La Calisto 1

La Calisto 2

La Calisto 3

La Calisto 4

La Calisto 5

La Calisto 6

La Calisto 7


La Calisto, venecianaLA effervescence CALISTO
Francesco Cavalli (1602-1676)
dramma per musica in a prologue and three years
Libreto de Giovanni Faustini, based on the book II
Metamorphoses (8 d.C.) Ovidio
San Apollinare premiered at the Venice Theater
28 November 1651
Premiere at the Royal Theater
Bayerische Staatsoper production Munich
Madrid 25 of March, 2019
D. musical: Ivor Bolton
D. scene: David Alden
Scenographer: Paul Steinberg
Costume designer: Buki Shiff
Illuminator: Pat Collins
choreographer: Beate Vollack
Distribution: Dominique Visse, Karina Gauvin, Monica Pods,
Luca Tittoto, Nikolay Borchev, Louise Alder, Tim Mead,
Guy de Mey, Ed Lyon, Andrea MastroniLa seventeenth-century Venice is a suitable place for divertimento, full of life, carnivalesque mocking. Always wary of Roma who came to excommunicate the Venetian authorities to consider the city a hovel of sodomizing. It is in this context that born La Calisto, work that was the great dominator of the Venetian opera, Francesco Cavalli. With great dramatic sense and wisdom in choosing the librettos, I knew how to put in this work all his artillery to exert satirical critique gaunt clerics, Roman politicians and artists. This was his peculiar way of settling accounts with ellos.Cavalli worked as Kapellmeister of San Marcos without forgetting his true passion, composition operas. He wrote more than 40 of which they have lost nearly a third. Of the 27 preserved, Callisto is the most popular since it was rescued in the years 70 by director Raymond Leppard.Cavalli should be as well known as Monteverdi or Haendel, whose works are part of the standard repertoire of all concerned teatros.Esta Italian society is reflected in the artistic and musical expressions through a clear evolution. Are the first solo, Madrigals abandoned 5 parts, texts gain in importance and should be understood by an audience that, for the first time, attending such shows paying entry. new instruments that imbue the works of a continuous basis are needed more powerful than traditional lute. a new instrument then appears with Greek mythological basis, chitarrone, It is beginning to be heard in the early and Venetian operas.

La Calisto, as a good representative of the Venetian opera, It consists of short scenes and a variety of characters and plots that occur with great fluency.

This style manages to convey, effectively and dynamics, a story with scene transitions and assemblies that makes these works have a special appeal to new audiences, accustomed to rapid movements of television and media.
Stage directors have always had some qualms about addressing Baroque works. Not easy to dramatize the long recitatives and statism of his characters. It may be the reason why some directors are entangled in impossible positions and / or surreal, creating scenery not always successful.

David Alden has devised a kind of psychedelic parade going by parading a large group of characters who are always very attractive for scenographer, gods, humans and mythological animals occur in fun filled scenes of sexuality and lasciviousness. Alden has reflected well through satiric characters, Cavalli mockery to the Roman authorities.

But the scenery is also loaded with scenic dispensable items, that they make no contribution to drama and sometimes distracts from the scenes that do not need much embellishment sterile to be understood.

Ivor Bolton put this time in front of two excellent baroque ensembles, on the one hand, the Baroque Orchestra of Seville, with some of its prominent members, Sylvan James and Elisabeth Bataller, violins; Kepa Arteche y Elena Borderías, violas; Mercedes Ruiz, cello; Ventura Rico, double bass; Simone Nill y Katja Schönwitz, Recorders; Bork-Frithjof Smith y David Gebhard, cornetos and Philip Tarr was in charge of percussion that was excessive and even annoying at times.

And on the other hand, and Monteverdi Continuo Ensemble, a group led by self Ivor Bolton, specializing in baroque operas and improvisation and created for these occasions. La Calisto involved with 4 key touched by the Bolton own, Luke Green, Roderick Shaw y Bernard Robertson; Mark Lawson, organ; Fred Jacobs, Michael Freimuth y Joachim Held, the chitarrones, instruments in the seventeenth century there was scarcely see the stage to an audience protesting the length of your rod; Friederike Heumann, Lirona and viola da gamba; Joy Smith, Cello (continuous) y Frank Coppieters, double bass (continuous).

They have also introduced some wind instruments, as natural trumpets, performed by members of the Titular del Teatro Real Orchestra Ricardo Garcia and Marcos García Vaquero, not included in the original manuscript of Cavalli and part of the update of this new critical edition prepared by Alvaro Torrente, which it has provided a solid and true basis of the text from which it was possible to carry out this work of recomposition in a work with great ability to introduce the element of improvisation.

