Adriana González

The next 18 of June, four years after her acclaimed debut as Corinna (The trip to Reims, Rossini), soprano Adriana González returns to the stage Gran Teatre del Liceu as the female lead of La boheme Puccini, in a production that bears the stage signature of Álex Ollé, directed by Giampaolo Bisanti. further, will also sing the functions of the days 22 Y 27 of June, Y 1 of July. Bachelor of Music in Guatemala, Adriana González took her first steps as a singer in Europe as a member of l’Atelier Lyrique de l’Opéra national de Paris, where for his outstanding development he received the Prix Lyrique du Cercle Carpeaux, making his first debuts at the Opéra Bastille and the Opera Garnier, before joining the International Opera Studio of the Zurich Opera.

Awarded with numerous international awards such as the Otto Edelmann Singing Competition in Vienna, the Veronica Dunne International Singing Competition of Ireland, or the International Singing Competition "Francisco Viñas", among many others, soprano Adriana González rose to fame as the winner of the First Prize and Zarzuela Prize of the Operalia Contest 2019.

In 2019, signed a contract with the record label Audax Records, with which he recorded an album dedicated to melodies by Robert Dussaut (1896-1969) and his wife Hélène Covatti (1910-2005), with the pianist and conductor Iñaki Encina Oyón, and next October his second album will be released, with the integral of the songs of Isaac Albéniz.

His upcoming engagements include a concert at the Festival Radio France Occitanie Montpellier., with the Orchester Philharmonique de Radio France conducted by Santtu-Matias Rouvali, Mimi (Bohemian) in Tokyo and Juliette (Romeo and Juliet) in the Houston Grand Opera, under the baton of Speranza Scapucci.

Photograph (c) Aline Kundig

Adriana González

Billy Bood

LA BOHEME (G. Puccini)

Represented in October 2018

Ainhoa ​​Arteta (Mimí), Rodolfo Teodor Ilincai (Rodolfo), Artur Ruciski (Marcello), Jessica Nuccio (Musetta), David Menendez (Schaunard), Krzysztof Bączyk (Colline), Fernando Latorre (Benoit and Alcindoro), Director musical: Pedro Halffter, Stage-manager: Mario Pontiggia, choir director: Boris Dujin, Bilbao Opera Choir, Sdad Children's Choir. Bilbao Coral, Symphony.

The unmistakable title of Giacomo Puccini, opened the season 2018/2019 with a Mimi of breaks and tears, as is the one that Ainhoa ​​Arteta has always sung. She is an unlimited connoisseur of the feminine personality of the composer's characters and that is why her temperament is so well suited to all her recreations.

Until Thursday 30 of April

BILLY BUDD (B. Britten)

Represented in October 2009

Nathan Gunn (Billy Budd), Timothy Robinson (Captain Vere), Sir John Tomlinson (John Claggart), Christopher Robertson (Mr. Redburn), Johannes Weisser (Mr. Flint), Fernando Latorre (Lieutenant Ratcliffe), Hans Jürgen Schöpflin (Red Whiskers), Nikolay Borchev (Donald), Markus Hollop (Dane), Michael Spyres (Maintop), Cosmin Ifrim (A Novice), Andrew Ashwin (Novice’s friend), Esteve Manel (Bosun), Alberto Núñez (First Mate), Fernando Laborda (Second Mate), Pablo Lopez (Arthur Jones), Director musical: Juanjo Mena, Stage-manager: Davide Livermore, choir director: Boris Dujin, Bilbao Opera Chorus Bilbao Symphony Orchestra.

The literary history created by the word magician Hermann Melville, was brought to opera by Benjamin Britten, one of the most represented contemporary composers. this production, which was a stage challenge for ABAO, it was equally successful at all levels. It was the second time that a Britten title had been performed, and the audience was delirious with the wickedness that Sir John Tomlinson breathed in his cruel character and the kindness of the baritone Nathan Gun as the unfortunate Billy Budd. Juanjo Mena knew how to endow with his mastery this opera that rocked under his command like the protagonist's own ship in the sea

Until Sunday 3 of May

FIOFLIO (L. Beethoven)

Represented in November 2018

Elena Pankratova (Leonore – Fidelio), Peter Wedd (Florestan), Till Faveyts (Rocco), Anett Fritsch (Marzelline), Mikeldi Atxalandabaso (Jaquino), Sebastian Holecek (Don Pizarro), Remove Egils (Mr.Fernando), Manuel Gomez Ruiz (Prisoner 1) Felipe Bou (Prisoner 2), Director musical: Juanjo Mena, Stage-manager: José Carlos Plaza, Reposition scene director: Gregor Acuna-Pohl, choir director: Boris Dujin Bilbao Opera Choir, Bilbao Symphony Orchestra.

It was again Juanjo Mena who, from the ocean storms of Britten, took us by Beethoven's notes to the Seville prison where Fidelio / Leonora and Florestan live their tribulations. Impressive performance by soprano Elena Pankratova, in a production whose plastic moved all the spectators and with which we celebrate the historical representation number 1.000 de ABAO.

ABAO TXIKI

See you Monday 27 of April

TXANOZURITZU (Carlos Imaz)

Represented in March 2016

Marta Zubieta, Mikeldi Atxalandabaso, hope Mentxaka, Jose Manuel Diaz, Marifé Nogales, Gexan Etxabe, Olatz Saitua, Itziar de Unda, Musical direction and piano: Rubén Fernández Aguirre, Stage direction and dramaturgy: fake Santamarina, Let Korala, Orquesta Kissar Ensemble, Production: ABAO Bilbao Opera.

See you Monday 4 of May

CHRISTMAS STORY (Iñigo Casalí)

Represented in January 2018

Alfonso García-Noain, Carlos Crooke, Marta Infante, Enrique Sánchez Ramos, Itxaso Moriones, Noemí Irisarri Idoia Martínez Leyre Medina, Director musical: Jesús María Echeverría, Stage direction: Pablo Ramos, OCN Adult and Children's Choirs and OCN Opera School., Pamplona City Orchestra, Co-production: ABAO Bilbao Opera, Chamber Opera of Navarra.

CONFERENCES

  • Until the 28 of April. Podcast the ABC of opera. Conference on La Boheme de Puccini by Eva Sandoval
  • Until the 3 of May. Podcast the ABC of opera. Lecture on Beethoven's Fidelio by Luis Gago
ABAO Bilbao Opera

ABAO Bilbao Opera ccontinue with your programming #ABAOcasa and this is what the week of 19 al 26 of April:

PREMIERES:

OPERA FOR THE MEMORY

Monday 20 of April

LA BOHEME (G. Puccini)

Represented in October 2018

Ainhoa ​​Arteta (Mimí), Rodolfo Teodor Ilincai (Rodolfo), Artur Ruciski (Marcello), Jessica Nuccio (Musetta), David Menendez (Schaunard), Krzysztof Bączyk (Colline), Fernando Latorre (Benoit and Alcindoro), Director musical: Pedro Halffter, Stage-manager: Mario Pontiggia, choir director: Boris Dujin, Bilbao Opera Choir, Sdad Children's Choir. Bilbao Coral, Symphony.

The unmistakable title of Giacomo Puccini, opened the season 2018/2019 with a Mimi of breaks and tears, as is the one that Ainhoa ​​Arteta has always sung. She is an unlimited connoisseur of the feminine personality of the composer's characters and that is why her temperament is so well suited to all her recreations.

Wednesday 22 of April

BILLY BUDD (B. Britten)

Represented in October 2009

Nathan Gunn (Billy Budd), Timothy Robinson (Captain Vere), Sir John Tomlinson (John Claggart), Christopher Robertson (Mr. Redburn), Johannes Weisser (Mr. Flint), Fernando Latorre (Lieutenant Ratcliffe), Hans Jürgen Schöpflin (Red Whiskers), Nikolay Borchev (Donald), Markus Hollop (Dane), Michael Spyres (Maintop), Cosmin Ifrim (A Novice), Andrew Ashwin (Novice’s friend), Esteve Manel (Bosun), Alberto Núñez (First Mate), Fernando Laborda (Second Mate), Pablo Lopez (Arthur Jones), Director musical: Juanjo Mena, Stage-manager: Davide Livermore, choir director: Boris Dujin, Bilbao Opera Choir, Bilbao Symphony Orchestra.

