The magic Flute, Of whom!
The magic Flute
W. A. Mozart (1756 – 1791)
The Magic Flute
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
Teatro Real Madrid 17/02/20
D. musical: Ivor Bolton
D. scene: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade & Paul Barritt)Barrie Kosky
Set and costume designer: Esther Bialas
illuminator: Diego Leetz
Playwright: Ulrich Lenz
D. choir: Andrés Máspero
D. JORCAM choir: Ana González
Distribution: Rafal Siwek, Paul Appleby, Rocío Pérez, olga Peretyatko, Andreas Wolf, Ruth Rosique, Mikeldi Atxalandabaso, Elena Copons, As Grmma-Alabert, Marie-Luise Dreben, Catalina Pelaez, Celia Martos, Patricia Ginés, Antonio Lozano, Felipe Bou
T he Royal Theater has pulled wardrobe (so did this season with his L'elissir d'amore) and The Magic Flute programmed so successfully opened the season 2016. I must say that this time success has not been lower. Barrie Kosky and Suzanne Andrade sign a scenery that delights all audiences in one of the most popular works of Mozart were the repertorio.Le just a few months old when it premiered The Magic Flute, attending a commission that could help clean up its battered economy. The most influential figure in the cultural life of Vienna, Emanuel Schikaneder, librettist, businessman, singer, actor, composer and stage director, Mozart had asked the composition of a Singspiel, what it is traditionally understood by a comedy of manners, with peasants and popular characters in which parts sung with gender recitadas.El he alternated evolved and began to incorporate other character created, as noble and Bourgeois, without ever leaving the costumbrismo and humorada.
Mozart managed to raise the genre of the Singspiel keying in more typical opera seria characters and develop more complex musical scores for some of the roles. The Magic Flute Mozart fills the score and the libretto for a number of keys and Masonic references, lodge they are belonging to both Mozart and Schikaneder, and that crossed Europe from the hand of new ideas illustration. All these elements enrich the most popular genre at the time in Germany and Austria.

With the main axis of the popularity of the work, Barrie Kosky and Suzanne Andrade have developed a set design inspired by the film and animation. This could not have enjoyed the cooperation of the theater company 1927, you already have some experience in working linking animation with real characters. The result could not be more dramatic and appealing to the public. But also carries some risks, especially for some singers who, intuitively, They must interact with projections that they can not see. Another problem that may present film screenings is that the public pay more attention to the video that the singers and the score.

One can say that this production does not have scenery, just a huge proscenium screen serves for singers, through small gestualizaciones that mimic the silent film, play their role alongside the images projected.
At times the volume of images and constant movement can be overwhelming for the public. But the truth is that new technologies and virtual reality theater service, open a scenic possibilities, almost endless.

The Magic Flute is an opera in which often dispenses with the recitatives whose presence was so important at the time of its composition. This production is no exception. They have been removed leaving the surface and infant part, renouncing the deepest and educated philosophy of work created by Mozart. A change appear between scenes typical signs that accompanied silent movies and going briefly narrating the story. All very well embedded in the film production line. This time they are accompanied by the fortepiano Ashok Gupta, interpreting fragments of Fantasy in C minor Mozart.

The musical direction has been in charge of the owner of the theater, Ivor Bolton. His technique and correction when directing is absolute, but on this occasion the orchestra sounded flat, off, with low sound volume without shadings. It lacked the spark that accompanies Mozart works on this one occasion was right.

Singers of the box, I could have been more balanced, we must highlight his efforts to sing in conditions which would have to be. They appeared most often on small platforms to several meters from the ground. Although they were well secured, available and good work must be evaluated.
The Pamina Peretyatko Olga was the best night. A very good line of singing and phrasing for a voice with good volume and beautiful timbre.

American Paul Appleby was a Tamino irregular. It has a nice timbre, especially acute, that arrives in a strange way in braces.

Rocio Perez was the Queen of the Night, but only by sharing roles. He boarded his character without fear, which it is something, but his treble quedaros something suspenders. Better his first aria. As seen in the three deals of this paper, there is some crisis queens.

Well the Papageno Andreas Wolf. powerful and excellent voice fraseo, being German help in these cases.
Another of the winners was Mikeldi Atxalandabaso, who played an evocative Monostratos of Nosferatum full of vocal nuances and interpretative.

The Papagena Ruth Rosique was in his point, fun and sparkling. Very good also the three ladies Elena Compons, Marie-Luise Dreben and Gemma Coma-Alabert, despite the latter's indisposition.

Rafal Siwek good work done, as Sarastro, It has a good central register, although his grave were almost inaudible. Solvente the interpretation of Antonio Lozano and Felipe Bou, as two men in armor.

The three boys who play the young singers of the JORCAM Catalina Pelaez, Lucia Seriñán, Celia Martos, Chandra Henderson and Patricia Ginés, Maria Guzman, Are those voices that never fail. Although they are almost hung several meters from the ground.

A success over this reissue of a magic flute that is always a guarantee. Ticket office, show and happy audience. Mission accomplished.

Text: Paloma Sanz
pictures: Javier del Real

A film Magic Flute

He Teatro Real will begin the new year with the replacement of the dazzling production The magic Flute, from Wolfgang Amadeus Mozart, conceived by Suzanne Andrade, Paul Barritt y Barrie Kosky, presented with great success in your scenario January of 2016.

