Opus set 22

He Notes cycle Ambigú the Teatro de la Zarzuela will host the next Tuesday 28 of June (20h00) a concert dedicated to young composers. He Opus set 22 will take over, under the title ‘Contemporary Spanish Music’, the prèmieres of the four winning works of the I Prize for Composition of the Teatro de la Zarzuela and the Royal Conservatory of Music of Madrid.

The jury appointed by both institutions highlighted in its day the "high level" of all the compositions presented, and unanimously agreed to reward four of the works presented: "The eternity of an instant" Adela Rodríguez Yus, Grave of the Fireflies and Digital Aneurysm Pablo Gonzalez Gonzalez, "Behind a Crystal Abyss" Victor Pantoja Figueroa and "Tears of Light" by Nuria Maria Sanchez Sanchez.

The Ensemble Opus 22 was born precisely as a response to the musical concern of four young Spanish performers for investigate and disseminate current music. Composed by Ana Carmen Sanchez Bruno, fiddle; Inaki Marcos Bueno, clarinets; Alejandro Fenollosa Beltrán, saxophones; Y Javier Pena Tamayo, piano, he commitment to the compositional landscape national is among their priorities.

They chose the prize students enrolled in the specialty of Composition or Sonology during the academic course 2021/2022 of the RCSMM or those who have obtained in this academic institution the Higher Degree of that discipline in last two years academics.

Notes Ambigú 21/22

This season the Theater has once again offered the double of recitals that at the beginning of the cycle. 10 other inescapable that will end next 4 of July.

After the concert of Opus set 22 which will premiere the four winning works of the I contest of the Teatro de la Zarzuela and the Royal Conservatory of Music of Madrid for young composers (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).

Xavier Anduaga

In just one year, Xavier Anduaga has made his debut at the Teatro Real, the Paris Opera and London's Covent Garden. And its presentation is announced next season at the New York MET. If we take into account that we are talking about a tenor of just 27 years, we will be aware that we are facing one of the most important lyrical voices of recent decades.

Continuing with the presentations, This week he has given his first recital at the Teatro de la Zarzuela. With the title of "Our music", Anduaga has toured the most important ballads of our musical scene. The first part began with "Bella in love", from The last Romantic, of masters Soutuolo and Vert. He continued with the inevitable "From this peaceful corner of Madrid", by Moreno Torroba. In both pieces he demonstrated the generous volume of his light lyrical voice..

Of the master Usandizaga he interpreted "Alare!, a place of happiness!”, of Mendi-Mendiya, with exquisite taste. In "Red Flower", by Los gavilanes, Jacinto Guerrero, demonstrated his mastery of bound, prolonging well-held sentences. He finished this first part with "by the smoke it is known", by Dona Francisquita de Vives, that approached with intention and sunny and full voice.

The second part began with "Goodbye Granada", of Los emigrantes and a spectacular “Tamar, reason for my existence”, from The Flame of Usandizaga. Here Anduaga demonstrated his exquisite taste and musicality. In "it can't be, this woman is not good, from The Tavern Girl of the Port by Pablo Sorozabal, in which he exhibited great intensity and drama, just like in Maitechu mine!, Francisco Alonso.

The program ended with an exciting interpretation of Júrame, of Maria Grever and Granada, Agustin Lara. By then the public had already gone crazy. The silence throughout the recital was sepulchral, a stunned silence at the young tenor's vocal qualities. generous volume, an enameled and luminous chime that filled the room with little effort. Metal even in the middle voices. Phrases with intention and emotion and regulates effectively.

As a first tip, she offered the traditional Basque lullaby Nice baby, performed in low voice, With the tenderness that memories evoke. As a second he repeated "You know by the smoke", by Doña Francisquita.

He was accompanied on piano by Giulio Zappa, who did his job, but he didn't have his night. It became almost the protagonist during the first part by simultaneously using an electronic support for the scores, and an assistant to turn the pages. Both things were incompatible and had us distracted and in suspense, he even had to start over one of the pieces.

With these wickers and thinking about the journey ahead to polish and perfect all those singing qualities that he treasures, the short future, medium and long, it looks spectacular. This has only started…

Photograph: Elena del Real

Xabier Anduaga

On Tuesday 21 of June (20h00) presents at the Madrid Coliseum 'Our music'

Xabier Anduaga, one of the great young voices of world opera, offers in the Teatro de la Zarzuela a concert dedicated to extolling the genre. He will be accompanied on piano by Giulio Zappa.

Madrid, 16 of JUNE 2022.- Under the title 'Our music', the tenor Xabier Anduaga will review the next Tuesday 21 of June (20h00) at Teatro de la Zarzuela a good collection of the most significant romances of the genre. The San Sebastian tenor, day by day one of the most important voices of the world lyric, will offer the recital within the Concert series of the Madrid Coliseum accompanied by the pianist Giulio Zappa.

The concert will therefore be a exciting journey for works composed by some of the most outstanding zarzuela musicians such as Moreno Torroba, Sorozábal, Guridi, Usandizaga, Vives, Guerrero, Serrano, Soutullo and Vert O Barrier and Alley, in addition to traveling through the beauty and feeling of songs by Francisco Alonso, Agustin Lara, Maria Grever O Manuel Maria Ponce, that at this point transcend any time.

Giulio Zappa will perform on piano solo a nostalgia by Guridi and a bolero by Casella.

The birth of the Sun King

The next sunday, 19 of June, we can enjoy the Teatro Real of the Show The birth of the Sun King, The royal ballet of the night, conceived and performed by the French company Matching set, directed by harpsichordist Sébastien Daucé, whose premiere had to be postponed last season due to difficulties in moving the artists due to the pandemic.

There are many monarchs who have starred in operatic titles, but there are very few who have the honor of having been inaugurated by a king, as is the case of The royal ballet of the night (1653), show in which Louis XIV embodied the god Apollo as a dancer with barely 14 year old. the aristocracy, present in large numbers, the European ambassadors and also the Parisian bourgeoisie acclaimed this great spectacle whose wonders created a very lasting impression.

The show, nothing innocent in political terms, sanctioned the triumph of the crown over the revolts that the aristocrats of the Fronde had instigated during the preceding five years, through an allegory in which the Sun King dispelled the darkness of the night, arranged musically throughout four vigils that alternated sung and danced numbers. For the first time in the history of the genre, a unified and carefully developed libretto appears in four watches (parts) and a great concluding ballet; all levels of performance and all the arts point to a single end, Sunrise.

the score, composed of various French and Italian authors linked to the court, slept for centuries among the archives of the Philidor collection, of the old Paris conservatory, until its rediscovery in 2004 and his musical recreation in 2016 by Sébastian Daucé and the Ensemble Correspondences. The poetry that accompanied the royal ballet was by the illustrious Isaac de Benserade, who in 1653 already enjoyed great prestige as a writer and would excel both in the genre of court ballet as in the most refined lyric.

Result, as usual, difficult to determine the authorship of the music of the court ballets in the early years of the reign of Louis XIV. In the case of the Ballet Royal de la Nuit we can be sure of the identity of Jean de Cambefort (c.1605-61), who produced the recitatives and arias that open each of the four vigils, and Antoine Boesset (1587-1643) and Louis Constantin (1586-1657),though, definitely, there were other participating composers.

THE BIRTH OF THE SUN KING

The royal ballet of the night

Semi-opera in four scenes and final dance

John of Cambefort (1605-1661), Antoine Boesset (1587-1643), Louis Constantin (1586-1657),

Michel Lambert (1610-1696), with extracts from Hercules lover (1662) from Francesco Cavalli

(1602-1676) Y Orfeo from Luigi Rossi (1597-1653)

libretto Isaac of Benserade (1613-1691)

Released at the Petit-Bourbon Palace in Paris on 23 February 1653

Premiere at the Royal Theater

Semi-opera in concert version

Director y reconstructor musical Sébastien Daucé

DISTRIBUTION

The night / Venus | Lucile Richardot

in his day protagonist of one of the most memorable recordings of the work / a grace / Beauty / a wandering soul / Cynthia | Caroline Weynants

Venus / The silence / a grace | Caroline Bardot

a french grace | Marie-Frederique Girod

an italian grace | Eva Plouvier

The moon / Deyanira / a grace / a wandering soul | Blandine de Sansal

Juno | Ilektra Platiopoulou

in his day protagonist of one of the most memorable recordings of the work / a grace / A follower of Endymion | David Tricou

The dream / A follower of Venus / A river / The aurora / a wandering soul / a zephyr | Etienne Bazola

Hercules | Renaud Bres

a zephyr / A follower of Endymion | Nicolas Brooymans

Matching set

Musical edition Critical edition by Sébastien Daucé

duration: 2 hours and 55 minutes

Photography © JM Berns

The Barberillo Lavapies

This year marks 148 since ‘El barberillo de Lavapiés’ will premiere at the Teatro de la Zarzuela back in 1874. In all this time the work of Francisco Asenjo Barbieri –whose birth bicentenary is celebrated next year–, with magnificent libretto Luis Mariano de Larra –son of the insightful romantic intellectual ‘Figaro’–, has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. All one musical theater party 15 al 26 of June will brighten up the coliseum in Plazuela de Jovellanos with 10 functions of the acclaimed own production signed by Alfredo Sanzol and premiered on this stage in 2019.

He interest and the expectation of this Barberillo are not only due to the exceptional musical and literary material that make it a incontestable masterpiece; one of the funniest and happiest works of the lyrical repertoire which has remained on the scene to this day as a emblem of the Spanish lyric. It also reaches event quality, even in its replacement (and ticket sales don't lie), by those who are responsible for setting it up. The stage director and adapter of the text, Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today, or the international teacher José Miguel Pérez-Sierra, what, as usual, will give verve to the moat in front of the Community of Madrid Orchestra (Titular del Teatro). The production has the unique scenery and colorful costumes of Alejandro Andújar, the ever-revealing illumination of Pedro Yagüe and the choreography (so important in this title) from Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to making the work current and modern.

They will, Besides, two the deliveries (and three Barberillos) those who sing the brilliant work of Barbieri: Lampara, the Barberillo which aims to Paloma seamstress, who is immersed in a political intrigue without knowing how or why, It will be played by baritones Maybe Borja Y David Oller; Paloma will be played by the mezzosopranos Cristina Faus Y Carol Garcia; the marquise del Bierzo, intriguing policy that puts everyone in the mess, love and turn the suffering Don Luis de Haro, It will be sung by sopranos María Miró Y Cristina Toledo; tenors Javier Tomé Y Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; baritone Gerardo Bullón will be the conspirator Don Juan de Peralta, and low Abel Garcia, Don Pedro de Monforte, defender of law and justice.

This double cast will be accompanied on stage by Holder Choir Teatro de la Zarzuela, as well as ten dancers and eight actors who also dance in each and every dance number.

Music & Performance. Validity, comedy, beauty

José Miguel Pérez-Sierra, who describes the work as «one of the tops of the genre», He argues that collaboration between Larra and Barbieri is more interesting, since «together they create a work in which one lives, breathes Madrid. A Eighteenth-century Madrid in the plot and nineteenth-century in music, but with a timeless perfume which means that even today this zarzuela has full validity».

Alfredo Sanzol, meanwhile, emphasizes that "the comic and adventurous tone of the function It is what we have promoted without ever forgetting that both things go hand in hand with the search for beauty.». The stage director points in each of his works to the idea that «the depth of life and their difficult conflicts they need the vision of comedy to find liberating solutions».

Barbieri and Larra they mix a popular plot, Loves the Lamparilla and Paloma, with the sentimental dalliances of two aristocrats, the Marquesita Star and Don Luis, and all this with a political background: the transition forced from a government of Grimaldi to Floridablanca. It is a thematic model that Barbieri had already used in Play with fire, The diamonds in the crown O bread and bulls, but that with Larra's text —written in verse— is filled with adventure, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.

Photograph: Javier de Real

Royal Theater Awards

Jose Maria Alvarez-Pallete, José Bogas, Florentino Pérez, Nicola Luisotti, Marina Rebeka, Christof Loy, Michael Fabiano, Carlos Alvarez Y Santiago Moreno, received last night at the Royal Theater, at a gala dedicated to the mezzo Teresa Berganza and it was presented by Anne Igartiburu, the first prizes awarded by the Theater to the institutional and artistic activity carried out in the coliseum.

The award ceremony, sculptures donated by Christina Iglesias representing the embouchure of a stage, was the prelude to a concert starring the mezzo Silvia Tro Santafe, excellent interpreter and great admirer of Teresa Berganza, who died last 13 of May.

The awards Teatro Real, As explained in his speech by the president of the institution, Gregorio Maranon, they are awarded to “exceptional people” who have made a decisive contribution with their support and talent to making the Teatro Real “one of the leading opera houses in the world, recovering the prestige it had in the 19th century”. Marañón recalled that, though Teresa Berganza, Patron of Honor of the Theater, wanted to go quietly, the emotion of their interpretations will always accompany everyone.

The president of Telefonica, Jose Maria Alvarez-Pallete, assured, upon receiving his award from the vice-president of the Royal Theater Board of Trustees, Helena Revoredo, that “the gates of the Royal, unforgettable memory factory, give entrance to unique moments, moments that very few theaters in the world are capable of producing”.

For the CEO of Endesa, José Bogas, to whom the general director of the Theater gave his sculpture, Ignacio García-Belenguer, the real, has become "a world leader in management in the world of opera", a path in which your company has accompanied the institution since its reopening, in 1997, and what you now have on the coliseum's audiovisual platform, My Opera Plater, and in the Near You project, two experiences that “excite” them and that define their commitment to the sponsorship of culture.

The president of ACS, Florentino Pérez, he pointed, after receiving his award from the president of the Teatro Real, Gregorio Maranon, that "at the moment it is more evident than ever" that all efforts to promote culture and sport must be maintained, and stressed that the Real is, in that sense, “a key institution in the dissemination of Spanish culture”.

“This award is not just my award, It is the award of the people of the Royal Theater because in this Theater there are people: there is an orchestra, choir, technical, teachers, people who work every day for music, for the theater, for hope, for the future", the conductor affirmed in his turn the teacher Nicola Luisotti, to whom the Italian ambassador in Spain presented his award, Riccardo Guariglia.

"I just want to say that when the rest of the world waited to act, performed by the Royal Theater, a theater i call home, my home. It is the world leader in maintaining the culture and, because, We must remain grateful to the entire team of this wonderful company”, highlighted the American tenor Michael Fabiano, to whom the Secretary of State for Budgets and Expenditures presented his award, María José Gualda.

The artistic director of the theater, Joan Matabosch, was in charge of giving it to the Latvian soprano Marina Rebeka, who did a duet with Silvia Tro Santafe as the culmination of the concert.

“I wanted to say that this theater has always been very special to me. This Traviata –the one who sang in July 2020 with Fabiano as partner on stage and Luisotti in the pit- will always be in my memory and my heart because we were all at home, without anything, without work… The pandemic stood in the way of culture and now when I look at this room without masks I think it has been a victory”, Rebekah said.

The German stage director Christof Loy, responsible for the production of Rusalka in 2021, remembered, after giving him his sculpture the general coordinator of the Madrid Mayor's Office, Matilde Garcia Duarte, that his first production at the Theater was Capriccio, in 2019, and "it was love at first sight" because the Real is, detailed, “a wonderful mix of passion and discipline”.

baritone Carlos Alvarez, to whom the patron saint of the Real and Minister of Culture gave him his award, Tourism and Sports of the Community of Madrid, Marta Rivera de la Cruz, He confessed to being "privileged" for being lucky enough to set foot in a theater where "a great team" works. He affirmed that artists have an obligation to "continue to be an example for those who have a need for hope and culture".

The award ceremony was closed by the president of the Theater Medical Committee, the head of the Infectious Diseases service of the Ramón y Cajal hospital in Madrid, Dr. Santiago Moreno, who dedicated his award to all those who work in Health, to those who “have been watching over our health to stay a little better”.

The Royal Theatre, he said after collecting his award from the deputy director general of the Teatro, Borja Ezcurra, has been “an example of how well things can and should be done (…) The theater accepted, voluntarily, the great challenge of not interrupting its activity during the pandemic. It was the only example in the world capable of carrying out such a feat, ensuring at all costs the safety of its workers and that of the public.. The crossing has been successfully traversed and will go down in the annals of opera house history.", added.

Photograph: © Javier del Real | Teatro Real

mario Prisuelos

with the recital ‘Today’s female composers at the piano’ what mario Prisuelos dedicated to the contemporary spanish creators, he Teatro de la Zarzuela will put the finishing touch to this season Chamber Sundays cycle. will be the next Sunday 5 June at 12:00 at Ambigú Coliseum, and tickets are available at single price of €6.

Mario Prisuelos will include in his concert music by Nuria Núñez, Marisa Manchado, Mercedes Zavala Y Teresa Catalán, with world premieres of Nuria Maria Sanchez, Ines Badalo and Sonia Megias.

Considered one of the most relevant pianists of his generation, In the extensive career of Mario Prisuelos, his firm commitment to the music of its time, for what has been released, recorded and performed works—often dedicated to him—by composers such as Tomás Marco, Jesús Rueda, David del Puerto, Jose Maria Sanchez-Verdu, Jesus Torres, Mercedes Zavala, Nuria Núñez O Mauricio Sotelo.

Each concert of the cycle has had one or more absolute premieres, a good part of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. On this occasion there will be three works that will be performed for the first time: Enneatypes by Nuria Mª Sánchez, 'Libro de arena' by Inés Badalo and 'Cubanías nº 1' by Sonia Megías.

Through the cycle Domingos de Cámara, that will have a new edition in the next season, the theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition.

Royal Theater Awards

the spanish baritone Carlos Alvarez and the American tenor Michael Fabiano; the italian conductor Nicola Luisotti; german stage manager Christof Loy and the Latvian soprano Marina Rebeka, are the artistic winners of the first edition of the Awards Teatro Real, that will be delivered next 6 of June in a Gala starring the Spanish mezzo-soprano Silvia Tro Santafe.

These awards join those already announced, in the institutional category, to Jose Maria Alvarez-Pallete, José Bogas Y Florentino Pérez, besides the doctor Santiago Moreno, President of the Royal Theater Medical Committee.

The awards in the artistic category are awarded to Christof Loy, Nicola Luisotti, Marina Rebeka, Carlos Alvarez Y Michael Fabiano for his great artistic season at the Teatro Real. The artists, part of the "Great Family" of the Royal Theater, with their talent they have given a trip to worlds that only they can build.

The next 6 of June, to 19.30 hours, the Royal Theater will deliver, at a special gala, the awards, whose objective is to recognize the merit of personalities and artists linked to the Real and who have stood out, in a special way, for their support of the institution throughout the season 2020-2021.

This time, the Gala will be dedicated to the late mezzo-soprano Teresa Berganza, Patron of Honor of the Theater, whose imprint will be present in some of the pieces chosen for the concert.

the distinctions, divided into two categories, institutional and artistic, born with a vocation for continuity. The award is a magnificent work by the sculptor Christina Iglesias, generously made by the great artist for the Royal Theater.

Lara Diloy
Lara Diloy, naturalness leading an orchestra

Lara Diloy found in conducting the orchestra the best way to connect with her greatest passion, music. As an assistant director, she is a guarantee for theaters and head directors.. And we have been able to verify it recently, directing some performances of the opera Don Gil de Alcalá at the Teatro de la Zarzuela. His confidence and attitude in front of an orchestra show us that we are facing one of the new conducting talents in our country. the future is here.

How and when did you decide that you want to be a conductor??

In my case it has been a natural consequence of my dedication and passion for music. Since I was little I discovered that making music with other people made me very happy. The orchestra was my home, That's why when I finished higher horn studies and I felt that I needed to broaden my training to become a more complete musician, the option was to study orchestra conducting, since this discipline allowed me to deepen my knowledge while staying linked to the orchestra.

If I have to choose a key moment in which I decided to dedicate myself professionally to it, was participating in a JONDE meeting as a young director. The experience filled me so much that the following year I left my job as a teacher and the collaborations as a horn player in orchestras., and since then I have devoted myself body and soul to directing.

The conductor is the only musician who does not make a sound, but get everyone else to do it. What qualities do you think a conductor should have??

It is true that we do not emit any sound directly, but I will point out that the baton sounds (and a lot). The orchestra perceives our energy and our knowledge of music, and as such transfers it to the interpretation. That is the magic of conducting.

The necessary qualities are multiple since our discipline requires mastery of many facets. But something that I consider fundamental is to have a deep knowledge of the music that you have in your hands, decide your interpretive idea and, Of course, have the ability to communicate to transmit it to the group in front of you at all times.

She has been on several occasions assistant director at the Teatro de la Zarzuela, but this is the first time in which he has had to replace the titular teacher in several functions. Although, sooner or later that time may come, How is it?, what went through your head?

It really has been an unforgettable experience. Although as an assistant you are aware that at any time something can happen and you have to replace the teacher, usually does not happen. That is why it is difficult to know how you will react in such a situation..

In Don Gil de Alcalá I have had to take command in a few hours (They told me at 3:00 p.m. and the function was at 8:00 p.m.), and I can say that I only thought about doing what I had to do: be calm and lead. He knew perfectly the music and the production, and she was also surrounded by the teacher from a distance and throughout the theater. Fantastic energy was generated with the singers, the choir and the orchestra, and that energy reached the public. I can only be thankful for this opportunity.

Although he has had the opportunity to direct in important theaters such as Auditorio Nacional de Música and Teatro Monumental (Madrid), Alfredo Kraus Auditorium (The Gran Canarian palms) or the Arriaga Theater (Bilbao), How was this first experience leading the Orchestra, the Choir and the group of singers in a production as important as that of Don Gil de Alcalá at the Teatro de la Zarzuela?

It is a very special debut for me for many reasons. First, because debuting at the Teatro de la Zarzuela is a dream come true. I have been attending as a public for years, participating in various productions and working with enthusiasm to get to direct from the pit.

I feel very lucky that it was with a title like Don Gil de Alcalá, a Penella opera with wonderful music, in this production by Emilio Sagi that delights viewers (is a "candy"). If you add to that having worked hand in hand with maestro Macías and a huge cast professionally and humanly, and make music with the Madrid Community Orchestra and the Theater Choir, groups to which I have great affection, it is pure emotion to have lived this experience, so it will always hold an important place in my memory.

The figure of assistant director is not well known. Explain to us a little what it consists of and the importance it has in a production.

The work carried out by the musical assistant is fundamental within a production and, how do you say, little known and recognized. It is the extension of the musical teacher in the Theater, and for this reason this figure acquires importance for all the elements that form it: production, regiduría, technical team, orchestra (File, Archive, inspection, musicians), choir… The assistant conductor is in charge of matters such as preparing the materials in coordination with the archive of the orchestra, give notes to the singers, to the choir and orchestra, to listen to the balances in rehearsals, substitute the teacher in stage rehearsals (readings, sets and functions if necessary)… Together with the repeating teachers they form the musical team and facilitate the work of the director.

When there are internal bands, takes charge of directing them, something that in my case I have had to do in theaters such as the Maestranza or the Palau de Les Arts. The workload is extended when you are a musical assistant for a Season. Since 2021 I have assumed this role at the Oviedo Opera, where I also perform musical coordination tasks that have to do with the long term (template forecast, cortes, arrangement of the orchestra and a long etc.)

The work of the assistant director is not only important in productions, also in symphonic concerts or lyrical galas. I have recently been an assistant at the Teatro Real together with maestro Rovaris, at a gala with Lisette Oropesa, and the coordination with the theater archive and the teacher to prepare the materials was fundamental to optimize the rehearsal time to the maximum.

In addition to conducting, She is the director and founder of the Sinan Kay White Voices Choir., that we have been able to hear these days participating in Carmen, Bizet, at the Monumental Theater with the RTVE Orchestra and Choir. How did this project come about and what does it mean to you??

Sinan Kay is a very personal project. It arises from my time as a teacher, where I took charge of the children's choir of the center where I worked. The group disappeared from the programming and parents and students wanted to continue with the activity. It was established as an association in the course 2015/2016 and since then we have always sought a balance between artistic and pedagogical excellence.

In addition to having a multidisciplinary teaching team, we have participated in numerous competitions and festivals, being awarded several times. As for collaborations, we have sung in productions of the Teatro de la Zarzuela together with the Orchestra and Choir of the Community of Madrid and the Choir of the Theater, highlighting titles such as Pinocchio, The Wildcat or Mirentxu, and together with the Orchestra and Choir of Radio Televisión Española in the Concert of Kings of 2020 and in this Carmen. Next season we have commitments with both institutions again.

His knowledge of the symphonic and operatic repertoire is very broad. If you had to choose one of the two, Do you prefer conducting “only” symphony orchestras or do you prefer opera?

I have played in orchestra since the 12 years. The symphonic repertoire has always accompanied me and has made me grow as a musician. I could not conceive of dedicating myself to conducting an orchestra leaving aside that repertoire. Even so, I think that in the lyrical world I am finding my space. I feel comfortable and my high dedication to it in recent years is paying off. You work on a production for several weeks, there is more time to delve into the music and to get to know the people you work with, and that part makes me tilt the balance towards opera and zarzuela, although I would like to combine both.

You have said that women come to the orchestra direction to give you another point of view, enrich… what is yours?, what does Lara Diloy propose baton in hand?

Of course, I consider that the inclusion of new profiles in any field is enriching. Although perhaps my contribution is not new, yes i think it's rare: treat the profession naturally (we are people prepared to do a complex job, but not "divos" or anything like that), with leadership based on teamwork and making others shine, and seeking excellence from the love for music and the respect and affection for the people who accompany me in each project.

Are there any directors you particularly look up to or inspire you?

In the last year I have been fortunate to work with wonderful teachers.: Yves Abel, Corrado Rovaris, Ramón Tebar, Gianluca Marcianó, Lucas Macías, Ivan Lopez-Reynoso, Daniele Callegari… I have learned a lot from them and they are my greatest source of inspiration on a day-to-day basis.

I also have a lot to thank Óliver Díaz, with whom I have worked for a long time, that stands out for its professionalism and human stature. further, I follow Spanish directors or those who are making a career in Spain like Pablo González or Dima Slobodeniouk, since they are very talented musicians.

As for great names in history, Carlos Kleiber is a reference that I always have in mind. And also women like Marin Alsop or Susanna Mälkki who have been pioneers and have paved the way for us.

Is there a composer or work that you particularly like to direct and why??

I feel very comfortable directing Spanish repertoire, both lyrical and symphonic, and also with music by composers such as Mozart and Beethoven. Perhaps because they have been the pillars of my training as a musician and they adhere to the DNA. Even so, every time I am incorporating more repertoire and, even if it sounds cliché, I try that the work that I am interpreting or studying at each moment is the most wonderful in the world.

Surely you are already fulfilling one of your dreams. Where would you like to see yourself in not too long??, what do you dream about?

The most important is being done, What is it to be able to live from conducting an orchestra?. From then on I would always like to continue improving myself and improving., consolidate my career in Spanish theaters and orchestras, and take off with an international career.

Achilles new season Teatro Real

The season 2022-2023 of the Royal Theater begins under the sign of OrfeoOrpheus, de Philip Glass, HE will premiere in Spain the next 21 September at the Canal Theaters- and its spell will travel throughout the season, with the presentation of L'Orfeo, by Claudio Monteverdi and Orfeo ed Euridice, de Christoph Willibald Gluck.

Due to the complex renovation works on the floor of the stage area, after 25 years of maximum and uninterrupted use, the official opening of the season 2022-2023 will be the 24 October, with the revival of the spectacular Aida, de Giuseppe Verdi, conceived and renovated by Hugo de Ana, under the musical direction of Nicola Luisotti.

Once again, the Royal Theater Season, with a wide variety of periods and styles, tour five centuries of musical creation [see table below] and is composed of 18 works in the section OPERA, 4 Programs of DANCE, 15 CONCERTS 4 Voces del Real, 3 lyrical concerts, 2 galas and 6 cycle concerts Chamber Sundays-. It is completed with 9 shows for children and adolescents framed in THE REAL JUNIOR, Besides 9 children's workshops Everyone to the Gayarre!

Of the 18 titles of OPERA, 8 are new co-productions of the Teatro Real, 2 they are reruns; 2 they are guest productions; 2 will be in a semi-staged version and 4, in concert [see table below].

The Royal Theater will present 9 new titles that have never been presented in their history, including 3 premieres in Spain Orpheus, de Philip Glass; Nixon in China, by John Adams and Anti-formalist Rayok, Shostakovich Dmitri- Y 3 premieres in Madrid: Arabella, Richard Strauss; the stage version of Nose, Shostakovich Dmitri; Y Dialogues by Tirant and Carmesina, Joan Magrané.

Of the 8 new co-productions of the Teatro Real, 5 They are productions that are presented first in Madrid and later in the other co-producer theaters.: Orpheus, de Philip Glass; La sonnambula, de Vincenzo Bellini; Dido and Aeneas, Henry Purcell; Achilles in Skyros, Francesco Brusa; e The turkish in Italy, de Gioachino Rossini.

In his commitment to recovery of the Spanish operatic heritage, the Teatro Real will present two baroque plays from the 18th century, premiered during the reign of Philip V: the opera Achilles in Skyros, by Francesco Corselli and the zarzuela Coronis, Sebastián Durón, then Master of the Royal Chapel of Madrid.

   OPERAS OF THE SEASON

 

New co-productions

 

 

 

 

 

 

 

productions

guests

 

Reruns

 

Versions

semi-staged

 

versions of

concert

 

 

Orpheus*, de Philip Glass | Premiere in Spain

La sonnambula*, de Vincenzo Bellini

Dido and Aeneas*Henry Purcell

Arabella, Richard Strauss | Premiere in Madrid

Achilles in Skyros*, Francesco Brusa

NoseShostakovich Dmitri | Premiere in Madrid (stage version)

Nixon in China, de John Adams | Premiere in Spain

The turkish in Italy*, de Gioachino Rossini

 

L'Orfeo, de Claudio Monteverdi

Dialogues by Tirant and Carmesina, Joan Magrané | Premiere in Madrid

 

Aidade Giuseppe Verdi

Turandot, Giacomo Puccini

 

Tristán e Isolda, Richard Wagner

 Anti-formalist Rayok, Shostakovich Dmitri | Premiere in Spain

 

El retablo de Maese Pedro, Manuel de Falla 

Tolomeo, king of egyptthe Georg Friedrich Handel

Coronis, Sebastián Durón(concert version)

Orpheus and Eurydice, de Christoph Willibald Gluck

*Premiere of the production before appearing in the co-producer theaters

              OPERAS IN CHRONOLOGICAL ORDER OF CREATION

XVII century

 

 

Century XVIII

 

 

XIX century

 

 

 

Twentieth century

 

 

 

 

 

 

 XXI century

 

 

                      

1607 – L'Orfeo, de Claudio Monteverdi

1689 – Dido and AeneasHenry Purcell

16…* – Coronis, Sebastián Durón

1728 – Tolomeo, king of egypt, the Georg Friedrich Handel

1744 – Achilles in Skyros, Francesco Brusa

1762 – Orpheus and Eurydice, de Christoph Willibald Gluck

1814 – The turkish in Italy, de Gioachino Rossini

1831 – La sonnambula, de Vincenzo Bellini

1865 – Tristán e Isolda, Richard Wagner

1871 – Aidade Giuseppe Verdi

1923 – El retablo de Maese Pedro, Manuel de Falla 

1926 – Turandot, Giacomo Puccini

1930 – NoseShostakovich Dmitri

1933 – Arabella, Richard Strauss

1987 – Nixon in China, de John Adams

1989 – Anti-formalist Rayok, Shostakovich Dmitri

1993 – Orpheus, de Philip Glass

2019 – Dialogues by Tirant and Carmesina, Joan Magrané

* unknown release date

For the first time in the history of the Teatro Real

The Theaters Canal they will host 3 productions –Orpheus, de Philip Glass; Dialogues by Tirant and Carmesina, Joan Magrané; Y Dido and Aeneas, Henry Purcell- and the Circulo de Bellas Artes will present Anti-formalist Rayok, Shostakovich Dmitri.

In the stage direction highlights, the next season, the presence of 4 women: Mariame Clement (Achilles in Skyros), Barbara Lluch (La sonnambula), Sasha Waltz (L'Orfeo) Y Blanca Li (Dido and Aeneas), the last two also choreographers.

They return to the Royal Christof Loy (Arabella), Laurent Pelly (The turkish in Italy), Bob Wilson (Turandot), Barrie Kosky (Nose), John Fulljames (Nixon in China), Justin Way (Tristán e Isolda), Rafael Villalobos (Orpheus) Y Hugo de Ana (Aida) and debut Marc Rosich (Dialogues by Tirant and Carmesina) Y Johannes Stepanek (Anti-formalist Rayok), in addition to those mentioned Mariame Clement, Barbara Lluch Y Blanca Li.

Enter here musical direction have a more prominent presence, as usual, Ivor Bolton (Achilles in Skiros and Nixon in China) Y Nicola Luisotti (Aida Y Turandot).

They return to the Royal Semyon Bychkov (Tristán e Isolda), Maurizio Benini (La sonnambula), Daniel Oren (Aida), David Afkam (Arabella), Mark Wigglesworth (Nose), Diego Garcia Rodriguez (Aida), George French (Orpheus) Y Francesc Prat (Dialogues by Tirant and Carmesina) Y, with guest orchestras, Pablo Heras-Casado (El retablo de Maese Pedro), William Christie (Dido and Aeneas), René Jacobs (Orfeo ed Euridice), Vicent Dumestre (Coronis) Y Francesco Corti (Tolomeo, king of egypt).

They debut in Real Giacomo Sagripanti (The turkish in Italy) Y Leonardo García Alarcón (L'Orfeo), Este con la Freiburg Baroque Orchestra.

Six orchestras and two guest choirs will participate in the season: the Freiburger Barockorchester and the Vocalconsort Berlin in L'Orfeo, de Claudio Monteverdi; Les Arts Florissants in Dido and Aeneas, Henry Purcell; the Orquesta Barroca de Sevilla in Achilles in Skyros, Francesco Brusa; the Mahler Chamber Orchestra in  El retablo de Maese Pedro and Concerto for harpsichord, Manuel de Falla, and in the Suite Pulcinella, by Igor Stravisnki; Tomato in Tolomeo, king of egypt, the Georg Friedrich Handel; The Harmonic Poem in Coronis, Sebastián Durón; and the Freiburger Barockorchester and the RIAS Chamber Choir in Orfeo ed Euridice, de Christoph Willibald Gluck.

He Titular Choir of the Teatro Real, under the direction of Andrés Máspero, and the Head of the Royal Theatre Orchestra, with its titular director, Ivor Bolton, that enjoy a growing national and international prestige, will participate in much of the programming, cementing ties with your guest principal conductors, Nicola Luisotti Y Pablo Heras-Casado.

