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.

Luisa Miller

Two performances had scheduled the Teatro Real of the Luisa Miller verdiana. A work unjustly considered minor in the repertoire. Perhaps because its composition, prior to the trilogy formed by Rigoletto, The Troubadour Y La traviata they put her in the background. Verdi account on this occasion with the librettist Friedrich von Schiller giving more importance to the love and social drama of the original work, Cabal and Love (intrigue and love). What the author himself will call "bourgeois tragedy". These new argumentative “motives” could well be justified in avoiding the action of censorship. Very active in those moments of European revolutionary upheaval in 1848.

This has been a concert version. But you can't say it wasn't staged. More and more operas in concert are, dispensing with the always uncomfortable music stands, are semi-staged by the singers, creating a lyrical atmosphere closer to an opera night with all its arming.

At the head of the management was the American James Conlon. A true lover of Luisa Miller. To the point of calling his daughter Luisa and thereby evoking the paternal filial relationship of the protagonists. His knowledge of the work is total, He barely consulted the score to which he printed a lively rhythm full of tension from the overture. Especially in the endings. He extracted a pure Verdian sound from the orchestra, mainly from the strings. The chorus, in his usual line, magnificent!.

On the sidelines of music, without a doubt the voices were the protagonists of the night. Leo Nucci, who embroiders the dramatic roles of Verdian father, retains extraordinary vocal qualities to its 74 years. The shortness of breath at times and your reservations, in others, to be able to undertake the finals, are compensated by a skill in dramatization that only experience provides.

The Croatian Lana Kos It was quite a surprise in her role as Luisa. Its large central register is the ideal support to move through a powerful lyrical soprano tessitura. Vigorous, homogeneous voice with enough headroom to refine the highs.

The evil Wurn was embodied by the Canadian baritone John Relyea. Robust, shadowy voice to compose an interesting character who fought a powerful duel with Walter.

Dmitry Belosselskiy played a magnificent Earl of Walter. He wore good treble in his aria "My blood, I'd give life " and his powerful and smooth bass in the duet with Wurn "The high heritage".

The Madrilenian Maria Jose Montiel played the always thankless role of Federica. Just a few days ago we listened to it in the Teatro de la Zarzuela in the role of a María Moliner flawless and, suddenly, appears on stage at the Teatro Real with a completely different register. With a verdi score of abyssal tones for a mezzo string, solve your character with a dense and compact voice, demonstrating that the radius of action of his voice is wide and that he is in one of the best moments of his career.

The young Neapolitan tenor made his debut at the Real Vincenzo Costanzo. He came to replace those initially chosen for this Rodolfo. It is not easy to approach this role with 24 years, singing on the proscenium and surrounded by well-established voices. And Costanzo does it with gallantry and determination. Your instrument is under construction, like his ability to interpret, but it aims a nice timbre and as soon as the fiato is prolonged and the technique exceeds the physical effort, you can tackle these demanding roles with all the guarantees. The applause of the public after the well-known aria “When night to calm” They gave him the confidence to tackle the rest of the work with greater security. Next season we will have the opportunity to listen to him again in this Theater in his role as Pinkerton and we will observe his evolution. Mimbres has.

Marina Rodriguez-Cusi played Laura. This Valencian mezzo-soprano is always a guarantee. His brief role showed his good work. Despite being located behind the orchestra and the rest of the cast, his voice was heard full.

The successful intervention of César de Frutos playing a villager.

This Luisa Miller left very good feelings in the public. From time to time a purely operatic title is appreciated, and nobody better than Verdi to provoke these kinds of emotions.


Giuseppe Verdi (1813-1901)

Melodrama tragic in three acts

Salvadore Cammarano libretto based on the play cabal and Love (Intrigue and love, 1783) de Friedrich von Schiller. Premiered at the San Carlo Theater in Naples on 8 December 1849.

Opera in concert version.

D. musical: James Conlon

D. choir: Andrés Máspero

Distribution: Dmitry Belosselsky, Vincenzo Costanzo, Maria Jose Montiel, John Relyea, Leo Nucci, Lana Kos, Marina Rodriguez-Cusi, César of Fruits.

Choir Y Orchestra holders of the Royal Theater.


Luisa Miller, from Giuseppe Verdi (1813-1901), will return to the Royal Theater in two only performances in concert version the days 23 Y 26 of April to 20 hours, under the expert baton of James Conlon, and with a leading trio that unites the veteran baritone Leo Nucci with two young singers who will debut in Madrid: soprano Lana Kos, in the title role, and tenor Vincenzo Costanzo, as Rodolfo. They will be seconded by the low Dmitry Belosselskiy Y John Relyea, of powerful you, and the spanish mezzo-sopranos Maria Jose Montiel Y Marina Rodriguez-Cusi. Together with them the Headlines Choir and Orchestra of the Teatro Real, that these days the functions of Verdi alternate with those of Parsifal, Wagner.

Despite the success of the premiere of Luisa Miller at the Teatro San Carlo in Naples in 1849 and the numerous performances that took place in the immediate aftermath, this Verdi opera, the 14th in its catalog, was gradually leaving the stages, being postponed by other more popular titles of the composer. This unjust oblivion is due, maybe, to the characteristics of the libretto and its undervalued score, and also to the place it occupies within Verdi's operatic production: is a work of transition between the first and second stylistic period of the composer and, especially, happen it, in the next four years, the famous Verdi trilogy: Rigoletto (1851), The Troubadour (1853) Y La traviata (1853).