This time will be offered 13 functions, between 19 January 24 February, again with the musical director of Teatro Real, Ivor Bolton, to the front of a double deal, of the Headlines Choir and Orchestra of the Teatro Real and Little Singers of JORCAM.

Creative and exciting staging of the Australian director Barrie Kosky, premiered at the Komische Oper Berlin 2012, returns to The magic Flute its character as a moral allegory for all audiences, but with multiple layers ─del children's story interpretive reflection filosófica─, ─del surrealist film aesthetic references to the comic─, and winks accomplices to the viewer.

Production lacks decorated and it ─con singers interact very little mobility and meticulous and precise work actoral─, with projections of an animated film full of rhythm, humor and imagination. In the spoken parts of the opera - actually a singspiel, which mixes text and spoken dialogues appear cantado─ projected gussets and accompanied by the pianoforte Ashok Gupta, who will perform fragments Fantasy in C minor Mozart.

The success of this scenic and dramaturgical proposal lies in its enormous facility to communicate with the public, your mood, the waste of creativity and complicity with the viewer through a visual universe in which the characters mozartianos two centuries ago come to the public concerning converted naturally into as close to us as a heartthrob Rudolph Valentino type (Tamino), a seductive pert as Louise Brooks (Pamina), an evil like the terrible Nosferatu (Monostatos), or laughing, torpe e ingenuo Buster Keaton (Papageno)…

The absence of a traditional decorated, a 'virtual scenery' reduced to the presence of a screen on stage, requires singers to act with a huge concentration, acting talent and synchronized movements, they should have the freshness of the gag and clockwork precision in coordination with the projection of the drawings.

A double cast will alternate performances in giving life to the main characters ─Andrea Mastroni Y Rafal Siwek (Sarastro/Orador), Stanislas Barbeyrac Y Paul Appleby (Tamino), Albina Shagimuratova, Alexander Olczyk Y Rocío Pérez (Queen of the night), Anett Fritsch Y olga Peretyatko (Pamina), Ruth Rosique (Papagena), Andreas Wolf Y Joan Martin-Royo (Papageno) Y Mikeldi Atxalandabaso (Monostatos), who will be seconded by the three ladies of Elena Copons, Gemma Coma-Alabert, Marie-Luise Dreßen and the two men in armor played by Antonio Lozano Y Felipe Bou.

In the pit she will be the musical director of the Royal Theater, Ivor Bolton, expert in the work of Mozart and head between 2004 Y 2014 from Orchestra of the Mozarteum in Salzburg, where he has spent more than 10 years to the interpretation of the classical repertoire in the birthplace of composer.

Bolton will lead the Headlines Choir and Orchestra of the Teatro Real, one of the most popular operatic titles, which will be presented for the fourth time in the Teatro Real reopened after having done so in January 2001 (Frans Brüggen / Marco Arturo Marelli), July 2005 (Marc Minkowski / La Fura dels Baus) and January 2016, with the same production.

Coinciding with functions The magic Flute The Royal Theater has organized a series of Parallel activities related to Mozart's opera and the silent films of the year 20 which he inspired the drama and stage production proposal that will be seen on its stage.

Functions The magic Flute They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.

Photograph: Javier del Real

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https://youtu.be/mMmEwLvgk3Q

controversy “Magic Flute” The season opens in ArtsBy Diego Manuel García Pérez.

This controversial Magic Flute, with a transgressive staging of Graham Vick, It is purporting to show the serious imbalances affecting today's society, with a clear confrontation between the poorest and most privileged classes. Large placards and protest banners dominated the stage space and the lateral ends of the different floors of the room, with a lot of extras, They are moving both onstage and off. all, resulting is to divert attention from viewers what really matters: mozartiana wonderful music. Fortunately, Orchestra of Valencia, well directed by Lothar Koenigs, offered excellent sound and the Choir of the Generalitat was at his usual great height. Notable performance group solo singers, which include the Italian soprano Mariangela Sicilia, which he offered an excellent creation of Pamina.