Bolton direction in front of these sets is extraordinary. Faced with a score like this, on which he has worked in depth, instrumenting passages, shows his great knowledge and mastery of the baroque repertoire. Does a great job of connection between the different bands that get perfect pitch. His success in the leadership demonstrated by the standing ovation before the start of the second part.

It should be noted the balance of vocal ensemble. Bass Luca Tittoto, como Jupiter, She showed her acting skills, especially disguised as Diana and using the falsetto. It proved a very interesting central register. Made good partner with Mercury Nikola Borchev.

Calisto was played by British Louise Alder. A beautiful timbre well and potently projected was enough to give life to his character, something sappy and simplón.

The Endimione Tim Mead was full of tenderness in the interpretive part, He gave the public time full of lyricism and taste in singing. He made very good theater and vocal partner with Diana Monica Bacelli, which he demonstrated his mastery of the baroque.

No doubt the winner of the night was Dominique Visse. This disciple of Alfred Deller is an expert on his rope and countertenor repertoire. His voice is not the same as when founded in 78 el Ensemble Clément Janequi, but his acting ability makes up any vocal difficulty and delights the public.

The rest of the cast was high, why not have it any easier from their platforms, as in the case of Ed Lyon, interpreting Pane.

An interesting production that allows us to be optimistic to think that there is a deficit of Baroque works in our theaters. Hopefully sets an example and good public acceptance is taken into account.

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

La Calisto

Between days 17 Y 26 of March Royal Theatre offer 9 functions from La Calisto, from Francesco Cavalli, insolently, lewd and hyperbolic Baroque opera, which will be presented for the first time in Madrid, in a production premiered at the Bavarian State Opera in 2005, answer three times at the theater and presented at the Royal Opera House in 2008, always with great success.

The prolific composer and impresario Francesco Cavalli (1602-1676) It is credited with the birth of opera in Venice and its consolidation as a popular art form, which came to fill, the mid-seventeenth century, six different theaters in the city of canals. An avid public show, fun and transgression came to the opera to enjoy the gruesome stories of its protagonists, wit stage machinery and fantasy costumes, in a world of illusion uncensored.

La Calisto It is the epitome of all this: a plot full of humor, machinations, sex, surreptitious social criticism and moral resonances; an inventive and melodious music and improvisation allows the showcasing singers; abundant scenes to encourage change of curtains, trampillas, and scenic tricks; transformismo essential games ─ Calisto is converted into a bear and then ascends to the heavens as a constellation ... ─ and a cast of fantastic characters ─dioses, semidioses, nymphs, satyrs ... ─ to display of exotic costumes.

Librettist of the opera, Giovanni Faustini (1615-1651), faithful and prolific collaborator Cavalli, who died prematurely after the premiere of the opera, articulates with wit two episodes of the extracted Greco-Roman mythology Metamorphoses from Ovid: the seduction of Calisto by the lustful young Jupiter and the forbidden love affair between Diana and the beautiful goddess shepherd efebo, Endimione.

The opera is a parody in which gods and humans face, men and women, libertines and chaste, nymphs and satyrs, moved by the desire, the passion, sex, jealousy and revenge: too human instincts which also suffer from the divinities of Arcadia. But nevertheless, beyond this sassy and bright satire, There is criticism of the censorship imposed on Galileo Galilei and moral depravity of Venetian society then, with a bittersweet subliminal message: “In the Realm of the Senses, which favors the lechery of the gods, leads to unhappiness” (Joan Matabosch, playbill article).

David Alden ─ which directs his fourth title at the Royal Theater, after Alcina (2015), Otello (2016) Y Lucia of Lammermoor (2018)─ presents the delusional world La Calisto, with winks to the viewer today, decorated in a psychedelic evocations of Paul Steinberg, with figurines inspired by the comic designed by Buki Shiff and lighting Pat Collins.

The musical director of the Royal Theater, Ivor Bolton, who directed this production at Covent Garden in London and the Bavarian State Opera, It will do so again at the Royal Theater, this time in front of Monteverdi Continuo Ensemble and of the Orquesta Barroca de Sevilla.

As it has happened in opera Idomeneo, recently presented at the Royal, Ivor Bolton will accompany the recitatives in one of the three keys that will be used at the opera.