The literary history created by the word magician Hermann Melville, was brought to opera by Benjamin Britten, one of the most represented contemporary composers. this production, which was a stage challenge for ABAO, it was equally successful at all levels. It was the second time that a Britten title had been performed, and the audience was delirious with the wickedness that Sir John Tomlinson breathed in his cruel character and the kindness of the baritone Nathan Gun as the unfortunate Billy Budd. Juanjo Mena knew how to endow with his mastery this opera that rocked under his command like the protagonist's own ship in the sea.

Friday 24 of April

FIOFLIO (L. Beethoven)

Represented in November 2018

Elena Pankratova (Leonore – Fidelio), Peter Wedd (Florestan), Till Faveyts (Rocco), Anett Fritsch (Marzelline), Mikeldi Atxalandabaso (Jaquino), Sebastian Holecek (Don Pizarro), Remove Egils (Mr.Fernando), Manuel Gomez Ruiz (Prisoner 1), Felipe Bou (Prisoner 2), Director musical: Juanjo Mena, Stage-manager: José Carlos Plaza, Reposition scene director: Gregor Acuna-Pohl, choir director: Boris Dujin, Bilbao Opera Chorus Bilbao Symphony Orchestra.

It was again Juanjo Mena who, from the ocean storms of Britten, took us by Beethoven's notes to the Seville prison where Fidelio / Leonora and Florestan live their tribulations. Impressive performance by soprano Elena Pankratova, in a production whose plastic moved all the spectators and with which we celebrate the historical representation number 1.000 de ABAO.

ABAO TXIKI

Wednesday 22 of April

CHRISTMAS STORY (Iñigo Casalí)

Represented in January 2018

Alfonso García-Noain, Carlos Crooke, Marta Infante, Enrique Sánchez Ramos, Itxaso Moriones, Noemí Irisarri Idoia Martínez Leyre Medina, Director musical: Jesús María Echeverría, Stage direction: Pablo Ramos, OCN Adult and Children's Choirs and OCN Opera School., Pamplona City Orchestra, Co-production: ABAO Bilbao Opera, Chamber Opera of Navarra

CONFERENCES

  • Monday 20 of April. Podcast the ABC of opera. Conference on La Boheme de Puccini by Eva Sandoval
  • Thursday 23 of April. Podcast the ABC of opera. Lecture on Beethoven's Fidelio by Luis Gago

IN POSTER:

CONCERT

Until Tuesday 21 of April

MESSA DA REQUIEM (G. Verdi)

Represented at ABAO in April 2016

Angela Meade (soprano), painful Zajick (half), Gregory customer (tenor), Ildebrando D’Arcangelo (low), Director Musical – Francesco Ivan Ciampa, choir director – Boris Dujin, Bilbao Opera Choir, Verum Symphony Orchestra.

It is one of the most iconic works of sacred music, undoubtedly thanks to the drama and operatic character that Verdi gave to the monumental score of this Messa da Réquiem, that ABAO included in his Tutto Verdi cycle in 2016.

OPERA FOR THE MEMORY

Until Tuesday 21 of April

EUGIVENE ONEGIN (P. I. Tchaikovski)

Represented in April 2011

Scott Hendricks (Eugene Onegin), Ainhoa ​​Arteta (Tatiana), Ismael Jordi (Vladimir Lenski), Irina Zhytynska (Olga), Annie Vavrille (Larina), Stanislav Shvets (Pr Germncipe Germin), Nadine Weissmann (Filippyevna), Mikeldi Atxalandabaso (Triquet), Fernando Latorre (Commander), Director musical: Miguel Ángel Gómez Martínez, Stage-manager: Michal Znaniecki, choir director: Boris Dujin, Choreography: Diana Theocharidis, Bilbao Opera Choir, Szeged Kraków Symphony Orchestra, Opera Ballet.

The first title in Russian that ABAO represented in the Euskalduna and which also won the award for the best opera production in the edition of the Campoamor Theater Lyric Awards in 2012. With a very interesting cast and a novel production that although contemporary, it is framed in the romantic spirit of Tchaikovski and in the literary of Pushkin.

Until Thursday 23 of April

RIGOLETTO (G. Verdi)

Represented in October 2013

Leo Nucci (Rigoletto), Elena Mosuc (Gilda),Ismael Jordi (Duke of Mantua), Maria José Montiel (Maddalena), Felipe Bou (Sparafucile), Ainhoa ​​Zubillaga (Giovanna), José Antonio García (Count of Ceprano), Javier Galan (Monterone), César San Martín (Marullo), Eider Torrijos (Countess of Ceprano), Eduardo Ituarte (Matteo Borsa), Susana Cerro (A page), Director musical: Miguel Ángel Gómez Martínez, Stage-manager: Emilio Sagi, Choir Direction: Boris Dujin, Bilbao Opera Choir, Bilbao Symphony Orchestra.

This well-known title of the Verdian repertoire, It has as protagonist the humpbacked jester of the court of the Duchy of Mantua, around which a drama of passion is unleashed, cheated, filial love and revenge. It was represented at ABAO in October 2013, promoting one of the most unique events in our history, since Leo Nucci and Elena Mosuc made an encore of the famous scene “And, vendetta” in each of the representations.

Until Sunday 26 of April

RUSALKA (A. Dvořák)

Represented in October 2005

Sondra Radvanovsky (Rusalka), Michael Myers (The prince), Larissa Diadkova (Foreign princess), Lauren Flanigan (Jezibaba), Hans Peter König (Vodník), Marta Zubieta (First pixie), Tatiana Davidova (Second pixie, Francisca Beaumont (Third pixie), José Ruiz (Forest ranger), Alexandra Rivas (Duquesa), Director musical: Short jury, Stage-manager: Jean Claude Berrutti, choir director: Boris Dujin, Bilbao Opera Choir, Symphony.

The sad story of this mythological fairy of the waters was represented for the first time in ABAO in October 2005, with a spectacular and clamorous Sondra Radvanovsky in the lead role, with unprecedented success. The stage was filled with water and there was magic from forests and cloud-capped skies that blanketed the Moon, to which the wretched Rusalka sang.

ABAO TXIKI

See you Monday 20 of April

THE CAT WITH BOOTS (Xavier Montsalvatge)

Represented in January 2005.

Marisa Martins, Mario Villoria, Maria Luz Martinez, Enric Martínez-Castignani, Alberto Feria, Director musical: Jordi Bernàcer, Stage direction: Emilio Sagi, Scenography Agata Ruiz de la Prada, Costume Design Agata Ruiz de la Prada, Lighting Design José Luis Canales, Symphony, Co-production: ABAO Bilbao Opera, Gran Teatre del Liceu, Teatro Real in Madrid.

See you Monday 27 of April

TXANOZURITZU (Carlos Imaz)

Represented in March 2016

Marta Zubieta, Mikeldi Atxalandabaso, hope Mentxaka, Jose Manuel Diaz, Marifé Nogales, Gexan Etxabe, Olatz Saitua, Itziar de Unda, Musical direction and piano: Rubén Fernández Aguirre, Stage direction and dramaturgy: fake Santamarina, Let Korala, Orquesta Kissar Ensemble, Production: ABAO Bilbao Opera.

CONFERENCES

  • Until thursday 23 of April. Horizons of Excellence. Meeting between Ainhoa ​​Arteta and Pedro Halftter.
  • Until Sunday 26 of April. Opera from the heart. Lecture by the French baritone François Le Roux.

Since its web pñagina and completely free. The MET will offer every night one of his best productions. "We would like to provide some comfort to opera lovers in these extraordinarily difficult times", He has expressed the general manager of the Met, Peter Gelb, in a press release. "Every night we will offer a complete operatic jewel of our collection, corresponding to functions that have taken place in the last fourteen years ".

The broadcasts will begin at 19:30 local time (00:30, Spanish CET; 23:30, in the Canary Islands) and will be available for the next twenty hours. For the first week, the Met has scheduled these transmissions:

Monday, 16 of March: Carmen, Bizet. Directed by Yannick Nézet-Séguin and starring Elina Garanca and Roberto Alagna (for the function of the 16 of January of 2010).

Tuesday, 17 of March: Bohemian, Puccini. Directed by Nicola Luisotti and starring Angela Gheorghiu and Ramón Vargas (5 April 2008).