The Magic Flute (The magic Flute) es un Singspiel (opera sung in German theatrical dialogues which include), in two acts with music by Wolfgang Amadeus Mozart and libretto by Emanuel Schikaneder. Its premiere took place at the Theater auf der Wieden popular in Vienna 30 September 1791, directed by Mozart with Schikaneder himself and playing the character of Papageno. It was the last premiere of composer, who died two months later, he 4 from December, with only thirty-five years. Today it seems clear that it was Mozart who proposed Schikaneder (multifaceted character: businessman, actor, singer, librettist and theater director), and not inverted, the creation of a German opera magical character. I wanted to repeat the great success, in 1782, with Singspiel The Enführung from the Seraglio (The Abduction from the Seraglio). The argument has been very controversial, through his messy network. It seems they started writing it Schikaneder and actor and singer Ludwig Giesecke, by the own Mozart, and criteria changed once written the first scenes, so that, magical comedy with a rueful Queen for the abduction of her daughter Princess Pamina and the gallant Prince Tamino in charge of rescue, It became more complex: an apology of Freemasonry, which clearly it alludes to convert the evil kidnapper of Pamina, the wise priest Sarastro, who governs a temple which is accessed beating tests where to display courage and strength of character. Tamino and Pamina, They manage to overcome sealing their love, despite the machinations of the Queen of the Night and the three ladies at your service. The most endearing character in the play is the simple Papageno, fowler, initially serving the Queen of the Night, and later become protector of the loving relationship between Pamina and Tamino. This argument is disjointed together by the extraordinary music of Mozart, orchestral fabric in which the voices of the different characters are inserted as an instrument. Obviously, It is a standard repertoire opera, There are many recordings on CD and DVD. Include two historic recordings, with magnificent orchestras and excellent performers, taken in studio and can be heard on YouTube complete. The first one was held in Berlin between 1937 Y 1938, with the great English conductor Sir Thomas Beecham, in front of the Berlin Philharmonic. In an environment already antebellum, Beechan could not finish recording; what, seems to be, It was completed by a young Herbert von Karajan. The cast was headed by two sensational performers: German soprano Tiana Lemnitz as Tamina, offering a voice of great purity and full of melancholy, next to Tamino Danish tenor Helge Rosvaenge, voluminous voice and beautiful, with a magnificent phrasing and absolute mastery of Mozartian style. The soprano Erna Berger makes an excellent creation of the Queen of the Night. The remastered edition for the Naxos label, significantly improves the original sound. The second recording recommended, It was made by EMI, in 1950, with the beautiful orchestral response of the Vienna Philharmonic directed by Herbert von Karajan, and a great voice cast with excellent Tamino Slovenian tenor Anton Dermota, auténtico estilista Mozart, a refined edge line, with German soprano Irmgard Seefried, a voice of great tonal beauty who plays a sensitive and delicate Pamina. Wilma Lipp makes a great creation of the Queen of Night, with superb mastery of coloratura. The other characters are played by great voices: great bass Ludwig Weber, a sensational plays Sarastro, Erich Kunz (Papageno), George London (speaker), Emmy Loose (Papagena). In the mid-fifties of last century, bursts into the opera scene the extraordinary German tenor Fritz Wunderlich, of beautiful vocalism and great dramatic temperament, Tamino whose creation is anthological, reaching often interpret. In 1964 (two years before his death, with just thirty-six years) Tamino played a recording studio in Deutsche Grammophon, with Karl Böhm in front of the Berlin Philharmonic, El Gran His Otter (speaker), Franz Grass (Sarastro), Dietrich Fischer-Dieskau (Papageno), Evelyn Lear (Pamina) and Roberta Peters (Queen of the Night). Escuchar a Fritz Wunderlich en el aria del retrato "This portrait is enchantingly beautiful", It is a true delight canoro.

There are two video shots, which can be heard complete on YouTube. The first one held in 1983, Opera in Munich, Wolfgang orchestral address Sawalisch, and sold on DVD by Deutsche Grammophon, with magnificent Tamino the Mexican tenor Francisco Araiza, of beautiful timbre and perfect adaptation to Mozartian stylistic repertoire, with excellent Pamina of the great Czech soprano Lucia Popp, a voice crystalline purity, and Queen of the Night of Edita Gruberoba, who shows his absolute mastery of coloratura. The second shot on video recommended, It was performed at the Zurich Opera House, Le year 2000 and sold on DVD by ARTHAUS MUSIC, Frantz orchestral address Welser-Möst, with gorgeous Tamino Polish tenor Piotr Beczała, whose voice is reminiscent of Fritz Wunderlich, Pamina next to the Swedish soprano Malin Hartelius, who brings voice and scenic beauty. The great Finnish bass Matti Salminen, It comprises an imposing Sarastro. Classic and very suitable Jonathan Miller scenic proposal.

It can not be said of scenic Mount Graham Vick, which has been seen in Valencia, coproduction with the Palau de les Arts, Birmingham Opera and the Festival of Macerata. Viewers who entered the room were surprised by a series of large posters hanging from all floors with protest messages: "Against gender violence", "In defense of the rights and freedom", "The system can not fight corruption because corruption is the system", "Fair pensions, the ". Number of extras invaded the stage and suffered some spaces viewers, what they wanted, He was having a good time listening to the wonderful music of Mozart. Y, all, It is the packaging of the set itself, performed by Stuart Nunn, (also responsible for costume design), where you can see three adjoining buildings: one of high altitude, on top of which, It appears the euro symbol (Financial power), Appel shop (The computing power, also home to the Masonic Temple) and a replica of St. Peter's Basilica (The power of the church). Of these buildings, at some point in the function, out amount of figurantes: financial executives smartly dressed and surrounded by sophisticated women, with military and ecclesiastical purple red, that make up the powers, oppressors of the people manifested with significant signs: “No, is not", "We also have voice", "We do not steal the future", "Diversity, Equality and Unity ", near these iconic buildings, bounded with defensive fences. The financial edifice is rotated at some point, can be seen in the back, missile battery connivance of economic and military power! or we shown the back of the basilica, where it appears a madonna, with his mouth covered The marginalization of women in the centers of power of the Catholic ecclesiastical world! Is inadmissible manipulation by Graham Vick of brilliant dialogues in German original text, with the inclusion of phrases in Spanish, where the impromptu chorus of figurantes acts as a Greek chorus leader, characters warning of the possible consequences of their actions or behavior reproaching. The aim of moving a work immersed in the world of the late eighteenth century to the current problems, should be entitled: The magic Flute with music by Wolfgang Amadeus Mozart and Emanuel Schikaneder text, reviewed by Graham Vick. It ragtag costumes, from that elegant business suit carrying Sarastro, to Papageno wrapped in a chicken costume, through Tamino and Pamina dressed in tracksuit with a dress reminiscent of the doll Olympia The Tales of Hoffmann, or the three ladies crammed into monkeys workers, which they are removed exhibiting attractive clothing in line with leading her boss, the evil Queen of the Night Ah! Y, also signal the presence of an excavator which serves snake chasing Tamino, and a soprano scooters where children move. In the end, the collapse of the three emblematic buildings followed by a macrodanza where all participants evolve preamble of a world where peace and harmony!