Parallel to the titles of the season, an ambitious program of PARALLEL ACTIVITIESfilm cycles, exhibitions, concerts, conferences, courses, mesas round, workshops, visits guided, children's activities, etc.- organized at the Teatro Real and at colaboration with 28 cultural institutions (in alphabetical order):  Víctor Espinós Music Library (Count Duke), National Library of Spain, Regional Library of Madrid Joaquín Leguina, British Council, Asia house, house of america, Circulo de Bellas Artes, Spanish Film Library Cine Doré, Shepherd Foundation, SGAE Foundation, Cervantes Institute, Italian Cultural Institute of Madrid, International Institute, National Archaeological Museum, Cerralbo Museum, Madrid History Museum, Municipal Museum of Contemporary Art of Madrid, Museo Nacional Centro de Arte Reina Sofía, National Museum of Decorative Arts, National Museum of Romanticism, Thyssen-Bornemisza National Museum, Naval museum, National Heritage, Real Conservatorio Superior de Música in Madrid, Cooperation Network Routes of Carlos V, Student's residence, Equis Hall and Nebrija University.

The Theater continues to work hard to attract and retain young audiences, with a series of initiatives framed in its program THE REAL YOUNG and facilities and privileges granted to their Young Friends, whose number continues to grow.

Next season will be organized 4 Young Previews for children 35 years and will continue the advantages and discounts in the purchase of localities through the Young armchair or the towns of Last minute.

The Opera Week, with its broadcasts and popular activities for the dissemination of opera, and the ROYAL CARRIAGE, a traveling stage always prepared to offer chamber concerts in different parts of the country, are two of the most outstanding projects framed in the program ROYAL THEATRE NEAR YOU, valid until the end of the season.

In addition to its artistic program, the Teatro Real continues to strengthen the dialogue with other types of music, co-producing in the summer months the UNIVERSAL MUSIC FESTIVAL  Y, throughout the season, dance and song performances REAL FLAMENCO, that take place on Thursdays and Fridays in its Ballroom.

The Teatro Real will increase the national and international diffusion of its programming through new recordings and live broadcasts on MY OPERA PLAYER, whose catalog continues to grow with the regular addition of new offers from more than 50 theaters and auditoriums around the world. Recently, within the platform, a space dedicated solely to flamenco, with a tab of its own, to promote the dissemination of this Spanish art to new audiences around the world.

OPERA SCHEDULE

Orpheus, de Philip Glass | Premiere in Spain | production premiere | Premiere at the Royal Theater

New production of Teatro Real and Canal Theaters.

Released in 1993, this chamber opera Philip Glass, with text of Jean Cocteau, is a farewell song from the French poet to his young lover and, half a century later, from the composer to his partner.

Rafael Villalobos, which triumphed with the world premiere of Marie, by Germán Alonso, in the past season, will stage the heartbreaking duel of Orpheus and his path to liberation, with the complicity of a mostly Spanish double cast, under the direction of George French, in front of the Head of the Royal Theatre Orchestra.

21 September – 25 September | 5 functions | 2 deliveries | Theaters Canal 

Aida, Giuseppe Verdi | Replacement

Royal Theatre production in co-production with the Abu Dhabi Music and Arts Foundation, based on the original production of the Royal Theater of 1998.

Aida inaugurates the lyrical season of the Teatro Real, preceded by a youth preview minor 35 years, he 21 October.

The renewed production conceived by Hugo de Ana in 1998 returns under the infallible baton of Nicola Luisotti, who will alternate in the pit with Daniel Oren Y Diego Garcia Rodriguez in front of Headlines Choir and Orchestra of the Teatro Real.

Three casts of Verdian stars headed, in the title role, by Krassimira Stoyanova, Maria Agresta, Roberta Mantegna Y Anna Netrebko, will alternate in the 20 representations, in which they will also participate, among others, Piotr Beczala, Jorge de León, Carlos Alvarez, Artur Ruciński, Jamie Barton Y Sonia Ganassi.

24 October – 14 November | 20 functions | 3 Department

L'Orfeo, de Claudio Monteverdi | guest production

Sasha Waltz Production & Guests, in collaboration with the Dutch National Opera Amsterdam, el Gran Théâtre du Luxemburg, the Bergen International Festival and the Opéra de Lille.

the choreographer Sasha Waltz, presented at the Teatro Real, in 2019, their version of Dido and Aeneas, Henry Purcell, returns with a new choreographic ritual ceremony, reminiscent of ancestral celebrations, in an already iconic production that triumphed in several European theaters and festivals. Argentine music director Leonardo García Alarcón debuts at the Teatro Real leading a cast of singers from the baroque universe, next to Vocalconsort Berlin Yet the Freiburger Barockorchester.

20 November – 24 November | 4 functions | 1 Department

Dialogues by Tirant and Carmesina, Joan Magrané | Premiere in Madrid | Premiere at the Royal Theater | guest production

Production of the Pocket Opera and New Creation, the Gran Teatre del Liceu in Barcelona and the Castell de Peralada Festival.

Based on the chivalric novel Tirant lo Blanc, from Joanot Martorell, the composer Joan Magrané and the librettist and stage manager Marc Rosich have created a chamber opera as a medieval 'love battle', which takes place in a light installation of Jaume Plensa, where the three protagonists gloss love and heartbreak, along with soloists from the Head of the Royal Theatre Orchestra, under the direction of Francesc Prat.

23 november - 27 November | 4 functions | 1 Department | Theaters Canal

La sonnambula, de Vincenzo Bellini | production premiere

New production of Teatro Real in co-production with the New National Theater Tokyo, the Gran Teatre del Liceu in Barcelona and the Teatro Massimo di Palermo.

Nadine Sierra Y Xabier Anduaga, Y Jessica Pratt Y Lawrence Brownlee, lead the two casts that will bring Bellini's opera to the Real's stage, romantic belcantismo icon, in lucid vision, modern and feminist Barbara Lluch, who debuts at the Teatro Real as stage director, after more than a decade of assiduous collaborations as an assistant. Maurizio Benini, in front of Headlines Choir and Orchestra of the Teatro Real, will be responsible for the musical direction of the opera, with the seriousness and elegance that this type of repertoire requires.

15 December – 6 January | 13 functions | 2 deliveries

Dido and Aeneas, Henry Purcell | production premiere

New production of Teatro Real and Canal Theaters, in co-production with the Opéra Royal de Versailles, Gran Teatre del Liceu in Barcelona, Imperial Theater of Compiegne and Les Arts Florissants.

This inconsolable song of a queen abandoned by her lover, English baroque jewel, It was released in 1689 en una ‘School for Girls’, very inspiring situation to approach the opera from the feminine universe of the great choreographer Blanca Li, who will be responsible for staging Purcell's opera, counting for this on the versatility and mastery of Les Arts Florissants, with William Christie in musical direction.

17 January – 22 January | 5 functions | 1 Department | Theaters Canal 

Arabella, Richard Strauss | premiere Madrid | Premiere at the Royal Theater

New production of Teatro Real from the Oper Frankfurt.

Come back Christof Loy with a title by Richard Strauss after the success of his Capriccio, in 2019, again with a production full of interpretive textures, that transits between the real and spectral characters, exploring the background of a glamorous and poetic comedy, but also disturbing and tragic.
David Afkham, chief director of ONE, will return to the pit of the Royal Theater, leading a choral cast headed by the soprano Sara Jakubiac and Headlines Choir and Orchestra of the Teatro Real.

24 January – 12 February | 7 functions | 1 Department

Achilles in Skyros, Francesco Brusa | production premiere | Premiere at the Royal Theater | Recovery of Spanish musical heritage

New production of Teatro Real in co-production with the Theater an der Wien.

Ivor Bolton leads the recovery of this unknown opera of the Spanish baroque, in front of the Orquesta Barroca de Sevilla, of the Titular Choir of the Teatro Real and a cast headed by the countertenor Franco Fagioli, who plays the transvestite Achilles, when his mother disguises him as a woman and sends him to the island of Skyros to prevent his participation in the Trojan War.

Mariame Clement places the plot in the court of Felipe V, with the participation of the infanta María Teresa Rafaela, whose betrothal to the Dauphin of France, son of the sun king, were celebrated with this opera.

17 february - 25 February | 5 functions | 1 Department

El retablo de Maese Pedro Y Concerto for harpsichord, Manuel de Falla| Suite Pulcinella, by Igor Stravinsky | Concert version

Pablo Heras-Casado, at the head of the prestigious Mahler Chamber Orchestra, with whom you work regularly, will evoke the popular theater of the Golden Age with the Cervantine mosaic of Manuel de Falla inspired by the misdeeds of Maese Pedro, and will explore the burlesque and pompous universe of the art commedy, via Igor Stravinsky.

18 February | 1 function

Nose, Shostakovich Dmitri | Premiere in stage version in Madrid | Premiere at the Royal Theater

New production of Teatro Real, in collaboration with the Royal Opera House, la Komische Oper Berlin and Opera Australia.

The overflowing and irreverent imagination of Barrie Kosky -known by the Real public for his successful version of The magic Flute in animated film- is evident in this surprising and acid opera by Shostakovich, for which more than 80 characters that gravitate in the grotesque world of a bitter bureaucrat, interpreted by Martin Winkler. The cast, mostly slavic, will have the participation of Anne Igartiburu in the role of TV presenter.

The musical direction will be from English Mark Wigglesworth, who will direct the Choir and Orchestra Holders of the Teatro Real after the success, in 2018, with Dead Man Walking, de Jake Heggie.

13 March – 30 March | 7 functions | 1 Department

Anti-formalist Rayok, Shostakovich Dmitri | Premiere in Spain | Premiere at the Royal Theater | Opera in semi-staged concert version

This grotesque little chamber opera, marginal y maldita intertwines fragments of supposedly grotesque speeches by Soviet authorities with folk music and evocations of military marches, in an undisguised criticism of the communist regime that led to the concealment of the score until after the death of the composer. It will be presented as a complement to Nose, in semi-staged version of Johannes Stepanek, with singers from Titular Choir of the Teatro Real, the bass Alexander Teliga and an instrumental group with Judith Jáuregui the piano.

26 March | 1 function | Circulo de Bellas Artes

Nixon in China, de John Adams | Premiere in Spain | Premiere at the Royal Theater

New production of Teatro Real in co-production with Copenhagen's Den Kongelige Opera and Scottish Opera.

The Teatro Real premieres in Spain this classic opera by John Adams, that recreates the visit of the president of the United States, Richard Nixon, a China, in 1972, under the Maoist ceremonial megalomaniac, in the middle of the cold war.

In the score arias are articulated, duos, concertantes, choir and ballet, emulating the nineteenth-century operatic tradition with a clear criticism of the paraphernalia of power, underlining the staging of John Fulljames.

The musical direction is from Ivor Bolton, in front of Headlines Choir and Orchestra of the Teatro Real and a cast of which they are part Leigh Melrose, Sarah Tynan, Jacques Imbrailo, Alfred Kim, Audrey Luna Y Maybe Borja, among others.

17 April – 2 mayo | 7 functions | 1 Department

Tolomeo, king of egypt, the Georg Friedrich Handel | Opera in concert version

The presentation of the fabulous operatic production of HändeI continues in the seasons of the Teatro Real. After Alcina (2015), Rodelinda (2017), Ariodante (2018), Agripina (2017) Y Parthenope (2021), returns

Tolomeo, king of egypt -offered in 2009- starring a cast specializing in the Baroque headed by the countertenor Jakub Jósef Orlinski, next to the orchestra Tomato, with musical direction Francesco Corti.

23 April | 1 function

Tristán e Isolda, Richard Wagner | Opera in semi-staged concert version

This masterpiece of all time, source of inexhaustible musical and philosophical analysis, and of emotional and transcendental flights, returns with a luxury cast, with Andreas Schager Y Ingela Brimberg in the title roles and acting direction of Justin Way.

Semyon Bychkov will assume the musical direction at the head of the Headlines Choir and Orchestra of the Teatro Real.

25 april and 6 mayo | 4 functions | 1 Department

The turkish in Italy, de Gioachino Rossini | production premiere | Premiere at the Royal Theater

New production of Teatro Real in co-production with the Opéra de Lyon and the New National Theater Tokyo

Laurent Pelly will be in charge of helping the poet Prosdocimo, star of The turkish in Italy, to find the plot for your literary work, unraveling the libidinous messes his characters get into, in a continuous and juicy game of disguises, under which beat the great dilemmas of the soul.

The musical direction will Giacomo Sagripanti, who debuts at the Teatro Real leading a cast that includes many singers who have never performed on its stage, along with other much loved by the public, as Lisette Oropesa, Pietro Spagnoli O Sara Blanch.

31     mayo – 12 June | 10 functions | 2 deliveries

Coronis, Sebastián Durón | Zarzuela in concert version | Premiere at the Royal Theater | Recovery of Spanish heritage

The work of Spanish musicologists is discovering surprising scores like the one for this zarzuela, entirely sung, attributed to the composer Sebastian Duron, that intertwines stories of gods and nymphs, tragic and burlesque, with a music that betrays the French and Italian influence, but also the Hispanic musical heritage that it intends to vindicate. Vincent Dumestre, great connoisseur of the baroque repertoire, will lead an international cast and the Orchestra The Harmonic Poem.

10 June | 1 function

Orfeo ed Euridice, de Christoph Willibald Gluck | Opera in concert version

René Jacobs, true patriarch in the recovery and interpretation of the baroque and classical repertoire, will bring Real a title that will show, once again, his experience in reading historicist music, counting for it with three of his usual solo singers, next to RIAS Chamber Choir and the Freiburger Barockorchester.

13 June | 1 function

Turandot, Giacomo Puccini | Replacement

Royal Theatre production in co-production with the Lithuanian National Theater, the Canadian Opera Company of Toronto, the Houston Grand Opera and the Paris Opera.

The charismatic visual and dramatic language of Bob Wilson, backlit silhouettes, masks and almost ritual movements, It has turned out to be ideal for telling the legend of the bloodthirsty Chinese princess, framed in a scenographic space that connects with the ancient oriental shadow theater.

After triumphing in Paris, Toronto and on MyOperaPlayer, this production returns to the theater where it was born, again under the direction of Nicola Luisotti, with three exceptional casts led by Anna Pirozzi, Elena Pankratova Y Session Hernández, next to Headlines Choir and Orchestra of the Teatro Real.

3 July – 22 July | 17 functions | 3 deliveries

DANCE SCHEDULE

The dance programming offers one of the most seductive proposals in recent years with the presence of 4 companies that, with different styles, they will have a special starting point at the Real. The season opens National Dance Company with a Tribute to Jiři Kylian, with choreographic works by Nacho Duato, Andrea Schermoly, sun lion, Paul Lightfoot and himself Kylian.

Sasha Waltz & Guests returns with the ambitious challenge of integrating singing, dance and music to show L'Orfeo Monteverdi from another perspective. He New York City Ballet will present at the Teatro Real two mythical choreographies by Georges Balanchine and a recent invoice from the creator Justin Peck, a whole sample of the personality of the company. And the cycle will close English National Ballet with the adaptation of the classic Raymond, With which Tamara Rojo makes her debut as a choreographer and whose international tour, to show this work, will start in Madrid.

The National Dance Company will inaugurate the dance season of the Teatro Real, with a tribute to the Czech dancer and choreographer Jiří Kylián, hand in hand with four creators with a strong artistic and personal bond with the master of contemporary dance and his reference company, el Dutch Dance Theater. They are Nacho Duato, sun lion, Paul Lightfoot Y Andrea Schermoly. With diverse music and inspirations, the recreations of the different choreographic moments will constitute a great prelude to a program that will culminate with the performance of Beautiful figure, creation of Jiří Kylian of 1995 what, already turned into a masterpiece, invites us to reflect on the art shown as «a journey through time, light and space, in reference to the ambiguity of aesthetics, stage performances and dreams».

the german choreographer Sasha Waltz returns to the Teatro Real with the ambitious challenge of integrating singing, dance and music for a delicate reading of the L'Orfeo Monteverdi. If originally the work combines the art of theater and sung music creating a model of artistic expression per se, Waltz delves into the exploration of a kind of "choreographed opera" in which sound and movement complement each other seamlessly.. As in the past with Dido & Aeneas, Sasha Waltz & Guests will have the participation of Vocalconsort Berlin accompanied, this time, by Freiburger Barockorchester.

He New York City Ballet visits Spain and will do so with the stage of the Teatro Real as the protagonist, with a program that captures the very essence of his personality. For their presentation in Madrid they have selected three choreographies full of symbolism. Two are works of George Balanchine, co-founder of the company and mythical figure of the ballet: Serenade – a milestone in history for being the first original ballet that Balanchine created in the United States-, Y Square Dance -in which the choreographer married American folk dance traditions with classical ballet-, both have become emblems of the NYCB's repertoire, Y The Times Are Racing, from Justin Peck, created in 2015 and inspired by the last four tracks of the album by 2012 de Dan Deacon, America. 

After its recent premiere in London, and the tour that will take place in the United Kingdom next autumn, he English National Ballet will present at the Royal Theater, for the first time internationally, Raymond, ballet with which Tamara Rojo debut as a choreographer. His proposal moves the original action to the Crimean War, inspired by the figure of Florence Nightingale and the work of the women who, with innovative spirit, supported the efforts of combatants in the conflict. Raymond thus becomes a young woman with a vocation as a nurse. Starring a great cast of dancers, this version, critically acclaimed, maintains the best of the 19th century original, including score by Alexander Glazunov, adapted and edited by Gavin Sutherland and Lars Payne. Functions Raymond They will include the participation of Head of the Royal Theatre Orchestra under the direction of Gavin Sutherland.

CONCERTS AND GALA

The cycle REAL VOICES is composed this season by 5 concerts starring some of the best lyrical artists in the world: Cecilia Bartoli, Gregory customer, Carlos Alvarez, Matthias Goerne, Joyce DiDonato Y Javier Camarena.

Complete the offer 6 that make up the cycle CAMERA SUNDAYS, and a concert with the finalists of the Montserrat Caballé Contest and another the winners in Tenor Viñas Competition.

The THEATER ROYAL GRAND ANNUAL GALA, for philanthropic purposes and the assistance of prominent personalities from the institutional field, cultural, artistic, business and social, will take place 13 from December next.

THE REAL JUNIOR

Children's and youth programming, fully recovered, has its space THE REAL JUNIOR with 9 shows, 4 from them new productions of Teatro Real Y 5 that will be seen here for the first time, for different ages and different formats such as musical stories, who, dramatized dance and concerts, intended for family audiences and schools.

Within this eclectic and multidisciplinary program, with artists from very different fields, highlights the participation of 4 young conductors: Rubén Gimeno, Elizabeth Rubio, José Sanchis Y Lara Diloy.

The youngest season opens in October with two interesting proposals in the Main Room: one for schools by the hand of the National Dance Company what, coinciding with the inaugural performances of the dance program, will dedicate three didactic sessions around two of the choreographies of its main program, Kübler Ross y Sad Case; the other, with a concert full of arias, opera duets and quartets with which, on the eve of the Halloween party, they will invoke the spirits with ghost that sings, not scary, played by the Youth Orchestra of the Community of Madrid (JORCAM) and new singers of the project Crescendo, we create opera, program to promote young talent organized by the Friends of the Royal Theater Foundation, under the direction of Rubén Gimeno, with script and presentation of Ana Hernández Sanchís.

The adventure will continue with a travel proposal that will take them to Egypt in the company of A.I.D.A. (Amistad, Equality, Diversity, Love), a reduced version of the verdian title conceived by Davide Garattini Raimondi Y Barbara Palumbo, with musical direction Elizabeth Rubio. In full Christmas festivities, Nutcracker and the Mouse King, will be the protagonists of a concert in story format with narration and animated video by Fernando Palacios Y Fran Parreño, under the musical direction of José Sanchís.

The Orchestra Hall will be the stage for ¡On the floor, Johann Sebastian Jazz!, where jazz and classical music will dialogue with interesting complexity, between the fingers of the pianists Alexis Delgado e Iñaki Salvador, next to Fernando Palacios. and in march, parallel to the functions of the New York City Ballet, the company will offer unique sessions around two very special choreographies for them: Serenade, one of his emblematic works, Y The times are Racing, young and current.

The Gayarre Hall will host two puppet shows with two very different views, Parade, the circus of the brave, with the unmistakable stamp of La Maquiné, Y I am the madness, black theater with puppets, masks and baroque music The Chiaroscuro Company. And in that same space, like every season, monthly appointments will take place Everyone to the Gayarre! for the entire family, with his lighthearted and entertaining gaze on the great opera season titles.

Programming ends as it began, with a big music party in concert form, in the Main Hall, with the Youth Orchestra of the Community of Madrid (JORCAM), new project singers Crescendo, we create opera, this time with the animation of Fernando Palacios and the musical direction of Lara Diloy.

In addition to these training proposals, THE REAL YOUNG, cultural revitalization and customer loyalty program young man aged between 18 and the 35 years, has exclusive spaces, preferential sales channels and events designed for this group in collaboration with its own committee made up of representatives from different areas of civil society.

TRAINING PROGRAM

He Training program consolidates its courses aimed at both university students and the general public and will address both face-to-face training and online, with 17 interesting proposals.

In section The Opera Uncovered, that reveals the assembly process of an operatic production from within, have been organized 4 workshops focused on: Aida (October), La sonnambula (November December), The turkish in Italy (mayo) Y Turandot (June July).

In this edition they will be 5 the Courses related to the season: Understand ... Bellini (La sonnambula), Strauss (Arabella), Rossini (The turkish in Italy), Puccini (Turandot) Y Opera and post modernity: Glass y Adams, Y 3 those destined to enter the history of opera: History of the performance of opera I and II, Women at the opera building, dismantling and conquering myths and The Real of memories, history of the Royal Theater from 1850 until 1925.

The number of Courses on Performing Arts and Cultural Management up to a total of 5: Scene photography; Opera and leadership, The art of working with high-performance teams; stewardship; emotional intelligence in opera Y Fundamental concepts of dance.

SEASON IN NUMBERS 

FUNCTIONS | A total of 188 functions: 113 opera performances spread over 18 Titles; 15 dance performances with 4 different shows; 13 concerts of different formats (5 concerts of Voces del Real, 2 lyrical concerts (contests) Y 6 concerts of Chamber Sundays; Y 49 functions Royal Junior.

OPERA PRODUCTIONS | Of the 18 operas, 8 are new co-productions of the Teatro Real, 2 they are reruns; 2 they are guest productions; 2 will be in a semi-staged version and 4, in concert.

The Royal Theater will present 9 new titles that have never been presented in its history, including 3 premieres in Spain –Orpheus, de Philip Glass; Nixon in China, by John Adams and Anti-formalist Rayok, Shostakovich Dmitri- Y 3 premieres in Madrid: Arabella, Richard Strauss; the stage version of Nose, Shostakovich Dmitri; Y Dialogues by Tirant and Carmesina, Joan Magrané.

SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor Aida, the BBVA Foundation sponsor L'Orfeo Y Nixon in China; Endesa sponsor La sonnambula Y Tristán e Isolda; the Foundation Friends of the Royal Theater sponsor Achilles in Skyros;  Santander Foundation sponsor The turkish in Italy; and the ACS Foundation sponsor Turandot.

WORKS BY CENTURIES OF THE OPERA SEASON | There will be 3 productions with works of the century XVII (L'Orfeo, Dido and Aeneas Y Coronis); 3 operas of the century XVIII (Tolomeo, king of egypt; Achilles in Skyros Y Orpheus and Eurydice); 4 century works XIX (The turkish in Italy, La sonnambula, Tristán e Isolda Y Aida); 7 century works XX (El retablo de Maese Pedro, Turandot, Nose, Arabella, Nixon in China, Anti-formalist Rayok Y Orpheus) Y 1 century title XXI (Dialogues by Tirant and Carmesina).

WORKS BY GEOGRAPHICAL AREAS (PLACE WHERE THE OPERA PREMIERE) | They will be presented 7 italian operas (1 of them, de Glück -German stuck in Italy-), 3 operas and1  Spanish zarzuela, 2 american operas, 2 Germanic operas, 2 Russian operas and 1 English opera by Händel -German based in England-.

DANCE | There will be 15 functions starring 4 companies: National Dance Company, Sasha Waltz & Guests, New York City Ballet y English National Ballet.

THE REAL JUNIOR | The children's and youth programming of the Teatro Real is made up of 49 functions –25 for the whole family and 24 for school centers- Y 9 workshops Everyone to the Gayarre! with 2 sessions each.

TRAINING PROGRAM | They offer 4 workshops Uncovered Opera, 5 monographic courses related to the Season, 3 courses on opera history and 1 new edition of the program The University on Stage.

LOCATIONS AND FERTILIZERS

CATEGORIES OF FERTILIZERS OF OPERA | They offered 1 subscription shift premiere of 9 operas and an exclusive concert by Cecilia Bartoli, 1 shift payment 9 operas, 3 shifts of fertilizers of 8 operas (one on the weekend), 3 turns of abonds of 7 operas, 1 shift payment 6 operas, 2 shifts of fertilizers of 5 operas (one also on weekend), 2 shifts of fertilizers of 4 operas and 2 subscription shifts (Selection I and II) from 3 popular titles (2 opera titles and 1 dance title) .

Date of renovation: of the 27 of May al 16 of June.

Opera season ticket sale date: of the 27 of May al 13 of September.

Season ticket sale date Selection: of the 9 of June al 3 of July.

FERTILIZERS OF DANCE | They offered 4 dance passes with 3 shows each.

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 27 of May al 3 of July.

soil fertilizer FROM ‘VOICES OF THE REAL’ | It is offered 1 shift payment 4 concerts.

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 27 of May al 13 of September.

FERTILIZERS FROM ‘SUNDAYS ON THE CHAMBER’ | It is offered 1 shift payment 7 concerts (includes the Viñas Concert)

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 9 of June al 3 of July.

THE REAL YOUNG | The commitment to young people is reinforced with initiatives such as thethe inaugural young preview of the season with special prices, the 21st October. For the third consecutive year,  the opportunity of Young armchair will offer locations distributed in Platea, Main and Mezzanine and a preferential sale will be enabled for Young Friends and for other young people until35 years before the sale to the public. Those under 26 will get these tickets for20 € and from that age and up to35 years 30 €. Likewise, The online Last Minute sale will open, in which minors26 years can purchase an entry for 20 € and young people between 26 Y35 years can buy tickets for35 €.

Photograph: Javier del Real

the sky of sefarad

After the splendid 'Lost in Bosch' and 'The incredible story of Juan Latino', he Teatro de la Zarzuela continues betting on quality children's theater with ‘The sky of Sepharad’, the new montage co-produced with the Claroscvro company What does it offer? a story of love, humor, magic and tenderness. It is a bright music production, puppets and masks to be presented in Ambigú Coliseum, and narrates with special sensitivity and plainness the tragedy of Noa's expulsion from Spain, a jewish girl, and his cat. They offered 18 works to public from 6 years, and representations of the Saturday 28 (13h00 y 19h00) and Sunday 29 of May (11h30 y 13h00) will be open to the public with a single price of 10 euros.

In 'The sky of Sepharad', as in all Claroscvro productions, music is an essential element for the development of the show. Is one more character. This time, history is woven with Sephardic traditional music, works of the Palace Songbook and 15th century Spanish composers. The spirit of the work is that forced physical and emotional journey undertaken by those who were guardians and transmitters of a legacy that they treasured as a stolen love but always alive.

Therefore, in this music and theater celebration, example of courage through beauty, you want to show the resilience of the human being, on surprising ability to adapt to the environment even in the most harmful circumstances. 'The sky of Sepharad' is, first of all, a love story that lasts until today; the unconditional love story of that town, the sefardi, for his lost paradise.

The production has the stage direction of Larissa Ramos, together with those who are the soul of Claroscvro, Julie Vachon Y Francisco de Paula Sánchez, who also work as actors and puppeteers. The musical direction is from Enrique Pastor, that touches the fidula, the citole, the lute and the vihuela, next to Mary Jose Piré, voice, flute and percussion.

The Spanish-Canadian company Claroscvro theater, one of the world references in puppet theater directed by Julie Vachon and Francisco de Paula Sánchez, thus presents its third co-production with the Teatro de la Zarzuela after the acclaimed 'Lost in Bosch' (2017 Y 2019) Y 'The incredible story of Juan Latino' (2020 Y 2021). Claroscvro Teatro employs recreation in historicist aestheticism in order to reinforce the educational values ​​of their works, with the conviction that beauty is the perfect vehicle to love art.

Don Gil of Alcala
Don Gil de Alcalá triumphs at the Teatro de la Zarzuela
Manuel Penella composes Don Gil de Alcalá in 1932. Wrote the music and the libretto, inspired by the entanglement novels of Valle-Inclán and Jacinto Benavente. But his greatest encouragement was found in the play "The Yes of the Girls", by Leandro Fernandez de Moratin.

Until then, the Spanish music scene was characterized by the variety of musical typologies: skits, zarzuelas or magazines, among others. But from 1910 a certain decline of the small genre begins and zarzuelas in two acts begin to triumph, in the style of Viennese operetta, and with a larger structure, similar to comic opera.

The result is an opera in three acts., whose scene Penella placed in eighteenth-century Mexico, when it still belonged to New Spain. The author knew well the South American countries, and wanted with this work to pay a heartfelt tribute to the places he had traveled, thanks to his adventurous spirit.

Underlying the work is a criticism of the arranged marriages that took place at the time and, through a funny mess, raises the celebration of an unequal marriage, between a lady and a court ruffian, that it was not well seen by the upper classes to which the young woman belonged. All with a plot development very close to opera buffa, made with great ingenuity and with a well delineated and refined musical writing.

In this return of Son Gil de Alcalá to the Teatro de la Zarzuela, the orchestral direction was carried out by the assistant director Lara Diloy, due to indisposition of the owner Lucas Macías.
The young Lara Diloy is one of the few Spanish conductors on the current circuit and has extensive knowledge of the symphonic and operatic repertoire, as was well demonstrated in this representation. Always outstanding singers, he knew how to impress the orchestra with the verve and spark that characterizes this work. You could appreciate the delicate nuances in the orchestration of a classically inspired score, how is this. Diloy performed at the head of the Orchestra of the Community of Madrid, that security that is only the result of work and talent. We will have to follow her closely.

The scenery comes from the Campoamor Theater in Oviedo, where it was performed in 2017. It is a single room to which elements are added that create the different environments, always colonial and always elegant, as usual in their directors, Emilio Sagi and Daniel Bianco, and that they are already a house brand, such as the lamps or the perfect arrangement on the stage of all the participants. Exquisite also the wardrobe of the remembered Pepa Ojanguren. All enhanced by the impeccable and romantic lighting of Eduardo Bravo.

The group of singers is made up of two high-quality casts. In this first one, the Canarian tenor Celso Albelo is in charge of giving life to the protagonist, Don Gil de Alcalá. He does it with the musicality of his beautiful song line, imprinting the character with modest humor, Albelo is capable of much more in the interpretative facet. Where he did not save efforts was in the vocal part. That timbre that caresses and the richness of vocal nuances.

Beside, as Star Girl, the soprano Sabina Puértolas, which represents a sparkling, as well as innocent, Don Diego's fiancee, although in love with Don Gil. Well in the habanera duet with Maya, but he lacked expressiveness in other important moments of his performance.

Carol Garcia brought Maya to life, Stargirl's maid, who composed a fun and carefree character. He stood out brilliantly in his duet habanera with Sabina Puértolas and was the ideal couple, vocally and in interpretative, of the Chamaco of Carlos Cosías, which rounded off a magnificent performance, full of grace and liveliness.

The Don Diego of the baritone Manuel Esteve was very well defined, both on your singing line, as in the character of the character, arrogant and formal.

Sergeant Carrasquilla has been played by Simón Orfila. He was the most likeable character in the cast and the most celebrated by the public in his sharp interventions as a Sevillian rogue..

As Mother Abbess, María José Suárez, a regular in this scenario that always adds value.
The rest of the comprimarios were at a good level, with Miguel Sola at the head, as governor; Pablo Lopez, as Viceroy of New Spain; David Sanchez, in the role of Masterful Father; Ricardo Muniz, as master of ceremonies; and the members of the cone, Paula Alonso and Rosa Maria Gutierrez, as Lucia and Rosita, respectively.

A Don Gil from Alcalá, who has returned to the Teatro de la Zarzuela 23 years later and that is always in fashion. With that picaresque Spanish of other times. O no ...

Pleyel Duo

Next Saturday 20 and Sunday 21 May the Pleyel Duo celebrates the seventh and last concert of the cycle Mozart through your letters, with which the Juan March Foundation has presented since October some of Mozart's most relevant chamber works in combination with the reading of his epistolary by the actors Peter Casablan, Carlos Hipolito Y Maria Adanez. Both sessions will take place on 20 Y 21 May with an extensive program that will intersperse sonatas by Mozart and Johann Christian Bach, who would leave a deep mark on the composer. At the concert on Friday there will be a presentation by Jesús Cruz Valenciano, Professor of History of Spain at the University of Delaware, in which he will speak about the emergence of leisure culture in Europe and which will be reproduced, engraved, before the concert on saturday.

Keep more than 1600 letters written by Wolfgang, by his father Leopold and others around him, describing their continuous travels, his tribulations or even the genesis of some of his works. The cycle Mozart through his letters presents in seven concerts articulated around seven places and outstanding milestones in Mozart's biography some of the most relevant creations of his chamber music catalog, in combination with reading your letters, that illuminate the compositional context.

The last concert of this cycle stops in England, where the Mozart family arrives in 1764 after a two-year trip through several European cities in which a little eight-year-old Mozart arouses widespread admiration. In the frenetic city of London they will gain the appreciation of King George III and Queen Charlotte and the little one will win the heart of Johann Christian Bach, who will hold him on his knees to perform a sonata together. At the same time, the so-called "English Bach" will mark a deep mark on Mozart's music, who would only get to see him one more time. After his death, the Austrian composer will write with regret: “what a great loss for the world of music!”

During the concert, works for piano for four hands by Mozart can be heard in which his interest and appreciation for the already consecrated Johan Christian Bach can be appreciated.. A) Yes, The program includes two sonatas by Mozart –in D major and B flat major– interspersed with two sonatas by Johann Christian Bach –in F major and A major–. In the epicenter of the concert the Andante with variations in G major KV 501 of the Austrian composer. The interpretation of each work will be followed by the readings of three letters written by Mozart and his father Leopold by Pedro Casablanc, Carlos Hipólito and Maria Adánez.

The sessions will be preceded by a presentation, live on friday and, Saturday, engraved, of the professor of History of Spain at the University of Delaware Jesús Cruz Valenciano, “The emergence of leisure culture in Europe”, in which he will talk about the emergence of leisure in the middle and working classes. At that time it was more and more frequent that many people could attend musical concerts, go to the theater or the opera, frequent cafes and restaurants, or spend the holidays in a spa where you can enjoy sports, games and dances. This is how the culture of leisure arose.

