, work in which Giuseppe Verdi's opera is based. Free entrance until full capacity.

Until the 31 of July | Museum of Romanticism, Museum halls

a work, an opera: Throughout the month of July, and the premiere of The Troubadour, Romanticism Museum will display a range of its collection with the image of Marietta Gazzaniga, soprano whose interpretation of the character of the gypsy Azucena encumbró to fame at the end of his career, in the XIX century.

Photograph: Alain Hanel

He Teatro Real and the Gran Teatre del Liceu They will participate together in one of the most successful initiatives in their respective programs, retransmission of opera in screens installed in squares, parks, museums, theaters, cultural centers, auditoriums and municipalities throughout Spain and in numerous international centers.

A) Yes, the Royal Theater will offer on Friday 28 of July, to 22.00 hours, the retransmission of the opera Tosca from the Liceu, in its Sala Gayarre (access by the public door Felipe V street with free entrance until full capacity), Y the Foyer del Liceu will host the retransmission of The Troubadour, from the Royal Theatre, Saturday 6 July at 21.00 hours.

One of the most famous Italian operas, Tosca, Giacomo Puccini, will be the protagonist of College of the fresco of this year. This production of the Gran Teatre del Liceu and the Teatro de la Maestranza in Seville crowd pleaser season 2013/14 It has an impressive staging of Paco Azorín, faithful to the original. The baton will be carried by the teacher John Fiore and will feature the magnificent voices of the soprano Tatiana Serge as Tosca, the tenor Roberto Aronica in the role of Mario Cavaradossi, and baritone Lucio Gallo as Baron Scarpia.

The Troubadour, Aragón set in the early s. XV, is passionate melodrama that revolves around two brothers whose lives are opposite paths and facing, telling a story of festering hatreds and revenges, loves frustrated, cruelty and intrigue, advancing intensity and unstoppable towards the final catastrophe.

The four acts into which this romantic opera is divided - titled respectively The duel, The Gypsy woman, The son of the gypsy Y The execution– collect the extreme passions and plot complexity posed by the work upon which the libretto is based, chivalric drama the troubadour, from Spanish Antonio García Gutiérrez, what Verdi, collaboration with librettist Salvatore Cammarano his, music puts a great inspiration.

The stage manager Francisco Negrín has designed a dark and symbolic atmosphere for the opera, in which the protagonists transit, between fire and death, toward its inexorable end. Together with him, the performances will have the complicity of the musical director Maurizio Benini, specialist Italian repertoire, in front of Headlines Choir and Orchestra of the Teatro Real and a cast of great voices from the international lyrical scene.

The protagonists of this Verdi drama will be brought to life by the tenor Francesco Meli, like the tormented Manrico, the Troubadour; soprano Maria Agresta will be the voice of Leonora; baritone Ludovic Tézier, will be the role of the evil Count of Luna and the mezzo-soprano Ekaterina Semenchuk will play the passionate and vindictive gypsy Azucena.

One more year, the closure of the opera season of the Teatro Real will connect to the same stage fans across Spain, to enjoy an evening of unique music and share together the passions of tormented characters.

Photograph: Camilla Winther