Faced with so many extras, With continuous stage movements, It has much merit and the conductor Lothar Koenigs conciliatory work, with the excellent sound of the Orchestra of Valencia, already apparent in the overture, the largest composed by Mozart, with a surprising use of counterpoint, and is continued with music that envelops the arioso a frightened Tamino and scenic irruption of the three ladies. Orchestral highlight both the quintet resolution Tamino, Papageno and the three ladies, as the beautiful Pamina and Papageno duet. The orchestra shines greatly across the broad end of Act I, with that solemn accompaniment that gives real emphasis duo of Tamino and Sprecher, or sound of the magic flute solo in the second intervention Tamino, with music that marks the stage presence of Sarastro, and band-chorus assembly, which concludes that Act I. Ya, in Act II, Significantly, the introductory orchestral sound with the "March of the Priests" and the brilliant combination of orchestra and choir in the "Choir of priests". The orchestral sound envelops brilliantly the two solos Sarastro. Very prominent orchestral performance in the solo interventions of Papageno, with continuous audible presence of "glockenspiel". But, especially, noteworthy, the excellent orchestral sound across the broad end of the work, with musical moments of extraordinary quality: that great scene, where, Firstly, the two gunmen involved temple with Tamino, with a sound reminiscent of a dramatic oratorio, followed by the sublime duet of Pamina and Tamino, where beautiful orchestral interludes where looks are inserted the sound of the flute, with a concluding coda where conjoined brilliant way of chorus and orchestra. As in so many moments of this work, the contrasts between idealized world in which Tamino and Pamina move shows, and the tangible reality, with that comic Papageno and Papagena duet, where another plane also-- The orchestral sound is very bright. Beautiful combination of orchestra, solo voices and chorus in the brilliant end of this Singspiel. Within the high level of all orchestral sections include the sound of oboes, clarinets and bassoons with a special mention of the flute solo.

The large group of singers include the Pamina gorgeous Italian soprano Mariangela Sicilia, attractive voice timbre, with width and breadth, with excellent phrasing and ability to sound regulations. And shows his vocal quality in the beautiful duet with Papageno Act I, offering their best performance in Act II aria "Ach, I feel it, ESIST verschuwunden ", sung with great Mozartian style and dramatic high capacity. Magnificent interpretation of that sublime duet "Tamino mein! O welch ein Glück "next to Tamino played by the Ukrainian tenor Dmitry Korchak, wide voice with good high register, although showing gaps stylistic, sobre todo al afrontar la dificilísima aria del retrato "This portrait is enchantingly beautiful", which it requires refined technique and expressiveness. His performance improvement in the aria "Wie stark ist nicht dein Zauberton" accompanied by his magic flute. Emphasize his intervention in the trio of Act II with Pamina and Sarastro, played by German under Wilhelm Schwinghammer, very elegant stage presence, sings with style, but it suffers from those deep bass notes that requires the character. It is also subject to occurrences of Graham Vick, taking that move through the stalls and issue some words in Spanish. English baritone Mark Stone, comprises a funny Papageno, remarkable vocal and especially interpretive plan, taking also sing phrases in Spanish. Queen of the Night, Czech soprano Tetiana Zhuravel, It offers an attractive stage presence; Y, though his voice is small and slight excess, LOGRA resolver de manera notable la coloratura aria del "revenge Hell boils in my Hertz", with those very difficult chopped notes. While Moses Monostatos Marin. Very funny the three ladies: Camila Titinger, Olga Syniakova y Marta Di Stefano, belonging to the Centro Plácido Sunday. Sprecher acceptable played by the bass Deyan Vatchkov. Notably the creation of Papagena-soprano Júlia Farrés Llongueras, who, in his first appearance, Graham Vick, which forces her to stay contortionist in a small container, and genuine comedy that gives his duet with Papageno. While the rest of performers including three children-soprano moving in patinete.

The Choir of the Generalitat returns to its high quality in its many interventions throughout the work.

 

The magic Flute

The Palace of Arts Figure claimed women in reassembling 'The magic Flute', Mozart, signing the prestigious British director Graham Vick.

The arts center opens Saturday, 1 from December, its thirteenth subscription season with this title, co-produced with the Festival of Macerata (Italy), and will be until the day 15 this month in the Main Hall.

Lothar Koenigs Debuts in the pit with stable bodies of Les Arts, Cor de la Generalitat, the Orquestra de la Comunitat Valenciana and artists Placido Center Sunday.

German director, as he recalled the president of the Board of Les Arts, Susana Lloret, It is a renowned Mozartian baton, what, after passing through Valencia, directed at the Metropolitan Opera 'La clemenza di Tito'.

Born in Aachen, Koenigs teacher cultivates a repertoire ranging from Mozart to Alban Berg, with works in major capitals like Vienna lyrics, NY, Munich or Milan.

Para Lothar Koenigs, 'The Magic Flute' has a music that "grabs you and you feel from within. It recognizes different elements: and references to sacred music in Sarastro, simple and easy to hold melodies Papageno, the dark elements in the second aria of the Queen of the Night ... "

Germany has also stressed the importance of text that includes references to what will be the future of opera, as the scene between Tamino and the Priest, and figures where one guesses as Wagner.

new version

'The Magic Flute' is the third staging of Graham Vick featuring Les Arts, but the first by the 'regista' prestigious center for the Valencian operatic, in collaboration with the Festival of Macerata (Italy).