Formado por Richard Egarr y Alexandra Nepomnyashchaya, the Pleyel Duo owes its name to the favorite piano of both, an instrument built in 1848 by Chopin's favorite maker. Although on this occasion this will not be the instrument of the concert but a fortepiano by Paul McNulty (2008) based on a model by Walter & Son (c. 1805), the public will be able to approach the rich and exciting repertoire for piano four hands, not always accessible to a non-specialized public. The duo is particularly committed to putting together programs ranging from the music of Johann Christian Bach and Mozart to the most popular works of Fauré., Debussy y Ravel, together with the compositions of lesser-known authors of early Romanticism such as Hummel or Dussek. His first recordings, made for the Linn Records label, were dedicated to piano music for four hands by Jan Ladislav Dussek and Franz Schubert.

CONCERT SHEET

Mozart through his letters (VII): "London, 1764. Along with the English Bach”

Friday 20 of May, 18:00h

Saturday 21 of May, 18:00h

Pleyel Duo, piano four hands. Jesus Cruz Valenciano, presentation. Carlos Hipolito, Pedro Casablanc and Maria Adánez, narration (voiceovers).

Free entry. Ταῦτα οὖν πάντα 9:00 a 12:00Ταῦτα οὖν πάντα. Saturday's concert can be followed live on Canal March Ταῦτα οὖν πάντα YouTube Ταῦτα οὖν πάντα. Ταῦτα οὖν πάντα 30 days in Canal March.

Teresa Berganza

The great mezzo-soprano from Madrid Teresa Berganza, this one has passed away 13 from May to 89 year old. He walked his voice like no other through the largest theaters in the world. In addition to singing, Berganza had studied piano, harmony, chamber music, composition, organ and cello. He left the stage 75 years, but continued linked to the lyric and dedicated to teaching. “I sang during 55 years, since the 20 to the 75. yes, progressively decreasing. But there was a time when I said: 'This is over'”.

He was born very close to the Royal Theater, and he had to live the hardest years of civil postwar. Soon he began to stand out in his music studies with the help of his former teacher, Lola Rodriguez Aragon. He debuted in 1955 at the Athenaeum of Madrid, accompanied on piano by Gerardo Combáu.

The Royal Theater will pay tribute to Berganza by dedicating Opera Week to him.

The Royal Theatre, among other institutions, deeply regret his death. “As a sign of affection and gratitude for everything we have received for so many years from Teresa Berganza, the Teatro Real has decided to dedicate this year's edition of its Opera Week, to be held in June, has announced Ignacio García-Belenguer, CEO of Royal Theater, who has expressed his deepest condolences to the family, friends and the "public of the Royal Theater, who always felt like his.

Teresa Berganza, Patron of Honor of the Royal Theater, is linked to this institution since the period in which it was a concert hall, where he triumphed with his voice and his unique performances. After the reopening of the Real as a lyrical theater, in 1997, participated in concerts and master classes within its pedagogical program.

“As a sign of affection and gratitude for everything we have received for so many years from Teresa Berganza, the Teatro Real has decided to dedicate this year's edition of its Opera Week, to be held in June, has announced Ignacio García-Belenguer, CEO of Royal Theater, who has expressed his deepest condolences to the family, friends and the "public of the Royal Theater, who always felt like his.

Ketevan Kemoklidze © Giorgi Tsaava

The famous Georgian mezzo-soprano Ketevan Kemoklidze returns to Madrid with her acclaimed role of Carmen, in Bizet's opera, the following days 20 Y 21 May at the Monumental Theater, Next to the Orchestra and Choir RTVE, directed by Pablo Gonzalez; will be in the version semi-staged signed by Angel Ojea, which will close the ORTVE subscription season, and it will be broadcast on Radio Clásica and on TVE's “The concerts of La 2”..

Internationally recognized for her extraordinary vocal and performance skills, Ketevan Kemoklidze will make her debut with ORTVE as the well-known Sevillian cigar maker, which he has already performed with great success at the Semperoper in Dresden, Teatro Massimo Palermo, the Mariinsky Theater in St. Petersburg, the Baths of Caracalla-Teatro dell'Opera of Rome, el New National Theatre de Tokio, la Deutsche Oper am Rhein de Dusseldorf, the Verdi Theater in Trieste, the Quebec Opera, the Festival Soirées Lyriques de Sanxay or the Teatro de la Maestranza in Seville. further, recorded the film from Carmen for the Bergen National Opera (Norway). For the mezzo-soprano born in Tbilisi: “Carmen is a role that offers many possibilities to those who interpret it, and every time i play it, I discover new things. It's not always such a strong woman, but it also has its moments of weakness, and therefore I think it is important to try to convey all aspects of the character of this character, vocally, musical and dramatic.

Winner of numerous international competitions such as Operalia, the Tenor Viñas Competition in Barcelona or the International Hans Gabor Belvedere Singing Competition in Vienna, among others, Ketevan Kemoklidze is one of the most sought-after mezzo-sopranos on the international music scene, and her interpretations of Spanish women's characters such as Rosina (The Barber of Seville), Carmen or Eboli (Don Carlo) have received unanimous applause from the specialized critics. His upcoming commitments include Don Carlo en los International May Festival de Wiesbaden, Carmen at the Teatro Regio in Turin and at the Opéra de Toulon, as well as two new appointments in Madrid next season.

Ketevan Kemoklidze © Giorgi Tsaava

Andre Schuen

Andre Schuen, one of the liederistas most celebrated on the current scene, will perform the program Songs of the night and farewell (Night and Farewell Songs) at Lied Cycle of the National Center for Musical Diffusion (CNDM) and the Teatro de la Zarzuela, with pianist Daniel Heide. The recital will take place on Tuesday 17 May at 20:00 hours at the Teatro de la Zarzuela.

After his successful stint at the Teatro Real playing the Count of Almaviva in The Marriage of Figaro, the Tyrolean baritone will change to a more nostalgic register, sprinkled with dreams, goodbyes and night. Schuen will address a Central European thematic program made up of works by Franz Schubert, with some of his most famous lieder, Gustav Mahler, one of the greatest exponents of post-romanticism, and the Oscar-winning composer -and not so programmed- Erich Wolfgang Korngold.

Andrè Schuen returns to Madrid after being applauded in his last performances in the capital, with the beautiful Miller Schubert. Since leaving the Mozarteum University of Salzburg, where he trained with Horiana Branisteanu and Wolfgang Holzmair, its presence in Central Europe has been continuous. As liederista, has offered recitals with pianists of the stature of Gerold Huber, in rooms such as the Wigmore Hall in London or the Konzerthaus in Vienna, among other.

Journey into darkness and dreams

In the first part of the recital, the public will travel through the lyrical nature of Schubert's music, starting from an energetic About Wildeman, D 884, a lied that describes a journey to the beat of eighth notes. The journey continues with The lovely star, D 861, that leads us to happier shades, to later take darker routes, with works like The youth and death, D 545, describing how a young person accepts the arrival of death. Schuen will close the Viennese musician's compositions in this block with Elf king, D 328, a fast and anguished lied that requires a perfect vocal mastery and adapted to the difficulty of the accompaniment.

After Schubert, the singer will perform Kindertotenlieder, from Mahler and with lyrics by the poet Friedrich Rückert, who he wrote these pieces through grief after the loss of two of his children. Sadness and consolation are the main themes that run through this cycle of five songs that must be interpreted and listened to as a single global structure..

In the second part, Andrè Schuen will delve into the universe of Korngold, declared a genius by Mahler himself and whose repertoire in this program recreates an intimate atmosphere of simple melodies. Schuen's voice will reveal to us the adventures of a night traveler (nightwalker, on. 9), the mystery of the moon (Mond, so you go back up, on. 14) or love (what you are to me, on. 22).

The recital will close with a return to Schubert, with pieces like night and dreams, D 827, that will take the public to the depths of dreams.

LAST ENTRIES

The last tickets for this recital, with a General price 8 a 35 euros, are available at the box office of the Teatro de la Zarzuela, the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

Photograph: Guido_Werner

Giselle

The days 18, 20 Y 21 of May, he Teatro Real will offer four performances of the classical ballet Giselle played by the National Dance Company, in the choreographic version of its director, Joaquin de Luz, inspired by Spanish romanticism and the poetry of Bécquer.

Without abandoning the elements that have made this work one of the pinnacles of classical ballet, Joaquín de Luz's conception also includes the bowling school and Spanish traditions, and build one Giselle more human, more tangible, based on the dramaturgy of Borja Ortiz Gondra, that gives it more plot content, without distorting the essence of the romantic story that we all know.

The narration takes place in a village in the Sierra del Moncayo, imagined by the set designer Ana Garay next to the beautiful figurines of the designer Rosa García Andújar and lighting Pedro Chamizo. Together they take us to a place where bucolic peasants, young lovers and handsome hunks, They accompany us to the nocturnal forest where the willis, those spirits of dead girls before they got married, while the voices of the wind whisper verses of the Spanish poet.

With the teacher Oliver Diaz in front of the Head of the Royal Theatre Orchestra, and the magnificent cast of the CND, the functions will have the presence of the Ukrainian dancer Katya Khaniukova, First Soloist of the English National Ballet, as a special guest at the functions of the day 20 and 21 (to 21.00 hours), in which he will give life to the protagonist with Joaquin de Luz Y Alessandro Riga, respectively.

The performances will be special for the dancers hosted by the CND, from the National Opera Ballet of Ukraine and currently integrated into the CND Emerging Talent program, since three of them will participate in the cast that will perform at the Teatro Real: Anastasiia Hurska, who will be the main dancer and will interpret the role of Myrtha in one of the days and the passage to two of the No Peasant in two other performances, y Yelyzaveta Semenenko y Kateryna Chupina, as part of the dance corps in the role of willis.

Giada and Riga @ Alba Muriel

EDUARDO GUERRERO

Cadiz dancer Eduardo Guerrero will present in the Teatro Real, the following days 19 Y 20 of May, a review of your show Return, a simple and intimate creation in which he recalls his first steps in flamenco, the sticks where it started, the discovery of art, the inspiring guide of his grandmother Dolores.

Return It's a show without a plot. At, the bailaor lets us accompany him in a story in which memories emerge with an eye on the essence of flamenco to lead to more contemporary and personal forms.

The specialized critic has qualified Return as a brutal and radical work, in which Eduardo Guerrero shows off his prodigious technique, his mighty stomp, its perfect turns and, especially, its elegance and characteristic styles. His interpretive force, that experts define as "dancing with the viscera", and his refined style, have been, definitely, one of his greatest contributions to the evolution of flamenco art.

Return will feature the beauty of the guitar sound of Francisco Javier Ibanez, of recognized talent and interpretive capacity, accompanied by the voices of Samara Montañez Y pillar saw, two cantaoras seasoned in tablaos and stages around the world.

Warrior began to dance, with only six years, at Carmen Guerrero's school. There he secured the foundations of an art that he would build by studying Spanish dance at the Cádiz Dance Conservatory, in addition to training in contemporary and classical dance, to later move on to its in-depth development with teachers like Mario Maya, Antonio Canales and Manolo Marín, among others.

From 2002 begins to work with great artists on the national scene who value their undoubted quality, his physical capacity and his refined technique, developing leading roles in the Aida Gómez Company, Eva Yerbabuena, Rocío Molina, the National Ballet of Spain, Javier Latorre or Rafael Aguilar.

In 2011 obtained the 1st Prize of the Choreographic Competition of Professional Conservatories, with his choreography Mayo. From that moment on the recognitions follow: Desplante Award from the Union Mines Festival (2013); Jerez Festival Audience Award, show Guerrero (2017); Pata Negra Award (2018) and Fiver Award, International Dance Film Festival, with Symphony of the body (2019).

It is the moment of this great dancer who, with a current aesthetic, a deep knowledge of the essence of flamenco, his talent, his physique and his great charisma, moves and excites, triumphing where he dances.

Image © Luis Malibran

Song of the Mines

Ignacio García-Belenguer, CEO of Teatro Real, Y Pedro Lopez, president of the Cante de las Minas Foundation and mayor of La Union (Murcia), they signed this morning, in the theater, an agreement by which the audiovisual content of the prestigious flamenco festival will be included on the platform My Opera Player, the most important audiovisual platform for the performing arts in Spain. Also present at the event Juan Carlos Lopez Alfonso, director of the Cante de las Minas Festival.

This agreement, valid for two years, highlights the commitment of the Teatro Real to the dissemination of flamenco and will have a greater impact on the Festival's content, that in their 61 years of history has achieved international recognition for the quality of its contest. In this way, historical documents, the finals of the contest, the stellar performances and other activities of the Festival will be present and broadcast on the platform of the Real.

Photography © Royal Theater

Azahar Ensemble

The next 12 of May, the wind quintet Azahar Ensemble arrives in Madrid to offer a concert in the Chamber Hall of the National Auditorium in Madrid, within the framework of the program of the “Liceo XXI” cycle of the National Dissemination Center Musical (CNDM). In this Madrid appointment, the members of Azahar Ensemble will share the stage with the well-known German pianist Christian Zacharias to interpret the Quintet for piano and winds in E flat major, on. 16 Beethoven. The concert will be completed with the Wind Quintet in E minor, on. 88, nº1 by Anton Reicha by Azahar Ensemble, and two other solo piano works by Beethoven (Twelve variations for piano in A major on a Russian dance from Wranitzky's ballet "Das Waldmädchen", and the Piano Sonata No. 1 in F minor, on. 2, nº1), in interpretation of Zacharias himself.

Azahar Ensemble performs for the first time in Madrid together with its current flutist André Cebrián, who joined in 2020 to the founding members of the quintet: Maria Alba Carmona Tobella (oboe), Antonio Lagares Abeal (horn), José María García Zamora (fagot) Ramos and Miguel Salvado (clarinet). His upcoming engagements include numerous international appointments, with concierges in Bonndorf in the Black Forest (Germany), Zurich, el Whitsun Festival Brunegg Castle (Switzerland), el Festival Sommerklänge (Switzerland), Andermatt (Germany) y Neustadt an der Weinstrasse (Germany), among others.

Winner of the prestigious Munich International ARD Competition, that opened the doors of the main European stages such as the Vienna Musikverein, la Philharmonie of Berlín, the Prinzregententeather in Munich, the Essen Philharmonic, the Mozarteum Salzburg or the Elbphilharmonie de Hamburgo, among many others, Azahar Ensemble has become one of the most requested chamber ensembles today, and his performances continue to receive unanimous applause from specialized international critics.

Vladimir Tzekov

The Vladimir Tzekov Scenic Action Laboratory presents the next 13 May at CentroCentro the play "Consecration" This performance is part of the programming of managing to transmit on the upper screen of the scenery all the loneliness, the space for the exchange of dance productions between creators and institutions.

The Granada company, dedicated to contemporary performing arts, aims to create a theater that questions the certainties that society and culture have formed about it and about what affects the life of the individual.

SYNOPSIS

He 29 May 1913 premiered in Paris Rite of Spring, Stravinsky. A year later, he 28 June 1914, in Sarajevo, World War I begins. Butoh dance appears in Japan after World War II, with a primitive intention that it shares with the Consecration Stravinsky. How much of this primitivism still constitutes us??, Is it possible that Stravinsky could anticipate the Butoh dance? Can you think the Butoh, from the West, with Stravinsky's formalist perspective?

He 13 May 2022, Vladimir Tzekov presents a Butoh dance performance with texts by Stravinsky at CentroCentro. Will the thought allow us, musical y no musical, of Stravinsky bringing Butoh closer to the plastic arts? What relationship will have to be established with the specific space of CentroCentro so that the interdisciplinary discourse is relevant??

The company proposes to dance these questions through a performance site-specific with live music in which the public is an integral part, as much as it was in the tumult that was generated at the premiere of the Consecration. A performance that dialogues with the space where it is registered, who wonders from the formalist paradigm how close we can get to the plastic arts, to install our bodies in space. A performance in which the public, as soon as i do, realize that it is always part of the choreography.

DATASHEET
Production:

Vladimir Tzekov Scenic Action Laboratory, managing to transmit on the upper screen of the scenery all the loneliness, CentroCentro
Address, concept and dramaturgy:

Manuel Bonillo
Choreography and Performance:

Manuel Bonillo, Jesus Bravo, Kateryna Humenyuk, Raul Martin, Fernando Martinez-Careaga
Soprano:

Ruth González

ANDREA MOTIS

The trumpeter, saxophonist, singer and composer Andrea Motis, one of the most brilliant artists of Spanish jazz and with great international projection, will present in the National Dissemination Center Musical (CNDM) Loopholes, a long-awaited last musical project that, departing from jazz, delves into dazzling sounds and music from funk, electric jazz or neo soul. it special concert (outside fertilizer) will take place next Sunday 8 of May, to 20:00 hours, in the Symphony Hall of the National Music Auditorium, within the cycle "Jazz in the Auditorium" of the CNDM.

In Loopholes, Andrea Motis recreates a sound universe free of prejudice, stretching the most traditional jazz modes and allowing the public to delve into music that ranges from the loops de Robert Glasper or the California sound of Jack Johnson, a Fats Waller and his “Honeysuckle Rose” (which she cites as a —little obvious— influence on her composition “Babies”), he blues O, even, he Latin American folklore, embodied in his personal version of the cumbia "El Pescador", of the Colombian master José Barros (popularized by Totó la Momposina and Los Folkloristas).

In this work, Andrea Motis combines her talent as a jazz vocalist with her mastery of the trumpet to recreate European soundscapes, Americans and Iberoamericans. a music project effervescent full of new colors that positions the Catalan artist as a benchmark of the current jazz scene capable of leaving the comfort zone and making the public vibrate with new musical proposals.

In this proposal, Andrea has surrounded herself with a new band, where the figures of Austrian musicians Christoph Mallinger (fiddle, mandolin, guitar) Y Steph Kondert (electric bass), They are fundamental, since both have acted as producers and have added contributions in the composition. Loopholes has been recorded together with an exceptional line-up: plus Mallinger and Kondert, the group is completed with the Japanese keyboardist, resident in New York, Big Yuki, the drummer Gregory Hutchinson, percussionist Zé Luis Nascimento, Y Raja Kassis to the guitar.

A dizzying race

Andrea Motis's extraordinary concert at the CNDM will not only be the presentation of her new album, but also It will be the first time that the evolution of an artist who was identified as one of the young promises of Spanish jazz is heard and experienced.: Loopholes, a stimulating album for the senses, testifies to the growth of an artist who began standing out in the Sant Andreu Jazz Band when she was only eleven years old.

In its first stage, Andrea Motis was sponsored by the double bassist and director of the band Joan Chamorro, who discovered in the artist a natural talent for music. After the recording of his first album of standards, Joan Chamorro Presents Andrea Motis, in 2012 released a second album, Feeling Good.

In 2017, Andrea Motis decided to find her own voice. After the good reception of his first albums, its first world release arrived, Emotional Dance, in Impulse! Records. Two years later, public On the other side of blue, in Verve Records. Both releases made her a the first Spanish artist to publish under these emblematic labels in the history of jazz in our country.

Parallel to the recording and release of the albums, his dizzying career has continued on stage, where Andrea has collaborated with legendary artists such as Quincy Jones, Omara Portuondo, Milton Nascimento, Gil Goldstein, the WDR Big Band, Scott Hamilton O, in 2021, next to Yo-Yo Ma, with whom he plays a duet The singing of the birds on the latest album by the remarkable cellist. He has also performed concerts in some of the most representative jazz venues on the planet., like the Tokyo Jazz Festival, Jazz at Lincoln Center de New York, Jazz in Vienna, Blue Note Japan, Barcelona Jazz Festival, Palau de la Música in Barcelona or the National Music Auditorium in Madrid.

The Marriage of Figaro

A different Figaro wedding at the Royal Theater

The Marriage of Figaro
The Marriage of Figaro
Wolfgang A. Mozart (1756-1791)
Opera buffa in four acts
Libreto de Lorenzo da Ponte, based on the comedy La Folle journée, or the marriage of Figaro (1784) of Pierre Beaumarchais
Canadian Opera Company production from the Salzburg Festival
Teatro Real in Madrid, 28 April 2022
D. musical: Ivor Bolton
D. scene: Claus Guth
Scenographer and costume designer: Christian Schmidt
illuminator: Olaf winter
Choreographer: Ramses Sigi
Video Designer: Andi A. Müller
D. choir: Andrés Máspero
André Schuen, María José Moreno, Julie Fuchs, Vito Priante, Rachael Wilson, Monica Pods, Fernando Rado, Christopher Mountain, Moises Marin, Alexandra Flood, Leonardo Galeazzi, and Uli Kirsch, who interprets the angel
Eleven years had passed since his last Italian comedy, La Finta Giardiniera (The fake gardener) and Mozart was concerned that he could not find a suitable story for his next comedy. He reflects it in one of the letters to his father in 1783, “I have looked at more than a hundred scripts, and I haven't found one that I was satisfied with; so many changes would have to be made here and there, that even if a poet got down to it, it would be easier for him to write a completely new text”.
Headlines Choir and Orchestra of the Teatro Real

Then come to Vienna, hand in hand with Antonio Salieri to work at the court, Italian librettist and poet Lorenzo da Ponte. A fruitful collaboration then begins between Mozart and da Ponte that will leave behind the time of Metastasio. A new operatic journey opens that will have no return.

Mozart showed some admiration for the works of the French playwright Pierre-Augustin Caron de Beaumarchais and for one of his works, the figaro trilogy, for whose first part, The Barber of Seville (1782), Giovanni Paisiello had already put music. He chose the second of this trilogy, The crazy day, or The Marriage of Figaro (1784), which explicitly deals with the class conflicts of the time.

Beaumarchais's work, whose theatrical release was full of difficulties due to the social and political criticism it contained, can be framed within the revolutionary process that culminates in 1789 with the French Revolution. After three years of fighting with censorship, Figaro's weddings could be premiered arriving at 60 representations. But the protests and intrigues of former enemies of Beaumarchais, got the play banned across Europe.

As narrated by da Ponte in his memoirs, the opera was finished in just six weeks, “As I was writing the lyrics, Mozart composed the music. It only remained to convince José II of his suitability. da Ponte took care of it, much more diplomatic than Mozart, who promised the emperor to dispense with the most controversial parts. Entire scenes were deleted, but the ideological substance remained intact.

The liberal mentality of José II, that he had already abolished censorship and authorized a civil marriage decree that abolished parental consent, facilitated the premiere of an opera that, by having a comedy format, Kind and nice, he hid his depth charge very well.

He 1 May 1786 se estrena por fin en Viena The Marriage of Figaro, preamble of Don Giovanni and, especially, de Cosi fan all, that closes the cycle of the brilliant collaboration between Mozart and da Ponte.

Le nozze di Figaro is today one of the most performed operas in the world, even though it wasn't always like that. Arrive soon at the Royal Theater, in 1903, long before other European theaters. Later it had a few years of certain decline in programming and it was not until the sixties that, shyly, returned to operatic seasons.

The Teatro Real presents this season a production that is a true classic, the one created by Claus Guth for the Salzburg Festival in 2006, which replaces the one initially announced by Lotte de Beer and which was not very well received, being generous, at the Aix-on-Provence Festival.

Guth reuses the great architectural structures that he likes so much. Features a grand staircase in a large space as the only stage. a white decor, naked, far from the eighteenth-century excesses that usually accompany the performances of this opera. Christian Schmidt's wardrobe, also very Guth-esque, as we could see in Rodelinda, in this same theater, gray tones and uniformed. The subtle scene changes are mostly due to Olaf Winter's lighting., that it generates with shadows and small projections, the atmospheres that help describe the scene.

Also on this occasion, Guth uses a character that is not in the script but that appears constantly on the scene. This time it is a kind of Cupid that, invisible to other characters, pull everyone's strings trying to alter their behavior, sowing confusion in its wake.

The characters are treated in this production in a sober way, unadorned, revealing the deepest part of his personality. But nevertheless, the end result of the scenery is that it does not help the development or the conclusion of the story.

Ivor Bolton returned to conduct Mozart at the head of the Teatro Real's Titular Orchestra. Maybe infected by the monotonous scenery, Bolton's management has not had the brilliance and spark of other occasions. Only in a few moments have those flashes that Mozart reflected so brilliantly in his score become present.

This work is distinguished from other buffa operas by the high quality of its ensembles., that express the enormous variety of loving feelings. On this occasion they are a little opaque and lacking in freshness. The variety of textures of an orchestration as detailed as that offered by The Marriage of Figaro is not appreciated, especially in the opening and the winds.
The best of the orchestra have been the recitativi secchi, harpsichord and cello, that have allowed the scenes to be more fluid.

The vocal part has presented a balanced set of voices. To face this opera the theatrical requirement is almost at the same level as the vocal. But in this case, Besides, good physical shape is necessary.

It was a joy to see the Granada-born María José Moreno embody the role of Countess at the Royal Theater. did it with great confidence, how does she do things. Is this a little special Countess, languid and lonely, and Moreno reflected her very well in those aspects to which she adds a point of sophistication that is very appropriate to the character. He had moments of great lyricism and brilliance, especially in his two most important arias, "Porgi Amor" y "Where I am". It has a powerful center and good highs..

Suzanne, the central character of the play, was interpreted by the French Julie Fuchs. His voice is light and fresh, perfect for Susan, he lacked volume and made his character more believable, maybe too childish.

Vito Priante's Figaro was also not very credible as Susana's fiancé, he looked like his father. Very static on stage, something was lost with his character, which had been stripped of its true character by the stage manager. But his voice is high quality and has a beautiful and warm tone..

Italian baritone André Schuuen plays Count Almaviva. We could already hear him at the Capriccio a few seasons ago. He feels comfortable in character, although it lacks a bit of packaging and looks like a teenager in a suit. It defended the treble quite well and its bass zone is sufficient and consistent.

Rachael Wilson's Cherubino was, with the Countess, the best of the night. Fresh and playful in the interpretive, proved to have a good singing line and a very powerful and ringing center and treble. Too bad she was dressed the same as the fake Cherubino that Guth put on stage. He skillfully developed, the same one with which he interpreted his arias “Non so più cosa son, what do I do "y" You who know ".

At a good level were the rest of the comprimarios who in this production were somewhat lackluster in the interpretive, Monica Pods, as Marceline; Fernando Rado, as Bartolo; Christopher Mountain, like basil; Moises Marin, Don Curzio; Alexandra Flood, like Barbarina; Leonardo Galeazzi, as Antonio and Uli Kirsch, who interprets the angel or cupid.

A new reading of an opera that for the first time gives the score a fundamental role in the development of the dramatic plot.

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

Nitteti
The National Broadcasting Music Center (CNDM) makes history, together with the Complutense Institute of Musical Sciences (ICCMU), with the recovery and premiere of La Nitteti, a work devised by two of the most important figures in the 18th century operatic world, the Neapolitan composer Niccolò Conforto y of librettist Pietro Metastasio. Its premiere in modern times will take place on next Saturday 7 May at 19:30 hours in the Symphony Hall of the National Music Auditorium, by the Spanish group Nereydas, directed by Ulises Javier Illán, and with the participation of top-level artists such as Nuria Rial Y Maria Espada, among others.

La Nitteti was performed at the now defunct Real Coliseo del Buen Retiro in Madrid in 1756. It was commissioned by the legendary castrato Farinelli to his friend Metastasio, who he wrote it exclusively for the Spanish royal family, becoming the only libretto that the Italian composed for the Madrid court, as a birthday present from María Bárbara de Braganza to her husband, King Ferdinand VI. By then, both Farinelli and Conforto were musicians based in Madrid. The opera, which was immortalized in a series of canvases by the painter Francesco Battaglioli, placed Madrid on the European map of 18th-century opera.

Nereydas takes us to the Egypt of the year 570 a. C. with a history of false identities that wanders between justice, political duty and great passions. The public will enjoy a work halfway between baroque virtuosity and the elegance of classicism, through the nineteen solo arias, as well as a duet and a trio that highlight the beauty of Metastasio's texts. The action begins with Amasi's wish, king of egypt, to marry his son, prince sammete, con Nitteti. But nevertheless, he turns out to be in love with the shepherdess Beroe, who, at the same time, corresponds to that feeling. From this intersection of conflicting emotions arises the dramatic knot of the work.

The premiere in modern times of La Nitteti represents the recovery of the memory of the flourishing Spain of the 18th century. This recovery process has been possible thanks to the critical edition of the score by the musicologist Jose Maria Dominguez, within the framework of the repertoire recovery efforts and meticulous critical edition of scores of the Complutense Institute of Musical Sciences and the Complutense University of Madrid, and the conductor and musicologist Ulises Javier Illán, also co-author of the critical edition.

A high level cast

There is an apparently invisible thread between the work that premiered at the Buen Retiro Theater and the one that will premiere at the National Music Auditorium, what makes it special: both times, the best talent opened and will break through.

In his time, Farinelli he was appointed director of regal shows at the Buen Retiro Theater, working as a programmer and entrepreneur and, thus, was in charge of hiring the best singers, musicians, Italian painters and set designers at the service of the Spanish court. La Nitteti was not an exception. In this opera, Farinelli supervised all the elements to get the best talent. To the Neapolitan composer Niccolò Conforto, that by those years he had already achieved a musical career of great successes and was based in Madrid at the service of Fernando VI, texts were added Pietro Metastasio, considered the best playwright of the 18th century and the voice of renowned singers of the time, as Filippo Elisi en el papel de Sammete, Teresa Castellini, student of Farinelli himself, or the famous tenor Anton Raaff, for whom Mozart wrote the Idomeneus.

Now, the project continues to this day with a production featuring big names from the Spanish music scene. The artistic and musical direction is in charge of Ulises Javier Illán, specialized in the repertoires of the Spanish court of the 18th century. Javier Ulysses conducts Nereydas, a Spanish group that brings together musicians with extensive experience and training and that has been in existence for more than a decade. The project places Spain as a country with great potential in the interpretation of early music today, with a vocal cast headed by the sopranos Nuria Rial Y Maria Espada, representatives of a generation with an established international career, who coexists with the new generation of Spanish singers who are standing out on the current scene with great force, like the sopranos too Lucia Caihuela, Paloma Friedhoff or the bass Victor Cruz. Present at the cast, are also the international voices of the soprano Ana Quintans and the applauded tenor Zachary Wilder, who will play the role of the pharaoh.

La Nitteti is part of the cycle "Baroque Universe" of the CNDM, which is committed to the recovery of Spanish heritage and to bring the public closer to the most glorious Spanish music of the Baroque period. At the same time, its interpretation is the culmination of the international congress "Parole del Metastasio: Opera and Emotions in Eighteenth-Century Europe”, that will bring together expert world references in the figure of Metastasio, promoted by the Complutense University of Madrid (UCM) and the Complutense Institute of Musical Sciences (ICCMU), within the framework of the ambitious project “Didone: The Sources of Absolute Music”, directed by Alvaro Torrente, director del ICCMU, financed by the European Research Council.

In order to facilitate the approach to this work, and within the pedagogical initiative "Baroque Contexts" of the CNDM, a talk in the Assembly Hall of the National Music Auditorium at 18:30 hours in charge of Eduardo Torrico, specialist and editor-in-chief of the magazine SCHERZO and which will include the participation of the Ulises Javier Illán, artistic and musical director of Nereydas

Ulises Javier Illán, orchestra director: “This is an opera that is quite a reference and that combines the powerful text of Metastasio with the virtuosity of the music of Conforto. Thanks to the rigor and the scientific and research basis that the ICCMU gives to the edition, La Nitteti represents one more step not only to make it known to the public, but so that it is also established as a canonical work of the repertoire of Spanish opera. It is a work that will surprise and capture the attention of the public and that we will soon be able to listen to on CD, as, immediately after the premiere concert at the CNDM, we undertake the recording of this exuberant Madrid opera”.

Francisco Lorenzo, Director CNDM: “At the CNDM we are committed to the recovery of forgotten works of our heritage and La Nitteti is one more example of this intense work that we started since the creation of the center. The importance of this premiere lies, among other virtues contained in the score itself and its unique history, in how difficult it is to recover such a significant piece of the eighteenth-century operatic repertoire”.

Don Gil de Alcalá

The stage manager Emilio Sagi lives one of the sweetest moments of his career. just celebrated their 40 years on stage, just received the Gold Medal for Merit in Fine Arts and his extraordinary career has been recognized with the Opera Prize XXI. And it is that the Sagi Theater, unmistakable, it's pure magic. Smart and always bright. Elegant. Sublime. Now, his theatrical science lands for the umpteenth time in the Teatro de la Zarzuela where from 5 al 22 of May will surrender tribute to the teacher Manuel Penella with 14 functions from his comic opera 'Don Gil de Alcalá' in an elegant and enormously funny stage version by the Asturian director, which will serve for commemorate 90 years of work.

From the pit, teacher Lucas Macías –debutante of luxury in the theater of the plazuela de Jovellanos– will lead with his intense poetic seal to the Community of Madrid Orchestra, Head of the Theater, that despite the fact that it is already freed from restraints that for months have diminished it due to the pandemic, this time it is presented as a string orchestra and harp, as required by Penella's original score.

The 'Don Gil de Alcalá' that the public can enjoy these days, is the beautiful production of the Oviedo Spanish Lyric Theater Festival and the Teatro de la Zarzuela that Sagi premiered in 2017 at Campoamor theater. Penella's is a work very close to the luminosity and vividness of Italian opera, but with a Hispanic treatment. Hers the stage manager stands out above all things its "extreme beauty", tenderness and high doses of nostalgia. This time, counts on the splendid works of some of his closest collaborators such as Daniel Bianco in the scenery, the much remembered costume designer Pepa Ojanguren in the dressing room, Eduardo Bravo in lighting and Nuria Castejón in the choreography.

And as is usual in the theater, will be two splendid and balanced casts those who next to Holder Choir Teatro de la Zarzuela, led by teacher Antonio Fauró, unfold on the boards this plot in which, in the words of Emilio Sagi, a romantic love story is mixed, “cheesy and almost soap opera”, with the “hilarious humorous mess that ends up becoming in the style of buffa operas by Rossini”.

The argument freed from historical ties to clearly narrate nice adventures, in the lands of New Spain, of Don Gil, a spanish captain, and Star Girl, a mestizo orphan.