With Luisa Miller Giuseppe Verdi stands at a crossroads between the use of structural conventions, Stylistic and plot prevailing in the booming Italian operatic creation in the mid-nineteenth century, and search and exploration of new ways to flourish in later works, and that appear above all in the magnificent third act of the score.

Luisa Miller is Verdi's third opera based on works by Friedrich von Schiller (1759-1805), after Giovanna D'Arco e I Masnadieri. Later, the composer would return to his admired writer with Don Carlo. the libretto, from Salvadore Cammarano (1801-1852) —Perhaps the most prestigious and sought-after librettist of the time, who worked with Verdi on four operas—, privileges the love and social drama of the characters to the detriment of the revolutionary and political ardor that enshrines the original literary work, cabal and Love (Intrigue and love), apostilled by the author as "bourgeois tragedy". With this dimension, Schiller moves the archetype and sap of classical tragedy - whose suffering and injustices inspire compassion or fear - to a closer contemporary context, where power and class struggles survive, and the contrast of the most sublime and the most despicable feelings.

Written in the period of effervescence of the revolutionary movements that shook Europe in 1848, the libretto dodges with agility the imperatives of the strong censorship of that time, but it keeps the essence of the drama: how the arrogance of the powerful and the arbitrariness of their conduct determines the fate of the weakest, whose only and last refuge of individual freedom is voluntary death.

If in Verdi's operas the figure of the father, with his inner struggle between affection and duty, between honor and love, occupies an important role - reinforced, in many cases, by the absence of the mother - in Luisa Miller there are two fathers who embody the power conflict of the plot and also the dichotomy between the conservative values ​​of the nobility and the desire for free thought that the growing bourgeoisie claimed: Miller, the father of the protagonist, old retired soldier, advocates free choice of spouse for her daughter, based on love, while the Earl of Walter and his insidious henchman Wurm, put power and lineage before any other value, feeling or even life.

From the compositional and dramaturgical point of view Luisa Miller also materializes, although in a latent way, the struggle between the subordination of music to the structure of Italian serious opera in vogue in the mid-nineteenth century and the need to transcend, from inside, the formal limitations of the sequence of arias, cabalettas or duos, privileging the expression of more personalized feelings, intimate and deep, and the construction of more complex characters.

For that the orchestra grows in autonomy, harmonic richness and descriptive and evocative capacity, as reflected in the overture of Luisa Miller, that anticipates the findings of the third act, where you can guess the great Verdi of his future operas.

With Luisa Miller will return to the Royal Theater the great Leo Nucci, that last December he obtained an unforgettable triumph at the Teatro Real, with encores in all functions of Rigoletto who interpreted. At 74 years, The Italian baritone will once again incarnate on the stage of the Real one of the anguished Verdian parents: after his unforgettable Giorgio Germont, Alfredo's father in La traviata (2015), and his devoted interpretations of Gilda's desolate father in Rigoletto (2009 Y 2015), Nucci will now be Luisa Miller's kind father, that he will have to live once more the death of his daughter, naive victim of political struggles, classist and personal alien to their feelings.

After the staged version of Luisa Miller in 2005 (Jesús López-Cobos / Francesca Zambello), this opera returns now without the support of the scene, which will allow the viewer to concentrate on the musical and dramaturgical richness of the score, as James Conlon explains in Revista del Real: “I love the concert versions, and in fact I think they often convey essential dramatic values ​​even better than staged productions. Let's not forget that the first playwright is the composer. Verdi's musical and dramatic genius is impressive. The concert versions allow the audience to feel the impact of the musical drama in a very special way..


Following its success in Madama Butterfly from Puccini, directed by Myung-whun Chung Fenice in Venice - which has earned itself Chung invitation to play the role of Pinkerton in Tokyo-, the young Italian tenor Vincenzo Costanzo Debuts in Teatro Real in Madrid functions in concert version Luisa Miller from Verdi, Scheduled day 23 Y 26 of April. The twenty-four young Italian reprises the role of Rodolfo, already he faced in 2013 Busseto en, under the bicentenary of Verdi, after winning the contest "Voci Verdiane".

"Singing such a demanding role like this, in such an important theater like Madrid, It is an honor but also a great responsibility - says Vincenzo Costanzo. The only tenor who has played Rodolfo in Luisa Miller at such a young age has been José Carreras, which it is still today an important reference. In Madrid, sing with the great baritone Leo Nucci, which he was in charge of the stage direction, and vocal and artistic preparation of my first Luisa Miller in Busseto, and this makes me even happier. It is a role he has profiled me, this time as stage director, and it's very exciting to finally sing with him. Also a honor for me to work with a great teacher as James Conlon, because it is an extraordinary musician, with great experience and with whom I felt a special tune from the first moment ", He concludes the tenor.

Born in 1991, Vincenzo Costanzo began his musical training at the age of six, singing in the choir of white voices of the Teatro San Carlo in Naples and made his debut as a soloist with only eleven years. Diploma in singing and engineering graduate, He has sung in prominent theaters, among which include the Teatro Comunale of Florence-Maggio Musicale Fiorentino, Teatro Carlo Felice de Génova, Teatro San Carlo in Naples and the Fenice in Venice. Next season, Vincenzo Costanzo will return to the Royal Theater to play the role of Pinkerton (Madama Butterfly), under the baton of fellow Marco Armiliato.

Photograph: Victor Santiago