Wednesday, 18 of March: The Troubadour, in Verdi. Directed by Marco Armiliato and starring Anna Netrebko, painful Zajick, Yonghoon Lee y Dmitri Hvorostovsky (3 October 2015).

Thursday, 19 of March. La traviata, in Verdi. Directed by Yannick Nézet-Séguin and starring Diana Damrau, Juan Diego Florez and Quinn Kelsey (15 December 2018).

Friday, 20 of March: Daughter of the Regiment, Donizetti. Directed by Marco Armiliato and starring Natalie Dessay and Juan Diego Flórez (26 April 2008).

Saturday, 21 of March: Lucia of Lammermoor, Donizetti. Directed by Marco Armiliato and starring Anna Netrebko, Peter Beczała s Mariusz Kwiecien (7 February 2009).

Sunday, 22 of March: Eugene Onegin, de Chaikovski. Directed by Valery Gergiev and starring Renée Fleming, Dmitri Hvorostovsky and Ramón Vargas (24 February 2007).

https://www.metopera.org/

Anita Hartig

Interview with Anita Hartig soprano
Violetta Valery, Liú y, especially, Mimí. Anita Hartig is the Mimí of the time. Versatility and features of your voice and sensitivity and dramatic on stage, They make the Romanian soprano voices one of the most sought after by pincipales
theaters of the mundo.Habla for us before his upcoming performances in Spain, in Granada and Barcelona.
Brío Clásica: We had the great fortune to hear his Mimí of the Royal Theater, role you can say that it is an expert. Do you think Puccini requires a special technique for interpretation?Anita Hartig: Very kind of you you are saying I'm an expert. Puccini is the composer I most sung throughout my career and I feel I still discover new things to respect, so the conquest is not over yet. The technique is and must be the same for all, but with Puccini many emotions and feelings can get hurt and you have to keep some distance required. I mean being involved but without forgetting that you have to sing well and not only act. I have often focused more on the interpretation and I was out of breath while singing. The master is always to find the equilibrio.Actualmente is a sensitive issue because certain stage directors want you to move all the time on stage and act, but they forget that it is necessary to breathe to sing the difficult parts. Opera is not theater or theater prose, is sung drama and action needs more time because a word can be written to 4.6 bars and repeat them in a register higher, so to be credible we must be able to pay full attention and a lot of concentration. And of course you want to respect the legacy of the composer. So for me the score is a bible, a sacred manuscript that I have to respect.
B.C: Mozart is another of his favorite composers, Which of the two composers he feels more comfortable vocally?

A.H: Mozart is the one that requires a cleaner edge, narrow, especially elegant and cured. I enjoy both composers for different reasons. Mozart for his musicality so simple, unique melodies, pure, Elegant and some heavenly way, Meditative and also because I have the feeling that many times makes us a wink through his music. Now thinking of La Contessa, which I debuted at the Met in New York recently, I think of the musical phrases, are not as deep and visceral music and Puccini. Puccini somehow need low support and meatier sound. I would say that the former is more celestial and the other more terrestrial. But this is just an idea to think more deeply, while I am waiting to sing more of both composers and different roles in the future.

B.C: Onstage has great expressiveness and drama, How important is a good dramatic training?

A.H: That's another very interesting topic for me and more time is needed to talk to respect. As I said, the balance between singing and acting create an ideal opera. To find that balance would have to work, from my point of view, as theater actors, but not the same. We use breathing with the text a bit like theater actors, but not the same. To use our breath over the text and the sentences sing long, higher or deeper, more air is needed than merely declaim. We should, along with director, work on the text of an opera as actors, but being sensitive to the above, acting in accordance with the phrases sung and declaimed. Also respect and give due attention to respect for the musical parts and give meaning to the interpret, but never more, overacting, since the phrase sung will suffer shortness of breath and care.

B.C: His career has been linked for several years at the Vienna State Opera, What he brought his way through this theater?

A.H: I had the great fortune of being in the Oper Vienna for six years. Singing from smaller to larger roles, replacing singers and learning different repertoire in other languages ​​with very good companions, in different distributions. Watching the best singers of our time on stage, Inspired by them, out for coffee or lunch and seeing that they are simple people, I like that. I thought the artists were pretentious and far, many of them are but most are thoughtful and generous.

B.C: And now he is in Madrid and we are happy about it, What does Madrid have decided to live here?

A.H: I am also very happy to be here, Thank you. Madrid has a lot more sun and atmosphere, especially amazing food!! The people are warm and the number of museums is huge. In summer I had the opportunity to visit some cities in the north and next I decided to go south. I keep discovering the country and I find it very inspiring.

B.C: What do you think the Spanish repertoire, He has some of his works in his repertoire?

A.H: Unfortunately I have not had the opportunity to sing in Spanish yet. As there are many singers who specialize in zarzuelas, I not think I can do better than them, and I'm not a singer who wants to sing all. I have my own repertoire and try to improve it.
B.C: Javier Camarena said a few days thinking about their new roles over four years ago view, How you structure your career? New roles, Are the plans or the voice that calls for changes?

A.H: It is a mixture of both. Depending on the nature, lla voice can, over time, become more complete,have more body, to put it in some way. Sometimes circumstances force you to try out new roles for those who are not ready, or sometimes, I pass my case long before encompass a dramatic role. I am perfeccionsita, and before advancing like to take me all you can in that role. And as I'm constantly change as a human being, I have other experiences in my personal life that inspire me for the roles I sing, then I feel adding layers and character to the character every time I sing.

B.C: What is your relationship with the baroque repertoire?

A.H: I actually started singing church music and pieces by Bach, Philipp Caudella and other composers with a group at the beginning of my studies, but I can not say that I find very appealing to my mind and my voice. I also spent a lot of time with the music of Baroque, maybe it's just my ignorance talking. But, again, I do not want to sing all … just what I find interesting and exciting.
B.C: Currently, How would you define the characteristics of your voice? Being fond of painting, A color that defines it?

I was always a lyric soprano and always will be. Many of the roles that interest me are lyrical both musically and in terms of the character. sensitive women, They find love, They sacrifice for love, and in many cases die at the end, that's a lyrical character who needs a lyrical approach to singing.

So, even if some of the roles has dramatic accents or coloratura, usually they have many lyrical moments, with long sentences, long breath, arias reflection, prayers and infatuations.

If there are times of increased tension as a great outburst of anger, of helplessness and emotional struggle, as the second act of La traviata, or the end of Marguerite or e triplet Antonio, some moments of Mimì at the beginning of the third act, all are lyrical with some poignant moments.
B.C: In this world of opera, so competitive and so many good professionals, What it is for you the originality and how it is achieved?

A.H: The authenticity brings originality. Allow bring your understanding, experiences, sensitivity, creativity and temperament stage. In fact, often you have to crush the ego and beliefs to avoid disagreements with colleagues, Conductors, stage directors and keep everyone happy.

On the other hand, many opera lovers say they no longer have personalities as "the golden age of opera". !Today would not be tolerated! You grow up with a strong personality and principles having space to share your perspective on things and not being chased by them, or because they share a common view.

But to have a peaceful environment at work all have to make concessions, not only in theaters.

I think the final music will always win above all else and is all that will survive.
B.C: Coming soon, Are you planning to incorporate new roles?

A.H: Yes, You will debut in the role of the Countess in Le nozze di Figaro, Symphony No. 8 Mahler and opera Mariella Piccolo Marat, in concert, will be new to me.

Y, Of course, even if I'm not singing certain roles I am now beginning to prepare fragments

B.C: When will we have the opportunity to hear it again in Madrid?

A.H: In Madrid two seasons for now, but until then I will have a Mahler 8 in Granada, under the master Pons, and Barcelona, a new production of La Boheme.