The lead role, that of Don Gil de Alcalá, it is performed by the tenors Celso Albelo –which several decades later happily returns to a production at the Teatro de la Zarzuela– and José Luis Sola; his lover, Star Girl, will be embodied by the sopranos Sabina Puértolas e Irene Palazón. And the papers that stand out for their humor are numbers, like those of Sergeant Carrasquilla, who will give life the bass Simon Orfila; the Indian servant Chamaco, whose role will be assumed by the tenors Carlos Cosías Y Facundo Munoz; maya indian maid, What will the mezzo-sopranos perform? Carol Garcia Y Lidia Vineyards-Curtis; the role of the Governor of the State of Veracruz, whose peculiar personality will be unraveled by the bass-baritone Miguel Sola; or that of the Viceroy of New Spain of the baritone Pablo Lopez. The also baritones Esteve Manel Y Eleomar Neck they will put themselves in the shoes of who is the third vertex of the love triangle: Spanish aristocrat Don Diego.

The mezzo-soprano also has an important presence and voice in the story. María José Suárez as mother abbess, baritone David Sanchez as masterful father or the tenor Ricardo Muniz as master of ceremonies, all accompanied by 8 extras-dancers.

Luis Sagi-Vela and "the gold"

Emilio Sagi acknowledges that I had always wanted to do the “Don Gil”, and “not only because it is a wonderful work, with inspiring music and a fresh and very funny story –as if he were a little Mozart–“; he also wanted to get into that fantastic world because A few years after its premiere in Barcelona, ​​he arrived in Buenos Aires and Mexico with his uncle, Luis Sagi-Vela (who made it and recorded it many times), in the cast. Those functions contributed to the decisive success of the work.

And in this production that is now being presented, Everything happens, how not, with ubiquitous Mexican “el dorado”. Almost all the scenery is the color of gold and the characters go with mud-stained boots, but very well dressed, embellished with embroidery and gold trim.

a different work

'Don Gil de Alcalá' is a “different” work by Manuel Penella. certainly beautiful, like the rest of his production, and in which the Valencian composer bet once again on the Spanish lyric, although this time from a perspective more in line with European trends. With this job, Penella not only recognizes and honors the long lyrical tradition that he and other creators had inherited and brought to the American world, but also proves once again that he knows how to create a classic work that would stand the test of time, even in a country where the formula of opera in the Spanish language was never quite convincing. When Penella bravely wanted to undertake a homage to America with a work as unusual as it is classic, as precious as modern, wrote 'Don Gil de Alcalá', which premiered at the Teatro Novedades in Barcelona, and two years later in La Zarzuela.

Once again he went out with his company to represent it for the New World, in what would be his last big company, although before it would reach the stages of several countries and I would soon take her to the movies in a Mexican production: "The Adventurer Captain". Like a good part of the projects he undertook throughout his life, his lyrical works are unrepeatable.

On many different occasions 'Don Gil de Alcalá' has been seen again at the Teatro de la Zarzuela. and now come back, already in the XXI century, as the great creation of musical theater that is.

Luis Piedrahita

the versatile Luis Piedrahita writes and stars in a show about the German composer in which, with wisdom and humor, brings the power of his music closer to all viewers.

the conductor Lucia Marin Debuts in Teatro Real with music Beethoven, in front of the Youth Orchestra of the Community of Madrid.

The stage of the Real will become a peculiar building thanks to the drawings by Pablo Morales del Río that, with animation by Iñaki García, they will come to life discovering the neighbors who inhabit it.

An adventure where disaster and events find redemption through music as a healing and hopeful element

The functions, designed for a family audience, will take place on Saturday 30 of April, to 11.00 and to the 13.00 hours.

The website of the Teatro Real makes available to the public a didactic guide with detailed information about the show.

Next Saturday, 30 of April, he Teatro Real will celebrate the beautiful tribute to 250 birth anniversary Ludwig van Beethoven that the confinement left frozen and that now, Hand Luis Piedrahita, responsible for the script and interpretation, will fill your main room with music and emotion with the show ¡A la bin! to the ban! To Ludwig Van! ¡Beethoven, Beethoven and no one else! , for all audiences.

The ingenuity and the word of Piedrahita will be accompanied by an artistic team led by the orchestra director Lucia Marin who, in front of the Youth Orchestra of the Community of Madrid, will perform fragments of some of the best-known works of the German composer.

This is the story of Beethoven's neighborhood community. A kind of 13 Barnacle Street from the 18th century. Each of the inhabitants of the house has their problems: the upstairs neighbor lives with seven unruly cats that destroy her furniture, in the attic lives a poet who fights against the roof leaks, below, a mother who cannot sleep her child and even an agricultural expert who tries to feed the first vegetarian carnivorous plant in history. When the teacher rehearses, the music filters through the walls and the problems of the neighbors become bearable. Until suddenly… a fire breaks out in the building!!

Spectators will walk through the different spaces of this imaginary building, a crazy neighborhood designed by Paul Morales del Rio, with animations of Inaki Garcia, in which the music of Beethoven produces a particular… effect. a little madness, with Ximena Feijoo in art direction, and the public's complicity in an unexpected ending that will help build a better future.

Photograph: Javier del Real

Daniel Casares

Daniel Casares he was born with a duende and he proves it with his guitar, that sounds original, different, with its own personality, reflecting that inner fury, that powerfully unleashes on its ropes. Performer and composer, arrive at Teatro Real to offer a work inspired by the sea that caresses his hometown and immerses us in the world of the south, MAGITERRÁNEO.

The appointment will be on Thursday 28 of April, to 19.00 hours, and on Friday 29 of April, in double session, to 19.00 and to the 21.00 hours.

With 16 years is awarded with the prestigious mining staff of La Unión, becoming the youngest guitarist, till the date, in getting it. further, he wins the Jaén national guitar award and this opens the door for him to record his first album “Duende Flamenco” that same year.

There are countless collaborations between Daniel Casares and artists from other worlds of culture, like the mezzo-soprano Cecilia Bartoli -who asked her to accompany her, as guest artist, on his European tour on the occasion of the tribute to the diva María Malibrán- Alejandro Sanz, Dulce Pontes, toquinho, Anthony Orozco, and great flamencos like Juanito Valderrama, José Mercé or Miguel Poveda.

In MAGITERRÁNEO, the guitarist from Malaga returns to the south, where the Mediterranean and its magical poetry serve as inspiration. What matters is not the place where you leave or the port where you arrive, but the whole experience, the emotion and knowledge that one brings from the path. Beautiful melodies that bring us the perfume and essence of olive and laurel lands, joy of the palms, nuanced notes.

Some of his usual collaborators accompany him on this trip: Jesus Bachiller "Bachi", on the electric bass, Y Miguel Ortiz “Nene”, on percussion, both involved in the project Magiterraneo since its creation. With them, the dancer Peter Cordoba and the cantaor Roberto Jaén, both also to the palms.

The performances will be attended by, as guest artist, of the singer El Mati, winner of the Mining Lamp in 2019. His voice, with deep flamenco roots, It is one of the most relevant and demanded of the current panorama, and his open and multifaceted attitude has led him to participate in other disciplines, like jazz, and to explore new paths of cante with avant-garde music.

trio Arbós

The Trio Arbós, one of the most notable chamber groups in Europe, presents works by Spanish composers at the Teatro de la Zarzuela.

continues the Chamber Sundays cycle. Women with Ñ at Teatro de la Zarzuela with the trio Arbós. National Music Award 2013 and currently one of the chamber groups most prestigious on the European music scene, the group will present this next Sunday 24 of April (12h00) at Ambigú Coliseum works by Spanish composers today and always, which will include a premiere. Tickets are available at single price of €6.

For the second consecutive year the cycle, which is already celebrating its third edition, is dedicated entirely to the woman, and more specifically to role of female composers in spanish music.

The trio will include music from Emma Chacon, Alicia Diaz, Emiliana de Zubeldia O Gabriela Ortiz and a world premiere of Miriam Sanz Ortega.

Currently composed by the violinist Ferdinando Trematore, cellist José Miguel Gómez and pianist Juan Carlos Garvayo, Arbós Trio was founded in Madrid in 1996 marking as one of its main objectives the contribution to the enrichment of literature for piano trio through the commissioning of new works.

With this cycle the Theater continues with its objective of define music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition for their creations.

Each concert has at least an absolute premiere, most of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. This time it will be the work 'Mármol' by Miriam Sanz Ortega.

The remaining appointment of the cycle will be with the pianist mario Prisuelos he 5 of June.

The Marriage of Figaro

Le nozze di Figaro between 22 April and 12 May at the Royal Theater, in an original production of the Salzburg Festival (2006), who commissioned Claus Guth the stage direction of the three operas of Mozart libretto by Lorenzo da Ponte, of which, Don Giovanni, was offered at the Teatro Real last season.

Considered the most perfect of Mozart's operas, Le nozze di Figaro, released in 1776, was written in less than a year in a frantic and enthusiastic manner by Wolfgang Amadeus Mozart (1756-1791) and the versatile writer and librettist Lorenzo da Ponte (1749-1838), in their first and fruitful collaboration, which would continue with Così fan tutte Y Don Giovanni.

Both creators were imbued with the fervor of the new revolutionary ideas that brazenly defended the theatrical work of Pierre-Augustin de Beaumarchais (1732-1799) on which the opera is based, The crazy day, or The Marriage of Figaro, premiered to great scandal and uproar just a year before, causing the seclusion of the author and the prohibition of the work in various European courts.

With great skill Da Ponte reduces and conceals the most explicitly political content of the work, maintaining the complex relationships between the different characters, to whom Mozart's fabulous score gives an unusual psychological depth, hidden under the classical forms of comic opera.

Music, supported by a perfect framework of symmetries and structural and harmonic games, with arias and ensemble numbers of enormous beauty, suggests, they work, contradicts, hints, denies and illuminates what the words of the protagonists hide, within a seemingly comic entanglement.

In his stage proposal, Claus Guth try, precisely, explore what beats in the soul of the characters beyond comedy, listening to the unspeakable side, ambiguous, contradictory, Sinister, sadistic or lewd in love relationships.

In parallel with the classical structure of the score, Guth, together with the set designer and costume designer Christian Schmidt, sets the plot in an old and austere palace, with the characters corseted in suits that reveal their social origin and determine their way of proceeding. From there, like in an Ingmar Bergman movie, or in an August Strindberg drama, Guth is 'unmasking' what happens inside the characters with the help of a silent 'angel' who shows the viewer the unspeakable, cloudy or dark love relationships.

Two select casts bring to life the complex characters of this choral opera, that hide ties of seduction, love, desire, passion, boredom or resentment: Andre Schuen Y Joan Martin-Royo (Count of Almaviva); María José Moreno Y Miren Urbieta-Vega (Countess of Almaviva); Julie Fuchs Y Elena Sancho Pereg (Susanna); Vito Priante Y Thomas Oliemans (Figaro); Rachael Wilson Y Maite Beaumont (Cherub); Monica Pods Y Gemma Coma-Alabert (Marcellina); Y Fernando Rado Y Daniel Giulianini (Bartolo).

Ivor Bolton, musical director of the Royal Theater, redirect Le nozze di Figaro from his pit, after the success obtained with the same score in 2014. This opera will be Mozart's seventh production in which he assumes the musical direction at the head of the Headlines Choir and Orchestra of the Teatro Real, and the third in which he works side by side with Claus Guth, after Lucio Silla (2017) Y Don Giovanni (2020).

Since the reopening of the Teatro Real, Le nozze di Figaro has been featured in 5 his 25 seasons: in 1998, with Gianandrea Noseda Y Jurgen Flimm; in 2003, with Antoni Ros Marba Y Marco Arturo Marelli; in 2009, with Jesus Lopez Cobos Y Emilio Sagi, whose production was presented again in 2011 with Victor Pablo Pérez, and in 2014 with Ivor Bolton.

The scenic and dramaturgical proposal conceived by Claus Guth, which will now be seen at the Teatro Real, offers a new perspective on Mozart's masterpiece, whose wealth, complexity and depth are an inexhaustible source of interpretations.

Photography © Javier del Real | Teatro Real

Søren Evinson

.- The creator and performer Søren Evinson presents the next 21 april performance “A NATION IS BORN IN ME” at the Goethe-Institut Madrid. This work, Evinson's first entirely solo effort, is a piece with original music by Daniel Papell, and built as a dialogue between sound and body. This performance is the third intervention programmed by managing to transmit on the upper screen of the scenery all the loneliness for this institution.

SYNOPSIS

“A NATION IS BORN IN ME” occupies the very encounter between performer and audience, transforming our presence into a slippery battlefield. And based on drilling that encounter, build an irreplaceable form. Something that disables any resistance. Something you can't fight. Something worth giving up for.

In light of the resurgence and progressive strengthening of nationalist and identity movements in the 21st century, A NATION IS BORN IN ME” extracts dynamics that operate in these movements and mixes them with aspects associated with identity politics, media culture, sports culture, the culture of effort, Spirituality, brutality and hyper-presence, provoking a strange closeness between these aesthetics. Through the different presentations of the body, the text, music, song and objects, A NATION IS BORN IN ME” builds an intense and delirious landscape in which these apparently disconnected dynamics reinforce each other in a direct relationship, though of uncertain proposition.

This intervention completes the program created by managing to transmit on the upper screen of the scenery all the loneliness, the live arts exchange circuit between creators and institutions, at the Goethe-Institut. The first performance was carried out by Colectivo Fango and the piece Oh Europe, is it over?? and the second featured the dance group La Venidera with the premiere of The Walkers, a choreography inspired and created for this venue. The project will continue with the programming of new actions in the spaces of the Goethe Institute.

About Soren Evinson

Søren Evinson studied at the Institut del Teatre de Barcelona and later did a Master's degree at the University of London in performance studies, graduating with honors.. Lived 6 years in London developing his artistic practice mainly in collaboration with other artists such as Oreet Ashery and Karen Christopher. in his first job, Homage to the Idiot (2014), collaborates with Bernat de Gispert, a performer with functional diversity; his collaboration with visual artist Charlie Hope results in two self-produced works: Hello World!!! (2015), a performance made through action, poetry and catharsis to the rhythm of the signals captured from public telephones, the ATOEWEFTR (A Tower Of Emotions Will Emerge From This Room) (2016), an installation and performance that pushes the public's perception to the limits. A Nation Is Born In Me es su primer solo, premiered at the Terrassa TNT Festival in 2018 and has been shown at the National Dance Center in Paris (CN D, Paris), Next Festival and Grec Festival among others. Just Desire, his latest work, opens in February 2021 at the Salmon Festival in Barcelona and has passed through Espace Pasolini in the framework of the festival Cabaret de Curiosités de Le Phenix Valenciennes, The Metropolitan Dance Fortnight and Antic Teatre. Just Desire is a production of Antic Teatre in co-production with Le Phénix Valenciennes and Quinzena de Dansa Metropolitana.

Many of his works originate from Germany, since he lived in Cologne for 10 years. That's why he surrounds himself with German artists, like your playwright, or the lighting designer: Julia Bauer. He often travels to Berlin as he is really interested in the artistic currents of the city. As references it has the Schinkel Pavillion and Julia Stoschek Collection.

Soren Evinson combines choreographic materials with words and songs to create delirious pieces in a provocative relationship with the public. through the body, the text and the space come to this encounter with ambiguous and intense propositions. conjugate sound, text, movement and space for them to interact forming living organisms. His works have been presented internationally at dance festivals, theater and performance, art Galeries, abandoned buildings and public squares.

About VORTEX

managing to transmit on the upper screen of the scenery all the loneliness is a space for the exchange of dance productions between creators and institutions. As its name suggests, managing to transmit on the upper screen of the scenery all the loneliness bursts like a whirlwind with this artistic project -and unprecedented in the cultural space of Madrid-, involving different actors, and transforming institutions and art galleries into new scenarios that stimulate and foster a new dynamism in the city's cultural circuits. VORTEX has the collaboration of different institutions, public and private, as relevant as: Theater of the Abbey, center center, Goethe Institute, Arab house, matador club, in addition to art galleries such as The Ryder or Freijo Gallery.

Photography ©Sarah Daumerie

The angel of fire

The angel of fire, premiered in Spain last 22 of March, was received with excellent reviews, both for the cast –headed by Ausrine Stundyte Y Leigh Melrose– as for the stage direction of calixto Bieito, the musical direction of Gustavo Gimeno and the interpretation of Choir Y Titulares Orchestra of the Royal Theater.

Today at 19.30 h., viewers from all over the world will be able to see the production live on the website of the ART CHANNEL, available in spanish: https://www.arte.tv/es/videos/108551-000-A/el-angel-de-fuego-de-prokofiev-en-el-teatro-real-de-madrid/

It will be a unique opportunity to discover an opera unknown to the Spanish public through an impressive and colossal production.

The angel of fire It is the sixth of the ten operas composed by Sergei Prokofiev (1891-1953), that would leave another four unfinished. The originality, irreverence and expressive freedom of previous titles, as The player O The Love for Three Oranges, had already forged their skill in operatic writing that, with The angel of fire, would get a new boost.

The play, with libretto by the composer based on the homonymous novel by the Russian symbolist writer Valeri Briúsov (1873-1924), had a long and eventful gestation (from 1919 a 1927) and a no less difficult path after the score is finished.

His satanic plot, grotesque and delirious recounts, throughout seven scenes (in five acts), Renata's tricky path, possessed by evil spirits since the supernatural appearance, in his infancy, de Madiel, the angel of fire, until its tragic end.

the libretto, than a la alquimia, the Witchery, the cabalistics, exorcism or inquisition in force in pre-Lutheran obscurantist Germany, originated a score with a language of expressionist overtones, moving away from the nationalist heritage, favoring somber tones and the incorporation of dissonant passages, harsh vocal melodies and declamations rooted in Russian prosody. the wild orchestration, vibrant, contrasting, 'obsessive', lyrical and supernatural, maintains an almost cinematic dramatic tension. (Prokofiev would be a great soundtrack composer, especially in his great collaborations with Sergei Eisenstein, from Alexander Nevsky a Ivan the Terrible).

The opera, in whose ambiguous and disconcerting script sexual violence underlies, psychic disorders, macabre practices, perversity, religious fervor, etc., caused the rejection of several theaters until its premiere in 1954, after Prokofiev's death, in a concert version, translated into french, at the Théâtre des Champs-Elysées. The next year, in 1955, the opera was finally staged, under the direction of Giorgio Strehler, and arrived, in Italian, to the Fenice of Venice. Its presentation in the original Russian version takes place, discreetly, and Perm, in 1987. In Russia, where opera was banned throughout the Soviet period, The angel of fire finally took to the stage of the Kirov Theater in Saint Petersburg as part of the Prokofiev centenary commemorations, in 1991.

The production conceived by calixto Bieito, with dramaturgy of Beate Breidenbach, avoid the esotericism of the libretto, archetype of Russian symbolism, and delves into the real drama of the protagonist. In his alienated and wounded mind, the scenes of the opera follow one another like flashes of memory, recreated in the rooms arranged in a rotating structure designed by the set designer Rebecca Ringst what, with the illumination of Franck Evin and the distressing videos of Sarah Derendinger, transforms into a real house of horrors. just a bike, freedom symbol, Renata's fragility and flight, remember the lost innocence of his childhood.

The Teatro Real finally opens in Spain The angel of fire, when, little by little, theaters around the world recover this opera misunderstood in its time, whose shadowy symbolist paths lead to the depths, unspeakable and dark of the human soul.

Photograph: Javier del Real

Pastor Galvan

SHEPHERD DANCES, the name of the new Flamenco Real show, says it all for the presentation on your stage of Pastor Galvan. Modern, restless and racial, is presented to the Madrid public as it is, which it is something, in three sessions that can be enjoyed at the Teatro Real the days 7 Y 8 of April.

Trained in Spanish Dance at the Seville Conservatory, Pastora learns from her teachers, but he is impregnated with the dance with the roots of his father, Jose Galvan, and passionately assimilates the avant-garde expressiveness of his brother, Israel Galván. From this mixture an artist is born who expresses herself as she feels, with deep dance and dramatic forms, making a flamenco that transcends and flies in his hands.

The awards endorse his career – Matilde Coral of the XVI National Contest of Flamenco Art of Córdoba, in 2001, and the Giraldillos Award at the Seville Flamenco Biennial, in editions of 2006 Y 2010-, his performance on stages around the world together with great figures of flamenco –with singers like Chano Lobato, Carmen Linares or Miguel Poveda; Dancers with trajectories as diverse as Antonio Canales, Eva Yerbabuena or Israel Galván, and musicians with great personality such as David Peña Dorantes- and his activity as a teacher, inside and outside of Spain, without ever departing from live performance.

He has taken the dance to the main Spanish theaters and tablaos, as well as many cities in Europe, Japan, U.S, middle East, Cuba, among others and, Of course, to the most important flamenco and dance festivals in the world. Seville's Bienal de Flamenco deserves special attention for having hosted Pastora's dance in all its editions since 1998.

SHEPHERD DANCES, will have the participation, as guest artist, from Ricardo Fernández del Moral, unusual singer and guitarist, winner of the Miner's Lamp, well known by the public of the Teatro Real. With them, the guitar will also sound Paco Iglesias and the voice of David el Galli, in cante.

Photograph © Luis Castilla

Katharina_Konradi

Monday, 4 April at 20:00 hours, he National Dissemination Center Musical (CNDM) presents, in co-production with Teatro de la Zarzuela, to soprano Katharina Konradi, one of the voices with the greatest projection on the international scene in what will be her debut within the XXVIII Cycle of Lied. Malcolm Martineau, one of the most renowned pianists on the circuit, will accompany the soprano in a initiatory journey from the roots of the genre —Schumann with one of his most representative cycles, the song cycle, on. 39- until the nearest sound spaces to the popular that connect so much with emotion, how are the sounds of Ginastera and Montsalvatge. In between, there will be room to be seduced by the sound refinement of Debussy or the lucid neoclassicism of Fauré.

The demanding program proposed by Konradi and Martineau explores, from the beauty of the selected works, the diffuse border of the genre with other more immediate musical spaces. The Five popular Argentine songs of Ginastera or the five black songs of Montsalvatge serve as an example of how modernity and tradition go hand in hand in that search for essences of the human being what is the lied. the magnetic ones Ariettes forgotten by Debussy or the refinement of selected pieces by Fauré will complete the tour.

The last entries for this recital, with a General price 8 a 35 euros, are available at the box office of the Teatro de la Zarzuela, the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

ONE OF THE VOICES OF THE FUTURE

critically acclaimed, Katharina Konradi makes its debut in the Lied Cycle with this unconventional program. Born in Bishkek (Kyrgyzstan, Asia), is the first soprano from this country with an international career as a lied singer, concerts and opera. He performed for three years at the Hessian State Opera in the city of Wiesbaden. In 2018, made his introduction as Ännchen in The Marksman, de Carl Maria von Weber, at the Hamburg State Opera.
Since then, He has sung the main soprano roles in the best theaters of the world, as Zdenka in Arabella, Richard Strauss, at the Semperoper in Dresden; the shepherdess in Tannhäuser, Richard Wagner, at the Bayreuth Festival; Sophie Der Rosenkavalier, Richard Strauss, directed by Vladimir Jurowski; o Sophie in Werther, Jules Massenet, and Susanna in The Marriage of Figaro, by Wolfgang Amadeus Mozart at the Bavarian State Opera.

His voice has the right mix between technical expertise and musical intelligence, taking advantage of the brilliance of his high register and the color homogeneity of his singing to get the maximum emotion out of the repertoire he deals with, as he demonstrated in his last presence in Madrid a few months ago at the Liceo de Cámara XXI Cycle of the National Center for Musical Diffusion (CNDM), with a fantastic welcome. further, will perform in the recital a work never heard before in the cycle, the beautiful Love song, on. 27, No 1 by Faure.

ELEGANCE MADE SOUND

Few introductions needed one of the myths of the accompanying piano. Malcolm Martineau belongs to that privileged generation of interpreters who have been able to transfer to their refined technique the sensitivity and elegance in phrasing that identify it and make it recognizable for many music lovers. The Scottish pianist has spent his entire life among the musical elite, being required for accompany the most outstanding voices of several generations, como Janet Baker, Florian Boesch, Barbara Bonney, Thomas Hampson, Elina Garanca, Simon Keenlyside, Angela Gheorghiu, Thomas Quasthoff, Anne Sofie von Otter, Christoph Prégardien, Felicity Lott, Bryn Terfel, Magdalena Kožená, Christopher Maltman o Sonya Yoncheva, among many others.

He has participated in recitals in the main concert halls, like the Berlin State Opera, Carnegie Hall, Concertgebouw, Gran Teatro del Liceu, Mariinsky Theatre, Metropolitan Opera, Royal Opera House, La Scala, Sydney Opera House, Teatro Real o Musikverein; and to festivals like Aix-en-Provence, Baden Baden o Tanglewood. Multi-awarded in its long and prolific recording career (over a hundred recordings), He combines his tours with his work as a teacher at the Royal Academy of Music

Martineau has participated in memorable nightss inside the Ciclo Lied the Teatro de la Zarzuela, accompanying Dorothea Röschmann or Florian Boesch recently. In this your twentieth appearance, de la mano de Katharina Konradi, pianist and singer will show off that amazing «capacity to move us, but also to make us reflect on the importance of music and art in times like the ones we are living in», as Isabel Díaz Adánez comments in her notes to the program. A whole musical vindication.

Photograph (c) Simon Pauly

Prokofiev The Angel of Fire

After having finished the composition of The love of the three oranges, Prokòfiev discovers The Angel of Fire in a New York bookstore, a novel published in chapters by a reference author of Russian symbolism, Valeri Briúsov. Immediately, and without any commission, Prokòfiev begins to write the libretto for an opera that he will never see performed on stage.

From the beginning of its composition, Prokòfiev was well aware of the difficulties that his work would have to be premiered. He finished writing The Fire Angel in 1926 in Paris. At that moment, Bruno Walter, director of the Städtische Oper in Berlin, became aware of its existence and showed interest in it. But they realized the great complexity of the work and that it would not arrive in time to be scheduled for that season., So they decided to abandon the project..

The next attempt to put her on stage took place when the Metropolitan of New York contacted Prokòfiev. But nevertheless, this time, the difficulty in finding singers who wanted to face the challenge, prevented your programming.

It was not until 1954, a year after the composer's death, when The Fire Angel premiered in Paris, even if it was in concert version. Was the 14 September 1955 when it was first staged at the Venice Contemporary Music Festival, in La Fenice. Mario Nordio made an Italian version with the musical direction of Nino Sanzogno, stage direction by Giorgio Strehler, Ezio Frigerio's wardrobe, the set design by Luciano Damiani, and the lead role of Renata by Doroty Dow.

There may be two main reasons that explain the difficulties in premiering this opera. One of them was the treatment of sensitive issues, like the ones that addressed the libretto. Prokòfiev adapting the original work by Briúsov, had stripped it of the magical elements alluding to witchcraft. The composer himself describes these difficulties in a letter: “The Fire Angel can be a fascinating and powerful opera, will express drama and terror, but you have to avoid any devil or any vision that may be explicitly on stage, but, runs the risk of falling into pure theatrical masquerade”. Prokofiev was well aware that in adapting Briusov's text he had to eliminate the explicit scenes and present them ambiguously through the protagonist.. Prokòfiev went on to say in his letter: “The other great difficulty is that the entire opera is centered on the two main characters. If I don't get them off the scene at some point, we are not going to find any singer who can with these characters”.

This is the second reason why The Fire Angel could not be released. The play, whose weight falls almost exclusively on the two main characters, was of such vocal demand, that no singer was willing to interpret it.

After so many frustrated attempts and fearing that it would never be performed and the music would be lost, Prokòfiev incorporated much of the musical material from the opera in Symphony No. 3 On. 44.

The scenery of Calixto Bieito, presenting this opera for the first time in Spain, masterfully couples with the score and libretto. Not just fit the job, but it enhances the deepest psychological aspects. We need to remember, that when this opera was composed, psychoanalysis was developing throughout Europe, and set design by Rebecca Ringst, composed of a rotating construction, attends to the description of the human brain made by Freud: “The brain is like a house with many rooms”. And that's what the stage crew has done, a house with many rooms, linked together by stairs. Similar in concept to Claus Guth's creations, the apartment structure shows defined spaces and others more ambiguous, forming an architectural ensemble that fits perfectly with the psychological swarm of the protagonist.
At the end of the performance, the structure separates, decomposing the building, in the same way that the psychological labyrinth of the protagonists is diluted. The result is very sophisticated and the emotional intensity it represents, does not conflict at any time with the music.

It was the first time Gustavo Gimeno conducted an opera by Prokòfiev and the result has been satisfactory, given the complexity of the score. The orchestra maintains the dramatic tension, which is almost permanent, although some more defined orchestral plans and a cleaner sound were missing.

The choral part of this score is diabolical and the titular Choir of the Teatro, Intermezzo, has had an outstanding intervention. The patterns they use, apparently simple, by repetitive, they are highly complex, because all repetitions are different. In fact, when the opera premiered at La Fenice in the 1955, the choir stood in the pit, to be able to have the sheet music.

The Angel of Fire is conceived around the singers. The voice demand, emotionally and physically is superior to any opera that has been written so far. Renata's leading role is absolute and her performance exhausting. She is a traumatized woman trapped by the ghosts of her past and the Latvian soprano Ausrine Stundyte., reflects perfectly through his interpretation, those thoughts that harass and excite her. Stundyte does not rest for a single moment in the two long hours that the work lasts. He runs through the three floors of the stage without rest and without lowering the intensity of his tormented character. With a great central support and mighty treble, had the ability to reach the end of the performance with vocal and interpretive freshness almost intact.

Renata was very well accompanied on stage by the Ruprecht of the British Leigh Melrose, already known in this theater for his participation in Gloriana and Death in Venice. His interpretive ability is beyond doubt.. He showed us a Ruprecht infected by Renata's hysteria and absolutely disturbed by her. His vocal part was not easy either, with the added difficulty of not having the support of the orchestra in many moments, which requires a tuning work that he solved gracefully. The fatigue caused by the histrionics and effort with which he gave his character was noticed a little at the end..
How much Prokòfiev would have liked to have counted on Stundyte and Melrose in his attempts to release The Fire Angel…

Dmitry Golovnin was in charge of giving life to Agrippa von Nettesheim, a more philosophical character and another much darker, Mephistopheles. Its timbre is sharp and penetrating and it was disturbing enough in both cases.
Dmitry Ulianov, already an old acquaintance of the Madrid public, gave a good performance with his dark and round voice and his always imposing stage presence.
Mika Kares did not know how to transfer his physical presence as an inquisitor to the projection of his voice. The Finnish bass stayed a fair bit of power.
Agnieszka Rehlis, in her dual role as seer and superior, He was very successful in his interpretation., enigmatic and unsettling. Good also in the vocal part, showing good bass registers and enough power.
The tenor Josep Fadó demonstrated an excellent sonority and presence. David Lagares also stood out in his brief speeches. They both did a good performance.. The rest of comprimarios were at a good level, complementing a very balanced cast. Nino Surguladze, as innkeeper and Anna Gomá and Estibaliz Martyn, as novices.

This production of The Fire Angel is spectacular, hypnotic. By the end, you realize that you have been immersed in a world difficult to describe and full of intensity. A work that leaves no one indifferent, even less in these moments in which, effectively, we are immersed in a world difficult to describe.

The Magic Opal

Many strong emotions they wait for us in the month of april. Among them the scenic recovery of ‘The Magic Opal’ by Isaac Albéniz, what come back to Teatro de la Zarzuela 128 years after its premiere in Spain on this same stage. From that Madrid premiere to the present day, he has never been on stage again. The work had been presented in English one year before, in 1893, at the Lyric Theater in London during the stage in which Albéniz focused his creative work on this city. From clever and fun music, this operetta demonstrates the enormous variety and versatility of the Catalan musician, placing it among the great international composers. Now, a century and almost three decades later, the public will have the opportunity to enjoy it of the 1 al 10 of April with a innovative montage by Paco Azorín addressed to the viewer of the 21st century through an audiovisual and contemporary language.

The history, developed in the key of a comedy of intrigues and adapted by Paco Azorín Y Carlos Martos de la Vega, revolves around the search for love Yet the irresistible quality of a magical opal whose power is that everyone who touches it falls madly in love with whoever owns it.

And for this effective approach to reach the desired port, to the staging and scenery of Azorín joins like a invulnerable tandem the musical direction of the master Guillermo García Calvo –musical director of the Teatro de la Zarzuela, General music director de la Chemnitz Opera in Germany, head director of the Robert Schumann Philharmonie and without a doubt one of our most illustrious orchestra conductors–. As if this were not enough, to them is added a scenically overwhelming artistic team Y two balanced distributions of great voices and special talent for the scene. García Calvo will likewise return to share the coliseum pit with the Community of Madrid Orchestra, Titular del Teatro, and will also lead the Holder Choir Teatro de la Zarzuela.

the leading roles, immersed in a inexhaustible becoming of crazy entanglements, in many cases especially funny, will be performed by Ruth Iniesta Y Carmen Romeu, who will take turns in the role of the young dreamer Lolika; tenors Santiago Ballerini Y Leonardo Sánchez, who will act as Alzaga, your intrepid ally in the search for true love; baritones Luis Cansino Y Rodrigo Esteves, who will embody the banker Carambollas, symbol of money and power as one of the most harmful and perverse burdens in the daily lives of Citizens. "King is love, but money is the emperor», it is said in the appearance on the scene of this character and his complementary, Aristippus the treasurer, played by bass Jeroboam Tejera. The baritones Damian del Castillo Y César San Martín will assume the role of Trabucos, who at all costs will try to achieve his goals always helped by the Bandits or by the magic opal that will make him invincible while it is in his possession. And the mezzo-sopranos will also enter the game and the entanglements Carmen Artaza Y sea ​​field like Martina, her too mezzo Helena Resurrection, which will be Olympia, soprano Alba Chantar (Zoe), the tenor Gerardo López (Pekito) or baritone Tomeu Bibiloni (I work). And as master of ceremonies of all the mess, Eros XXI played by the actor Fernando Albizu.

21st century audience

They will all boil, they will alter, they will have fun and endure the unspeakable imbued by the innovative scenery of the Paco Azorín in which the projections, the video, technology and lighting will create a new universe: the one with the magic opal game. A voracious entertainment in which the allegorical wardrobe of Juan Sebastian Dominguez, the always complicit and subtle illumination of Pedro Yagüe, the magical audiovisual design of Pedro Chamizo or the laborious and fluid scenic movements traced by Carlos Martos de la Vega, that the protagonists will develop together with 8 will have fun and suffer throughout the spectacular scenery of Y 4 acrobats.

Paco Azorín faces this recovery with a “total respect towards music”, and brings the story up to date by directing it towards the theme of the trivialization of love and its instrumentalization, for example, with the numerous apps that today are for many people the perfect assistant to search and find a partner. In this way, the director tries tocreate a staging that addresses the public of the 21st century through an audiovisual and contemporary language”.

It so happens that for the premiere of this new production of the Teatro de la Zarzuela, one has been commissioned new translation of Arthur Law's libretto, of which they are authors Javier L. Ibarz Y Pachi Turmo.