A double cast of singers closely related to baroque repertoire will give life to the characters La Calisto: Karina Gauvin Y Rachel Kelly (Eternity / Juno), Monica Pods Y Teresa Iervolino (Fate / Diana / the fury), Luca Tittoto Y Wolfgang Schwaiger (Jupiter), Nikolay Borchev Y Maybe Borja (Mercury), Louise Alder Y Anna Devin (Calisto), Tim Mead Y Xavier Sabata (Endimione), Guy de Mey Y Francisco Vas (Linfea, Dominique Visse (The nature / Satirino / the fury), Ed Lyon Y Juan Sancho (Pane) Y Andrea Mastroni (Silvano).

Teatro Real 18/19

He Teatro Real will culminate the celebration of the 200 years of its founding with the Season 2018-2019, whose programming grows with a look into the past and a bold step into the future, completing a part of their artistic project and taking on new challenges and initiatives able to seduce all audiences. The dream that was born in 2016 in an effort to recover and increase the repertoire, open to new audiences and diversify the cultural offer, see fulfilled many of their expectations.

Fifteen operas the backbone of the new programming, ten of them new productions, three guests productions and two in concert. Great composers along with those who make a historical journey from the seventeenth century to the twenty-first century, accompanied by the best voices today, the most prestigious stage directors and the Choir and Orchestra of the Teatro Real Headlines, Baroque formations besides great career as the Baroque Orchestra of Seville, Akademie für Alte Musik Berlin y el Vocalconsort Berlin.

The three conductors associated with the Royal Theater: Ivor Bolton, director musical, Pablo Heras-Casado, principal guest musical director, Y Nicola Luisotti, musical associate director, will strengthen its presence in front of the Titular Orchestra of the Teatro Real. The first two titles whose composers are part of their most beloved repertoire La Calisto, de Francesco Cavalli and Idomeneo, of W. a. Mozart, and a contemporary third, Only the Sound Remains, de Kaija Saariaho. The second, After the magnificent reception obtained by his version of The Flying Dutchman R. Wagner, immersed in the tetralogy of German composer, which will begin next January with Rheingold and will continue in the next three. And Nicola Luisotti lead the probably most popular title of the season, The troubadour y junto with Faust, Turandot.

Dan Ettinger (Faust), Nacho de Paz (That voice), Christopher Moulds (Dido & Aeneas and La Calisto), Daniele Rustioni (Falstaff) y Maxim Emelyanychev (Agrippina), Asher Fisch (Capriccio), Juanjo Mena (over), Maurizio Benini (The Troubadour), James Conlon (Bow Giovanna) y Vinicius Kattah (I'm narcissistic) They are the other prominent names in musical direction.

Teatro Real return to the reference names in the scene direction. Alex Olle (La Fura dels Baus), closely with Alfons Flores, You will be responsible for opening the season 2018-2019 with his personal vision of Gounod's Faust, myth that has been addressed on numerous occasions and from different disciplines, theater and film, and whose premiere in Amsterdam was very well received by critics. Peter Sellars, loved and admired by the public of Madrid, It will show its award-winning version of the opera Only the Sound Remains, Finnish composer Kaija Saariaho, inspired by Japanese Noh. Robert Wilson will face for the first time Turandot, in a new production that will be released in the Real and that will mean the return of Pucciniano title twenty years after his debut in the first season of the reopening of the Teatro Real.

Robert Carsen will be the protagonist of programming with its participation in two productions: Idomeneo, along with Ivor Bolton, and the gigantic project of Wagnerian Ring, which will start in 2019 Das Rheingold with with Pablo Heras-Casado in musical direction. David Alden continues its close collaboration with the Real with delicious Baroque Calisto and Laurent Pelly put your sense of humor, well known and loved by the public of Teatro Real, for the last Verdi opera, Falstaff.

Oscar Garcia Villegas, Com that voice; Marta Pazos for Je suis narcissist; Christof Loy at the premiere of Capriccio at the Royal; Justin Way in The Plague and Francisco Negrin with Il trovatore, complete payroll opera stage directors in the new season.

The Royal Theater will feature two reference rooms of the theater area of ​​Madrid. On the one hand, the world premiere of the opera Je suis narcissiste, with strong feminine accent - composition Raquel Garcia-Thomas, Tornedo Helena libretto and stage director Marta Pazos- It will be held in collaboration with the Spanish Theater. For another, the premiere in Spain of that voice Com, de Stefano Gervasoni, Ships will take place at Matadero.