Interview: Paloma Sanz


It may be the sweetest or most furious Mimí Elettra, in a magical duality security product in an impeccable technique and a consolidated instrument. Claimed by directors like Riccardo Muti, Eleonora Buratto has become one of the strongest performers of his rope.
Muses always visit when working, ensuring the greatest stimuli listen. After his successful Elettra in Mozart's Idomeneo Teatro Real, we can again enjoy Liceu in Barcelona with Luisa Miller. Do not miss it.
During the last few seasons we have been fortunate to hear different roles in Spain, at the Royal Theater and El Liceu. What is more attractive to the interpretation, Elettra wickedness or naivete of Mimí?
The truth is that I think Elettra is not so bad and that is not so naive Mimí. I explain better: A love and excited to be able to live with the man she loves and to return to his homeland woman has no right to feel and externalize their rage? Elettra is a woman with a very strong character, but like the other characters in the play is the destination slave, the true deus ex machina of the whole plot. Elettra not concocts no cheating on his rival to win the love!. As for Mimí, He is a weak woman health, but I would say it has very clear ideas about what he wants: it is she who waits for friends to go and Rodolfo left alone, before knocking on the door; it is she who blows out the candle to have an excuse to talk to Rodolfo and, in the end, it is she who takes the reins of the situation at the time of crisis Rodolfo, in the third act. Good, the truth is that both are two characters I love and, I am not able to choose! mimi, I love her for that sweetness of phrases and singing Elettra, by force not to accept head down your destination, by his rebellious character and that is the role that has tested me on stage…because it coincided with the death of my mother. Elettra has saved me in the most painful moment of my life, and will always have a special place in my own corazón.El Currentzis, a great lover and student of Mozart, He chose to sing Elettra last May at the Diaghilev Festival in Perm, Had they worked together ever? Were you surprised that the call? How he was working with the famous and controversial director Teodor Currentzis?I had never worked with Master Currentzis, although he had auditioned in Madrid for a Traviata 2013, and really nice is that when we met again perfectly remember me. I was thrilled to know that I had chosen for Elettra ... long overdue opportunity to work with him and, It has been an experience that has exceeded all my expectations! I was in schock at the first rehearsal with the orchestra (without any musical rehearsal before), listening to my first aria di tempo ... then, that same afternoon, Currentzis teacher invited all cast the opening concert of the festival and there I was in love with her address and the wonderful orchestra formed. The next day, I just got carried away ... I trusted fully in their tempi and make music together, and it has been one of the most beautiful experiences of my professional life. Thank you, Maestro!What attracts you most of the Verdi heroines, his vocalism, his character ... and what role verdiano would like to play in the future?
When more roles on board and study verdianos, I realize that it is my own voice which demand, so I certainly like his vocalism. But to say that is only so, It would be too simple ... Probably, I like the mere fact that Verdi is the composer. His enormous capacity to make credible the characters derived from his sincere writing, a script that comes from the heart. I feel myself when I play that character and temperament with the Verdi heroines. always respecting my vocal career and expanding the repertoire, I hope to have chance to debut Otello and Don Carlo, and later, in the future, maybe, They could also get Trovatore and Aida.
Now comes the Teatro del Liceu with Luisa Miller, a role here is closely linked to Montserrat Caballé. When a character so closely linked addressed a singer reference, Do you feel other liability?Of course, the responsibility is great, but I do not think anyone expect to hear another Caballé, and much less think I can be. The biggest responsibility I have with myself, and the best way to interpret a wonderful character…You are fond of other great music, specifically the rock. Do the feelings you have now to take the stage of a theater are very different from those he had when he sang with his rock band?
Yes, sang in a cover band ... He sang rock songs Anouk, Alanis Morrissette, Skunk Anansie, Tina Turner and Toto! The initial excitement is the same, but after interaction with the public it is very different. When you are singing rock, the audience is an active part of the concert ... you can sing and the same singer can involve the public in the choruses and choirs; Besides, between one piece and another, You can interact, presenting the piece, telling a little story or asking questions. Instead, during the execution of an opera, The audience listens attentively in silence, that is to say, no such interaction with the public but is something different, ... deeper interaction with the public is through the emotions, baring our soul to play a character. And the excitement of the public is a reflection of those emotions that have been achieved transmitir.Los stage managers are increasingly leading role in a production. Have you ever seen in a compromising position by demanding stage manager?Say I'm not always totally agree with stage directors, but also, I have to say, I've been fortunate to be able to find a compromise with them on the interpretation. When there uncomfortable stage movements, I ask a solution most often found together. Perhaps he did not accept things that might disturb my song, but sometimes I have other distant accepted interpretations of my visión.¿Cómo she met her teacher, Paola Elisabetta, and what it means for his career?I heard about Paola at a time of crisis with the song in 2009 ... I wanted to leave ... thought he was not capable and lyrical singing was an unattainable dream. In January 2010, I made my first lesson with Paola, and immediately I realized that I had found, at last, the correct master. The first years were mainly technical impostación, but then I started preparing her roles. It is a relationship that has evolved and grown over time; I do not want to say, now no longer consider technical, must never stop studying, but, obviously, with the years, I have consolidated the technique and I could also devote myself to the study of the technique in the repertoire. Paola has been and is an important reference figure ... every singer should have a picture of this guy and I feel very afortunada.Tras his debut as Elettra in the Royal Theater before returning to sing at the Teatro Massimo of Palermo, was a great success as Amelia (Simon Boccanegra) with Placido Domingo and Francesco Meli at the Wiener Staatsoper, Is it in a golden moment of his career? What other roles have on the agenda and what roles you would like to debut in the near future?Yes, the truth is that I am living a beautiful moment of my career, fruit of much study, patience and good choices. And I hope it lasts a long time, because I put everything in my power to make it last. The next major debuts will Così fan tutte in Tokyo, and Rusalka in Amsterdam, in March and June 2020, respectively. But the season is coming, There will also be some very nice projects: Turandot at the Met in October, el de Verdi Requiem with the Orchestra dell'Accademia Nazionale di Santa Cecilia, directed by Mikko Franck, Bohème in Berlin in December / January, and then in London in February. Also I engrave some arias by Beethoven in Klagenfurt and finally, in summer 2020, I will debut at the Rossini Opera Festival singing a recital and Stabat Mater. Y, Besides, There are other exciting debuts, With el, la Scala…Now that mentions his debut in the Rof, just received rave reviews with his latest recording dedicated precisely to Rossini: Petite Messe Solennelle. You who has also sung the Stabat Mater, What would you say are the characteristics of rossiniano language for soprano in these two sacred works? Do you like the Rossini sacrum?Rossini singing the sacrum is, In my opinion, a real challenge. effectively, I've sung both Stabat mater Messe Solennelle as Petite, and although they have not been many times, itself have been enough to fall in love with that intensity of the writing of Rossini , their ability to use language that requires us to singers a true virtuosity, and involves completely immersed in the text, in meaning, nobly and dialogue with other soloists and instruments. I sing Rossini completely seduced by the music I listen, perfectly supporting parts dedicated to the soprano. I think, for example, in the "Crucifixus" from the Petite Messe Solennelle, in the musical climate as serious and rich in pathos that gives meaning to the text and that seduces me and moved me. Rossini sacrum, Besides, It fits well with my vocalism and my idea of ​​beauty is a woman committed musical.Usted, not only with his profession, also it faults that we know exist, but toward which we do not usually look. Tell us about some of these issues and convince us not to be mere espectadores.Sí, the "butterfly children", say that sounds so sweet, but whose disease, bullosa epidermólosis, it's terrible. These children have such fragile skin that require painful daily treatments. They are more exposed than anyone to infections, and for them, even the caresses of the mother can be painful and dangerous. It all started when I met "my first butterfly", sweet and very strong, an example for all of us. Today, research offers some opportunity more, but we are far from having found the ultimate recipe to combat bullous epidermólosis yet. I try to make this horrible disease, getting involved with Debra Association South Tyrol - Alto Adige. I would like to sensitize everyone to collect more and more funds allocated to research, putting my voice available for the necessary collection of funds.

What do Eleonora Buratto usually hours before going on stage? Do you follow any ritual? What is never missing in your suitcase?

Before taking the stage, the only ritual I follow is to pray and repeat the most difficult passages. In my luggage, something that never lacks is a good book and the score of the following production.

Bohemian

He Teatro Real It approaches the end of the year with the hope of returning to bring opera to all audiences thanks to the live broadcast of Bohemian, Giacomo Puccini, the next 29 from December, AVE trains circulating this afternoon.

This is a pioneering initiative that Real Theater will be carried out in collaboration with Renfe Y Telefónica through the application PlayRenfe, which give travelers the opportunity to AVE - in the Madrid-Seville and Madrid Valencia trips, in both ways – to share the experiences of the protagonists of Bohemian, in real time, while traveling 300 km/h. and the device prefer.