It is also necessary to highlight the commendable work of Borja Mariño, author of the new critical edition of ‘The Magic Opal’, a work that despite its big success with more of 300 representations throughout England, had not been performed since the end of the 19th century due to the dispersion of its materials and the different modifications it underwent over time. The play premiered with bearing three titles and was translated into Spanish to be performed at its premiere at the Teatro de la Zarzuela. In the critic's words G. Bernard Shaw: «The opera puts Albéniz far ahead of the best of his rivals».

Influences and conquests of Albéniz

Guillermo García Calvo draws attention to the circumstance that "although sometimes we think we know our composers, In reality, on many occasions, we only know about a very small part of its creation.; Y this is the case of Albéniz”. This is how the conductor reveals it, who in direct reference to the score of 'The Magic Opal' tells us about another completely new facet of the composer of Camprodón: “Music wisely collects diverse influences of European currents at the end of the 19th century, letting yourself be inspired but never copying”. A) Yes, we hear melodies that anticipate the french impressionism - you can think of Lalo, Chausson Y Fauré—, orchestral rhythms and colors close to the Italian opera of the moment —both the verismo of Puccini as the neoclassicism of the 'Falstaff' of Verdi— and also to the French operetta —as in ‘La fille du regiment’ by Donizzeti or the operetta of Offenbach—. "And of course, we also listen English operetta and symphonic atmospheres, and very occasionally, as a seal of identity, Spanish melodic twists, the Andalusian cadence or melodies in Phrygian mode”. García Calvo has no doubt that “as a whole it is a beautiful work, exquisitely instrumented, that serves as the perfect support for the magical atmosphere of a story of Shakespearian wit and humor”.

From today's perspective, we meet one music to taste in which we can appreciate the Albéniz's ability regardless of all the conditioning factors of the time in which it premiered. This new production de ‘The Magic Opal’, intended for 21st century viewers, gives us the privilege not only of listening to the work, but also of almost see her on stage 130 years after that last theatrical version and on this same stage of the Teatro de la Zarzuela where it happened. We are therefore fortunate that the opal falls in love again.

CNDM 21-22. LIED. JOSEP-RAMON OLIVE. WARRIOR VICTORY

For a few seasons the Teatro de la Zarzuela, in collaboration with the National Center for Dissemination of Music (CNDM), is making room in its popular Lied Cycle for new performers of this genre. Although young, some are already consecrated, such as the case of Sabine Devieilhe or Anna Lucia Richter, which we have recently enjoyed in this same Cycle. Others are truly debutantes, as is the case at hand. Also taking into account that the liederistic genre does not have a long tradition in Spain, the fact that our protagonists are nationals, brings to this debut a plus of interest.

The program has been as attractive as varied and somewhat risky, precisely because of the variety of styles. And perhaps this point was the most delicate. Beethoven to start, specifically An the distant beloved (to the distant beloved), made up of six works of great beauty. After Schubert, with six songs on poems by Rückert. The second part began with Fauré, language and registration change, The right song, on nine poems by Verlaine. To end, six works by Strauss from the opus 27 (of), opus 10 (a) and opus 19 (three). 

Josep Ramón Olivé began his cello studies, piano and singing in La Escolanía de Monserrat. He later studied choral conducting and classical singing at the Escuela Superior de Música de Catalunya and continued his vocal training at the Guildhall School in London with Rudolf Piernay., later participating in master classes by Graham Johnson, Gerald Finley, Kurt Widmer, Josep Bros, Luigi Alva and Teresa Berganza. He was nominated as an Oxford Lieder Young Artist in 2015 and was part of the acclaimed Le Jardin des Voix project by William Christie and Les Arts Florissants in 2017. Lied is not new to him, having already tackled several important Brahms cycles, Mahler, etc.

Almost fundamental qualities for this genre appear in it, like a good and intentional phrasing, a solid technique, voice volume more than appreciable and a very good diction in French and especially in German, something fundamental to rigorously approach a lied.

Be young, Besides, has the advantage of the road ahead to improve. Especially, in presence on stage, a better and greater nuance, to give each work the character it needs. But there is enough material to write down these names and hope to see their evolution in future seasons in this same cycle..

Together with Olivé he has debuted on the piano victory warrior, quite a find in this recital. Always perfectly attentive to the voice, has freshly and accurately described the character of each work. Especially Beethoven and Strauss. He has shown great delicacy and generosity in accompanying.

Born in Jerez de la Frontera, He has received classes from pianists of the stature of Joaquín Achúcarro, Nino Kereselidze, Claudio Martinez Mehner, Edward Wolanin, Tibor Szász y Ángel Sanzo, among others. He has performed in concerts as a soloist in different cities of the Andalusian geography. He finished his piano studies with Óscar Martín at the Superior Conservatory of Seville. She has also been a repetitive pianist with the choir of the Villamarta Theater in Jerez de la Frontera.. She has been awarded the prize for the best pianist in the prestigious Das Lied-International Song Competition in Heidelberg in 2017 y Paula Salomon-Lindberg song competition at the Berlin University of the Arts 2015.

The recital ended with two tips, the first a work in Catalan by the Barcelona native Ricard Lamote de Grignon (1872-1949), performed with exquisite taste by Josep Ramon Olivé. The second a lullaby by Manuel de Falla, given the imminent paternity of the Catalan baritone.

A very good initiative of the organizers of the cycle, that of incorporating young promises, what we hope to see in future seasons.

photography © Rafa Martin

Lisette Oropesa

His voice moved us at that Traviata who rescued us from confinement, and that caused the first encore of a woman in the recent history of the Teatro Real , although he had already put us on our feet with his interpretation of Lucia de Lammermoor in 2018. Come back now, to the stage of the Plaza de Oriente, one of the most beloved sopranos by the Madrid public, Lisette Oropesa.

The appointment will take place next Wednesday., 30 of March, with a concert in which, accompanied by the Headlines Choir and Orchestra of the Teatro Real, under the direction of Corrado Rovaris, Oropesa will offer a program made up of fragments of the operas Guillaume Tell, The Siege of Corinth and Le Comte Ory de Gioacchino Rossini, and The Martyrs, Lucie de Lammermoor, Bookmark Y Daughter of the Regiment, de Gaetano Donizetti.

Lisette Oropesa is a singer with magnetism. Has stage presence, acting skills, sympathy and, the most important, a lyrical and luminous voice that, based on a perfect technique, makes her the perfect performer for bel canto heroines, as the protagonists of the works chosen for their concert at the Real, although Verdi's or Mozart's roles also have a relevant presence in his repertoire.

With the exception of Lucia de Lammermoor, all the arias chosen for this concert belong to operas originally composed in french, despite being written by two Italian authors, Rossini y Donizetti – not in vain, both composers had a close link with the Parisian stages- and all of them (except Lucia) were premiered with great success in the French capital. They are operas that require skilled singers, with high registers, of clean legato and extraordinary agility, characteristics that have elevated the protagonist of these Voices of Real.

Photograph © Javier del Real | Teatro Real

Angel G. Piñero

The passing of Angel G. Piñero, last 21 February, overshadows the concert that was going to celebrate his 90 birthday this month and which now becomes a posthumous and heartfelt tribute to the artist: memories of a life.

In addition to being a great Spanish guitar player, Piñero was a composer, teacher and explored unique technical and expressive resources in the use of the instrument to which he dedicated his life.

The guitarists Luca Romanelli and Stanislav Steshenko -prize winners at the Ángel G International Classical Guitar Competition. Piñero, soprano Martyn Estíbaliz, the Chagall Quartet, the dancer Manuel Garrido and the Santa Cecilia Classical Orchestra, under the direction of José Antonio Montaño.

The concert has been promoted and organized by Catherine Lacoste, Angel G's widow. Piñero and responsible for the Angel G Classical Guitar Association. Piñero, to remember his life and work dedicated to the Spanish guitar.

The art, the creation, is the essence of my life. mine is simple: I do something that I love and that extends my life”, said Angel G.. Piñero just a few months ago when, with 89 years he kept playing his Spanish guitar, to which he dedicated his life.

Born in Cadiz in 1932 and deceased on 21 February in Puerto de Santa María, Piñero's biography stands out for his courage and determination to pursue his dream of becoming a Spanish guitar player, overcoming countless obstacles in impoverished and fractured post-war Spain.

The life trajectory of Ángel G. Piñero is inseparable from his guitar, who accompanied him on his journey as a soloist through the corners of Spain and cities around the world -more than 250 recitals-, while expanding his repertoire and exploring the expressive possibilities of the instrument.

With that concern he tried to perfect the technique of both hands with the same precision and dexterity, being able to place the neck of the guitar to the right or to the left, which allowed him to interpret the pieces, in the same concert, with fingertips or fingernails, depending on the expressive needs and the time of each work.

To use this unique technique, he created a prototype guitar that he perfected over the years., until achieving the unique instrument with which he offered concerts around the world.

In addition to being a tireless interpreter, Piñero felt the need to compose and leave his mark on the classical guitar repertoire as well.. His catalog includes six works for guitar and symphony orchestra, eight for guitar and string quartet and twenty-two for solo guitar.

Music owes a historical debt to the Spanish classical guitar. My intention is to contribute a grain of sand to reduce this debt”. This commitment made Angel G. Piñero promote training, guitar education and performance, creating, with his second wife, muse and mentor, Catherine Lacostea, the Angel G Classical Guitar Association. Piñero, which develops a series of initiatives such as: competitions for young talents, publication of interpretation methods, organization of recitals, etc.

The concert memories of a life, in which the guitarists will alternate Luca Romanelli and Stanislav Steshenko, is divided into two parts: the first, for solo guitar, it is introspective in nature: Meditation It is a tribute to the victims of the pandemic; blue prelude, a tribute to the composer's mother, civil war victim; Y Evocation, a memory of his brother, who stimulated and supported his studies. after the pieces music murmur, the wind of life Y whims, is presented the World Premiere from I sing to the late Francisco, funeral piece for guitar and dance dedicated by Ángel G. Piñero to his father, disappeared in the Civil War. The dancer from Jerez participates Manuel Garrido.

Then, we will have another World Premiere, that of Ballad to a stranger, for voice and guitar, inspired by Catherine Lacostea, which will be performed by the soprano Martyn Estíbaliz and the Chagall Quartet -with Christina Pascual (fiddle), Javier Lopez (fiddle), Abel Nafee Rosch (viola) Y Victor Esteban (cello)-. The first part will conclude with night trip, for guitar and string quartet

Laila Tafur

This representation is part of the programming of managing to transmit on the upper screen of the scenery all the loneliness, the live arts exchange circuit between creators and institutions

Tickets for this show are on sale now at Arab house.

The choreographer from Granada Laila Tafur presents the next 3 April at the Madrid headquarters of Arab house the piece “Monster”. This representation is part of the programming of managing to transmit on the upper screen of the scenery all the loneliness, the live arts exchange circuit between creators and institutions. The piece, created and performed by Tafur herself, reflect on identity, origin and personal aspirations.

Laila Tafur works the concept of identity through dance, the picture, action and installation. For Arab house proposes a paper on the diaspora, the Heritage, cultural appropriation and identity construction from tradition and experimentation. Reflect on who's identity, far from his land, reworks a culture that yearns and how this memory of culture cannot fail to appear complex and hybrid. The dancer starts from her Andalusian past and from the memory of Granada's Sacromonte and its zambras, to rethink flamenco and its legacy of an Arab past that is always present.

SIPNOSIS

I'm Laila, I know that, but i don't know what it means. I don't know how I look, I wonder sometimes. maybe a mixture of beautiful peculiarity and being wrong. Monster is that once again. I'm Laila, half girl, half woman, half man.

This work welcomes and reinterprets identity and body, conceives dance as a production of forms based on friction between meaning and flesh. Reclaims the unspeakable as the natural state of dance, the indefinite as virtue, the deformed as beauty.

Again, managing to transmit on the upper screen of the scenery all the loneliness involve a new actor, Arab house, to your circuit, and ratify your goal: transform institutions into new scenarios that stimulate and foster a new dynamism in the cultural centers of the city.

Laila Tafur

I was born in Granada, I was a student at the University of Reykjavik and the Polytechnic of Lisbon and finally I graduated in Choreography at the Institut del Teatre. In 2017/18 I studied the Reina Sofía MPECV Master, where my interest in song and amateur production of knowledge begins. This research continues at MACBA's PEI between 2020/21. My solo works are called My Weapon, a flemish western, His work, about the dance itself, a very meta job, and monster, about the unspeakable, the wild and untamed. Along with Alba Rihe, we have manufactured Cobalt, a piece halfway between the concert, meditation and disco. All these works have been developed thanks to the support of Masdanza, Madrid Choreographic Contest, Graner, Seismograph, the boiler, Barceloneta, collective rpm, C3A, Pradillo Theater, Leal Lav, Time Space, ADF o MR. As an interpreter I have worked for Xavier Le Roy, Janet Novas, Jerome Bell, Albert Quesada, Carmelo Fernandez, Lipi Hernandez, Vero Cendoya and Taiat Dansa.

On managing to transmit on the upper screen of the scenery all the loneliness

managing to transmit on the upper screen of the scenery all the loneliness is a space for the exchange of dance productions between creators and institutions. As its name suggests, managing to transmit on the upper screen of the scenery all the loneliness bursts like a whirlwind with this artistic project -and unprecedented in the cultural space of Madrid-, involving different actors, and transforming institutions and art galleries into new scenarios that stimulate and foster a new dynamism in the city's cultural circuits. VORTEX has the collaboration of different institutions, public and private, as relevant as: Theater of the Abbey, center center, Goethe Institute, Arab house, matador club, in addition to art galleries such as The Ryder or Freijo Gallery.

On Arab house

Since its founding in 2006, Casa Árabe works day by day with the aim of building bridges, strengthening bilateral and multilateral political relations, promoting and accompanying economic relations, cultural and educational, as well as training and understanding about the Arab and Muslim world.

Definitely, Casa Árabe is a space for mutual understanding and shared reflection: a meeting point between Spain and the Arab world.

Photography ©aida_vargas

King-Arthur_Theatre-Royal

The next 27 March will be heard, first in the Teatro Real, the work of Henry Purcell (1659-1695) King Arthur, English semi-opera that will be attended by the Belgian ensemble The voice of the Light, under the artistic and musical direction of Lionel Meunier, in the dramaturgical version of Isaline Claeys In collaboration with Simon Robson, with the participation of the actor José Luis Martínez.

This musical oddity, rare on stage, belonging to the dramatic-musical genre, tells us about the struggle between Arthur –Christian king of the Britons– and Oswald –pagan king of the Saxons– for the hand of Princess Emmeline and, with her, of the kingdom of England. The story emanates from the legend and in it literary characters are cited, Greek deities and Germanic mythology, building a story, by its length and the relationship between the sung and spoken parts, makes it very difficult to stage.

The sheet music contains, but nevertheless, beautiful and moving moments in which the solo voices barely take center stage – this falls on the declamation of the actors- giving choral parts, the set, a presence very close to the compositions of a religious nature. Purcell's evocative musical part reinforces or highlights the dramatic content of the text of John Dryden, establishing a fruitful relationship between the two.

The dramaturgical version created by Isaline Claeys, In collaboration with Simon Robson, premiered at Condette's Théatre Hardelot, France. The spoken texts have been translated into Spanish and will be recited by the actor José Luis Martínez in the role of narrator. The musical part will be performed by the formation The voice of the Light, led by bass Lionel Meunier, specialized in the English repertoire, 17th and early 18th century Italian and German, recognized on the international scene for its unique sound and its ability to bring to life both renowned masterpieces and rare gems of composition from the aforementioned periods.

The voice of the Light, with residence at the Concertgebouw in Bruges, has been awarded the Gramophone Awards (2012), Diapason d'Or (2015), el BBC Music Magazine Choral Award (2018) y varios price of the German record critics, to name a few.

sax-set

He Chamber Sundays cycle. Women with Ñ of the Teatro de la Zarzuela present this next Sunday, 20 of March al Sax-Ensemble quartet, one of the best sets committed with the contemporary musicians and with the task of facilitating the access to music through pedagogy. This time, the concert, which will take place in the Ambigú of the coliseum at 12:00, will include works of Spanish composers today, among which two absolute premieres can be heard. Tickets are available at single price of €6.

In addition to being outstanding, the program is loaded with meaning since for the second consecutive year the aforementioned cycle, which is already celebrating its third edition, is dedicated entirely to the woman, and more specifically to role of female composers in spanish music; hence the title ‘Women with Ñ’ what defines it.

The quartet will include music from Sonia Megías, Maria Rosa Ribas, Zulema de la Cruz O Rachel Garcia Tomas, with world premieres of Cruz Lopez de Rego Y Laura de las Heras.

The Sax-Ensemble quartet was created in 1987 with the objective of promoting the creation and dissemination of contemporary music. This is a chamber group flexible integrated as base per flute, clarinet, fiddle, viola, cello, saxophone quartet, piano, percussion and electroacoustic music, and that counts in the necessary cases, with the participation of other wind instruments, rope and with the voice, in many of his performances. In the concert on Sunday the performers will be Francis Martinez (soprano saxo), Francis Smith (alto saxo), Pilar Montejano (tenor sax) Y Miriam Castellanos (baritone sax).

Through this cycle the Theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition for their creations.

Each concert will feature one or more absolute premieres, a good part of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. This time there will be two premieres: 'Blue' by Cruz López de Rego, and 'Pria' by Laura de las Heras.

The two remaining appointments of the cycle will be with the trio Arbós (24 of April) and pianist mario Prisuelos (5 of June).

Max Prizes

Four Productions of Teatro de la Zarzuela have been chosen among 13 montages that will compete to be nominated for Best Musical or Lyrical Show in the XXV edition of the Max Awards for the Performing Arts.

The titles that will compete for the prizes are ‘Benamor’, directed by Enrique Viana, 'The king who raged’ with scene of Barbara Lluch, Y 'The hawks’ Y 'The barmaid port’ both with address Mario Gas.

They will also be candidates for nominations Mario Gas, Ezio Frigerio and Angel Ruiz for the stage direction, the scenery and the acting work of 'La tavernera del puerto', Y Franca Squarciapino, Gabriela Salverri and Clara Peluffo Valentini for the costume design of ‘Los gavilanes’, 'Benamor' and 'The king who raged' respectively.

The Organizing Committee of the Max Awards has announced the candidates for the 20 contest categories of these awards organized by the Foundation of the General Society of Authors and Publishers (SGAE), whose purpose is stimulate and recognize the talent of theater and dance professionals in Spain.

The territorial juries appointed by the Committee have selected in this first phase the shows among which the finalists will be chosen of those 20 categories.

Photograph: Elena del Real

Nominations of the Teatro de la Zarzuela for the nominations of the XXV Max Awards for the Performing Arts:

The barmaid port

  • – best production
  • – best stage direction (Mario Gas)
  • – Best Stage Space Design (Ezio Frigerio)
  • – best Actor (Ángel Ruiz)

The King who raged

  • – best production
  • – Best Costume Design (Clara Peluffo Valentini)

Benamor

  • – best production
  • – Best Costume Design (Gabriela Salverri)

Los Gavilanes

  • – best production
  • – Best Costume Design (Franca Squarciapino)
The angel of fire

Between days 22 March and 5 of April, Royal Theatre offer 10 functions from The angel of fire, from Sergei Prokofiev, in a production with stage direction by calixto Bieito, released in 2017, with great success, at the Zurich Opera and musical direction of Gustavo Gimeno.

The angel of fire It is the sixth of the ten operas composed by Sergei Prokofiev (1891-1953), that would leave another four unfinished. The originality, irreverence and expressive freedom of previous titles, as The player O The Love for Three Oranges, had already forged their skill in operatic writing that, with The angel of fire, would get a new boost.

The play, with libretto by the composer based on the homonymous novel by the Russian symbolist writer Valeri Briúsov (1873-1924), had a long and eventful gestation (from 1919 a 1927) and a no less difficult path after the score is finished.

His satanic plot, grotesque and delirious recounts, throughout seven scenes (in five acts), Renata's tricky path, possessed by evil spirits since the supernatural appearance, in his infancy, de Madiel, the angel of fire, until its tragic end.

the libretto, than a la alquimia, the Witchery, the cabalistics, exorcism or inquisition in force in pre-Lutheran obscurantist Germany, originated a score with a language of expressionist overtones, moving away from the nationalist heritage, favoring somber tones and the incorporation of dissonant passages, harsh vocal melodies and declamations rooted in Russian prosody. the wild orchestration, vibrant, contrasting, 'obsessive', lyrical and supernatural, maintains an almost cinematic dramatic tension. (Prokofiev would be a great soundtrack composer, especially in his great collaborations with Sergei Eisenstein, from Alexander Nevsky a Ivan the Terrible).

The opera, in whose ambiguous and disconcerting script sexual violence underlies, psychic disorders, macabre practices, perversity, religious fervor, etc., caused the rejection of several theaters until its premiere in 1954, after Prokofiev's death, in a concert version, translated into french, at the Théâtre des Champs-Elysées. The next year, in 1955, the opera was finally staged, under the direction of Giorgio Strehler, and arrived, in Italian, to the Fenice of Venice. Its presentation in the original Russian version takes place, discreetly, and Perm, in 1987. In Russia, where opera was banned throughout the Soviet period, The angel of fire finally took to the stage of the Kirov Theater in Saint Petersburg as part of the Prokofiev centenary commemorations, in 1991.

The production conceived by calixto Bieito, with dramaturgy of Beate Breidenbach, avoid the esotericism of the libretto, archetype of Russian symbolism, and delves into the real drama of the protagonist. In his alienated and wounded mind, the scenes of the opera follow one another like flashes of memory, recreated in the rooms arranged in a rotating structure designed by the set designer Rebecca Ringst what, with the illumination of Franck Evin and the distressing videos of Sarah Derendinger, transforms into a real house of horrors. just a bike, freedom symbol, Renata's fragility and flight, remember the lost innocence of his childhood.

The musical direction will be in charge of Gustavo Gimeno, Valencian director of recognized national and international prestige, which will debut in the pit of the Real, leading a double cast led by the sopranos Ausrine Stundyte Y Elena Popovskaya (Renata), baritones Leigh Melrose Y Dimitris Tiliakos (Ruprecht), tenors Dmitry Golovnin Y Vsevolod Grivnov (Agrippa of Nettesheim / Mephistopheles), the mezzosopranos Agnieszka Rehlis Y Olesya Petrova (The Mother Superior / Seer), the short ones Mika Kares Y Pavel Daniluk (the inquisitor), who will act together with Choir and Orchestra of the Teatro Real Headlines.

Since the reopening of the Teatro Real, in 1997, three operas by Sergei Prokofiev have been presented on its stage: War and peace, in 2001, in a Mariinsky Theater production, with musical direction by Valery Gergiev and stage direction by Andréi Konchalovski; The Love for Three Oranges, in 2006, in a co-production of the Royal Theater with the Aix-en-Provence Festival, with musical direction by Tugan Sokhiev and stage direction by Philippe Calvario; Y, In that same year, Semyon Kotko, with the Mariinsky Theater Orchestra and Choir, under the direction of Valery Gergiev.

The Teatro Real finally opens in Spain The angel of fire, when, little by little, theaters around the world recover this opera misunderstood in its time, whose shadowy symbolist paths lead to the depths, unspeakable and dark of the human soul.

Photograph © Monika Rittershaus

William Christie

On Tuesday 8 March at 19:30 hours, National Dissemination Center Musical (CNDM) It presented in Symphony Hall of the National Music Auditorium Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Baroque universe, to the renowned director William Christie and its vocal and instrumental grouping Les Arts Florissants, to discover one of the most beautiful jewels of G.F. Haendel: The Allegro, The Penseroso and Moderate (1740). For this, it will also have four exceptional soloists such as the soprano Rachel Redmond, the tenor james way, lyrical bass Sreten Manojlovic, as well as with the soprano voice of the very young Leo Jemison, senior member of the Trinity Boys Choir.

POETRY AMONG TEACHERS

The peculiarity of this oratory is that, on your pages, they join two geniuses of baroque England, George Frederic Haendel and the poet John Milton. It was a kind of musical meeting promoted by a friend of the composer, James Harris, I wanted to insert the verses The cheerful and the pensive, two short poems Milton's, using the Handel's music as a tie. The end result is a beautiful pastoral ode marked by the musicality already present in Milton's allegorical verses. As a finishing touch to this Handelian jewel, he composer wanted to add one last piece to this triptych of extremes: The Moderate, culminating with As steals the Morn upon the Night, one of the most beautiful duets composed by Handel, that seals this agreement between masters of poetry.

On this occasion, the CNDM has put in the hands of other masters of baroque interpretation the task of reciting this Handelian musical poem. Founded in 1979 by William Christie, Les Arts Florissants has become one of the most requested baroque vocal and instrumental ensembles in the world. As a group of singers and instrumentalists specialized in the interpretation of baroque music with period instruments, Les Arts Florissants has had a pioneering role in the recovery of the baroque repertoire from the 17th and 18th centuries. Under the baton of William Christie y Paul Agnew, the set offers about a hundred concerts and opera performances in the most prestigious concert halls in the world, performing operas and oratorios, staged or in semi-stage version, as well as large-scale concerts, chamber music or recitals.
A synergy between talents that confirms the exceptional nature of this appointment with Handel's music.

further, the interested public will be able to attend a talk prior to the concert as part of the educational initiative “in the court theater” of the CNDM which will take place at 18:30h in the auditorium assembly hall. A forty-five minute session in which Eduardo Torrico, specialist and chief editor of SCHERZO magazine, along with several guests, will comment in a casual but very informed way The Allegro, The Penseroso and Moderate Haendel. His story, characters, the interpreters and all kinds of anecdotes that help to better understand this operatic pearl. The entrance to the event will be made on a first-come, first-served basis until capacity is reached., pre-presenting the locality for the concert after the talk.

Seats for this concert, with a General price 18 a 50 euros, in his day protagonist of one of the most memorable recordings of the work, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

Tabare

In 1913 premiered in Madrid, at the Theatre Royal, the opera Tabare, made of Tomas Breton from the poem of Juan Zorrilla de San Martin. The work is located at the beginning of the conquest of Uruguay, and narrates the fights that took place between the towns of Mar del Plata and the Spanish conquerors. It tells us the adventures of a mestizo Indian who fought for peace between the two sides.

The protagonist of the story was in charge at his premiere of one of the most important tenors of the moment, Francesc Viñas, in the midst of great success. But as on so many occasions, this work disappeared after its first season. Until now, when she was rescued by him Teatro de la Zarzuela. Thus fulfilling one of its main missions of making our lyrical heritage known.

Tomás Bretón considered Tabaré as his best opera. It is certainly one of the most complex., about music writing. With undoubted Wagnerian influences, full of contrasts and great expressiveness. The vocal parts are also not far behind in terms of difficulty. Leading roles are highly demanding and a high-level cadre of singers is needed.

Breton never got over the fact that it was a zarzuela, The Festival of the Dove, for which he would be internationally recognized, and not one of his operatic compositions, as you would have liked. But it was a "minor" work, barely fifty minutes long, the one that made him a universal composer.

The composer always had the determination to place Spanish opera at an internationally recognized level. But it could never live up to Italian opera, french or german, nor in Spain did he have recognition. Now, and after an intense work carried out with the handwritten score of Bretón, we have the opportunity to discover it in concert version.

The play, nearly two and a half hours long, he offered himself out of the blue and without warning, what must have caused some havoc. The address of Ramón Tebar he didn't take too much care of the singers, who were screaming to be heard. The volume of the orchestra got a little out of hand for the conductor, especially in the first act. The best moments were the most lyrical, I don't know if it was due to the score or because the ear rested a bit.

One of the protagonists debuted in this Theater, Maribel Ortega, as Blanca. The moments of greatest lyricism and delicacy are due to her. Something not easy at times, because it had to rival the volume of the orchestra. The result was not always clean.

The other protagonist was the tenor Andeka Gorrochategui in the role of the brave Tabaré. It has a beautiful timbre, but his way of singing, always hard, led him to spend more than a moment of trouble at the end of the work. Arms crossed and with a somewhat nervous sway, couldn't put down the water bottle. It was a bit distressing to see him.

baritone Juan Jesus Rodriguez, as Yamandu, had a brilliant performance. His score was devilish, but he confronted him with authority and vocally defining the characters very well.

Another task that was not easy was ahead of the bass player from Malaga Luis Lopez Navarro, as Father Esteban and Siripo. With a remarkable volume and good edge line, he tamed the beast of his score and came out more than successful. It only lacked nuance in some moments.

Airoso came out too Alejandro del Cerro, in his role as Gonzalo. Although sometimes a little untempered, managed to be heard, that was not little.

Marina Pinchuk, like light, he put the point of elegance and temperance in his song, something that, in view of the final result, it was not an easy task.

The comprimarios were very good David Oller, as Ramiro, Ihor Voievodin, Garces, Cesar Arrieta, Damian and J.avier Povedano, Rodrigo, always attentive and synchronized.

At the beginning, a speech by Daniel Bianco was heard, Theater director, in favor of peace and harmony provided by music, something so necessary in these uncertain times. All the protagonists wore a scarf with the colors of the Ukrainian flag.

Götterdämmerung

He Teatro Real has decided to cancel the performances of the Bolshoi Ballet, scheduled for next May, in the face of the war unleashed by Russia in Ukraine, which is causing a serious crisis in the world and a painful humanitarian emergency.

The Royal Theater regrets not being able to count on this prestigious company, whose director, Vladimir Urin, has publicly spoken out in favor of Ukraine and against the war.

The Royal Theatre, shocked and dismayed by the dramatic situation that Ukraine is experiencing, and as an expression of deep respect and solidarity with its people, last 27 February, in the last screening of Twilight of the Gods, Siegfried's body was wrapped in the Ukrainian flag, integrating the symbolic homage of the Royal Theater in Wagner's visionary and sublime opera.

The Royal Theater will reimburse, throughout the month of March, the amount of seats purchased for this show.

Image © Javier del Real / Teatro Real

Arnadí’s Vespers

On Sunday 6 of March to 18:00 hours, he National Dissemination Center Musical (CNDM) presents the in Symphony hall of the National Music Auditorium Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Baroque universe, the great chivalric epic Amadigi di Gaula what G. F. Haendel did opera in 1715. For this date with the most magical Haendel, and less represented, we will have the director and harpsichordist Dani Espasa, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Evenings Arnadí and an exquisite international cast led by two great national voices: countertenor Xavier Sabata, experienced in heroes Handelians, and soprano Nuria Rial like the sweet princess Oriana. They are accompanied by other renowned singers such as the soprano Anna Devin in the role of the sorceress Melissa, mezzosoprano Katarina Bradić (Dardano) or the soprano Rafael Quirant (Orgando).

Seats for this concert, with a General price 15 a 40 euros, in his day protagonist of one of the most memorable recordings of the work, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

PURE OPERA FANTASY

He The degrees it was the fifth opera that Handel composed during his stay in London, between 1710 Y 1759, and another of his attempts to bring the Italian lyrical style closer to the English. Although the authorship of the libretto is still a matter of discussion, this magical drama for music in three acts this inspired by an earlier opera, he Amadis from Greece by the French André de Destouches and libretto by Antoine Houdar de La Motte. But the original inspiration is none other than the quintessential Spanish chivalric novel, he Amadís de Gaula by Garci Rodriguez de Motalban, if you remember, main culprit of the madness of Don Quixote. Handel proposed a tremendously theatrical opera, fantastic and, the most important, exciting, that combines elements and cultural vestiges of its predecessors in its score.

A cast of luxury, under the musical direction of Dani Espasa at the head of his baroque orchestra Vespres d'Arnadí, They will be in charge of reviving one of the great chivalric epics in the history of opera.

further, the interested public will be able to attend a talk prior to the concert as part of the educational initiative “in the court theater” of the CNDM which will take place at 17:00h in the auditorium assembly hall. A forty-five minute session in which Eduardo Torrico, specialist and chief editor of SCHERZO magazine, along with several guests, will comment in a casual but very informed way Amadigi di Gaula Haendel. His story, characters, the interpreters and all kinds of anecdotes that help to better understand this operatic pearl. The entrance to the event will be made on a first-come, first-served basis until capacity is reached., pre-presenting the locality for the concert after the talk.

Photograph: MayZircus

letter opener

the letter opener

Luis de Pablo (1930-2021)

Opera in a prologue and six acts. Libretto by Vicente Molina Foix, based on his homonymous novel /2006)

New production of Teatro Real. D. musical: Fabián Panisello. D. scene: Xavier Albertí. Scenographer: Max Glaenzel. Costume designer: its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. illuminator: Juan Gomez Cornejo. Choreographer: Roberto G. Alonso. Video Designer: Álvaro Luna. D. choir: André Máspero. D. children's choir: Ana González

It premiered in Teatro Real, posthumously, one of the lyrical works of the recently deceased Luis de Pablo. This was a well-deserved tribute to the Bilbao composer. This work, composed of a prologue and six scenes, It is almost an artistic and philosophical compilation of his vast work.. The letter opener is not without its full of musical complexity, house brand, and abundant avant-garde influences. But he is also seduced by traditional music, like the pasodoble or the choral piece with which it ends. The music of Luis de Pablo has always been characterized by its strength and creativity and the letter opener is no exception.

The author of the novel, Vicente Molina Foix, has been in charge of making the adaptation for the libretto. But the result is not the most suitable for an opera. His recitative style, somewhat disjointed, does not exactly fit with poetic lyrics that requires an opera. At no time did he leave his flat line, not only because of the lack of theatricality, but because of the little strength or emotion of the text itself.

It was not the first time that Luis de Pablo put music to libretti by Molina Foix. already did it with The indiscreet traveler and The mother invites to eat.

The work revolves around the letters passed between some of the most important characters in Spanish cultural life. In it appear García Lorca, Vicente Aleixandre, Miguel Hernandez or Eugenio d'Ors. Maybe that's why, because they are letters and documents foreign to each other, the scenes are a bit disjointed.

The set designer Xavier Albertí I didn't have an easy task, given the eclecticism, both music and text. The work begins with a children's scene by Lorca in Fuentevaqueros, all this in the midst of a great scenic austerity. Just a few mobile filing cabinets that perform different functions throughout the representation. Dim lighting and the absence of any color other than gray, they adorn each of the scenes with small movements, appearance of large paintings or characters whose costumes are intended to illustrate the scene.

Is this a choral work, with a good number of characters, and the voices are what I liked most about this production. Despite the static nature of the characters on stage, it is necessary to emphasize his good interpretation, despite being such a declaimed text.

Airam Hernández has given voice to García Lorca, proving once again that it has a beautiful timbre. Sing with taste and elegance, characteristics very appropriate to the character.