Graham Vick is one of the biggest names in the operatic scene, and one of its greatest renovators. As founder and artistic director of the Opera Birmingham, He has become the company's flagship modernization and democratization of the opera. Recognized with the highest honors, He has developed his role as stage manager in major theaters in the world.

For this co-production of 'The Magic Flute', English veteran has surrounded himself with a team of Stuart Nunn, responsible for the sets and the costumes, Giuseppe Di Iorio, craftsman lighting, and Ron Howell, choreographer.

Vick explains, This is the fifth production in his career mozartiano Singspiel. This time the Englishman has conceived "a completely new version, including a more open ending that raises many questions and highlights issues such as the role of women ".

In this sense, the founder of the Birmingham Opera remembers that Mozart's work is influenced by Freemasonry: "The Masonic society was exclusively patriarchal, a reality also in the Catholic Church, where the woman has no power and was never allowed review. It is very interesting that these two enemies have that in common, besides the silence and secrecy ".

Likewise, Graham Vick has reduced the German text to add Spanish dialogues involved in the 73 citizens invited to participate in the assembly as the chorus of a Greek tragedy, or a comedy by Aristophanes.

"I appeal to nonprofessional actors -an idea with twenty years I've been experimenting with the intention of enriching the opera, as civic duty, both from the point of view of representation and public. I am seeking a democratic public and opera format that addresses any scale, race or creed of the community in which we live ", has explained.

Experience and youth

Les Arts combines experience and youth for the cast of this production, "With artistic excellence as a common denominator", as he recalled Susana Lloret in presenting production.

Dmitry Korchak, one of the most acclaimed bel canto tenors, returns to the arts center to sing the role of Tamino. Valencian operatic linked to the center since its inception, the audience will remember his performances in 'L'enfant et les Sortilèges', Ravel, 'Eugene Onegin', de Chaikovski, 'Cinderella', Rossini, or 'Don Giovanni,' from Mozart.

It begins in the Palace of Arts, Mariangela Sicilia como Pamina. Since its recognition in Operalia 2014, the young singer has emerged as one of the Italian sopranos with the greatest. He is accompanied in his presentation in Valencia also soprano Tetiana Zhuravel, who played the Queen of the Night at the premiere of this show in Macerata and repeats this same role.

Mark Stone da vida Papageno, role has previously sung in companies like Opera Philadelphia. British baritone, developing an important career as a concert performer, It also has an award-winning recording career.

Meanwhile, low Wilhelm Schwinghammer, figure usual prestigious festivals such as Bayreuth or Salzburg, sings the role of Sarastro.

Rounding out the cast, Bulgarian Deyan under Vatchkov (He / first priest), Grenadian tenor and former student of Placido Domingo Moses Marin Center (Monostatos), Welsh bass Richard Wiegold (second armed), Catalan-soprano Júlia Farrés Llongueras (Papagena), Italian-Brazilian soprano Camilla Titinger (first lady), the mezzosopranos the Center Placido Domingo and Olga Marta Di Stefano Syniakova, Valencian tenor and member of the Center of Perfeccionament Vicent Romero and children of Trinity Boys Choir: Lucas Rebato, Kiran Patel y Dionysios Sevastakis.

Total, Les Arts will offer six performances of this innovative assembly of 'The Magic Flute' day 1, 4, 7, 9, 13 Y 15 from December.

Wilhelm Schwinghammer

Wilhelm Schwinghammer is one of the most recognized basses of his young generation. His broad repertoire ranges from baroque to contemporary music, and it includes the most important roles of his tessitura as Figaro (The Marriage of Figaro), Leporello (Don Giovanni), Sarastro (The Magic Flute), Osmin (The abduction from the Seraglio), König Heinrich (Lohengrin), King Marke (Tristan and Isolde), Landgraf Hermann (Tannhäuser), Daland (The Flying Dutchman), wood Solt (the Rheingold), Rocco (Fidelio), Sparafucile (Rigoletto) and Orest (Elektra). In May 2018 debuted as Baron Ochs (Der Rosenkavalier) at the Stockholm Opera.

She has sung in most of the major opera houses such as Munich, Berlin, Dresden, Lyon, Milan, Vienna, Barcelona, The Angels, Washington, Chicago and Hong Kong Arts Festival. Wilhelm Schwinghammer has also gained a solid reputation as soloists and usually performs with renowned orchestras such as the Berlin Philharmonic, Boston Symphony, Bamberg Symphony, NDR Elbphilharmonie Orquesta y Concerto Köln. In opera and concerts it has been directed by Daniel Barenboim, Zubin Mehta, Kirill Petrenko, Andris Nelsons, Sir Simon Rattle, Marek Janowski, Sebastian Weigle, Philippe Herreweghe, among other prestigious directors.

In 2005 She debuted at the Salzburg Festival as Dr. Grenvil in La Traviata with Anna Netrebko and Rolando Villazón. In 2011 he returned to the Salzburg Easter Festival with Salome, directed by Sir Simon Rattle. Sings regularly at the Bayreuth Festival, where debut triumphally 2012 como en König Heinrich Lohengrin, role he repeated in subsequent years, and in 2014 Y 2015 singing, Besides, Fasolt s Das Rheingold, with stage direction by Frank Castorf.