The HD signal directly travel from the Royal Theater to train two ways: satellite and through mobile network 4G, allowing for the first time an opera to be relayed live on a high-speed train.

Connectivity travelers inside trains is achieved via WiFi, with an access point and two antennas on each car. Within each train it has installed a local area network speed 1Gbps giving access to the server; so travelers can enjoy Bohemian live on TV channel Live TV application PlayRenfe.

Viewers who do not travel, may be connected to the relay's profile Facebook Teatro Real, the link www.labohemeendirecto.com and they can share their views and experience in the conversation with hashtag #LaBohemeEnDirecto.

In the latest edition of live opera Teatro Real, last July, con Madama Butterfly, Giacomo Puccini also, the scope of the retransmission in the Teatro Real Facebook channel reached more than 900.000 users, exceeding the figures of the previous retransmissions I puritani Y The Flying Dutchman, and Twitter the hashtag #MadamaEnDirecto fue trending topic national broadcast throughout.

Pablo Carignani is the musical director of this renewed proposal for the work of Giacomo Puccini (1858-1924), which features the prestigious British director Richard Jones scene and set and costume designer Stewart Laing. The assembly raises the opera as a succession of scenes of the Bohemian life presented to the viewer without concealing jobs backstage which normally develop technical backstage. A) Yes, the audience sees how the sets are changed, how different devices are used to achieve theatrical effects and how props pile up in the wings.

Madrid December cold Parisian winter transport us, tinged with melancholy, to accompany the truncated love aspiring poet Rodolfo, played by tenor Stephen Costello's, y la sastrecilla Mimi, Anita Hartig voice. With them, The soprano also Joyce El-Khoury and baritone Etienne Dupuis, They give life to Musetta and Marcello, respectively. The death of the female protagonist acts as a trigger for an initiatory path Bouncing wantonness and youthful dreams to reveal the strength and importance of real life.

Musical beauty, the dramatic effectiveness, Orchestral own motives and emotional narrative of the Italian melodrama make Bohemian one of the most beloved operas.

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)

Bohemian

Bohemian from Giacomo Puccini, one of the most beloved operas of the general public, puts the finishing touch to the opera cycle of Maestranza in six roles between the 28 May and 10 of June.

The production that has already triumphed in the Palau Les Arts Reina Sofía in Valencia, arrives at the Teatro de La Maestranza by the hand of its musical director Pedro Halffter, stage director, scenery and lighting Davide Livermore and as main interpreters: Anita Hartig (Mimi), José Bros (Rodolfo), Juan Jesus Rodriguez (Marcello), Mr. José Moreno (Musetta), Fernando Rado (Colline), Alberto Arrabal (Benedict / Alcindoro), David Lagares (Schaunard), Francisco Castellano (Parpignol), among others. Production, Palau de les Arts Reina Sofia in Valencia, Seville Symphony Orchestra, Choir of the A.A. the Teatro de la Maestranza, Escolanía de Los Palacios.

The performances will take place on the days 28, 31 of May, 2, 5, 7 Y 10 of June, 2017.

Argument

Act one

Christmas Eve of 1830 in the latin quarter of paris.

The painter Marcello and the poet Rodolfo are working in their studio in an attic. Both are cold, but there is no firewood, so Rodolfo decides to burn his manuscript. They are joined by the philosopher Colline and they enjoy a moment of the warmth of the fireplace. As the fire goes out, classmates boo the author. Suddenly two messengers enter with food, wine and coal, followed by the bohemian room, the musician Schaunard. He leaves the money left after shopping on the table and explains how he has earned it. The companions ignore him and prepare the table. Schaunard realizes what they are doing and proposes that, since it is christmas eve, celebrate it by dining out.

Knock on the door, es Benoit, the landlord, who comes to collect the back rent. Marcello receives the old man and lets him see the money on the table, but Benoit quickly falls into the trap set for him: make him drink and encourage him to brag about his success with women and, when he says he's married, the companions pretend to be scandalized and put him at the door (without the rent money). At the time of leaving, Rodoldo says that he stays, Well, an article must finish, so you will meet them later. Alone, Rodolfo realizes he's not in the mood to write. You are interrupted by a knock on the door: it's Mimì, the neighbor, who asks for fire for his candle. When you cross the threshold, feels a moment of weakness and drops the light and key to his room. Rodolfo picks up the candle and lights it again but, when will Mimi come out, he remembers his key and a draft of air extinguishes the candle again. Looking for the key in the dark, Rodolfo finds her right away, but hides it, and then get to touch Mimì's hand, which gives rise to each one to talk about their life. From the street come the cries of his friends; Rodolfo, from the window, He meets you at Café Momus. Turning around and seeing Mimì illuminated by the moonlight, they realize their love. Together, they are going to meet with friends.

Act Two

A little later, at Café Momus, the street is crowded with people and street vendors hawking their wares. Mimì and Rodolfo stop at a dressmaker's shop, where do they buy a pink hat. They then join the others and Mimì is introduced with graceful formality. The tranquility of the friends is disturbed by the arrival of Musetta, an old love of Marcello, accompanied by her new lover, rich old Alcindoro. Seeing Marcello, forces her lover to stop at the cafe and tries to attract her attention. Woman's behavior becomes more and more exaggerated, making Alcindoro uncomfortable and, at the same time, get Marcello to surrender to her again. Now you have to get rid of the old man and, for it, Musetta fakes foot pain from shoe. When he sends the old man to buy another pair, Marcello and she hug. The bill arrives, but Schaunard's money has already been spent. The passage of a military band allows the four bohemians, together with the two girls, get confused in the crowd letting the bill pay Alcindoro.

Act Three

In the Barrier of Hell, one of the toll barriers in Paris, one morning in early February.

Marcello and Musetta live in an inn on the post, where Marcello works painting some murals on the facade. If he presents Mimì, comes to see Marcello to ask him for advice on his relationship with Rodolfo, that is becoming unsustainable. Mimì laments Rodolfo's jealousy; Marcello advises him to leave him. Rodolfo, that arrived long before her, and fell asleep on a bench, when he wakes up he goes to talk to Marcello. To prevent me from seeing her, Mimì hides and, listening to what Rodolfo says, discover the real reason for their behavior: the young woman is seriously ill and, living with him in such miserable conditions, will end up dying. Mimì has a coughing fit and Rodolfo, seeing her, run to help her. Musetta laughs from the inn, and Marcello, suspecting a flirtation from his frivolous partner, come in to reprimand her. Aware now both of the need to separate, Mimì will pick up her things, except for the pink hat, that leaves it as a memory. Finally, they prefer to spend the winter together; they will part when spring comes. While, at the inn, Musetta and Marcello also agree to part ways as a result of the fight they just had..

Act Four

The same attic from act one, where Marcello and Rodolfo, already separated from Musetta and Mimì, they pretend to work, but they can't help but remember their companions, of those who are still in love. Schaunard and Colline enter bringing a miserable herring for all food, that all four consume with comic solemnity. After dinner, they have a dance, in which Colline and Schaunard jokingly exchange insults and challenge each other to a duel, attacking himself with the trowel and the chimney tongs. Suddenly Musetta appears at the door: Mimi is on the street, sick and too weak to climb the ladder. Rodolfo runs to look for her while the others prepare the bed. While Rodolfo takes care of Mimì, Musetta tells that, having heard that Mimi was dying, went to look for her, and the unfortunate woman asked him to take her to Rodolfo. The misery of the bohemians does not allow them to do anything for her. Musetta gives Marcello his earrings so that he can pawn them and bring some medicine and a doctor, although she ends up going out with him to buy a muff for Mimì, that you have wished in your last hour to have warm hands. Colline wants to help by pawning her overcoat and, Upon leaving, tells Schaunard to help him by leaving them alone.

During the absence of friends, Mimì and Rodolfo evoke their love and their first meeting. When Marcello and Musetta return, Mimi sleeps. Musetta kneels and prays. Shortly after, when Colline comes back and asks for Mimì, Rodolfo notices the tragic atmosphere in the room that others have already perceived: Mimi has died.

Season 17/18 Teatro Real

In season 2017-2018 the Royal Theater celebrates a double anniversary: the 20 years of his reinauguración, he 11 October 2017, and the 200 years after its founding, he 23 April 2018.