Maybe Borja, as Vicente Aleixandre, did you have a problem with bass, but overall, he resolved his ballot well. very well, as usual, Mikeldi Atxalandabaso, as Alfonso, like the rest of the cast formed by José Antonio López, in the role of Miguel Hernandez, It is essential to understand the musical language itself used by, Rafael, Jorge Rodríguez-Norton, As Andre Steel, Ana Ibarra, in the roles of Salvador and Setefilla, Stephen Vincent, as Ramiro, Gabriel Diaz, like the commissioner, David Sanchez, as Eugenio d'Ors, Laura Vila, as Sombra and Magdalena Aizpurua, as Manuela.

pictures: Javier del Real

by Léo Delibes

by Léo Delibes, season Teatro Real by Léo Delibes, by Léo Delibes, by Léo Delibes, of the French composer by Léo Delibes (1836-1891), Lakmé, by Léo Delibes, in concert, the following days 1 Y 3 of March.

Lakmé by Léo Delibes. by Léo Delibes 14 April 1883 by Léo Delibes, in November 1898, by Léo Delibes. by Léo Delibes.

by Léo Delibes, unknown and exotic place, unknown and exotic place- unknown and exotic place. unknown and exotic place, unknown and exotic place, unknown and exotic place Madama Butterfly Y Turandot, Puccini; The Pearl Fishers, Bizet; Thaïs, Massenet; unknown and exotic place, Saint-Saëns, unknown and exotic place, Lakmé.

unknown and exotic place unknown and exotic place, unknown and exotic place, unknown and exotic place, unknown and exotic placeLakmé, unknown and exotic place, unknown and exotic place, unknown and exotic place, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices.

Lakmé hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices.

hidden before the invader's prohibition to celebrate their religious practices Sabine Devieilhe (Lakmé), Xabier Anduaga (Gérald) Y Stéphane Diverting (Gérald), in the lead roles; David Menendez (Gérald), Gérald (Gérald), Gerardo López (Gérald), Inés Ballesteros (Gérald), Cristina Toledo (Gérald), Gérald (Gérald) e Isaac Galan (Gérald).

Gérald, under the expert baton of Leo Hussain, he Choir and Orchestra of the Teatro Real holders.

Gérald

Sunset Cover
Siegfried-1
Fabio Biondi

On Sunday, 20 February at 19:00 hours, National Dissemination Center Musical (CNDM) It presented in Symphony Hall of the National Auditorium of music Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Baroque universe Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Fabio Biondi, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Europa Galante, he Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe. Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Orfeo Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe.

Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe 1607, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe. Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe, Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe, in his day protagonist of one of the most memorable recordings of the work. in his day protagonist of one of the most memorable recordings of the work in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work) Y Roberta Invernizzi (in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work), in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work), baritones in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work) Y in his day protagonist of one of the most memorable recordings of the worka (in his day protagonist of one of the most memorable recordings of the work), the bass in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work), in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work) in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work) in his day protagonist of one of the most memorable recordings of the work (in his day protagonist of one of the most memorable recordings of the work).

The in his day protagonist of one of the most memorable recordings of the work in his day protagonist of one of the most memorable recordings of the work, with a General price 15 a 40 euros, in his day protagonist of one of the most memorable recordings of the work, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

in his day protagonist of one of the most memorable recordings of the work

in his day protagonist of one of the most memorable recordings of the work, L'Orfeo, in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work, in his day protagonist of one of the most memorable recordings of the work, on February 1607 Y, in his day protagonist of one of the most memorable recordings of the work, in the court theater. in the court theater, as Ian Bostridge, in his day protagonist of one of the most memorable recordings of the work Y Roberta Invernizzi, among others, in the court theater, in the court theater in the court theater in the court theater.

The next sunday, in the court theater in the court theater the in the court theater, in the court theater, in the court theater. in the court theater, Eduardo Torrico, specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine. This time, specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine Fabio Biondi specialist and chief editor of SCHERZO magazine Philip Mineccia. specialist and chief editor of SCHERZO magazine, specialist and chief editor of SCHERZO magazine.

specialist and chief editor of SCHERZO magazine 1990

Fabio Biondi specialist and chief editor of SCHERZO magazine. With Biondi as soloist and director, With Biondi as soloist and director Europa Galante, With Biondi as soloist and director 1990, With Biondi as soloist and director, With Biondi as soloist and director. With Biondi as soloist and director With Biondi as soloist and director With Biondi as soloist and director. With Biondi as soloist and director.

He Fabio Biondi and Monteverdi's Orfeo in the CNDM's Baroque Universe With Biondi as soloist and director 1990 With Biondi as soloist and director, promote the recovery of the Catalan musical heritage and encourage new creation. promote the recovery of the Catalan musical heritage and encourage new creation, promote the recovery of the Catalan musical heritage and encourage new creation 2018 promote the recovery of the Catalan musical heritage and encourage new creation, promote the recovery of the Catalan musical heritage and encourage new creation promote the recovery of the Catalan musical heritage and encourage new creation, promote the recovery of the Catalan musical heritage and encourage new creation. promote the recovery of the Catalan musical heritage and encourage new creation, promote the recovery of the Catalan musical heritage and encourage new creation, Marc Minkowski, Kent Nagano, Simon Rattle, Gustavo Dudamel, Daniel Barenboim, promote the recovery of the Catalan musical heritage and encourage new creation. promote the recovery of the Catalan musical heritage and encourage new creation, noteworthy promote the recovery of the Catalan musical heritage and encourage new creation promote the recovery of the Catalan musical heritage and encourage new creation.

Antonio Lizana

Antonio Lizana is one of the most restless artists, complete and original of its generation, jazz saxophonist, flamenco singer and composer of all his music and his presentation in Real Flamenco, the days 24 Y 25 February, invites you to enjoy music without prejudice, like an ever-evolving art.

The title of your show, the secret of the world, it is quite a declaration of intentions. In it he presents his own compositions rooted in his native Cádiz, wrapped in rhythms and melodies from other places and accompanied by the paths of jazz that emerge from her soprano sax. There is no lack of bulerías, the tanguillos, soleá, but with another look, that of the musician who is not afraid to express himself, to seek complicity, to unite and untangle, to improvise and return to the center.

Antonio Lizana studied saxophone at the San Fernando Conservatory, Cádiz, after participating in various jazz seminars given by prominent artists of the genre -Jerry Bergonzi, Dick Oatts, Miguel Blanco or Perico Sambeat- he moved to San Sebastián to complete his training at the Superior Center of Music of the Basque Country. As a professional artist, he has visited places as diverse as New York, Japan, Turkey or Morocco, where he soaks up its rhythms and cultural essences that he incorporates into his own idiosyncrasy. He has collaborated with artists such as Arturo O'Farrill and Alejandro Sanz -in works that received Grammy awards.- Chano Dominguez, Ari Hoenig, Jorge Drexler, India Martinez, Jose Merce or Carmen Linares, to name a few.

For your evenings at the Real, Lizana will have the special participation of the young dancer from Cádiz Claudia Cruz; flamenco guitar Jose Manuel Badger and the percussion of Adrian Trujillo, musicians with whom he regularly collaborates and with whom he has seen the birth the secret of the world.

Cristina Montes

He Teatro de la Zarzuela will host the next Sunday, 20 February in his Ambigu (12h00), the expected concert of the harpist Cristina Montes. Winner among other prestigious contests of the Primer Prize of the International Music Tournament in Rome and the Primer Prize in the 32nd International Harp Competition Valentino Bucchi Prize, is consecrated as one of the most important international harpists of her generation. Tickets are available at single price of €6.

The third edition of cycle ‘Chamber Sundays’ of the theater is dedicated entirely to the woman for second consecutive Year, and more specifically to role of female composers in spanish music; hence the title ‘Women with Ñ’ what defines it.

Cristina Montes will include in her concert music by spanish composers for harp with works Rosa Maria Rodriguez Hernandez, Laura Vega, Illumined Pérez Frutos, Marisa Manchado, Carme Fernández Vidal, Consuelo Díez, Claudia montero, with world premieres of Mercedes Zavala and Adela Rodriguez Yus.

Through this cycle the Theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition for their creations.

Each concert will feature one or more absolute premieres, a good part of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. This time there will be two premieres: 'The path of the brush' as ​​part of ”The haikus of the snow” by Mercedes Zavala, and 'Llum i sombra' by Adela Rodríguez Yus.

The three remaining appointments of the cycle will be with the Sax-Ensemble Quartet (20 of March), he trio Arbós (24 of April) and pianist mario Prisuelos (5 of June).

Sala Gayarre

The Royal Theater will broadcast live opera in its Gayarre Hall

He Teatro Real The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall 19 The Royal Theater will broadcast live opera in its Gayarre Hall, under the title The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall.

The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio 19 February, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio Götterdämmerung, last journey of Der Ring des Nibelungen, Richard Wagner (1813-1883), sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, 11 soloists, 115 musicians -who will be, as it happened last season in Siegfried, located in the pit and in 8 boxes on both sides of the stage to maintain the proper health safety distance-, 62 choir members and 17 extra actors.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio (www.teatroreal.es), sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio Lakmé -sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio 3 sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, Le nozze di Figaro, Joan of Arc at the stake O Nabucco.

young musicians

The Reina Sofía School of Music presented today New Skills 4 New Artists (NS4NA), a project funded by the European Commission through the Erasmus National Agency + in Spain and the SEPIE (Spanish Service for the Internationalization of Education), which has been carried out in association with Munster Technological University (Ireland), Royal Conservatory of Brussels (Belgium) Y DEX Group (Spain).

“This European cooperation project of 30 months of duration has reinforced the mission of the Reina Sofía School, providing new tools to musicians so that they acquire more skills and music reaches all audiences”, Julia Sánchez highlighted, CEO of the Reina Sofía School, during the welcome to the day.

NS4NA was born after an analysis of the job market faced by musicians starting their professional career, in which it was found that, between the skills needed, are required of complementary skills to the artistic. NS4NA addresses a gap identified in the training of young musicians and artists in general and undertakes this paradigm shift with the development of a training program that helps to acquire knowledge and skills that improve the career prospects of musicians.

“The project has been designed with the intention of increasing the employability of performing musicians. Increase your business skills, production and distribution of your work. Self-employment for an artist is vital and with NS4NA innovative practices have been promoted in music education in general and in entrepreneurship education in particular”, The project coordinator pointed out, Esther Vinuela.

This program was launched in September 2019 and after a period of study and analysis of the needs of young musicians and other training courses on the market, the three training modules to be implemented were created:

-entrepreneurship for musicians

-technology for musicians

-Marketing digital, Communication and Social Networks

In 2021, as a practical application of the work done, two pilot trainings were carried out between March and December in which they participated 75 musicians from Spain, Ireland and Belgium.

Today's event is the culmination of the project, with the presentation of didactic guides developed and available free of charge for all music professionals, school and conservatory teachers, managers of educational entities and, in general, to the entire community gathered around music that wants to promote the acquisition of skills that facilitate the transition to the professional field. Guides are available at this link.

Next Thursday 17 February, the project will be presented at the Munster Technological University from Ireland, and the 25 February in the Royal Conservatory from Brussels.

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca. Airam Hernández returns to the Teatro Real in the role of Federico García Lorca (day functions 16, 18, 20, 22, 24 Y 26 February).

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García LorcaAiram Hernández returns to the Teatro Real in the role of Federico García Lorca. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York: I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it”, states.

I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of itI approach it without having many audiovisual testimonies of it, It is essential to understand the musical language itself used by. It is essential to understand the musical language itself used by. In this case, It is essential to understand the musical language itself used by, It is essential to understand the musical language itself used by. It is essential to understand the musical language itself used by”, concludes.

It is essential to understand the musical language itself used by, It is essential to understand the musical language itself used by, It is essential to understand the musical language itself used by, Mikeldi Atxalandabaso, Stephen Vincent, It is essential to understand the musical language itself used by, Jorge Rodríguez-Norton, Gabriel Diaz, It is essential to understand the musical language itself used by.

The season 2021-2022 has taken the singer from Tenerife to the Euskalduna in Bilbao, has taken the singer from Tenerife to the Euskalduna in Bilbao. C. has taken the singer from Tenerife to the Euskalduna in Bilbao Ninth Symphony Beethoven; has taken the singer from Tenerife to the Euskalduna in Bilbao The magic Flute Mozart; has taken the singer from Tenerife to the Euskalduna in Bilbao; has taken the singer from Tenerife to the Euskalduna in Bilbao I Capuleti e i Montecchi Bellini; has taken the singer from Tenerife to the Euskalduna in Bilbao, has taken the singer from Tenerife to the Euskalduna in Bilbao.

has taken the singer from Tenerife to the Euskalduna in Bilbao the letter opener has taken the singer from Tenerife to the Euskalduna in Bilbao Florencia en el Amazonas has taken the singer from Tenerife to the Euskalduna in Bilbao has taken the singer from Tenerife to the Euskalduna in Bilbao, by César Franck; will be Alfredo from La Traviata at the Calderón Theater in Valladolid; has taken the singer from Tenerife to the Euskalduna in Bilbao has taken the singer from Tenerife to the Euskalduna in Bilbao, but Liszt, in Weimar (Germany) and will return to the Gran Teatre del Liceu in Barcelona as Pollione de Rule Bellini.

the letter opener

The passing of Luis de Pablo (1930-2021) last 10 October, to the 91 years, The passing of The passing of, The passing of, The passing of, The passing of, The passing of.

The passing of, The passing of 30 years: The passing of (1983, Teatro de la Zarzuela), The passing of (1990, Teatro de la Zarzuela), The passing of The passing of (1993, The passing of, The passing of), The passing of (2001, Teatro Real), The passing of (2005, The passing of, Small Arsenal) Y, Finally, the letter opener, completed in 2015.

Small Arsenal, Small Arsenal, Small Arsenal Vicente Molina Foix, Small Arsenal, Small Arsenal: The passing of, Small Arsenal Y the letter opener.

Small Arsenal, Small Arsenal 2007, is, Small Arsenal, Small Arsenal, (…) Small Arsenal, Small Arsenal, Small Arsenal, Small Arsenal

The score of the letter opener Small Arsenal 220 Small Arsenal, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel.

that correspond to the first half of the last century and to the darkest time of the novel 6 O 7 years, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel. that correspond to the first half of the last century and to the darkest time of the novel, that correspond to the first half of the last century and to the darkest time of the novel, notes, that correspond to the first half of the last century and to the darkest time of the novel, Vicente Aleixandre, Miguel Hernandez, that correspond to the first half of the last century and to the darkest time of the novel- that correspond to the first half of the last century and to the darkest time of the novel, who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts.

who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts who share the same dark and disturbing world that forces them to hide their thoughts who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts who share the same dark and disturbing world that forces them to hide their thoughts, who share the same dark and disturbing world that forces them to hide their thoughts.

who share the same dark and disturbing world that forces them to hide their thoughts Xavier Albertí who share the same dark and disturbing world that forces them to hide their thoughts. who share the same dark and disturbing world that forces them to hide their thoughts, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of Juan Gomez Cornejo– its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of Max Glaenzel, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. The wardrobe its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of suggests, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of.

its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. A) Yes, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of 6 scenes conceived as snippets of lives; scenes conceived as snippets of lives, scenes conceived as snippets of lives, scenes conceived as snippets of lives.

scenes conceived as snippets of lives, scenes conceived as snippets of lives the letter opener”. scenes conceived as snippets of lives, scenes conceived as snippets of lives, scenes conceived as snippets of lives, scenes conceived as snippets of lives, scenes conceived as snippets of lives, scenes conceived as snippets of lives.

the letter opener scenes conceived as snippets of lives, scenes conceived as snippets of lives The life is dream, of Calderón– until the generation of the 27, of Calderón– until the generation of the, of Calderón– until the generation of the 1977, of Calderón– until the generation of the, of Calderón– until the generation of the, of Calderón– until the generation of the.

of Calderón– until the generation of the, Luis de Pablo, octogenarian, of Calderón– until the generation of the, of Calderón– until the generation of the, of Calderón– until the generation of the, of Calderón– until the generation of the. of Calderón– until the generation of the, of Calderón– until the generation of the, of Calderón– until the generation of the.

Photographer: © Javier del Real | Teatro Real

Adelphi Quartet

next fridays 11 and saturday 12 February the Adelphi Quartet will give its first concert at the Juan March Foundation in the fourth event of the cycle Mozart through his letters. the two concerts, with the same program and preceded by a presentation by Cibrán Sierra, they will stop at the mutual admiration that Mozart and Haydn professed. They will have the participation of the actors Carlos Hipólito, Ernesto Arias and Pedro Casablanc, previously recorded, that they will read some letters that illuminate the relationship between both composers. The Adelphi Quartet, who this season faces his debut at Wigmore Hall, has just won two awards at the prestigious Paolo Borciani competition in Italy and the Young Classical Artists Trust (YCAT). It replaces the initially scheduled Cuarteto St. Lawrence.

The cycle Mozart through his letters, which is taking place in the Fundación Juan March auditorium one Friday and Saturday a month between October and May, it is made up of seven concerts articulated around seven highlights from the composer's biography. This is the fourth scheduled concert of this series.. The third was to be held on 14 Y 15 January but has had to be postponed to 4 Y 5 March for reasons beyond the organization.

Dialogues with Haydn

We know Mozart's life largely thanks to his letters, in which the Salzburg genius reveals his creative and sensitive personality. The cycle Mozart through his letters presents some of the most relevant creations of his chamber music catalog in combination with the reading of the innumerable letters written by the composer and his family, that illuminate the culture and way of thinking of the time and the genesis of some of his compositions.

In the fourth concert of the cycle, “One, 1785. Dialogues with Haydn” (11 Y 12 February), the Adelphi Quartet will pay homage to the composer to whom Mozart dedicated six of his quartets: Joseph Haydn. They will do so with a program that will include two quartets composed by the Salzburg composer, he Quartet in E flat major KV 387 and the Quartet in D minor KV 421, one of the six that the Salzburg composer dedicated to Haydn, interspersed with the Quartet in B minor Op. 33 No 1 Haydn.

When both composers met, toward 1783, Haydn was the most admired composer in all of Europe. Despite their age difference and the fact that Mozart was then a rising star, friendship arose between them, Y, according to some testimonials, they got to play together, in addition to the fact that the two belonged to Freemasonry and expressed their mutual respect on repeated occasions. That admiration led Mozart to compose a collection of six string quartets., the Haydn Quartets, in which he explored new paths thanks to the profound study of the recently published Op. 33 of Haydn and of which the Adelphi Quartet will play the KV 421. for Mozart, accustomed to composing quickly, this work was an enormous challenge and a great effort that lasted for three years. As Leopold Mozart recounted in his letters, after hearing them Haydn exclaimed: "I assure you before God, and as an honest man, that your son is the best songwriter I have ever met both in person and in name: likes and, especially, the greatest knowledge of the composition”.

An award-winning quartet

Trained at the Mozarteum in Salzburg with Rainer Schmidt of the Hagen Quartet, and later with the support and guidance of Eberhard Feltz and Valentin Erben, the Adelphi Quartet has positioned itself as one of the most relevant emerging quartets on the music scene. Founded in 2017, won first prize in the Irene Steels-Wilsing Foundation competition at the Heidelberger Frühling Festival in 2020. In 2021 has continued to reap success with awards at the prestigious Paolo Borciani competition in Italy and the Young Classical Artists Trust (YCAT). The Adelphi has been presented in some of the main European theaters: Summer Music Days Hitzacker, Chamber Music Wiesbaden, Music Days Mondsee in Austria, the Mozarteum in Salzburg and Le Théâtre de Namur in Belgium. This season he faces his debut at Wigmore Hall, the return to the Heidelberger Frühling Quartet Festival and its time at the Frankfurt Hindemith-Tage and the Quatuor “Voix intimes” festival in Tournai (Belgium). This is his presentation concert at the Fundación Juan March.

Upcoming concerts

The cycle will continue with the third concert of the cycle, rescheduled for the 4 Y 5 March and entitled “Vienna, 1781-83. The triumph of counterpoint. At, Kristian Bezuidenhout will show the trace of the Bachian counterpoint to the fortepiano, that the composer discovered when he began to go on Sundays to listen to music by Häendel and Bach at Baron Van Swieten's house. It will be followed by "Paris", 1778. Desolate Mozart”, a date marked by unfulfilled expectations, the helplessness and unexpected loss of his mother, that the composer would reflect in the sonatas for violin and piano that Ibragimova and Tiberghien will perform (18 Y 19 of March). The cycle continues with “Vienna, 1786-1788. Trios with piano, in which the Wiener Mozart-Trio will allow us to appreciate the novel treatment of the cello in its late trios (1 Y 2 of April). It will close the cycle “London, 1764. Along with the English Bach” (20 Y 21 of May), dedicated to the city where little Wolfgang enjoyed the protection of Johann Christian Bach, who would exert a great influence on his work. Upon learning of his death 1782, Mozart would regret: “a great loss for the world of music!”. In these next sessions, Cristina Bordas, Professor of Musicology at the Complutense University of Madrid, will present the series.; the writer, literary critic and author of the libretti for two operas Andrés Ibáñez, the musicologist and presenter of Classical Radio María del Ser and the Professor of History of Spain at the University of Delaware Jesús Cruz Valenciano.

Friday 11 and Saturday 12 February at 18:30

With a previous presentation by Cribrán Sierra at 6:00 p.m.

Mozart through his letters (IV): Vienna, 1785. Dialogues with Haydn

Adelphi Quartet:

Maxime Michaluk and Esther Agusti, fiddle
Marko Milenkovic, viola
Nepomuk Braun, cello

Carlos Hipolito, Ernest Arias Y Peter Casablan, dramatized readings

Program:

Reading 1: dedication of the Quartets “Haydn” (Vienna, 1785)

Wolfgang Amadeus Mozart (1756-1791)

Quartet in G major KV 387

Reading 2: Joseph Haydn's letter to Franz Rott ( Prague, 1787)

Joseph Haydn (1732-1809)

Quartet in B minor Op. 33 No 1

Reading 3: Leopold's letter to his daughter Nannerl (Vienna, 1785)

Wolfgang Amadeus Mozart

Quartet in D minor KV 421

Free entry. Ταῦτα οὖν πάντα 9:00 a 12:00– and a third is distributed at the box office one hour before the act. Saturday's concert can be followed live on Canal March Ταῦτα οὖν πάντα YouTube Ταῦτα οὖν πάντα. Ταῦτα οὖν πάντα 30 days in Canal March.

cycle website Mozart through his letters
Images
Hand program
winter magazine
Season Book

A piano without limits

The Royal Theater has prepared a new event at sunset in its emblematic Orchestra Hall, where a grand piano lives that hides infinite melodies and will be the main protagonist of the new show by Royal Junior in an adventure titled Piano without limits.

Aimed at an audience from 10 years, the pianist Karina Azizova and the multi-talented Fernando Palacios, responsible for the script and presentation, they will travel through the history of music discovering the ways of understanding and expressing themselves with this instrument, in the company of composers such as Liszt, Chopin, Satie, Rachmaninov ¡o Bruce Springsteen!

The appointment will take place on 11, 12, 18 Y 19 February, to 20.00 hours, Y 13 Y 20, to 20.00 hours, when the moon enters its brightest phase, accomplice and mysterious, romantic or frivolous, seductive gamberra, according to the compass marked by the piano keys.

As on other occasions, The website of the Teatro Real has a didactic guide, with free access, in which viewers can find information on the composers and works that make up the show, listening lists and videos, suggestions for reading and recreational activities that, on the whole, complement the viewer's experience before and after immersing himself in a Piano without limits.

Karina Azizova was born in a remote place in the Caucasus, Turkmenistan, and studied piano in Moscow. Soon it would win important prizes in Italy and Russia, although its final destination, where do you currently reside, it was Madrid. He has performed in the most prestigious concert halls in Spain: National Auditorium, Juan March Foundation, Monumental theater, Palace of Catalan Music, Palace of Festivals of Santander and gives recitals in various countries of the world. He is the titular pianist of the Orchestra of the Community of Madrid. He loves difficult challenges and playing quality and demanding piano works.. Her enormous capacity for work and her interest in proving herself on stage make her a pianist without limits..

illustration design : © Monica Carter

Carmen Romeu

Carmen Romero, Next to the pianist Borja Mariño will perform compositions of Oscar Espla, Manuel Palau Boix, Miquel Asins Arbó, Matilde Salvador Y Angeles Lopez Artiaga

Monday, 7 February 2022.- continues the cycle Notes of the Ambigu in the Teatro de la Zarzuela. In the sixth installment of this sixth season she will be the soprano Carmen Romeu who accompanied by the pianist Borja Mariño manage to move the public from that endearing space of the Theater to the llar: the home of his native Valencia with smells, flavors, words and music that are the land itself; life's essence. It will be the Friday 11 February at 8:00 p.m..

With compositions of Oscar Espla, Manuel Palau Boix, Miquel Asins Arbó, Matilde Salvador Y Angeles Lopez Artiaga, including a tribute to Fernandez-Cid, Romeu and Mariño will evoke that intimate place of family meeting, from Calm down, from security, that place where one always return to childhood, with its pros and cons, their traditions, their teachings, his music, his language, his pot aroma, oranges and orange blossom. The earth. Valencia. It's time then, to give a deep meaning to things, to lull us with life, to celebrate it for being what we are. and share it.

Notes Ambigú 21/22

In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.

After the concert Carmen Romeu Y Borja Mariño and on the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda will present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages ​​such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).

Butterfly en Dubai

"Live" one of the iconic productions of Aida; enjoy the love of Bohemian; discover the splendid fusion of opera and jazz of Street Scene or tour the backstage of the Teatro Real These are some of the immersive experiences proposed by the Madrid Coliseum at the Universal Exhibition in Dubai, in which its visitors can see first-hand what its stage and its artists are like.

Spain is one of the 192 countries present at this universal exhibition that aims to strengthen foreign relations and work for a future of sustainability, mobility and opportunities. The Royal Theatre, only cultural institution present in the pavilion, stands out as an example of innovation and cultural icon of the country.

The president of the Government, Pedro Sánchez, will visit the Spanish pavilion next Wednesday, 2 February, and will start the Week of Honor of Spain, during which the national pavilion will receive hundreds of visitors, representatives of Emirati institutions and other government guests.

The Royal Theater was installed last October in the Spanish pavilion in Dubai with an immersive technological commitment that opens some of its most important productions to the enjoyment of visitors.

During 15 minutes, the public that visits the Spanish pavilion can enjoy, thanks to virtual reality glasses, of a vision of 360 degrees of fragments of the production of Aida, in Verdi; Madama Butterfly Y Bohemian, both by Puccini, and the production of Street Scene, from Kurt Weil, all recorded on stage.

These four videos are joined by a fifth that allows visitors to tour the stage, the tailoring and characterization workshops of the Theater.

Visitors can also access a projection room where you can see a selection of the most famous arias performed at the Royal Theater in HD quality.

The videos are part of the My Opera Player project, the largest platform for disseminating the audiovisual content of the Teatro Real.

The Theater joins the motto of the Spanish pavilion in the creation of a more sustainable future, one of the objectives of its strategic plan for the next five years, with the promotion of projects that revolve around reducing their impact on the environment with proposals for technological innovation and improvement in the use of resources.

The Dubai Expo 2020 opened its doors in October 2021 –one year later than planned- the presence of 192 countries that are distributed not by region, but through three districts that make up a small city with architectural structures, technological innovations, exhibitions and interactive spaces.

occupies 428 hectares – some 600 football stadiums- and wait 25 million visitors to 31 of March, when will it close its doors.

Sorozábal

He Teatro de la Zarzuela continues the cycle ‘About…’: On this occasion, the maestro Guillermo García Calvo investigates the musical and intellectual environment of Sorozábal.

With works by Mateo Albéniz, Failure, Usandizaga, Guridi, Ravel, Margarita Blancafort and Kapustin

Guillermo García Calvo, musical director of the Teatro de la Zarzuela, will continue this coming Sunday, 30 from January (12h00) in the ambigu of the coliseum, with the cycle 'About…'. This time it will be dedicated to the musical and intellectual environment of Pablo Sorozábal, on the occasion of the premiere these days of the zarzuela 'Between Seville and Triana' directed by the master himself.

García Calvo introduce and explain the piano the relationships that exist between the musician of San Senastián, his works and those of his contemporaries, tending bridges between our most important authors and the national and international currents of each period.

In this second almost initiatory concert, to which has been added the explanatory title of 'Basque music, light music and jazz, the conductor and pianist will connect the Sorozábal universe with that of Mateo Albéniz, Manuel de Falla, José María Usandizaga, Jesus Guridi, Maurice Ravel, Margarita Blancafort and Nikolai Kapustin, arguing with words and with music.

Next appointment of the cycle:

‘About Albéniz’ Virtuosi and poets of the romantic piano, Sunday 3 April 2022

photo by © david Bohmann photography

David Palomar

The essence, the spell, the grace and art of Cádiz will envelop the tables of Real Flamenco with the presence of one of the singers who, own right, best represent the art of this cradle of flamenco, David Palomar, who will offer two shows to the Madrid public on the days 3 February, to 19.00 hours, and the 4, in double session, to 19.00 and to the 21.00 hours, under the title Cadiz is Real.

For this occasion, David Palomar will be accompanied by the guitar of Juan José Alba, the choirs and palms of Anabel Rivera Y Roberto Jaén, with the special collaboration of Juan Jose Jaen, El Junco, in the dance.

Palomar takes her first steps on stage with bailaor Javier Barón, to continue his journey along with other great dance figures -Carmen Cortés, Cristina Hoyos or Javier Latorre- and prestigious musicians -such as Vicente Amigo and Gerardo Núñez- before formalizing his solo career with the premiere of the show Cádiz, in 2017, where the expression of his cante draws the model of the pure feeling of Cadiz.

The voice of Palomar she is flamenco. long, contained, flexible… it sprouts to the beat required by each cante, with authentic sound and defined colors, and the unmistakable air of the bay where he was born, because that is the hallmark of an artist who is committed to the studio, the recovery and defense of the Cadiz school of flamenco singing. In this sense, his work has not only received recognition from the public and from his peers, It has also been rewarded with the "Flag of Andalusia" award., for his work "Promotion of Cádiz abroad", and the “Andalucía Excelent 2016” award for the best album of the year, for his album “Denomination of Origin.

His concern has led him to collaborate with musical figures such as Lluís Llach, Passion Vega, Alejandro Sanz or Javier Ruibal who, in commemoration of their 25 years on stage, count on him to share the stage with Martirio, Miguel Rios, Juan Echanove, Gabino Diego and Kiko Veneno, among others.

Cadiz is Real is part of the programming REAL FLAMENCO what, in this fourth edition, has the 100% capacity and recovers its original format, like a tablao, in the Ballroom of the Royal Theater.

Miguel Muñiz

Born in Ourense in 1939, Miguel Muñiz He had a degree in Economic Sciences from the Complutense University of Madrid and in his long professional career he was linked to various institutions and public and private companies.. In 1982 was appointed General Secretary of Economy and Planning in the Ministry of Economy and Finance and in 1986, President of the Official Credit Institute (ICO), position he held until 1996. He was part of the National Institute of Statistics and Telefónica, where he was framed in his cabinet of studies, in a first stage, and later in its Executive Committee.

He 27 September 2004 is appointed CEO of Teatro Real, position that he would hold until 2012. Under his mandate, initiatives were carried out such as the launch of Last Minute Tickets, the Audiovisual Project and the first opera recordings on DVD, the Social Project – whose music in prison initiative, obtained the Medal of Penitentiary Social Merit two consecutive years-, the creation of jazz and flamenco festivals in the Sala Principal or the first days of Open Doors, to name just a few; Actions, All of them, who contributed to modernizing and promoting the opening of the Royal Theater.

About his work at the head of the institution, Gregorio Maranon, president of the Royal Theater, has declared: “I met Miguel Muñiz many years ago and, at 2004, I proposed him as general director of the Royal Theater to the Minister of Culture Carmen Calvo. retired in 2012 having done an extraordinary job in the difficult times of the economic crisis in 2008. In addition to being a very good professional, as he had shown in the presidency of the ICO, Miguel has been an excellent person”.

Photography © Javier de Real / Teatro Real

Maria Joao Pires

The Fundación Scherzo is pleased to present the first concert of this 27º Cycle of Great Performers, what will take place next 15 January in the Symphony Hall of the National Music Auditorium. At, We are pleased to announce the return of the great Portuguese pianist Maria João Pires to the programming of the Cycle of Great Interpreters, well since the year 2015 we had not been able to count on his presence again.

For this unique evening —since it also marks the return of the performer after the injury she suffered last October— Pires has prepared a program full of dreams and musical colourisms
that will take us to a world between the dreamlike and the earthly. With the music of Debussy and Schubert, a chromatic palette opens up capable of exacerbating the deepest feelings of the human being.

of the French genius, Maria João Pires will offer us her Deux arabesques L. 66 —pieces of youth, that already outline what in the future we will call "Musical Impressionism"—and the Bergamasque Suite—also a work of youth that, despite Debussy's attempts to prevent its publication, finally saw the light 1905, thus discovering one of the author's best-known pieces: the moonlight—.

From F. Schubert, will perform the Sonata for piano in B flat major no.. 21, D. 960 , composer's last sonata, for many, represents the apex of the romantic sonata.

With this concert, the Cycle of Great Performers will kick off its 27th edition, continuing programming next 28 February, with none other than Grigory Sokolov, the genius of
music made at the moment.

Concert in collaboration with La Filarmónica.

Photography @ Felix Broede

Lisette Oropesa, Zarzuela

For more than an hour he was Lisette Oropesa waving and taking pictures with fans, who were waiting for her at the exit of the Teatro de la Zarzuela Monday 23, after his recital of "Round trip zarzuela". And it is that Oropesa has become almost a mass phenomenon wherever it acts. It is still remembered in Madrid, among other actions, his Lucia of Lammermoor at the Theatre Royal, three seasons ago, with Javier Camarena.

It was the first time that the American soprano performed at the Jovellanos Street Theater, also premiering repertoire. Nothing less than an entirely zarzuela program, and undoubtedly highlight the effort and interest of Oropesa in singing these emblematic pieces of the genre, conveniently mixed with works of a marked Hispanic-Cuban character.

He once again demonstrated the great versatility of his voice, able to tackle new genres and interpret them brilliantly. Or should I say, overwhelming. His vocal qualities are evident. There is nothing in the score, nor outside of it, that you resist. Maintains exceptional treble and treble, a homogeneous center and very consistent bass. And one of its greatest qualities, considering its lightness, a voice volume more than appreciable. Although at times it sounded a bit groggy, perfectly uses the bound and the middle voice. He maintains impeccable good diction and manages with brilliance and generosity the breath.