His recent successes include a new production of the Ring in Chicago (stage direction by David Poutney), the title role in the new production of Le Nozze di Figaro in Hamburg Stefan Herheim, Y, in the same theater, Osmin s The Abduction from the Seraglio.

Wilhelm Schwinghammer was born in Bavaria and began his musical studies with the famous Regensburger Domspatzen. He studied at the University of Berlin (University of the Arts) Harald Stamm and attended master-classes with Kurt Moll and Marjana Lipovšek. In 2003 He was admitted to the Youth Program of the Hamburg Opera and 2006 it joined the stable set of said theater. Since 2017 acts as a freelance artist. He has been awarded several times and 2009 He won the prestigious ARD Music Competition, which also he won the Audience Award.

Joel Prieto

After a season in which he has accumulated debuts and triumphs in Europe, US and Asia with commitments in Toulouse, Warsaw, Tokyo, The Angels, Dresden, Moscow and Beijing, Joel Prieto The new course will begin in October for the first again facing role in the opera Iopas Berlioz's Les Troyens, title that the tenor has sung at the Deutsche Oper Berlin and to be represented at the Semperoper Dresden emblematic day 3, 6, 9, 21 Y 27 October 3 of November.

With a vibrant score and musically exciting, grand opera based on Virgil's Aeneid and rarely represented by its complexity has an epic story of war and peace, true to the spirit of French Romanticism, and gathers on stage more than 120 singers, chorus and solo. Dresden performances will be led by Lothar Koenigs musically in a new production Lydia Steier signing. Joel Prieto, last season “It has been breakneck, a course that has accompanied me my dear Mozart debuts that filled me with excitement and that allowed me to climb emblematic scenarios where always dreamed sing like Opera Warsaw, the Los Angeles Opera, the Bolshoi Theater in Moscow or Tianqiao Performing Arts Center in Beijing, In addition to interpreting Mozart's Ninth Symphony no less than by the NHK Symphony Orchestra of Tokyo”, says the tenor. “In the coming months I have a huge desire to throw myself into new repertoires in which I'm sure I'll have a wonderful experience”, Add.

After this start in Germany Joel Prieto await his return to the Teatro Real in Madrid His Natal- city, scenario in which debuted two seasons ago with The Magic Flute and returning with one of the most anticipated events of the Spanish billboard as the Madrid premiere of Street Scene, from Kurt Weill (February of 2018); his long-awaited return to Puerto Rico, where the artist grew up with his family, occasion will mark a very special moment in your diary interpreting the Requiem Mozart within the programming Casals Festival (March of 2018); in April he will return to the Teatro Municipal in Santiago, Chile, this time to take on the role of Don Ottavio in Don Giovanni, Mozart.

More information: http://joelprieto.com/

Joel Prieto

After passing over the last two months lyric coliseums Dresden, Düsseldorf, Warsaw and Moscow, the Hispanic-Puerto Rican tenor Joel Prieto will re-dress as Prince Tamino from The Magic Flute of Mozart, with which just debuted to great acclaim at the Bolshoi Theater, this time for its debut in China, at the Tianqiao Performing Arts Center in the capital of the Asian giant (21 Y 23 of July). And he does it again in the great staging of Barrie Kosky Y Suzanne Andrade for the Komische Oper in Berlin that pays tribute to silent films and that Joel Prieto has already performed at the Teatro Real in Madrid, at the Warsaw Opera and the Moscow Bolshoi.

So far this year the young tenor has gone on to some of the most important stages in the world including, always with Mozart, the Los Angeles Opera (The Rape of the Seraglio); the Semperoper Dresden (The Rape of the Seraglio); Grand Theatre in Warsaw (The magic Flute); and Bolshoi Theater in Moscow (The magic Flute).

Although not everything is Mozart on Joel Prieto's agenda: after his debut in Beijing (China) his return to the Dresden Semperoper is announced as Iopas in Les Troyens, from Berlioz; the Teatro Real in Madrid to participate in Street Scene, from Kurt Weill; its debut at the Casals Festival in Puerto Rico with Mozart's Requiem; and his return to the Municipal Theater of Santiago de Chile as Don Ottavio de Don Giovanni.

http://joelprieto.com/

Joel Prieto

the tenor Joel Prieto continues to reap victories and conquering new operatic places. If he debuted last January in Los Angeles Opera
(U.S) with mozartiana The Abduction from the Seraglio, in March he participated in the traditional AIDS Gala 2017 de la German Opera on the Rhine en Dusseldorf; in April he returned to the Semperoper Dresden (Germany) with Belmonte of The Abduction from the Seraglio for the first time in Europe-seven functions that will stretch in May and June- Without forget, Sometimes in April, a unique performance as Tamino in The Magic Flute at the Grand Theater in Warsaw (great theater, Poland), headquarters of the Polish National Opera, in the acclaimed staging of Barrie Kosky and Suzanne Andrade that pays homage to silent film and Joel Prieto has already played at the Teatro Real in Madrid.

Joel Prieto add a new debut in May that excites him especially: up for the first time on stage at the Bolshoi Theater Moscow, in which she will sing -days 24 Y 26 of May- Prince Tamino his acclaimed, The Magic Flute, and in the same successful production Kosky you already have all tickets sold. “The truth is that being a year of debuts both characters and new scenarios. Singing in an emblematic theater and great tradition like the Bolshoi my passion, especially considering I will in a production that I have sung in theaters and I love”, says the singer.