The dance season grows with the presence of five companies in its programming: el Ballet de am Rhein Dusseldorf y Duisburg, will make its presentation at the Royal Theater with choreography that explores and risks, huge visual and musical force, inspired by Brahms German Requiem; National Dance Company, He will return to show us his more classical side with a new adaptation of The Nutcracker from the perspective of José Carlos Martínez; the Ballet de l'Opéra national de Paris will offer a program composed of five choreographies, between tradition and modernity, signed by George Balanchine and Jerome Robbins. Sasha Waltz & Guests, He twinned music, opera and dance, transgressing the conventional limits, to make an inspiring version of the opera Dido & Aeneas, Victor Ullate Ballet and celebrated the 30th anniversary of the company with the presence of large dance figures formed by the Aragonese master.

Commitment to the younger, collected in programming 'Real Junior', it strengthens both the playfulness and training. Seven shows will be offered, one more than in the current season, five of which are new productions, with the participation of big names like the versatile Luis Piedrahita, the puppet company La Maquiné -winner a Max Award- or the renowned stage director Tomás Muñoz, in addition to the collaboration of the Titular Orchestra of the Royal Theater and the Youth Orchestra of the Community of Madrid. It also continues the collaboration with Fernando Palacios, both in presenting concerts in the series 'All the Gayarre'. Some of these shows can be seen through Digital Palco centers of the six autonomous communities with which the Teatro Real has signed cooperation agreements: Cantabria, Castilla y León, Castilla la Mancha, Murcia, Andalusia and Madrid.

Summer Workshops for children are inaugurated the Real Junior, LOVA project continues (Opera learning a vehicle) and course consolidates 'college scene'. Alongside these courses, and the growing demand for new audiences, born two new introductory courses to the opera to be added to existing: 'Opera exposed' and 'case Courses'.

stage Digital, the internet platform of the Royal Theater, expands horizons and develops new projects. In the new season will be held major co-productions for television and DVD with titles featured programming: Faust, Turandot, Rheingold, Idomeneo and Falstaff, besides broadcasting in cinemas in Spain, Europe and Latin America title in other seasons as The Flying Dutchman, Madama Butterfly, La traviata, Billy Budd, a Nueva Faust. Not forgetting the cycles of retransmissions to municipalities, autonomous communities and cultural institutions nationwide and expected internationally in countries like China and Japan.

The Teatro Real strengthens its project to bring opera more and more public thanks to broadcasts of popular titles in squares, auditoriums, museums, cultural centers and town halls throughout the Spanish geography and, with the support of new technologies, throught social media. It will be held a new edition of the Week of opera and close the season, one more year, the celebration of Universal Music Fesival in what will be its fifth edition.


La Calisto, from Francesco Cavalli (1602-1676).

One of the funniest works of the baroque, Satirical and full of entanglement, redescubierta today, will be headed by Ivor Bolton, specialist in Baroque music and music director of the Teatro Real. Performed by the Baroque Orchestra of Seville with a double cast that highlight the voices of sopranos Anna Devin and Louise Alder, Bacelli the mezzosopranos Monica and Teresa Iervolino and countertenor Xavier Sabata Time and Mead, in a production from the Bayerische Staatsoper in Munich designed by David Alden.

Dido & Eneas, from Henry Purcell (1659-1695). It will be the first full version of this title staged at the Royal Theater. Music and dance coexist in a show designed by Sasha Waltz for your company, whose musical direction is by Christopher Molds in front of the Akademie für Alte Musik Berlin and Berlin Vocalconsort.

Capriccio, from Richard Strauss (1864-1949).

Asher Fisch in musical direction and Christof Loy in stage direction, will conduct the premiere at the Royal Theater last opera by German composer with a new production that will be presented in Madrid scenario in co-production with Opernhaus Zurich and Gothenburg Opera.

over, from Roberto Gerhard (1896-1970).

Based on the novel by Albert Camus, the Spanish author composes an oratory in which he is responsible for music and libretto, and which it makes a dark reflection on human nature. The work will be preceded by two scores of Benjamin Britten: Sinfonia da Requiem and the song cycle the iluminations. British tenor Toby Spence will be the only solo voice by the Choir and Orchestra of the Teatro Real under the musical direction of Juanjo Mena.

That voice, from Stefano Gervasoni (1962).

Spain premiere of this musical experience that unites opera and fado, Baritone intertwining voices and Frank Wörner Cristina Branco, Reference interpreter in the current fado: Luis de Camões's sonnets, fado Amalia Rodrigues and collaboration of the Titular Orchestra of the Teatro Real.

Only the Sound Remains, from Kaija Saariaho (1952)

The winning score of Finnish composer meet in Madrid two acclaimed artists, Peter Sellars, in the direction of scene, and countertenor Philippe Jaroussky. Mysticism, deep and mysterious, opera pushes us to an inner search through two different stories: Always Strong Y Feather Mantle.