In the scope of these commemorations continue the premieres of operas never performed at the Royal Theater, like the colossal The soldiers, de Berne Alois Zimmermann, which will be presented for the first time in Spain.

They will also increase the list of unpublished works at the Teatro Real Lucio Silla Wolfgang Amadeus Mozart, Gloriana of Benjamin Britten y Street Scene Kurt Weill, that will be seen for the first time in Madrid, Y Dead Man Walking de Jake Heggie, which will premiere in Spain.

As a reminder of its past and recent history, have been scheduled Bookmarktitle that inaugurated the Real─ in concert version, Y Aida, with a revised staging of the famous production directed by Hugo de Ana in 1998.

The current creation will be represented by the world premiere of The painter, Juan José Colomer, with libretto and direction by Albert Boadella, in collaboration with the Canal Theater.

In order to seduce new audiences and a broader and more diversified audience in its festive season, the Teatro Real has notably increased the performances of its most popular titles in the lyrical repertoire such as Bohemian, Carmen, Lucia of Lammermoor Y Aida.

Under the Bicentennial the Real reaffirms its ambitious commitment to new audiovisual technologies to bring opera to the whole world with broadcasts in monuments, plazas, auditoriums and town halls throughout Spain, broadcasts on social networks, schools, cinemas and on its Palco Digital platform, highlighting, in the international arena, its pioneering projects in Latin America and China.

Likewise, will continue the dialogue with other types of music, whose most outstanding manifestation is the Universal Music Festival, of which the fourth edition will be held.

The DANZA program will consist of four shows: Carmen, for him Victor Ullate Ballet (Theaters Canal); Sorolla, for him National Ballet of Spain; choreographies by Jacopo Godani for the Dresden Frankfurt Dance Company; and a new production of Swan Lake, by The Royal Ballet.

In the programming of EL REAL JUNIOR, the premiere of five new productions of the Teatro Real for different ages stands out ─Mother Goose, old cinema with new music, The hidden face of piano, the opera The phone, or love three and ballet Pulcinella─, the revival of the opera Dido & Eneas, a Hipster Tale and Loft toys.

The Principal Choir and Orchestra of the Teatro Real, under the tutelage of its musical director Ivor Bolton ─with Pablo Heras-Casado as principal guest conductor and Nicola Luisotti as associate conductor─, will notably expand their repertoire, affirming the growing prestige of the stable bodies of the institution

Two books will be published on the history of Real: Joaquín Turina will reveal to the reader the ins and outs of the Theater from 1997 and Rubén Amón will tour the 200 years of its history through its artists, facts and anecdotes.

In the field of the celebration of its anniversaries, the Teatro Real has promoted the production, the next spring, of the first international meeting of the WORLD OPERA FORUM, to convene 150 opera houses around the world, and a commemorative act that will evoke the historical fact that the Teatro Real was the seat of the Congress of Deputies between 1841 Y 1850.

OPERA

In the wake of its history, The new program aims to enrich the repertoire of the Royal Theater essential titles not yet included in its musical heritage, as The soldiers, from Bern Alois Zimmerman, that due to its great complexity, dimension and number of performers is still not released in Spain 52 years after its creation.

This great work of the 20th century, that was born marked by the impossibility of putting on stage dilating the limits of the opera, excels in programming whose conceptual framework is, precisely, the notion of limit, border as a place of uncertainty and transit, key in the future and evolution of styles, shapes, aesthetics and artistic languages.

Pablo Heras-Casado will take on the great challenge of directing this ambitious premiere, with an acclaimed co-production by the Berlin Opera Comique and the Zurich Opera, stage direction of calixto Bieito.

Lucio Silla, written in the 18th century, is also located in a slippery space between two styles: although Mozart composed it with barely 16 years, its classical structure is already impregnated with formal licenses that will mark the pre-romantic language in which the brilliant operatic production of the composer will lead. this opera, from 1772, was never performed on stage at the Real, so your presentation with the same tandem that just succeeded in RodelindaIvor Bolton in musical direction and Claus Guth, in the stage─ will repair a debt of the Theater with Mozart and with the public of Madrid.

Linking the recent success of Billy Budd with the premiere, the next season, from Gloriana, the Teatro Real continues the presentation of the magnificent operatic production of Benjamin Britten started since its reopening. This time Ivor Bolton will be accompanied by the prestigious Scottish stage director David McVicar, in a new co-production with London (ONE), Naples, Antwerp and Valencia, whose premiere will be in Madrid.

Gloriana is also on the awkward border between the commitment to the celebration of the coronation of Elizabeth II of England, in 1953, and the personal dramatic language of Britten, whose score was misunderstood and marginalized, despite its undoubted artistic quality, that the Royal Theater wants to claim.

Another borderline work from the mid-20th century, cornered by its miscegenation, is Street Scene from Kurt Weill, that lies between the musical and the opera, without achieving a comfortable space between the two. Named by its author “American opera”, premiered on Broadway in 1947, but I would not return to their rooms.

Based on the play of the same name Elmer Rice, Pulitzer Prize winner, Street Scene is a successful synthesis between European opera and American musical theater, distilling the musical tradition of both worlds, among which was its author, Kurt Weill, German Jew living in the United States. The work will premiere in Madrid in a new co-production with the Cologne and Monte-Carlo Operas, with musical direction Tim Murray ─who returns to Real after his successful reading of Porgy and Bess─, and staging of John Fulljames, new artistic director of the Danish Opera.

Dead Man Walking, premiered in San Francisco in the year 2000, It is also a work that claims to “explore a medium that is neither traditional theater nor traditional opera, but a true combination of both: un drama musical, an opera-musical, theater-opera” according to its authors: the composer Jake Heggie and the playwright Terrence McNally.

Based on the sister's book Helen Prejean ─which also originated the famous film Tim Robbins starring Susan Sarandon Y Sean Penn─ the opera affects the endearing and deep confessional relationship that is established between the nun and the prisoner sentenced to death, relegating to the background issues related to capital punishment that have made the film of the same name famous.

For its premiere in Madrid, the opera will feature the production of the Chicago Lyric Opera, with stage director Leonard Foglia and a deluxe cast headed Joyce DiDonato, Michael Mayes Y Measha Brueggergosman, who will perform under the musical direction of Mark Wigglesworth.

The culmination of this series of hybrid operas will be the world premiere, in the Canal Theatre, from The painter, from Juan José Colomer, prolific and versatile Valencian composer based in Los Angeles, que debutará en la ópera con la nueva producción del Teatro Real con dirección musical de Manuel Coves y libreto y dirección de escena de Albert Boadella, que prosigue su acercamiento al repertorio lírico que se va imponiendo en los últimos años de su fructífera carrera.

Alternándose con estas propuestas fronterizas, el Teatro Real ha programado cuatro óperas del repertorio operístico, de las que se ofrecerán un gran número de funciones fuera de abono: Carmen, Bohemian, Aida Y Lucia of Lammermoor.

Carmen, from Georges Bizet, volverá al Real con 18 funciones y tres repartos, en una producción de la Ópera de París que recupera la puesta en escena “naturalista” y taurina de calixto Bieito estrenada en el Festival de Peralada, en esta ocasión con dirección musical de Marc Piollet.

Dos repartos se alternarán en las 19 representations Bohemian, from Giacomo Puccini, in which the Teatro Real has once again joined the Royal Opera House, co-producer of the new production that will premiere in London shortly before landing in Madrid. The staging will be by the prestigious English theater director Richard Jones and the musical of the Milanese and Puccini Paolo Carigniani. Both will debut at Real.

For the replacement of the "super-production" of Aida, from Giuseppe Verdi, which inaugurated the second season of the new Teatro Real in 1998, Hugo de Ana, stage-manager, set and costume designer Opera, will present a revision of his previous creation as a tribute to the recent history of the Theater in the 20 anniversary of its reopening. Three casts will participate in the 17 opera performances, which will have musical direction of Nicola Luisotti.

The English National Opera production of Lucia of Lammermoor, from Gaetano Donizetti, traerá nuevamente al Real al director de escena estadounidense David Alden, que dirigió Alcina and the Otello inaugural de la presente temporada. Dos repartos se alternarán en las 15 functions of the opera, que estará dirigida musicalmente por el israelí Daniel Oren.