The former winner of Operalia Contest 2008, In addition to succeed with Mozart where you will also wanders other repertoires such as the romantic bel canto and French romantic opera, as well as some of the most emblematic titles of zarzuela. Joel Prieto has closed commitments on its agenda for the next three years, most notably its debut in Beijing (China) with The Magic Flute; his return to the Semperoper Dresden as Iopas Les Troyens in, from Berlioz; the Teatro Real in Madrid to participate in Street Scene, from Kurt Weill, in a new co-production of the Madrid coliseum with Opéra de Monte-Carlo and the Oper Köln this “American opera”, as the christened own Weill; its debut at the Casals Festival in Puerto Rico with Mozart's Requiem, also return to the Municipal Theater of Santiago de Chile, this time to assume the role of Don Ottavio in Don Giovanni.

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Joel Prieto

the tenor Joel Prieto, Operalia Contest winner 2008, He debuted in January at the Los Angeles Opera (U.S) as Belmonte in Mozart's opera The Abduction from the Seraglio -“probably the most difficult role I have sung in my career”, as the young singer-, obtaining a considerable personal triumph, both public and critics [“Prieto contributed a vocal virtues Mozartian singing delicate line, excellent in the passage and with an infinite fiato… Yours is a true quality voice… His performance verged on perfection”. “Joel Prieto sang a Belmonte almost with the sound of an oboe, always in the exact center of the note”]. The tenor born in Madrid, raised in Puerto Rico and trained in New York, stay true to Mozart and in april, May and June will return to Semperoper Dresden (Germany) this time to show his Belmonte in seven functions, while, he 28 of April, will give a one-time performance as Prince Tamino of Die Zauberflöte at the Grand Theatre in Warsaw (great theater, Poland), headquarters of the Polish National Opera. It is a rerun of the applauded staging of Barrie Kosky Y Suzanne Andrade that Prieto has already performed so much in the Teatro Real in Madrid (Spain) as in the main coliseum of the Polish capital.

In Dresden, instead, Joel Prieto will be Belmonte in a montage signed by Michiel Dijkema, with Christopher Moulds the baton.

http://joelprieto.com/

Teatro Real

He Teatro Real It prepares for a new release of its most familiar season, with the staging of The Magic Flute, a show created from The Magic Flute, from W.A. Mozart, in which the smallest of the house will enjoy the adventures and music of one of the most famous operas of German composer, the days 27 Y 28 February and 5 Y 6 of March, in double sessions, to 12.00 and at 17.00h.

To carry out this project, wherein the video, the music and words are integrated creating a magical atmosphere, The Royal Theatre has enjoyed an artistic team led by the multi-talented actress Pilar Massa, responsible for the script, the staging and video creation, whose interpretation is the backbone of this "story". Pilar recounts the adventures of Tamino and Papageno in search of the princess Pamina, represented in the colorful drawings Ximena Maier.

The show travels through the most famous musical moments of The Magic Flute, between the overture and a final highly original, versioned by the string quintet Vienna Chamber Symphony, live, with musical direction Sergio Mastro. They happen, over an hour, some of the most famous arias from Mozart's opera, that guide "for the Queen of the Night remember the history of this magic flute as 'sounds'. His music has so much emotion that the beasts of the forest, children, and even the Queen of the Night come to listen as if by magic ", as tutorial describes the show.

The Educational Program of The Magic Flute is sponsored by La Caixa and with the support of the Bank of Spain.

More information on tutorial show, available on the website of the Royal Theatre, with free access.

The Magic Flute

musical show with projections

New production at the Theatre Royal

PERFORMERS

Vienna Chamber Symphony (Vienna Quintet)

Musical direction: Sergio Mastro

Script, staging and interpretation: Pilar Massa

Design drawings: Ximena Maier

Lighting Design: Paco Ariza

Editing projections: Insuel SL

Duration: 60 minutes approximately

preferred public: from 4 years

Teatro Real. Sala Gayarre

*Tickets sold out for all functions, everyday

Joel Prieto ©Simon Pauly

The young Hispanic-Puerto Rican tenor Joel Prieto, has finally premiered in the Teatro Real from Madrid, your natal city, playing the role of Tamino, in The magic Flute Mozart. This is a role he knows well since he debuted professionally with ten years ago.

The production of Barrie Kosky for the Komische Oper in Berlin and directed in Madrid by Ivor Bolton, They represent a before and after in his career after the success of the public and critics.

He welcomes us at the Theater, between function and function, and tells us about his career, of the success and difficulties of this production and of its next professional challenges.

The magic Flute

Between days 16 Y 30 January the Teatro Real will offer twelve functions of The magic Flute, from Wolfgang Amadeus Mozart (1756-1791), in a production from the Komische Oper in Berlin, that since its premiere in 2012 It has been performed in various theaters and festivals almost continuously: Los Angeles and Minnesota Operas, Düsseldorf and Duisburg operas, Edinburgh and Sankt Poelten festivals and a tour of the Chinese cities of Canton and Xiamen. After Madrid the production will continue its journey through Paris and Barcelona.

The success of this scenic and dramaturgical proposal lies in its enormous facility to communicate with the public, your mood, his waste of creativity and complicit winks at the viewer through a visual universe as well known as the silent movies of the years 20, in which they parade from a handsome guy Rudolph Valentino (Tamino) to a Pamina that reminds Louise Brooks in Lulu, or the Nosferatu evoked by the figure of the evil Monostatos. The unmistakable body language of Buster Keaton (Papageno) emerges in the gestures of many of the characters in their dialogue with the screen, transformed into a virtual set made with the most sophisticated techniques of animation cinema by Suzanne Andrade, Paul Barritt and his company 1927, created by both in London in 2005.