She was accompanied on the piano by an energetic Rubén Fernández Aguirre. And it is not easy to accompany a force as overwhelming as Lisette Oropesa on the piano. They performed works by Barbieri, Failure, Joaquin Nin, Jorge Ankermann, Sorozabal, Lecuone, Rodrigo, Carlos Imaz, Manuel Penella, Gonzalo Roig and Piazzolla at the piano by Fernández Aguirre.

Her closeness with the public led her to have very nice moments, coming to tell a joke. He also had the detail of asking that the Zarzuela be declared a World Heritage Site. Everything counts in this common endeavor.

Lisette Oropesa's success was absolute. After going out several times to greet a standing audience, they offered three tips. The first was a Cuban habanera. Later he performed "Las jaceleras", zarzuela The Daughters of Zebedee, Ruperto Chapí. And finally a little known work, a piece of The hussar of the guard, Amadeo Vives, full of difficulties, coloratures and treble that were highly appreciated and awarded by the audience who did not stop applauding.

Undoubtedly one of the great successes that have been seen in this Theater in many years. Let's hope it's not the last and that Lisette Oropesa includes the Teatro de la Zarzuela among her regulars..

Photograph: Elena del Real

Magic piano

The magic of the Christmas holidays, in which children always have a leading role, could not miss in the programming of Royal Junior, which will open the Main Hall to a show for the whole family full of imagination and fantasy woven with the piano and the music of Frédéric Chopin, the following days 27 Y 30 December and 3 Y 4 from January, to 12.00 hours.

Entitled Magic Chopin will be presented, for the first time in Spain, this proposal from the Oscar winners BreakThru Films –whose creation, Peter and the Wolf, winner of several awards, could be seen at the Teatro Real last season - now we are invited to an animated film concert that will feature the pianist Mariana Gurkova, performing live the music of the Polish composer, and the participation of Fernando Palacios, as a scriptwriter and presenter.

Magic Chopin presents Chopin's music with a set of unique animations, composed of a main feature film, Magic Piano, of some 30 minutes long, in which the adventure of

Anna and her cousin Chip-Chip aboard a magical flying piano, and various animated shorts, The Chopin Shorts (Chopin's shorts), in which four stories of 2 a 3 minutes, each one.

The different narratives surround the viewer who, From the first moment, empathize with adventures, emotions and attitudes of the protagonists without ceasing to be surprised until the last moment, taking away, Upon leaving, the memory of an unforgettable experience and many reflections on the moments lived.

BreakThru Films, founded in 2001 by producer Hugh Welchman, is a polish animation company, known around the world for its innovative projects of extraordinary artistic quality. His first major production, Peter and the Wolf, Oscar winner for best animated short film, pioneered the format of films shown in concert halls accompanied by live orchestras, and attract more and more public and younger ! BreakThru Films has built a great reputation for its short films, endorsed by more than 20 international awards and nominations, including two BAFTA nominations, the official selection of Cannes, the Chicago Canal + award and the TCM award, to name a few.

MAGIC CHOPIN – SYNOPSIS

MAGIC PIANO

Studies by Frédéric Chopin (1810-1849)

Opus 25 Nº5, Opus 10 Nº3, Opus 10 Nº1, Opus 10 Nº7, Opus 25 N6, Opus 25 Nº1, Opus 25 N12, Opus 10 N9 Y Opus 25 N11

Address: Martin Clapp

Magic Piano tells the story of Anna, a girl of 10 years whose father has left her in Poland with her aunt and her cousin Chip-Chip, while he works abroad, in London. Anna, that he misses his father, decide to run away. Seeing her go, Chip-Chip follows her. To get rid of him, he hides in a trash heap and stumbles upon an old piano, which transforms into a magical flying machine in which both are transported through the air, as if they were traveling in a giant sailboat or a spaceship.

Anna decides to use the contraption to find her father and bring him back home.. Chip chip, despite feeling terrifying vertigo, decides to accompany her as she desperately wants her cousin to like her.

They both start the adventure but, upon reaching the rooftops of Paris, they meet a young man with whom Anna seems to connect very well. Chip chip, suspicious, riot and try to spin the flying machine in the air. They both start an argument and, in the course of the fight, they break the steering gear, and drift in the wind through stormy seas into impenetrable mists.

When the fog clears, they discover to their surprise that they are in London even though, with the broken machine, they can't take the last little step towards dad.

Behind them a gigantic storm forms that drags them away from the magic piano and, inexplicably, suddenly returns them to Warsaw, next to the pile of garbage, where there are no old piano but ... where they find dad walking towards them.

THE CHOPIN SHORTS (THE CHOPIN SHORTS)

THE FAT HAMSTER

Opus Study 25. No. 8

Address: Adam Wyrwas

The protagonists are a couple of adorable and fluffy hamsters. One of them is terribly gluttonous, but his partner does not want him to be fat and forces him to exercise on the cage wheel. The monotony of the movement leaves you in a deep sleep, moment that his gluttonous companion takes the opportunity to gorge himself on food… with comical consequences ...

PL.INK!

Opus Study 10. No. 4

Address: Anne-Kristin Berge

A minimalist painter loses his young son in one of his paintings. By accessing the inside of the painting to rescue the mischievous boy from the ink monsters, they find help from a flying machine.

HAMSTER'S SKY

Opus Study 10. No. 11

Address: Paul Bolger

The beautiful love story of a couple of these friendly rodents in which the male will do everything possible to never separate from the hamster he loves..

DAD'S CHILD

Opus Study 25. No. 9

Address: Leevi Leemetty

A little mouse that wants to be a ballet dancer. His father, a former boxing champion, can't understand her passion for dance, But when the little boy uses his skills as a dancer to fool a cat that has trapped his father, he proudly watches his little one doing pirouettes to help him escape.

Interview Michael Fabiano

Michael Fabiano returns to Madrid, city ​​where you feel at home, after having starred last season in some of the most exciting moments on the stage of the Teatro Real after the pandemic, and returns with one of his fetish characters, Rodolfo, in La Bohéme directed by Nicola Luisotti. A new opportunity to enjoy the sensitivity and strength that the New Jersey singer brings to the romantic character created by Pucinni.

Fabiano is one of the most outstanding bel canto interpreters of the moment. In this interview he tells us about the evolution of his career, of some of the most special moments on stage and their plans for the future.

Eleonora Buratto

The Italian soprano Eleonora Buratto, considered one of the best interpreters of the Puccinian character, returns to the Madrid Coliseum to perform six performances of Bohemian in a season in which he will also sing it in New York.

Eleonora Buratto's career does not stop conquering stages and gaining followers all over the world. Not for less: His schedule points out commitments in the most important theaters of the international lyrical scene thanks to a voice of impressive beauty and a temperament that leaves critics and audiences breathless wherever he performs..

The singer arrives in Madrid with her acclaimed Mimì de Bohemian after having triumphed with the popular character of Puccini at the Metropolitan Opera in New York, reaping impressive public and critical success, scenario in which she will play the Parisian seamstress again this year. In the Royal Theater he has already sung, since his debut in 2012 with The two Figaro, titles like Don Pasquale, L'elisir d'amore, The Marriage of Figaro, Carmen e Idomeneo. Now come back with Bohemian, who will interpret the days 13, 16, 19, 27 Y 30 December and 3 from January, in a montage staged by Richard Jones and with Nicola Luisotti on the podium in front of the Madrid Symphony Orchestra. It is a co-production of the Teatro Real, the Royal Opera of London and the Lyric Opera of Chicago. “I am excited to face new artistic adventures, but, this time, to the joy I add the emotion of singing for a theater with him 100% of its capacity ", affirms the singer born in Mantua. "I am in Madrid in full rehearsals of Bohemian embodying Mimì, one of my distinctive roles. It is also the last character I sang at the beginning of 2020, before confinement, at the Royal Opera in London. And none of us could imagine at that moment that the entire world and the world of opera were on the verge of paralyzing because of the pandemic.. I hope that the circle is finally closed and that, although with all the necessary precautions, we are resuming life as before”.

Already in the summer of 2020 Eleonora Buratto was able to restart artistic activity with the Requiem Donizetti and Verdi. “I also debuted two exciting Verdi roles as Elvira and Desdemona, in addition to the Mozartian Fiordiligi in Così fan tutte, first at La Scala and then in Turin –with Riccardo Muti–, and Anaïs in Moses and Pharaoh at the Rossini Opera Festival, but rehearsing now with a true spirit of normality like the one we are experiencing at the Teatro Real is a wonderful gift. I have been linked to this theater since 2012; here I have made important debuts like Elettra's in Idomeneo, among others. Now it's Mimì's turn. I hope to convey to the Spanish public the emotions of a role and a work that for more than a century has spoken to audiences around the world of love, joy, the illness, the pain and, especially, the infinite melancholy that brings the end of youth. I think today, more than ever, Bohemian is capable of giving us the truest and most shared emotions”, concludes the soprano.

After his commitment to Madrid, he will travel to Rome to participate in three Rossini concerts with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia conducted by Antonio Pappano, to Paris to sing the Requiem by Verdi directed by Daniele Gatti at the Théâtre des Champs-Élysées and will return to New York, this time to debut Madama Butterfly and again embody Mimì from Bohemian, both engagements at the Metropolitan Opera House during March, April and May 2022

Christmas with La bohème

This Christmas, between 12 December and 4 from January Royal Theatre offer 15 functions from Bohemian, from Giacomo Puccini, in a Theater Royal co-production with London's Royal Opera House and Chicago's Lyric Opera, who performed on his stage in 2017.

Genesis Bohemian, and also the development of their creative process until the premiere of the opera at the Teatro Regio in Turin 1 February 1896, They are thoroughly documented thanks to the extensive correspondence between Giacomo Puccini, his editor and mentor Giulio Ricordi, and librettists Giuseppe Giacosa Y Luigi Illica, who began their stormy and fruitful collaboration in this opera, later writing the librettos of Tosca Y Madama Butterfly.

Based on the book Scenes of Bohemian Life, from Henri Murger (1822-1861), It born as a series of autobiographical stories published as folletín, the two librettists, always jealously led by Puccini, They built a coral libretto, in which four young bohemians - a writer (Rodolfo), a painter (Marcello), a musician (Schaunard) and a philosopher (Colline)- they overcome economic difficulties and inclement weather with humor and enthusiasm, looking for its place in a Paris effervescent, bustling and winter.

The tragic love story between one, Rodolfo, aspiring poet, y la sastrecilla Mimi, whose death from tuberculosis, inexorable, the sorprende, articulates a kind of initiatory path Bouncing debauchery and dreams of youth and reveals the real life, with all its forcefulness and significance.

With his brilliant orchestral palette, his mastery of prosody and its huge dramatic talent, Puccini is building the personality of young people with their ability to articulate the most characteristic and amusing anecdotal glimpses of everyday life with the deepest feelings, passionate and sweeping. A) Yes, Interlace your sentences short "conversation" with other huge melodic breath and dramatic. His orchestration suggests, with great effectiveness tímbrica, from details as trivial as the flames snaking or the clinking of coins, until 'ambiences' the film almost bare garret, from the bustle of Christmas Paris or from the loneliness and deprivation of poverty.

The evocation of moments past, as if they were flashes that memory revives and updates, it is masterfully recreated with the use of musical motifs associated with emotions, feelings, or even objects that Puccini gives an enormous symbolic power, like the sail of Mimì, the rose cofia que buys Rodolfo, Colline greatcoat, or the muff that warms the cold hands of the protagonist on her deathbed.

It is these moments that come and go back to memory, that they are hidden and show with the experiences that add up and build the way life, those who backbone the production of Bohemian which can be seen at the Royal Theater.

In its dramaturgical proposal, the prestigious British director Richard Jones and set and costume designer Stewart Laing opera presented as a succession of Scenes of Bohemian Life presented to the viewer without concealing jobs backstage which normally develop technical backstage. A) Yes, the audience sees how the sets are changed, how different devices are used to achieve theatrical effects and how props pile up in the wings, as if they were pieces of life crammed into memory.

Placing yourself in a privileged place, the viewer constantly contemplates the past and present of the characters, unable to dive into the cold and fizzy Paris of the young bohemians because it will always represented on stage.

But this artifice of 'play within a play', that the real time and the theater are confused, public space and artist, the drama of the opera and its metaphors, will take the viewer to a richer interpretation of Puccini's work, enhanced by the view from different angles, but also with their reflections.

Two deals give life to this popular choral opera, which highlights, in the lead roles, las sopranos Jaho Ermonela Y Eleonora Buratto (Mimi) and tenors Michael Fabiano Y Andeka Gorrotxategi (Rodolfo), seconded by the sopranos Ruth Iniesta Y Raquel Lojendio (Musetta); baritones Joan Martin-Royo Y Esteve Manel (Schaunard), tenors Stephen Vincent Y Pablo García López (Benedict); baritones Lucas Meachem Y Andrzej Filonczyk (Marcello); and low Krzysztof Baczyk Y Solomon Howard (Colline) Y Roberto Accurso (Alcindoro).

The musical direction will be borne by Nicola Luisotti, except for the days 30 December and 3 from January, in which the opera will be directed by Luis Miguel Mendez.

Bohemian will be the tenth title that Nicola Luisotti will direct at the Teatro Real, after The Troubadour (2007), The Damnation of Faust (2009), Rigoletto (2015), Aida Y Turandot (2018), Don Carlo (2019), La traviata Y A masked ball (2020) Y Tosca (2021).

Besides of Titular Choir of the Teatro Real, directed by Andrés Máspero, the children's choir participates in the production Little Singers of JORCAM, prepared by Ana González.

Bohemian returns to the Royal Theater on Christmas dates, bringing joy to your stage, complicity and dreams of four young people who meet real life, paradoxically, meeting death.

Photography © Javier del Real | Teatro Real

Juan March Foundation

The next 15, 17 Y 18 December, the Juan March Foundation will put the final touch on its project to recover Manuel García's salon operas with the replacement in Madrid of A warning to the jealous [A warning to the jealous], a production of the Center de Perfeccionament of the Palau de les Arts in Valencia. The institution thus closes the stage that it has dedicated since 2017 to the theatrical music in small format of this renowned tenor and singing teacher of the 19th century, father of a long saga of singers such as María Malibrán and Pauline Viardot as well as a prolific composer, who has recovered, in collaboration with the ABAO and the Teatro de la Zarzuela, two other titles: Chinese in January 2017 Y, in May 2019, The dull fake.

Manuel del Pópulo Vicente García (Sevilla, 1775-Paris, 1832) has gone down in history as one of the greatest tenors of his generation. In 1816 premiered in Rome the role of Almaviva in The Barber of Seville, that Rossini composed for him, and during the following decade he presented his operas in cities such as London, Paris, New York or Mexico City. Renowned professor credited with preserving valuable bel canto techniques, he was a prolific composer, author of works that have passed into the collective imagination, as his well-known "Smuggler's Aria", as well as more than fifty operas and operettas, songs, symphonies, Masses and chamber works that the Juan March Foundation has wanted to contribute to recover.

Towards the end of his life, the tenor wrote five parlor operas: The uninhabited island, A warning to the jealous, Chinese, The three hunchbacks e The dull fake. To create them, he relied on long-standing libretti that he adapted to the new domestic interpretive context., conceiving them both for vocal education, musical and dramatic performance of their students as well as for the amusement of friends and family. A) Yes, each opera has a small number of singers and a piano accompaniment, and is conceived as a vehicle for improvisation - a skill he considered indispensable for a singer - as well as brilliant writing in ensemble numbers..

This is the case A warning to the jealous, that García defined as an "opera per società" [sic], conceived for that intimate atmosphere of a Parisian living room. Written for six voices with piano accompaniment, It is based on a libretto by Giuseppe Maria Foppa (1760-1845), a one-act comedy in which a small number of characters are embroiled in various love affairs.

In this production, the design is in charge of Bárbara Lluch, musical direction and piano performance, by Rubén Fernández Aguirre and the interpretation, of the new class of students at the Center de Perfeccinment del Palau de Les Arts. In the argument, an enormously jealous husband, Berto (the baritone Marcelo Solís), he unfairly suspects the infidelity of his precious wife, Sandrina (the soprano Rosa María Dávila). In order to punish you for your jealousy, Sandrina pretends to reciprocate the interest of Count Ripaverde (the tenor Jorge Franco), the new feudal lord, resulting in hilarious complications that confuse everyone. The cast is completed by the mezzo-soprano Laura Orueta, as Count Ernesta's fiancee, tenor Xavier Hertheringon, like the gardener Menico, and the baritone Carlos Fernández Reynoso, who will play the pompous servant of the count, Don Fabio.

The project is a co-production with the Palau de Les Arts in Valencia and the Oviedo Opera Festival, released last 12 November at the Martín i Soler Theater of the Palau de les Arts and which has also been presented at the Principal Theater of Castellón last 2 from December. Next Friday it will be presented at the Auditorium of Teulada-Moraira and on the days 15, 17 Y 18 December at the Madrid headquarters of the Juan March Foundation. Wednesday's presentation 15 in Madrid it will be preceded by an interview broadcast live on Radio Clásica that Jesús Trujillo will carry out with Daniel Bianco, director of Teatro de la Zarzuela.

Wednesday's show 15 is broadcast live on RNE's Classic Radio.

Friday's 17 by streaming through Canal March Y Youtube.

The audio of the concert will be available 30 days in Canal.march.es.

Photography © Miguel Lorenzo_LesArts

A warning to the jealous

Parlor opera with music and text by Manuel García (1775-1832),

based on a libretto by Giuseppe Maria Foppa (1760-1845)

New co-production of Palau de les Arts Reina Sofia

and the Oviedo Opera Festival

Musical direction and piano

Rubén Fernández Aguirre

Stage direction

Barbara Lluch

DISTRIBUTION

Sandrina

Rosa Maria Davila, soprano

Berto

Marcelo solis, bartítono

The Count of Ripaverde

Jorge Franco, tenor

Don Fabio

Carlos Fernando Reynoso, baritone

Ernesta

Laura Orueta, mezzo soprano

Bill of exchange

Xavier Hertherington, tenor

Piano

Ignacio Aparisi Doménech (15)

Rubén Fernández Aguirre (17, 18)

Center for the Improvement of the Palau de les Arts

Maping Real Theater

From the hand of the French firm Moët & Chandon, Royal Theatre will participate in a unique event, to anticipate the Christmas holidays, in which emblematic buildings and places from different countries will participate.

The event will start at 18.00 hours with the projection of an imaginative mapping on the main façade of the Royal Theater, Plaza de Oriente, and will be repeated throughout the afternoon, every five minutes, until 23.00 hours.

This event is part of the initiative Toast for a Cause (Toast for a cause), with which Moët & Chandon collects donations for charity.

The night will culminate with a party in the Plaza de Oriente that will bring together personalities from the art world, culture and politics

With the desire to recover the warmth and joy of the Christmas holidays, and the purpose of sharing these moments of hope, he Teatro Real The countdown begins towards the most important days of winter, offering all audiences a show of light and imagination, that will turn the emblematic building of culture and the city into a meeting point for fantasy hand in hand with the firm Moët & Chandon.

morning, 2 from December, to 18.00 hours, will screen a mapping on the main façade of the Royal Theater, in the Plaza de Oriente, in which, three projectors –located in three towers of more than 6 meters high- they will draw on a bubbly play of light and shadow throughout that will recreate part of the festive spirit in which Madrid is immersed. A magical show that will repeat, during that afternoon, every five minutes, until 23.00 hours.

Its architecture, art and joy will go beyond the walls in a celebration that will take place in emblematic places and buildings of 17 places of the world, including Times Square in New York, the Paris Stock Exchange building or the Sydney Opera House.

This international event is part of the charity initiative Toast for a Cause (Toast for a cause), with which the prestigious French firm Moët & Chandon collects donations for various philanthropic organizations in different countries.

MyOperaPlayer

Coinciding with the commemorative events of the 30º Anniversary of the Ibero-American Summits of Heads of State and Government, he Teatro Real, the Spanish Agency for International Development Cooperation (aecidia) and the Ibero-American General Secretariat (SEGIB), come together to offer free access, Worldwide, to ten productions available on the platform My Opera Player: four operas and one ballet come from Ibero-American theaters and five titles are operas presented and recorded at the Teatro Real.

Ibero-American artists have been privileged in the choice of titles for the Teatro Real, like the Argentine Hugo de Ana or the Spanish stage directors Emilio Sagi, Lluís Pasqual and Paco Azorín; and interpreters such as the Peruvian Juan Diego Flórez, the Mexican Javier Camarena or the Spanish María Bayo, Carlos Álvarez and José Bros, in addition to the selection of two Spanish-themed operas, as The Barber of Seville Y Don Giovanni.

This initiative reinforces the strong ties of the Royal Theater with the opera public of Latin American countries, with whom he is in permanent and active contact through his presence on the steering committee of OLA (LATIN AMERICA OPERA), founded in 2007 in Santiago de Chile, and whose main mission is to promote lyrical art, organizing thematic seminars, debates and joint initiatives, in addition to facilitating the sale, leasing and co-production between Ibero-American theaters.

Five Latin American lyrical institutions participate in the commemorative acts of the 30th Anniversary of the Ibero-American Summits, allowing free access to their productions: the Colón Theater in Buenos Aires with The Tales of Hoffmann, Jacques Offenbach; the Great National Theater of Peru with Alzira, de Giuseppe Verdi; the Fine Arts Opera of Mexico, with Le nozze di Figaro, Wolfgang Amadeus Mozart; the Amazon Festival of Opera of Brazil, with Motorbike, by Piero Schlochauer; and Municipal of Santiago de Chile, with the ballet Trilogy + 1.

In line with the principles defended in the Ibero-American Summits, Spanish Cooperation understands culture as a key factor for sustainable human development, the eradication of poverty, the active construction of peace and the full exercise of the rights of a global citizenship. From this perspective, AECID contributes with various programs so that culture changes people's lives, considering the music, for its value and universal language, a development vehicle and a key tool to reach all parties, breaking down borders and building joint roads.

SELECTED SHOWS

(Chronological order of creation)

Le nozze di Figaro, Wolfgang Amadeus Mozart
Production of the Opera de Bellas Artes de México
Recording: 2018
Director musical: Srba Dinic
Stage-manager: Mauricio Garcia Lozano
Leading roles: Denis Sedov, Armando Piña, Narine Yeghiyan, Letitia Vitelaru, Jacinta Barbachano, Gabriela Thierry, Arturo Lopez, Juan Carlos Lopez
Choir and Orchestra of the Theater of Fine Arts

Don Giovanni, Wolfgang Amadeus Mozart
Royal Theatre production
Recording: 2005
Director musical: Victor Pablo Pérez
Stage-manager: Lluis Pasqual
Leading roles: Carlos Alvarez, Sonia Ganassi, Maria Bayo, José Bros, Lorenzo Boy
Headlines Choir and Orchestra of the Teatro Real

The Barber of Seville, de Gioacchino Rossini
Royal Theatre production, in co-production with the São Carlos Theater in Lisbon
Recording: 2005
Director musical: Gianluigi Gelmetti
Stage-manager: Emilio Sagi
Leading roles: Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Practico
Headlines Choir and Orchestra of the Teatro Real

I puritani, de Vincenzo Bellini
Royal Theatre production, in co-production with the Municipal de Santiago de Chile
Recording: 2016
Director musical: Evelino pido
Stage-manager: Emilio Sagi
Leading roles: Diana Damrau, Javier Camarena, Ludovic Tézier, Annalisa Stroppa, Antonio Lozano
Headlines Choir and Orchestra of the Teatro Real

Alzira, de Giuseppe Verdi
Production by the Gran Teatro Nacional de Perú in co-production with the Asociación Bilbaína de Amigos de la Ópera (ABAO) from Spain and Opera Royal de Wallonie-Liége from Belgium
Recording: 2018
Director musical: Oliver Diaz
Stage-manager: Jean Pierre Gamarra
Leading roles: Jaquelina Livieri, Juan Antonio de Dompablo, Jorge Tello, Xavier Fernandez
National Choir of Peru and National Symphony Orchestra of Peru

Aida, de Giuseppe Verdi
Royal Theatre production, in co-production with the Lyric Opera of Chicago and the Municipal Theater of Santiago de Chile, based on the original of the Royal Theater of 1998
Recording: 2018
Director musical: Nicola Luisotti
Stage-manager: Hugo de Ana
Leading roles: Violeta Urmana, Gregory customer, Ludmyla monastyrska, George Gagnidze, Roberto Tagliavini
Headlines Choir and Orchestra of the Teatro Real

The Tales of Hoffmann, Jacques Offenbach
Production of the Teatro Colón in Buenos Aires
Recording: 2019
Director musical: Enrique Arturo Diemecke
Stage-manager: Eugenio Zanetti
Leading roles: Ramón Vargas, Sophie Koch, Virginia Tola, Rachel Gilmore, Milijana Nikolic, Rubén Amoretti
Stable Choir and Orchestra of the Teatro Colón

Tosca, Giacomo Puccini
Co-production with the Liceu de Barcelona and the Teatro de la Maestranza in Seville.
Recording: 2021
Director musical: Nicola Luisotti
Stage-manager: Paco Azorín
Leading roles: Sondra Radvanovsky, Joseph Calleja and Carlos Álvarez
Headlines Choir and Orchestra of the Teatro Real

Motorbike by Piero Schlochauer
Libretto Beatriz Porto, Isabela Pretti and Piero Schlochauer
Commissioned and produced by the 23rd Amazonas Brazilian Opera Festival
Recording: 2021
Director musical: Otávio Simões
Stage-manager: William Pereira
Leading roles: Juliana Taino, erick souza
Amazon Philharmonic

Trilogy +1, ballet
Production of the Municipal of Santiago de Chile
Recording: 2021
Choreographies:
Requiem for a rose, by Annabelle López-Ochoa
Three preludes, by Ben Stevenson in a Sara Nieto comeback
Pas de deux from Carmen, by Marcia Haydée
The 5th, by Esdras Hernández
Santiago ballet
Santiago Philharmonic Orchestra

Marlis Petersen

Marlis Petersen will be accompanied by the pianist Stephan Matthias Lademann with whom will he perform songs from Weigl, Richard Strauss, Brahms, Wolf, summer, Reger, Hahn, Duparc, Fauré, Rössler y Mahler.

The cycle is a co-production between the National Center for Musical Diffusion and the Teatro de la Zarzuela and will run until July 2022.

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela will present the next Tuesday 23 November at 20h00 in the XXVIII cycle of Lied the recital of the German soprano Marlis Petersen, one of the most beloved voices, required and acclaimed in the world, that intervenes for the first time in this well-known cycle.

Petersen will be accompanied by the pianist Stephan Matthias Lademann to offer a program that will investigate the universes of Karl Weigl, Richard Strauss, Johannes Brahms, Hugo Wolf, Hans Sommer, Max Reger, Reynaldo Hahn, Henri Duparc, Gabriel Fauré, Richard Rössler and Gustav Mahler. A compendium of the art of the lied and the melody.

A wide repertoire that dominates with that silky lyrical soprano timbre which makes her a artificer in the creation of chiaroscuros. The German performer perfectly controls each note in a speech rich in suggestions and at all times coherent and emotional. These are precisely the ideal conditions to enter with all the guarantees in the Liederistic universes, sometimes so hidden.

The tickets, with a General price 8 a 35 euros, are for sale at ticket office of the Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

Photograph: Yiorgos Mavropoulos

Real June

Next weekend, 20 Y 21 of November, to 11.00 and to the 13.00 hours, he Teatro Real will offer in its main room a fun lyrical jewel for the whole family.

Next Saturday, 21 of November, the Royal Theater will premiere the ‘salon opera’ Cinderella (Cinderella), from Pauline Viardot (1821-1910), in a new co-production with the Teatro de la Maestranza in Seville, the Cervantes Theater in Malaga and the Opera Foundation in Oviedo, With which it is intended to pay tribute to the great mezzo-soprano and also French composer who this year is commemorating the bicentennial of her birth.

Pauline Viardot belongs to one of the most important families of opera and belcanthus in the 19th century. His father, Seville Manuel García (1775-1832), was an influential and recognized tenor, composer, teacher and producer, whose path was brilliantly followed by his three sons, among which also stand out the great soprano María Malibrán and the baritone (and inventor of the laryngoscope) Manuel Patricio Rodriguez Garcia.

Pauline Viardot was a student of Franz Liszt and Anton Reicha, powerful and ravishing performer of 19th century heroines, dedicate of songs by Frédéric Chopin, driving the career of French composers like Massenet, Gounod o Faure, disseminator of Italian opera in Russia, wife of hispanist Louis Viardot, lover and muse of the writer Ivan Turgenev (librettist of several of his operas), protagonist character of the novel Comfort, the George Sand, and inspiring of The Europeans, by Orlando Figes. But, she was also a composer, professor at the Paris Conservatoire, mother and teacher of four children, and entertainer of cultural and artistic gatherings in the effervescent and romantic nineteenth-century Paris. For these social gatherings he composed several small chamber operas, usually accompanied on the piano, as Cinderella, released in 1904, many years after its creation, when the composer had already 83 years.

The plot is inspired by the fairy tale of Charles Perrault, with booklet in French (adapted into Spanish for the Teatro Real production) and divided into three short acts in which the sung and spoken parts alternate.

Seven soloists of different nationalities perform the opera, with almost cartoonish papers, in which the maleficent stepmother is replaced by a reckless father and the fairy godmother enchants everyone with her song.

The stage manager Guillermo Amaya -also author of the Spanish version and illuminator of the production-, take the action to the halls of a museum, where visitors get lost and transform into the characters of the opera.

Several singers who participated in the first edition of the program will give life to this surprising score Crescendo The Royal Theatre: Juliane Stolzenbach Ramos (Cinderella), Francisco Grace (The charming prince), Ramiro Maturana placeholder image (The Baron of Pictordú), Juan Ramos (Count Barrigulo), Vanessa Cera (Miguelona), Paola Leguizamón (Armelinda) Y Miriam Silva (El hada). They will be led and accompanied by the pianist Francisco Soriano, great connoisseur of the work of Pauline Viardot.

Royal Junior

The programming of El Real Junior this season will be made up of eight shows, four of them new productions, for young viewers between four and twelve years old

As in previous editions, in El Real Junior family and school functions of each title will be offered, that may be supplemented with the information contained in the didactic guides, available free of charge on the website Teatro Real

Puppetry, music stories, dance, projections, cinema and opera will be the artistic expressions that will serve as a ludic vehicle, but also educational, for each title

The first new opera production will premiere next 20 November with the premiere of The Cinderella, of the composer Pauline Viardot, a delicate work with which we will pay homage to one of the most important composers of the 19th century.

On April, Luis Piedrahita will mess up to the beat of Beethoven, with the Youth Orchestra of the Community of Madrid conducted by Lucia Marin

Sunday workshops. ¡All the Gayarre!, with his lighthearted and entertaining gaze on the great opera season titles, will continue one more year with eighteen appointments between the months of October to June, directed and presented by Fernando Palacios

Other initiatives, like the real one in your class, the friendly school, the LÓVA project or the Carroza del Real, complete our educational program, bringing the theater closer to the youngest

A new season begins. It will surely be one of the most special due to the exceptional moment that we all have had to live. Therefore, music, the literature, Dance, the tales, cinema, the puppets, the circus, the opera… they offer us more than ever the possibility of a recreation for the emotions, to connect with ourselves and thus give a new meaning to our world.

we need to laugh again, hear your voices, share that magical moment when the lights go down to start the show… Definitely, get excited together again and continue learning to discover new stories, unpublished sound universes and get closer to the best composers in the history of music.

After opening the season with the concert Mozart revolution, dance and music show A catless smile and the fun master class of Acosta Danza (Learning to fly), we are preparing a new opera production for the whole family: Cinderella by composer Pauline Viardot. Yes! a woman composer, Spanish and very famous! (as much as his sister, opera singer Maria Malibrán), whose beautiful music will tell us in a very particular way the eternal tale seen with today's eyes.

Christmas will be accompanied by the animated film with live music Magic Chopin, from Oscar winners BreakThru Films. During the month of February 2022, Let's explore the possibilities of 88 keys of a grand piano with musical experience Piano without limits.

Since it's never too late to celebrate Beethoven's birthday, that colossus of music from which you always learn, arrives in April 2022 ¡A la bin, to the ban, a la Ludwig van! ¡Beethoven, Beethoven and no one else! A didactic concert with animated projections and a presentation by Luis Piedrahita who will tell us a curious story with Beethoven as the protagonist.

Y, by last, for the little ones, arrives Kids' games of the composer George Bizet, that proposes a musical journey through the usual games of childhood, a path that will make us understand and listen to music better while we play, presented by Fernando Palacios.

All shows will count, as usual, with a teaching guide, accessible free of charge through the Teatro Real website for parents and teachers, in which detailed information about the show and, fundamentally, practical exercises for teachers and parents to help small to get a broader view of the world that will know.

The Royal Theater continues its partnership program with schools across Spain, beyond the pedagogical functions that take place in the theater itself, rebroadcasting shows Real Junior in schools throughout Spain, thanks to the collaboration agreements signed with autonomous communities.

The Colegio Amigo program makes it possible to strengthen a more direct and continuous relationship with educational institutions and offers advantages related to the access of students and their families to El Real Junior's programming.

from this season, The Opera project, Learning Vehicle (LÓVA), becomes part of the organizational structure of the Teatro Real, that supports the initiative since its inception. With that, your business will be enhanced, making it extensible to as many centers as possible. LÓVA turns a class into a theater company, who dedicates the course to creating, produce and premiere their own opera, a vital experience of development and personal and group growth.

By last, the Teatro Real will approach audiences outside of Madrid with its Carroza. Created for the parade of the Three Kings Parade of Madrid in 2020, the float of the Teatro Real measures 16 meters long and almost 6 meters high, it is two stories high and weighs about five and a half tons. Simulates the stage of a theater - with its embouchure, curtains and frames – and it has been built from the transformation of a trailer truck like the ones usually used for the transport and storage of scenery, theatrical props and costumes. Its interior can be adapted for small format productions, recitals, screenings or exhibitions, according to the needs of each event or performance.

This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish territory, is one of the initiatives framed in the Teatro Real program – Close to You approved by the Council of Ministers as an Event of Exceptional Public Interest, valid from the season 2021-2022.

I TZ Composition Award

In the I Prize for Composition, the students enrolled in the specialty of Composition or Sonology at academic course 2021/2022 of the RCSMM or those who have obtained said Higher Degree in the last two academic years

the deadline of presentation of the works will be the 15 March 2022

The works will be premiered in June by the Ensemble Opus 22 at Notes cycle Ambigú

He Teatro de la Zarzuela and the Real Conservatorio Superior de Música in Madrid have convened today first edition of his Composition Prize, which may choose students enrolled in the specialty of Composition or Sonology during the academic year 2021/2022 of the RCSMM or those who have obtained in this academic institution the Higher Degree of said discipline in the last two academic years.