Donizetti ha sido, a lo largo de la discontinua historia del Teatro Real, uno de los compositores más programados y más queridos del público. Su ópera Bookmark ─de la que existe la versión italiana La favorita─ fue la primera en subir a escena en el Teatro Real cuando abrió sus puertas en 1850. Para celebrar esta representación inaugural en el año del Bicentenario se han programado dos funciones de la ópera en versión de concierto, with musical direction Daniel Oren, with a Gala conmemorativa del 20 aniversario de la Reapertura del Teatro Real he 2 of November.

En versión de concierto se presentarán otras dos óperas con función única: Ariodante, from georg Friedrich Handel, with Les Arts Florissants directed by William Christie, Y Thaïs, from Jules Massenet, under the baton of Patrick Fournillier, with Placido Domingo in the title role for baritone.

The operas of the season arranged chronologically by the original dates of their premieres:

1735 Ariodante, the Georg Friedrich Handel

1772 Lucio Silla, Wolfgang Amadeus Mozart

1835 Lucia of Lammermoor, de Gaetano Donizetti

1840 Bookmark, de Gaetano Donizetti

1871 Aida, de Giuseppe Verdi

1875 Carmen, Georges Bizet

1894 Thaïs, Jules Massenet

1896 Bohemian, Giacomo Puccini

1947 Street Scene, Kurt Weill

1953 Gloriana, Benjamin Britten

1965 The soldiers, de Berne Alois Zimmermann

2000 Dead Man Walking, de Jake Heggie

2017 The painter, Juan José Colomer [unworn]

Along with the operatic programming of the season, various Parallel activities looking for its links with literature, plastic arts, who, Photography, etc.

This interdisciplinarity, that encourages dialogue between opera and other forms of artistic expression, it is possible thanks to essential collaboration, once again, of important cultural institutions as: National Library of Spain, British Council, Circulo de Bellas Artes, Reina Sofía Music School, Spanish Film Library, Juan March Foundation, Goethe Institut, French institute, Institute of Naval History and Museum, International Institute, Archeological Museum, Museum of Romanticism, Reina Sofia Museum, Real Academia de la Historia, Student's residence Y Theaters Canal.

BIG BROADCASTS, OPERA WEEK AND UNIVERSAL MUSIC FESTIVAL

One of the most important initiatives carried out by the Teatro Real to promote its opening to new audiences and to bring opera closer to the public are the national and international broadcasts of their shows, which will increase next season, including pioneering projects in China and Latin America.

A) Yes, After the success and enormous repercussion of the retransmissions made on Facebook of I puritani Y The Flying Dutchman, the Royal Theater will commemorate its anniversaries with the live broadcast of Carmen, in October 2017, and Lucia of Lammermoor, in july 2018, in more than 200 spaces throughout Spain, with screens installed in squares and emblematic buildings, in addition to the open broadcast on social networks and online platforms around the world.

His most popular productions will be screened in cinemas across the country, being already programmed La traviata, he 16 November 2017, Y Madama Butterfly, he 10 May 2018.

They will also continue broadcasts of the children's and youth shows of El Real Junior in schools Y cinemas of all communities, being planned the morning projections of Summer night Dream, he 10 October 2017 ─to celebrate the international day of music─ and The cat with boots, he 6 May 2018, coinciding with the European Music Days.

stage Digital will continue to offer live broadcasts of a large part of the Theater's productions, expanding its catalog of online opera shows, ballet and concerts.

Likewise, with the impulse of the commemorative triennium of its Bicentennial, the Teatro Real will carry out new editions of two very diversified and already consolidated artistic proposals: the Opera Week, with a growing participation and involvement of the public, and the Universal Music Festival, in summer, that brings together relevant pop musicians, rock, jazz, the flamenco to bid farewell to each season.

DANCE

The dance program will be made up of shows starring four companies.

He Victor Ullate Ballet will play Carmen in the Canal Theatre, with choreography by Victor Ullate and music from Georges Bizet Y Peter Navarrete, anticipating the performances of the homonymous opera at the Teatro Real.

He National Ballet of Spain will bring his show to Real Sorolla, with choreographies of Arantxa Carmona, Miguel Fuente, Manuel Linan and Antonio Navarro and music from Juan José Colomer, Paco de Lucía, Enrique Bermúdez, plus popular topics, with the participation of the Head of the Royal Theatre Orchestra, under the direction of Manuel Coves.

The Dresden Frankfurt Dance Company will perform four choreographies of Jacopo Godani: Metamorphers (music of Bela Bartok), Echoes from a Restless Soul (music of Maurice Ravel), Postgenoma Y Moto Perpetuo, with music 48NORD.

The Royal Ballet will close the dance season at the Teatro Real with its new and long-awaited production of Swan Lake, with choreography by Liam Scarlett. The music of Piotr Ilich Chaikovski will be performed by Head of the Royal Theatre Orchestra in all six functions.

THE REAL JUNIOR, THE TRAINING PROJECT AND THE SOCIAL PROJECT

The Royal Theater reaffirms its commitment to the education, training and consolidation of the children's public, youth and university in active collaboration with educational centers and universities through projects as diversified as Royal Junior, he BED (The opera, Learning a vehicle), he Young Club, University scene, the workshops Exposed opera, the monographic courses etc., reinforced with a policy of economic incentives for minors from 30 Y 35 years that allows them to access the shows for very affordable prices.

In the programming of Royal Junior highlights the premiere of five new productions of the Teatro Real for different ages and with different formats: Mother Goose, with music by Maurice Ravel, in the main room; old cinema with new music, with films by Charles Chaplin and live music, in the Sala Gayarre; The hidden face of piano in the orchestra room; Gian Carlo Menotti's opera The phone, or love three, in the main room and Pulcinella, dance show with music by Stravinsky in the Sala Gayarre.

 

Tower

Fernando Latorre is a singer with a long artistic career, but it is now when it will produce its premiere in the Gran Teatro del Liceo de Barcelona. Latorre feels “very lucky to sing for the first time in this theater, one of the most important in the world and that has witnessed for almost two centuries the most important voices in the world of opera ".

This production of Bohemian in which the singer has already been rehearsing for several days and is "very comfortable", "Bears the signature of the English National Opera and the Concinnati Opera. It will be directed musically by Marc Piollet and in the scenic by Jonathan Miller”. Fernando Latorre will sing the two roles of Bajo Buffo, Benoit and Alcindoro to whom “I have a lot of affection, and for me it is a challenge to tackle them as they require two very different personalities, different ages and a wide palette of vocal colors to make them credible ", says the singer.

La Bohème in which Latorre will celebrate its premiere at the Gran Teatro del Liceo in Barcelona, will have a total of 14 functions between 18 June and 8 next july, and tell, in addition to the Basque singer, with the voices of Tatiana Monogarova Y Eleonora Buratto as Mimi, Nathalie Manfrino Y Olga Kulchynska as Musetta, Matthew Polenzani Y Saimir Pirgu in the role of Rodolfo, Artur Ruciński Y Gabriel Bermúdez like Marcello, David Menendez e Isaac Galan interpreting Schaunard the Paul Gay Y Anatoli Sivko como Hills. The production, set in the first half of the 20th century, will be broadcast live on 8 July in many Catalan municipalities through the initiative "Liceu a la fresco" of the Barcelona theater.

After the La Bohème shows, Fernando Latorre will attend the El Escorial Festival, in which he will participate in the opera of Verdi, Don Carlo, playing the role of Frate. The production, of the playwright Albert Boadella, will have two functions, the days 28 Y 30 July in the town of the Sierra Madrileña.

http://www.fernandolatorre.com/

Rancatore

He came back and swept: Italian soprano Desirée Rancatore put the Japanese public back into the pocket of the hand of his touching Traviata that strolled through Omiya, Tokyo, Osaka y Nagoya, selling out within hours, the same day they went on sale. And of Verdi a Puccini: Palermo's diva will step into the skin of one of the characters for the first time
created by Giacomo Puccini, in this case, in one of the most charismatic of La Bohème, Musetta, all character, joy and humanity. Will do it in Italy, riding between December and January, at the Carlo Felice Theater in Genoa.