The absence of a traditional decoration also favors the mobility of production, who lives off the acting talent of the interpreters, whose movements must have the freshness of the gag and a clockwork precision in their coordination with the projection of the drawings on the screen.

Two choral casts -with Joel Prieto Y Norman Reinhardt (Tamino), Sophie Bevan Y Sylvia Schwartz (Pamina), Joan Martin-Royo Y Gabriel Bermúdez (Papageno), Ana Durlovski Y Kathryn Lewek (Queen of the night), Christof fish eaters Y Rafal Siwek (Sarastro) Y Ruth Rosique (Papagena), among others- have worked meticulously under the direction of Tobias Ribitzki, assistant of Barrie Kosky and in charge of all reruns of the production.

In this evocation of the silent film, the spoken dialogues of The Magic Flute appear projected on cartouches and accompanied by the pianoforte by Luke Green, who will perform excerpts from Mozart's Fantasy in C minor.

In the pit will be the Musical Director of the Royal Theater, Ivor Bolton, holder from 2004 of the Orchestra of Salzburg Mozarteum, where he has spent more than 10 years to the interpretation of the classical repertoire in the birthplace of composer. Bolton will once again conduct the Teatro Real's titular Choir and Orchestra in one of the most popular operatic titles, which will be presented for the third time at the reopened Teatro Real after having done it in January 2001 (Frans Brüggen / Marco Arturo Marelli) and July 2005 (Marc Minkowski / La Fura dels Baus).

Coinciding with the performances of The Magic Flute, the Royal Theater has organized a series of parallel activities related to Mozart's opera and the silent films of the years 20 which he inspired the drama and stage production proposal that will be seen on its stage.

'THE MAGIC FLUTE'

PARALLEL ACTIVITIES

Circle of Fine Arts - Projections

Film series dedicated to Buster Keaton

http://www.circulobellasartes.com/ciclos-cine/generacion-keaton-3/

Coinciding with the representation in the Royal Theater of The magic Flute with a set and staging taken from Buster Keaton and the pioneers of American comedy, the Cine Estudio carries out an extensive cycle dedicated to slapstick. Buster Keaton has a place in it, Charles Chaplin, Stan Laurel, Oliver Hardy y Fatty Arbuckle, but also many comedians (and comics) today forgotten that we rescue for our spectators.
7 a 31 from January.

Circle of Fine Arts - Cinema Studio

Spanish Film Library
The magic Flute (The Magic Flute), the Bergman, 1975

http://www.mecd.gob.es/cultura-mecd/areas-cultura/cine/mc/fe/cine-dore/programacion.html

Television adaptation of Mozart's opera, from the personal vision of the Swedish director.
21 Y 31 of January of 2016

Cine Doré

Chamber Sundays

From Mozart and Wagner

Parallel activity to The Magic Flute and The Prohibition of Love

http://www.teatro-real.com/es/espectaculos/1976

Program

part I

Sergey Prokofiev: Sonata for two violins in C major Op. 56
Richard Wagner / Karl Stiegler: Lohengrin – Fantasy for 8 tubes

part II

Wolfgang Amadeus Mozart: Quintet for clarinet and string in A major, K 581

Soloists of the Titular Orchestra of the Teatro Real

17 from January, to 12.00 h.

Teatro Real. Great room

Everyone to the Gayarre!

The magic Flute
Appointment with the Queen of the Night and Papageno, in which songs will be performed,

stories and games of very different styles.

http://www.teatro-real.com/es/espectaculos/1982

Workshop conceived and presented by Fernando Palacios

With the participation of the pianist Federico Lechner

17 from January, to 12.00 and to the 17.00 h.

Teatro Real. Sala Gayarre

Street entrance Felipe V

Joel Prieto

The tenor of Puerto Rico Joel Prieto He disembarks in Madrid with all the illusion that he has to debut in his hometown. Considered the most important Mozart tenor of the moment, the Madrid singer will be Prince Tamino in the Teatro Real the days 16, 19, 22, 24, 26, 28 Y 30 of January of 2016 in the acclaimed production of Barrie Kosky The Magic Flute. After his last performances -Narraboth at the Salome de Richard Strauss in Lyon (France) and Helmsman in The Flying Dutchman at the Berlin Staatsoper (Germany)-, Prieto returns to Spain after his applauded return to Gran Teatre del Liceu from Barcelona last year as Ferrando de Così fan tutte. In Madrid the young Operalia winner will act under the direction of Ivor Bolton, with whom you have previously worked: “We get along very well with the teacher and he always gives good advice to the singers”, says the tenor. “I will also be with the Papageno of Joan Martin Royo, who I also know a lot, So in Real we are going to feel at home”.

Regarding his Madrid debut, he confesses that he is very excited: “Singing in the city where I was born and spending time with my Spanish family fills me with joy”. The tenor made his professional debut as Tamino in 2006 at the Deutsche Oper in Berlin, role that he took up in 2011 for his debut at the Berlin Staatsoper Unter den Linden and with which he returned to that same stage in 2013 next to stars like Anna Prohaska Y René Pape. Saluted for his extensive command of the Mozart repertoire, He is one of the most sought-after artists of his generation, especially since he 2008 will win the prestigious Operalia contest created and chaired by Placido Domingo.

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