I'm narcissistic, Raquel Garcia-Thomas (1984)

First collaboration with Teatro Real Teatro Spanish, in whose room will place the premiere of this new composition with libretto by Helena Tornedo and stage direction by Marta Pazos. A funny satire told and sung in an atmosphere of pure actuality.


Faust, Charles Gounod (1818-1893)

Director musical: Dan Ettinger

Stage direction: Alex Olle

Set designer and video: Alfons Flores

Costume designer: Luke Castles

IIuminador: Urs Schönebaum

Only the Sound Remains, from Kaija Saariaho (1952)

Director musical: Ivor Bolton

Stage direction: Peter Sellars

scenographer: Julie Mehretu

Costume designer: Robby Duivemann

illuminator: James F. Ingalls

That voice, from Stefano Gervasoni (1962).

Director musical: Nacho de Paz

Stage-manager: Oscar Garcia Villegas

Scenographer: Marco Canevacci (plastic Fantastic)

Turandot, from Giacomo Puccini (1858-1924)

Director musical: Nicola Luisotti

Stage-manager, set and lighting: Robert Wilson

Idomeneo, from W. A. Mozart (1756-1791)

Director musical: Ivor Bolton

Stage-manager: Robert Carsen

scenographers: Robert Carsen, Luis Fernando Carvalho

illuminators: Robert Carsen, Peter Van Praet

Costume designer: Petra Reinhard

I'm narcissistic, Raquel Garcia-Thomas (1984)

Director musical: Vinicius Kattah

Stage director: Marta Pazos

Scenographer: Fernando Ribeiro

illuminator: Rui Monteiro

Fasltaff, from Giuseppe Verdi (1813-191)

Director musical: Daniele Rustioni

Stage director and costume: Laurent Pelly

scenographer: Barbara de Limbourg

Illuminator: Duane Schuler

Capriccio, from Richard Strauss (1864-1949).

Director musical: Asher Fisch

Stage director: Christof Loy

Scenographer: Raimund Orfeo Voight

Costume designer: Klaus Bruns

illuminator: Franck Evin

over, from Roberto Gerhard (1896-1970).

Director musical: Juanjo Mena

Stage-manager: Justin Way

artistic concept and scenographer: Dora García

The Troubadour, from Giuseppe Verdi (1813-191)

Director musical: Maurizio Benini

Stage-manager: Francisco Negrín

Escenógrafo y costume: Louis Desiré

illuminator: Bruno Poet




Maria Agresta, Maite Alberola, Louise Alder, Yolanda Auyanet, Eleonora Buratto, Malin Bystrom, Mariella Devia, Rebecca Evans, Anett Fritsch, Karina Gauvin, fiber Gerzmava, Carmen Giannattasio, Lianna Harountounian, Ruth Iniesta, Raquel Lojendio, Marina Puértolas, Marina Rebeka, Nina Voting, Irene Theorin y Sonya Yoncheva.

Mezzo Sopranos

Monica Pods, Daniela Barcellona, Maite Beaumont, Marie-Claude Chappuis, Joyce DiDonato, Marie-Nicole Lemieux y Ekaterina Semenchuk


Piotr Beczala, José Bros, Eric Cutler, Michael Fabiano, Ismael Jordi, Gregory customer, Francesco Meli, Piero Pretti, Joel Prieto, Juan Sancho and Toby Spence; baritones as Nicola Alaimo, Nikolai Borchev, Stéphane Diverting, Placido Domingo, Christof fish eaters, Matthias Goerne, Simone Piazzola, Dimitri Platanias, Maybe Borja, Artur Rucinski y Ludovic Tézier


Ain Anger, Greer Grimsley, Luca Pisaroni, Erwin Schrott, Roberto Tagliavini, Bryn Terfel the Samuel Youn


Max Emanuel Cencic, Franco Fagioli, Philippe Jaroussky, Tim Mead and Xavier Sabata

THEATERS coproducers

Canadian Opera Company de Toronto, Opera National de Paris, national Opera & Ballet Amsterdam, Finnish National Opera de Helsinki, National Theater of Lithuania, Opera House Di Roma, Royal Theater of La Monnaie de Bruselas, Lyric Opera De Chicago, Opéra National de Bordeaux, Tokyo Nikikai Opera, Opera de Zúrich, Gothenburg Opera, Opéra de Monte-Carlo, Royal Danish Opera Copenhagen, Matadero ships – Centro Internacional De Vivas Arts, Ircam (Search for Institute and Coordination Acoustic / Music) from Paris, Casa da Musica in Porto, Pocket Opera and New Creation, Spanish Theater of Madrid and the Teatre Lliure.