Counting on the stage direction of the legendary Ettore Scola, Rancatore will debut on 17 December his first Puccinian character in a new step in his artistic career: «My voice has been enriched in harmonics and in darker colors, It is no longer the typical thing for a coloratura soprano », points singer. «This responds to the natural evolution of the voice, to my own maturity. Y Musetta, together with Gianni Schicchi's Lauretta will be my first Puccinian roles. In the future, why not? It could also be Mimì ».

www.desireerancatore.com

Alfonso Romero

A young man Alfonso Romero he did not imagine from his piano in the conservatory that he was going to decide on another activity. Although also it related to his musical profession, stage director came to life almost by chance and, after being fascinated by it, He began a professional adventure that is placing him as one of the greatest international directors.

Born in Madrid, He began his musical studies at an early age, obtaining the title of piano teacher. Director and founder of various choirs, with whom he worked mainly the Renaissance and Baroque repertoire. At the same time, took specialized courses in early music in the disciplines of baroque organ, harpsichord and choral direction.

Since its reopening in the year 1997 works in the Teatro Real from Madrid collaborating with stage directors such as J.Carlos Plaza, Francisco Nieva, Hugo de Ana, Sergio Renan, Josep Maria Flotats, Giancarlo from Monaco, Werner Herzog, Nicolas jöel, Jerome savary, Eliah Moshinsky, Willy Decker, John Dew, Pier Luigi Pizzi Y Herbert Wernicke, as well as the choreographers Nacho Duato, Victor Ullate Y Pina Bausch.

His first staging was the production of the Opera "La voix humaine" by Poulenc at the Are More Music Festival in Vigo in the 2003.

Since 2004 until the 2010 works at the Staatstheater in Darmstadt invited by his Mayor John Dew where he directs among others the operas "La Serva Padrona", "Don Carlos" and "Maria Stuarda", as well as the world premieres of "La Cuzzoni" (Albéniz Theater, Barcelona Auditorium) y “Lord Byron“ (Liceu Barcelona). In Spain he directs titles such as "I Puritani" (La Coruña Opera Festival and ABAO in Bilbao) "The Cunning Squirrel" (Mozart Festival and Arriaga Theater),"The magic Flute" (Theater of El Escorial and Kursaal), "Lucia of Lammermoor" (Gayarre Pamplona Theater and La Coruña Opera Festival), “Cavalleria Rusticana” y “Pagliacci” (Titulcia Opera Festival) and "Otello" (Main Theater of Palma de Mallorca, chosen best production of the season).
He has recently conducted “L´elisir d´amore” at the Staatstheater Braunschweig, "Andrea Chenier" at the Perelada Festival and "La Boheme" with the Danish National Opera.

Winner of the third prize in the European Competition of Stage Directing "EOP Camerata Nuova" (Wiesbaden 2005) with his project "La Cenerentola" by G. Rossini.

Finalist in the International Competition of Opera Directing in Prague (2007) with his project "Alcina" by Händel.

La Boheme

n the start of the season 2012-2013, Valencia Palau de Les Arts, still committed to well-known and popular repertoire titles. After the bright Rigoletto, which he opened the season, It has staged a magnificent production of La Bohème, with an enthusiastic audience that packed the hall and repeatedly applauded both at the end of Act II, as the end of the representation.

First, highlight the attractive and very original scenery of Turin David Libermore, also responsible for stage management and lighting. We propose a stage of the attic of the Bohemians, symmetrical in Acts I and IV, where the painting easel Marcello, and from the very beginning of the opera, takes life to collect footage of the waters of the Red Sea, coinciding with the first sentences of Marcello "This Red Sea ...”, It is projecting one of the side walls of the stay. Then a decorated projecting static-dynamic, where it can be seen flowing smoke emanating from chimneys Parisian buildings, with day and night lighting, to show over time.
these attachments, confer a complementary and urban touch, Parisian interior where the poet Rodolfo and Marcello the painter work, accompanied by their friends. changing paintings, impressionistic character, that they appear in the pictorial frame Marcello, and that, Also in unison, they are planning.
Libermore was inspired by the film Dreams (dreams) de Akira Kurosowa, to insert projections Paolo Gep Cucco, in its portrayal of Paris in the late nineteenth century.
Bustle and joy, It is perfectly reflected in the multitudinous Act II, coffee on the terrace of Momus, the presence at the bottom of most genuine Parisian symbol: The Eiffel tower. This second act, speaking in filmic terms, it becomes a real sequence shot, where the eyes of spectators turned on camera, They can move freely to target different actions proposed. As opposed, appears that austere and cold decorated Act III, very much in keeping with music and theatrical shows action.

The goal coveted by Puccini, composing Bohemian, It was to achieve a musical continuum and
dramatic, in which arias, duettos and other traditional numbers, insertasen perfectly in the orchestral texture, what
a motley structure and always extreme quality music. The big Riccardo Chailly, with the Orchestra of Valencia, He managed to bring us into the rich orchestral palette of this score.
Chailly won the best musical results like no- in this extraordinary Act III, showing the wealth of topics, linked by an exquisite orchestration, which it becomes one of the most perfect moments of the entire repertoire.
Also in that Act IV, where the music moves from comedy to drama purest. In sum, great directorial work, in front of the magnificent Valencian orchestra, the great Milanese master, who already 1998, for Decca, with the Orquesta del Teatro alla Scala, He bequeathed the best record modern version of the opera, with excellent Angela Gheorghiu and Roberto Alagna. Amen, historical and anthological record versions of Herbert von Karajan, in front of the Berlin Philharmonic, also for Decca, with Luciano Pavarotti y Mirella Freni, from 1973, and directed by Sir Thomas Beecham, EMI, He is leading the Orchestra of the RCA, Jussi Björling and with Victoria de los Angeles, from 1956.
In this representation, shone quite high almost stranger-physical transformation- Aquiles Machado, who confessed to me after the show, having lost fifty kilos, That is said very soon! Venezuelan tenor retains its beautiful timbre and a refined line of song, in a role as Rodolfo who has played a lot in theater in the last fifteen years. His voice has gained in breadth and roundness, at the cost of acute insolent old. I had occasion to hear in a Faust in Santander 2000, where voice expanded up brightly. Its "What a frozen little hand"It was very well sung, although the sharp was somewhat strained, near the relevant C4, easy note for him a few years ago. Either way his vocal delivery was very noticeable throughout the opera, especially in Act III, empastando well with the Israeli soprano Gal James, also a courageous Mimi, it was more even more vocal volume- as he advanced representation, to sing nicely Act III, especially that extraordinary quartet, what, actually, are two duos: Rodolfo and Mimi the, and another dramatic plane Marcello and Musetta that of. In Act IV, James Gal's performance, really into the skin of the dying Mimi, goes deep and arrives to thrill.
baritone Massimo Cavalletti, He holds considerable vocal volume, which allows you to pass without any problems orchestra, even when it airs on forte. It's not an overly refined interpreter, but complements his singing with good stage performance. Definitely, best moments in Act III offers, in her duets with Mimi, Rodolfo and Musetta, superbly played by the young Valencian soprano Carmen Romeu just twenty-eight years, student of the famous professor Ana Luisa Chova. Romeu has a striking appearance in Act II, endowing her character true nonchalance and fine eroticism. She sings very well his famous waltz. Well its provision in Act III fighting with Marcello. And in Act IV, his performance truly becoming even dramatic. A female singer, definitely, rather future.

The rest of the large cast, include work under Gianluca Buratto, in the role of Colline, who sings with great dramatic style his famous aria in Act IV "Old zimarra”.
As well, it should be noted the good performance of the young baritone Olivieri Mattia como Schaunard. This singer is in possession of a pretty voice and, nowadays, It is integrated into the Center for Advanced Placido Domingo, Attached to the palace of Ars.

As usual, great performance the Choir of the Generalitat Valenciana, directed by Francesc Perales, reinforced in the multitudinous Act II, Have fear of the Choir School Boards Quart de Poblet, directed by Jordi Blanch, and by the Choir of Our Lady of the Abandoned directed by Luis Garrido. His performances are produced only in Act II, going all out to greet its conclusion, and they are rewarded for long and loud applause from an enthusiastic audience.
Anyway, a magnificent Bohème, opera essential entire repertoire, and always topical since its premiere at the Teatro Regio in Turin on 1 February 1896, with musical direction of Arturo Toscanini jovencísimo.

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