Candidates must present a single work that fits the following mandatory template: clarinet (in yes b, in the, refinement / bass in b), saxo (soprano, alto, tenor, baritone), violin and piano, and the minimum duration will be 7 minutes and maximum 15 minutes. The submitted work must be unpublished and not having been released.

He submission deadline of the works will be 15 March 2022, and the place to do it Deputy director of the RCSMM anonymously and on paper.

The judge, appointed by the Composition Department of the Madrid Royal Conservatory of Music and by the Teatro de la Zarzuela, will select four works from among those presented, that he Opus set 22 will premiere on Tuesday 28 June 2022 inside of the Notes cycle Ambigú and under the title 'Contemporary Spanish Music'.

PHOTOGRAPHY: RRSS WORK 22

Parthenope

He Teatro Real will offer, for the first time in Spain, a staged version of Parthenope, from Georg Friedrich handsl (1685-1759), in the iconic production of the English National Opera, from 2008, co-produced with San Francisco and Australian operas.

Under the guise of an eighteenth-century "serious opera", with his queen and princes of classical antiquity, this score, released in 1730 in London, It is "contaminated" by countless details of the "comic opera", like the frivolity of the subject, the erotic licenses of the libretto, morally ambiguous characters, or the "elasticity" of its musical structure, in which set numbers abound: two duets, a threesome, a quartet and a quintet.

The "unseemly" plot of the opera fits better in the freedom of the bufo genre.: Parthenope, founding queen of Naples, he has to choose one of his four suitors: the fiery Arsace (prince of corinth), shy Armindo (prince of wheels), the warrior Emilio (prince of cuma) or the seductive Eurimene, which is actually Rosmira, Arsace's jilted ex-partner, who disguises himself as a man to take revenge on his former lover whom he still loves and to compete with him in the seduction of the queen.

Arsace and Armindo are interpreted by the “feminine” voices of two countertenors, and Eurimene is Rosmira disguised as a man, who seeks the favors of another woman. Cross-dressing, sexual freedom and gender fluidity ”from the opera, whose engine is love and desire, fit perfectly with "surrealism and its vision of the erotic nature of the psyche", according to the stage manager Christopher Alden.

With the complicity of the set designer Andrew Lieberman and the costume designer Jon Morrell, the characters parade through the art deco mansion of Parténope, in full effervescence of the avant-garde, with winks to some of its protagonists, like Man Ray or André Breton. In that space of freedom, vice, creativity, glamor and pleasure, Parthenope reigns as a muse, from his bedroom, object of desire of his court of admirers.

In the Real two distributions will alternate, with prominent baroque singers, in the interpretation of the six characters of the opera, what, together, they will also assume the parts of the choir, as it usually happens in Handel's operas.

The sopranos will bring the score to life Brenda Rae Y Sabina Puértolas (Parthenope); the mezzosopranos Teresa Iervolino Y Daniela Mack (Rosmira); countertenor Iestyn Davies Y Franco Fagioli (Arsace), Y Anthony Roth Costanzo Y Christopher Lowrey (Armindo); the tenors Jeremy Ovenden Y Juan Sancho (Emilio) and baritones Nikolay Borchev Y Gabriel Bermúdez (Ormonte), Next to the Head of the Royal Theatre Orchestra, under the musical direction of Ivor Bolton, who will be responsible, as well, from the accompaniments to the harpsichord.

The premiere of Parténope, the Georg Friedrich Handel, at the Theatre Royal, will be added to the ten titles of this composer that have been offered since its reopening: Julius Caesar (2002), Ariodante (2007 Y 2018), Tamerlano (2008), The triumph of time and disappointment (2008), Tolomeo, King of Egypt (2009), Theodora (2009), Agrippina (2009 Y 2019), Alcina (2015) and Rodelinda (2017).

Parténope is unique and heterodox within Handel's operatic corpus. Perhaps today's viewer has a greater capacity to enjoy and understand the genius of this score., whose essence and values ​​enhance the ingenious dramaturgy of Christopher Alden and the mastery, musicality and delivery by Ivor Bolton.

©Javier del Real | Teatro Real

Gerhard Quartet

On Wednesday 27 October, he Gerhard Quartet will premiere in Spain the play Variations on a theme by Roberto Gerhard, by Oscar Escudero and Belenish Moreno-Gil

Winter in CentroCentro, curated by Declassified (Lucia Arnaud and Baldur Brönnimann). In this appointment, we can listen to the Gerhard Quartet, one of the quartets with the greatest projection in Europe. Committed to the new creation, This time the quartet No. 2 of the Catalan composer Roberto Gerhard will play, quartet Nº15 by Franz Schubert and they will premiere the work Variations on a theme by Robert Gerhard (2020-21) of the young composers Oscar Escudero and Belenish Moreno-Gil.

Variaciones was born from a commission from the Spanish Embassy in Germany to celebrate the 50 death anniversary and 125 composer's birth anniversary. Premiered at the Weimar Festival by the quartet. The work takes as its axis the quartet No. 2 of the Catalan composer, the topic, as the composers explain, “it behaves like a strange presence, that emulates the uprooting and absent profile that characterized the
composer in his life who still does 50 years after his death ". Variations, is in essence, “A work to-ephemeris insofar as it does not commemorate but lives in the present continuous, pointing completely to the moment and place where the interpretation materializes, either physical or virtual. "

On the day of the concert, we will be able to count on the presence of Escudero and Moreno-Gil at the Spanish premiere of their work. Entrance is free and free, until full capacity. we wait for you!

Rudolf Buchbinder

He Tuesday 26 October at 19.30 hours, National Dissemination Center Musical (CNDM) inaugurates its cycle Borders in the Chamber Hall of the National Music Auditorium of Madrid with a essential appointment for music lovers: he legendary pianist Rudolph Buchbinder will present The Diabelli Project program in which he performs Waltz in C major composed by Anton Diabelli, next to Thirty-three variations on a waltz from A. Diabelli from Beethoven, a selection of variations of said work that various authors carried out in 1824 (Franz Liszt, Franz Schubert, Conradin Kreutzer, Johann Nepomuk Hummel, Friedrich Kalkbrenner, Ignaz Moscheles, Franz Xaver Wolfgang Mozart y Carl Czerny) and the premiere in Spain of the commissions made in 2020 by the CNDM In collaboration with la Society of Friends of Music Vienna, la Brucknerhaus Linz, la Gewandhaus in Leipzig, the Calouste Gulbenkian Foundation (Lisboa), el National Centre for the Performing Arts (Beijing), Palace of Catalan Music, the Philharmonie de Paris, el Stars of the White Nights Festival (St. Petersburg), la Ruhr Piano Festival Foundation and the Tonhalle Society Zurich, con el patrocinio de la Ernst von Siemens Musikstiftung and Lera Auerbach, Tosio Hosokawa, Max Richter, Tan Dun, Jörg Widmann, Brett Dean, Christian Jost, Brad Lubman, Philippe Manoury, Rodion Shchedrin and Johannes Maria Staud. The recital will also arrive in Oviedo (2 of November, Prince Felipe Auditorium) and Barcelona (a day later at the Palau de la Música). tickets in his day protagonist of one of the most memorable recordings of the work, with a price from €10 to €20, They are available at the box offices of the National Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

He residue motivations of a lifetime
Rudolph Buchbinder talks about this project: “No composer has been by my side as intensely as Ludwig van Beethoven, and none of his works has become a leitmotiv of my life as much as his Diabelli variations. perhaps Beethoven's most exciting work. They are music about music. In them Beethoven was obviously inspired by the Goldberg variations Bach, but also cites others “gods” like Haydn or Mozart, to whom he dedicates the 22nd variation with the motif Don Giovanni. In the end, Beethoven returns to himself, quoting his last sonata, op.111, in the 33rd variation, and revealing his genius in disassembling a simple waltz into its structural parts to reassemble them in all their complexity in his own image. could also be said: Beethoven eats Diabelli's waltz and digests it before our ears.

sixty years ago, my piano teacher Bruno Seidlhofer gave me, his youngest student at the Vienna Academy of Music, the score: he “last waltz” of Beethoven accompanies me ever since. When in 1973 I went to the Teldec studios in Berlin to record for the first time the Diabelli variations Beethoven, it seemed natural to me to also record the variations of his contemporaries. In the end, his pieces were a musical stroll through Beethoven's Vienna. When I resumed the cycle only three years later, some colleagues had already nicknamed me “Monsieur Diabelli”. And in fact, Today, the Diabelli variations They are still one of the pieces that I interpret the most: exactly 99 times before Beethoven's anniversary in 2020. This project is, so, also a private anniversary for me and my relationship with Beethoven. It was natural that he wanted to resume the cycle of variations in the year of the anniversary of his birth, as well as my favorite variations of the other 50 composers.

Anton Diabelli was not only a publisher, but also a very cunning businessman. the book with the 50 printed variations on his waltz was something like the calling cards of his day, works of musical superstars that could be played in the halls. An ingenious marketing strategy that, but nevertheless, Beethoven avoided. This was due, on the one hand, to the number of your 33 variations, that exceeded all limits, and on the other, to its (at that time) impossibility to touch them! Until 30 years after publication, lift up. 120 it was first performed by the pianist and conductor Hans von Bülow, and even later the Diabelli Variations, which Bülow called “microcosm of Beethoven's genius”, continued to have difficulties. I was clear: My project “Diabelli 2020” I was going to build a bridge in time, and a new recording of the Diabelli cycle would only make sense if contemporary composers were also asked to contribute a variation of the waltz. I am proud of the range of composers involved in this project: from the wonderful Lera Auerbach to the impeccable Max Richter. I am also delighted that Tan Dun is participating, To who, as a movie buff, I naturally admire his music, Oscar winner, for the film classic directed by Ang Lee Tiger and dragon. Toshio Hosokawa, probably the most important contemporary composer in Japan, he gave me his sheet music after a concert in Japan: Japanese characters penciled on the cover. Australian Brett Dean wrote his variation which opens with a wacky “with fire”. Austrian composer Johannes Maria Staud challenged me with his extremely creative notation. For the German conductor and composer Christian Jost, instead, Diabelli's waltz is an inspiration for a joyous performance. Brad Lubman also traces an arc through music history in his “Variation for RB”, like the French composer Philippe Manoury, that puts on stage the metronome (tool that became popular in the time of Beethoven). Russian composer Rodion Shchedrin begins his variation “almost improvised”, and composer and clarinettist Jörg Widmann explores characteristic traits of Beethoven in his detailed, multi-part variation.

I am often asked what goes through my mind when I play the Diabelli variations. my answer is simple: not much! The process of thinking about and engaging with Beethoven must be completed long before the first note is played.. during a concert, Beethoven invites the pianist to let go. I don't mean to swim aimlessly in the waves of sound. Getting carried away by Beethoven's drift requires knowing where you are at all times, know musical navigation, the starry sky, the winds and compass points of Beethoven's cosmos. Because the more willing one is to bend his own will to that of the composer, the safer you will be to hit the note that Beethoven intended. summarizing: it's too late to start thinking just before you hit the first note: at the time of the concert, it's about trusting and getting carried away by the enormous creativity of its variations.”

Photography copyright Rita Newman

World Opera Day

The Royal Theater joins, one more year, to the celebrations of World Opera Day, which is commemorated next monday, 25 October. That day, to 13.00 and to the 19.00 hours, there will be two performances in the Royal Theater Float installed, this time, in the Plaza de Isabel II (Opera).

soloists of the Head of the Royal Theatre Orchestra will perform the String Quartet No. 15 by Wolfgang Amadeus Mozart and the Suite water music de George Frideric Handel, in a version for brass quintet. (see program below).

The Royal Theater float, with its embouchure, curtains and wings, It is a small traveling stage created from the transformation of a trailer truck like the ones that are usually used for the transport and storage of the scenery., opera props and costumes. Its interior can adapt to different scenographies, screenings or exhibitions, according to the needs of each event or performance. This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish peninsular territory, is one of the initiatives framed in the program Teatro Real – Near you', approved by the Council of Ministers as 'Event of Exceptional Public Interest’, effective from the current season to the 2022-2023.

In anticipation of World Opera Day, the Royal Theater will offer during the weekend, from tomorrow,  free access to three titles on its platform MyOperaPlayer: morning, Friday 22 October, Lohengrin, Richard Wagner; Saturday, 23 October, Turandot, Giacomo Puccini; and Sunday, 24 October, Così Fan Tutte, Wolfgang Amadeus Mozart. (art sheets below).

The Royal Theater will join, through their social networks, to various international initiatives promoted by OPERA EUROPA, LATIN AMERICA OPERA Y OPERA AMERICA, who have decided to celebrate World Opera Day together under the title of Opera Reboot (opera reboot), to celebrate the reopening of lyrical theaters after the stoppage caused by the pandemic (Hashtags #WorldOperaDay y #DíaMundialDeLaÓpera. The three associations, Have proposed, Likewise, three topics for discussion:

  • GREEN OPERA: re-evaluated production models, considering eco-responsible options
  • EQUAL OPPORTUNITIES: recognize that the diversity of citizens can be better reflected in the sector, in the workforce, on stage and in the audience
  • EMPLOYMENT FOR THE NEXT GENERATION OF TALENT: prepare young artists and professionals at the start of their careers

WORLD OPERA DAY CELEBRATION | AGENDA

Friday, 22 October

Free access on this day to Lohengrin, Richard Wagner, in My Opera Player

Production of the Berlin Staatsoper

Recording: 2020

Director musical: Matthias Pintscher

Stage-manager: calixto Bieito

Leading roles: René Pape, Roberto Alagna, Life Miknevičiūtė, Martin Gantner, Ekaterina Gubanova y Adam Kutny

Berlin Staatsoper Choir and Orchestra

Saturday, 23 October

Free access on this day to Turandot, Giacomo Puccini, in MyOperaPlayer

Royal Theatre production, in co-production with the Canadian Opera Company of Toronto, the National Theater of Lithuania and the Houston Grand Opera

Recording: 2018

Director musical: Nicola Luisotti

Stage-manager: Bob Wilson

Leading roles: Irene Theorin, Gregory customer, Yolanda Auyanet, Andrea Mastroni, Raúl Giménez, Joan Martin-Royo, Stephen Vincent, Juan Antonio Sanabria and Gerardo Bullon

Headlines Choir and Orchestra of the Teatro Real

Little Singers of ORCAM

Sunday, 24 October

Free access on this day to Così Fan Tutte, Wolfgang Amadeus Mozart, and MyOperaPlayer

Royal Theatre production, in co-production with De Munt / Monnaie de Bruselas

Recording: 2013

Director musical: Sylvain Cambreling

Stage-manager: Michael Haneke

Leading roles: Anett Fritsch, Paola Gardina, Andreas Wolf, Juan Francisco Gatell, Kerstin Avemo y William Shimell

Headlines Choir and Orchestra of the Teatro Real

Monday, 25 October, EUROPEAN OPERA DAY

Performances in the Plaza de Isabel II, to 13.00 and to the 19.00 hours

WOLFGANG AMADEUS MOZART
String Quartet No. 15 in D minor, K. 421/417b

  1. Allegro moderato
  2. Andante

III. Menuetto and trio

  1. Allegretto but not too much

Santa Monica Mihalache and Daniel Chirilov, violins
Laure Gaudron, viola
Mikolaj Konopelski, cello

GEORG FRIEDRICH HANDEL

Suite water music, version for brass quintet by Frederic Mills

  1. Cheerful lively
  2. Air

III. Hornpipe

  1. Allegro majestic

Ricardo Garcia and Oscar L.. Martin, trumpets

George Monte, horn

Alexander Galan, trombone

Ishmael Cantos, tuba

Acosta Dance

The following days 22, 23 Y 24 October, the extraordinary dancer and versatile artist Carlos Acosta will present in the Teatro Real your company, Acosta Dance, founded in Havana in 2015 with the aim of showing the world the new artistic talent of Cuba, through a program that combines classical dance, contemporary and Cuban rhythms.

Carlos Acosta he is a legendary dancer. On innate talent, coupled with extraordinary physical ability, and a track record based on professional and personal effort, have made him one of the best dancers of his generation. Important awards, the most prestigious companies in the world and the Royal Ballet of London, where he has developed most of his career as First Dancer, they are the letter of introduction of a man who has never forgotten his origins and the heartbeat of the culture of his native country, where dance occupies a prominent place.

For this reason, after retiring from classical dance, Carlos Acosta undertakes the adventure of bringing together the best dancers in Cuba to show their talent and versatility on the great international stages: Acosta Dance. Now, for your presentation in Madrid, the company has selected works by choreographers whose works have found inspiration in the soul of the island, in their rhythms and in their dances.

Evolution will open the evening with the choreography of Raúl Reinoso, Satori. In Zen Buddhism this word refers to spiritual enlightenment; A) Yes, this creation illustrates the journey inward from various abstract scenes: the initial questions, the search, the stagnations, defeating obstacles and, Finally, the instant of knowledge, finding the truth, of beauty, the light.

Carlos Acosta will assume the interpretation of Mermaid, Belgian creation Sidi Larbi Cherkaoui to the company, on music by Woojae Park and Erik Satie. In her, contemporary dance embraces classical to tell the story of a mermaid, in which the wardrobe and the light are pointed out as fundamental references. Acosta will dance again in the second part of the program with the choreography Two, from Russel Maliphant.

With Countryside, suddenly, the night, swedish choreographer Pontus Lidberg, inspired by traditional Cuban music through the rumba and its African roots, celebrate youth, between sunsets and sunrise, taking as a starting point the score of the composer Leo Brouwer with the complicity of the artistic installation Winds (2017) by the Cuban Elizabet Cerviño.

And the night will close Twelve, from Spanish Jorge Crecis, a dance-sport piece, in a universe regulated by complex mathematical and graphical permutations, with a real risk that tests the physical and mental resistance of 12 dancers who have to do the impossible to achieve the impossible. Twelve is a combination of logic, aesthetics and emotion, a puzzle that plays with the concepts of success and failure, risk and pragmatism and that explores the limits of the human body. Twelve has been an exclusive recreation for Acosta Danza from the piece 36 created in 2011 for the company Edge and presented in 2012 in the Royal Opera House in London.

It will be precisely these two choreographies, Countryside, suddenly, the night Y Twelve, the protagonists of the family function what, under the name Learning to fly, will take place the morning of Saturday 23 October at 12.00 hours. Its great rhythmic force, luminous expression and creativity will catch the youngest. The session will have the special participation of Carlos Acosta, in a meeting with the public, in which he will reveal the secrets of dance by answering the questions of the attendees, between one choreography and another.

To coordinate this action, viewers will be able to submit their questions about the world of dance through a form available on the web until Friday 22 to 12.00 h. Among all the questions, a selection will be made that will be answered by Carlos Acosta during the performance..

BIOGRAPHIES

ACOSTA DANCE

Acosta Danza was founded on 28 September 2015 in Havana thanks to the efforts of Carlos Acosta, and made his first public appearance on 8 April 2016. Inserted in the Cuban scenic panorama under a contemporary line, the company has not neglected the technical development of classical ballet, with the clear intention of collecting the artistic and professional vision of its creator. Its creation is the result of the extensive development of dance in Cuba, country in which this art is an essential manifestation of the national idiosyncrasy, and has a recognized stage performance in the fields of ballet, contemporary dance and folklore. The choreographic repertoire includes titles by Carlos Acosta, Marianela Boan, Sidi Larbi Cherkaoui, Justin Peck, Saburo Teshigawara, Goyo Montero, Pontus Lidberg, Maria Rovira, Rafael Bonachela, Miguel Altunaga, Alexis Fernandez (Pussy), Mickael March, Jorge Crecis and Raúl Reinoso, among others.

Acosta Danza is supported by the National Council for the Performing Arts of Cuba and is co-produced by the Sadler’s Wells theater in London - one of the most important stages in Europe., associated with such renowned international dance names as Sylvie Guillem, Sidi Larbi Cherkaoui, Akram Khan– y Valid Productions, logistics company in charge of managing the company internationally.

The company defines itself as a space for renewal, research and experimentation, not only for Cuban artists, but also for creators around the world as choreographers, musicians, designers, plastic and audiovisual artists, to whom the company opens its doors. With all of them, the company performs dance shows that reflect the latest international trends both in choreographic movements and in everything related to the scene. The result is a young company, dynamic and quality that proposes to become one of the most effective letters of presentation of Cuban culture. In 2021 Acosta Danza has been nominated by the Dance Section of the Critics Circle of the United Kingdom for the National Dance Award of that country as the best independent company.

CARLOS ACOSTA

Considered one of the most famous dancers of the last decades, was born in Havana and trained at the National Ballet School of Cuba. He has danced as a leading figure in companies such as the Royal Ballet of London, the National Ballet of Cuba, the Houston Ballet, el American Ballet Theatre, the Bolshoi Theater Ballet, the Paris Opera Ballet, the English National Ballet and the Australian Ballet. Its repertoire is made up of the most significant titles of traditional and contemporary ballet. As a choreographer he has created the show Tocororo, Cuban fable, and his versions of Don Quixote and Carmen.

At 2015 founded Acosta Danza. In 2018, the director Icíar Bollaín premiered Yuli, the movie inspired by the life of the dancer. In that year, He was also the recipient of the Queen Elizabeth II Coronation Award from the Royal Academy of British Dance. From the 2020 Carlos Acosta conducts the Birmingham Royal Ballet. He is Commander of the Order of the British Empire, holds the Benois de la Danza Award and was named the National Dance Award of Cuba.

© Satori_Photo Santiel Rodriguez

ACOSTA DANCE

Director: Carlos Acosta

SATORI

Music Pepe Gavilondo (1989)

Choreography Raúl Reinoso

Musical conception Pepe Gavilondo, Raúl Reinoso

Costume designer Angelo Alberto

Lighting Fabiana Piccioli

interpreters Zeleidy Crespo, Laura Rodriguez, Patricia torres,

Arelys Hernández, Penelope Morejon, Mario Sergio Elijah,

Enrique Corrales placeholder image, Alejandro Miñoso, Yasser Dominguez,

Maikel Pons

MERMAID

Music Woojae Park (1981) Sidi Larbi Cherkaoui (1976)

Erik Satie (1866-1925)

Choreography Sidi Larbi Cherkaoui

Costume designer Hussein Chalayan

Lighting Fabiana Piccioli

interpreters Carlos Acosta, Liliana Menendez

COUNTRYSIDE, SUDDENLY, THE NIGHT

Music Leo Brouwer (1939): Cuban landscape with rumba

Stefan Levin (1964): Cuban Landscape

Choreography Pontus Lidberg

Scenography Elizabet Cerviño

Costume designer Karen Young

Lighting Patrik Bogårdh

Playwright Adrian Silver

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon, Patricia torres, Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Alejandro Miñoso, Raúl Reinoso, Maikel Pons, Javier Aguilera

TWO

Music Andy Cowton (1962)

Choreography Russell Maliphant

Lighting Michael Hulls

Interpreter Carlos Acosta

TWELVE

Music Vincenzo Lamagna (1982)

Choreographic concept and direction Jorge Crecis

Choreography assistant Fernando Balsera

Costume designer Eva Escribano

Lighting Michael Mannion, Warren Letton, Pedro Benitez

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon,

Patricia torres, Arelys Hernández, Zeleidy Crespo,

Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Javier Aguilera, Raul Reinoso, Maikel Pons

PREMIERE AT THE REAL THEATER

Valid Productions and Sadler’s Wells production,

together with Ysarca Promotions

Dates 22, 23 October, 19.30 h

24 October, 18.00 h

duration 2 hours and 8 minutes

PARTE I: 1 hour

break from 25 minutes

PART II: 43 minutes

Royal Theater in Puerta del Sol

He Teatro Real participates, for the first time, in the commemorations of the Columbus Day with a lyrical recital in his traveling float, starring soprano Sylvia Schwartz and tenor Ismael Jordi, Who, accompanied on the piano by Rubén Fernández Aguirre, they are interpreting an attractive program, popular and varied, conceived for the occasion, featuring well-known arias and opera and zarzuela duos.

The float is located on the facade of the headquarters of the Community of Madrid, at the Puerta del Sol, where have they been placed 200 chairs, that the spectators will be able to occupy in strict order of arrival.

Created for the parade of the Three Kings Parade of Madrid in 2020, the float of the Teatro Real measures 16 meters long by 5,80 meters high, it is two stories high and weighs about five and a half tons. Simulates the stage of a theater - with its embouchure, backdrops and backdrops - and it has been built from the transformation of a trailer truck like those usually used for the transport and storage of scenography, props and costumes for operas. Its interior can be adapted to different settings, screenings or exhibitions, according to the needs of each event or performance.

This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish peninsular territory, is one of the initiatives framed in the program 'Royal Theatre – Near you' approved by the Council of Ministers as an ‘Event of Exceptional Public Interest’, effective from the current season to the 2022-2023.

Madrilenian of the Year

The president of the Royal Theater, Gregorio Maranon, received the Madrid Award of the Year this afternoon, in its first edition, in an act held in the Theater's Ballroom and whose award has been presented by the mayor of Madrid, José Luis Martínez-Almeida.

At the meeting, in which Santiago González-Alverú participated, director of the Sganmedios group, convenor of the award, and the former minister of culture Iñigo Méndez de Vigo, among others, the work carried out by Gregorio Marañón at the head of the Teatro Real has been recognized, with special attention to the effort and achievements made during the difficult period of the pandemic.

The jury's minutes also highlight his relevant professional and personal career, his exemplarity, your dedication and your sense of commitment, that has made him always be at the service of his city and his fellow citizens, in a triple facet: business, cultural and academic, serving the general interest from civil society.

When collecting the award, Marañón has assured that Madrid is "the most open city" that he knows because "it does not distinguish its citizens by their origin" and "instantly welcomes" all who live in it.: "All those who come to Madrid and live in Madrid are from Madrid", has added.

The jury has been formed by Ladislao Azcona, President of Tressis and of Estudio de Comunicación; Javier Vega de Seoane, President of DKV; Luis Villarejo, Sports Director of the EFE Agency; Eduardo Curras, General Director of Banco Sabadell Madrid and the two Castillas; Alexander Pawn, CEO Rush News; Bernardo Gutierrez de la Roza, CEO of the law firm ONTIER; Assisi Martin de Cabiedes, President of Europa Press; Eduardo López-Puertas, General Director of IFEMA; Xandra Falcó, President of Círculo Fortuny; Angel Asensio, President of the Madrid Chamber of Commerce; Rosa Menendez, President of the CSIC; Alvaro Rengifo, Patron of Amref Africa (Princess of Asturias Award); Ximena Caraza, General Director of the Casa de México in Spain; Jesus Martinez from Rioja, journalist, and Pedro Blasco, Director of Vivir Madrid.

Bibliographic data

Gregorio Marañón joined the Board of Trustees and the Executive Commission of the Teatro Real in 1995, upon constitution of the Foundation. In 1996 resigned, being reappointed as trustee and member of the Executive Commission in 2004. In December 2007 was elected president of the Board of Trustees and its Executive Committee, being reelected in 2012, 2018 Y 2021.

Full member of the Royal Academy of Fine Arts of San Fernando and the European Academy of Sciences, Arts and Letters, presides over the Ortega-Marañon Foundation and the Teatro de la Abadía. He is a patron of the National Library, from the Real Alcázar of Seville and the Town Hall, of the National Historical Archive of Nobility and the Army Museum.

He is president of Logista and of Air City Madrid Sur. He chairs the Board of Directors of Universal Music Spain and is a member of the Board of Directors of Patrimonio Nacional.

Doctor Honoris Causa from the University of Castilla-La Mancha, is in possession of the Grand Cross of Alfonso X the Wise, the Gold Medal of the Community of Madrid and the Gold Medal of the Madrid City Council, among other decorations.

In the pictures, Gregorio Marañón receives the award from the mayor of Madrid, José Luis Martínez-Almeida

Cinderella-1

Cinderella-2

Cinderella-3

Cinderella-4

Cinderella-5

Cinderella-6

Cinderella-7

Cinderella-8

La Cenerentola premieres the season at the Teatro Real

Cinderella
Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

Benjamin Grosvenor

He Friday 1 October at 19.30 hours, National Dissemination Center Musical (CNDM) inaugurates its cycle Liceo de Cámara XXI, focusing on chamber music, at audience National Music from Madrid. In this first concert, Four international virtuosos will demonstrate the infallible attraction generated by the combination of youth and talent: pianist Benjamin Grosvenor, violinist Hyeyoon Park, violist Timothy Ridout and cellist Kian Soltani perform a romantic repertoire with works by Gustav Mahler, Richard Strauss and Robert Schumann, in its only spanish date that also open the european tour which will take you to the Schubertiade de Hohenems (Austria), Ghent, Amsterdam and London. e h

Fantastic four
The careers of these four portentous musicians are at their best and their appointment in Madrid is an indispensable opportunity for all music lovers: both for those who already know them and for those who are lucky enough to discover them. They are joined by their prodigious precocity, collaboration with the best directors, international orchestras and interpreters, be regular on the most important stages and have received the main awards and distinctions in the classical music sector.

Benjamin Grosvenor (Essex, United Kingdom, 1992) is internationally recognized for his electrifying performances and distinctive sound. His virtuous mastery of the most complex technical complexities underpins the depth and understanding of his musical creation.. Grosvenor began to play the piano with 6 years and rose to fame five years later as the winner of the Piano Final of the BBC Young Musicians Competition in 2004. In 2011, with only nineteen years, was invited to perform with the BBC Symphony Orchestra at the First Night of the BBC Proms. He has been Artist in Residence of Radio France (season 2020-21) and the Bournemouth Symphony Orchestra. Till the date, Grosvenor has received, among others, the Gramophone Awards for “Young Artist of the Year”, Classic Brits Critics Award, UK Critics Circle Award for “Exceptional Young Talent” and recognition “Young Talent” by Diapason d’Or and has appeared in two BBC television documentaries, as well as on CNN's Human to Hero series.

Hyeyoon Park (Seoul, 1992) made his orchestral debut at age nine with the Seoul Philharmonic, being the youngest winner of the first prize of the ARD International Music Competition in Munich (2009) with 17 years. Two years later he received the Borletti-Buitoni Trust award. His most recent performances include those performed with the Stuttgart Philharmonic Orchestra, the Württemberg Reutlingen Philharmonic, the Orchestra of the House of Music of Porto, the Tokyo Metropolitan Symphony, the BBC National Orchestra of Wales and the Bath Philharmonia. In 2012 won the London Music Masters award, which led him to give numerous concerts throughout the United Kingdom. Passionate about education, this award also provided him with a regular platform to bring music and performance to London schools, many of them in disadvantaged areas. Park is a style performer, extraordinary elegance and virtuosity.

Timothy Ridout (London, 1995) studied at the Royal Academy of Music and graduated with the highest distinction for performing excellence. He has obtained the First Prize in the Lionel Tertis Contest, el Premio Thierry joke, the inaugural Sir Jeffrey Tate Award in Hamburg and a Borletti-Buitoni Trust Fellowship. Among his latest concert engagements are collaborations with the German Symphony Orchestra, National Orchestra of Bordeaux Aquitaine, Lille National Orchestra, the Chamber Orchestra of Europe and Camerata Salzburg at the Sion Festival (with Janine Jansen), the BBC Symphony, the Hamburg Symphony, Philharmonia Orchestra, the Luzerna Symphony and the Siberian State Symphony Orchestra. Ridout has confirmed its position at the forefront of young European soloists. He has been a BBC New Generation Artist since 2019 and belongs to the Bowers Program of the Lincoln Center Chamber Music Society for 2021.

Kian Soltani (Bregenz, 1992) He started playing the cello at the age of four and was only twelve when he entered Ivan Monighetti's class at the Basel Academy of Music.. He was chosen as a fellow of the Anne-Sophie Mutter Foundation in 2014, and completed his further studies as a member of the Young Soloists Program at the Kronberg Academy in Germany.. Soltani attracted worldwide attention in 2013 as winner of the Paulo International Cello Competition in Helsinki, where he was hailed by Ostinato magazine as “a soloist of the highest level among the new generation of cellists”. In 2017, Soltani won Germany's celebrated Leonard Bernstein Award and the prestigious Credit Suisse Young Artist Award. Endorsed by Daniel Baremboim, In the past season he has been a guest soloist by orchestras such as the Munich Philharmonic, the National Academy of Santa Cecilia, the Vienna Radio Symphony Orchestra ORF, the Rotterdam Philharmonic Orchestra, the Cincinnati Symphony Orchestra, the Atlanta Symphony Orchestra and the Pittsburgh Symphony Orchestra. His playing is characterized by his depth of expression, his sense of individuality and technical mastery, in addition to his charismatic stage presence and his ability to create an immediate emotional connection with his audience. Nowadays, is invited by the main orchestras, directors and promoters of recitals of the world, which has led him to become a rising star and one of the best-known cellists of today. Soltani plays an Antonio Stradivarius cello from 1694.

“(Grosvenor) it's one in a million… among several million” (The Independent)
“Grosvenor stands out for his astonishing technical prowess, the freshness of your imagination, his intense concentration, the absence of any type of spectacle and the unmistakable sense of poetic immersion directed solely at the performance of the music” (Southgerman newspaper)

“Hyeyoon Park displays technical brilliance and virtuous fire, enchanted by a unique natural sweetness in tone, free from sentimentality” (Southgerman newspaper)

“The soloist here was star violist Timothy Ridout… that rare type of musician who can touch a cardboard box and make it sing”. (The Guardian)

“The piece would not have come with such force without the eloquence of the young soloist, the terribly talented Timothy Ridout, one of the recent BBC New Generation Artists.” (The Times)

“Its cello sound has the touch and richness of caramel. (Kian Soltani) interpret with easy warmth, drawing the orchestra behind him like a halo around a candle flame”. (Washington Post)

Camera and action
This exceptional concert opens the Chamber Lyceum cycle programmed into the National Music Auditorium from October of 2021 to May 2022. In this edition composed by 15 evenings, the CNDM is backing on the Spanish interpreters in what is the verification of a reality: the increasing quality, homologable at the international level, of our musicians. This season the Casals quartets will be with us, Cosmos and Quiroga, the Azahar Ensemble, the pianists Juan Pérez Floristán, Javier Perianes, Noelia Rodiles and Alba Ventura, violinists Aitor Hevia and Lina Tur Bonet, this last, CNDM resident artist during this course, viola Lara Fernández and cellist Fernando Arias. Along with this cast of Spanish artists we find true legends of performance in the chamber repertoire Y, so to speak, in any repertoire. We will have the opportunity to listen to the pianists Martha Argerich - just turned eighty -, Elisabeth Leonskaja, Nelson Goerner, Denis Kozhukhin y Christian Zacharias, violinist Janine Jansen and cellist Gautier Capuçon. further, The Staatskapelle Berlin quartets will not miss the Madrid event, Belcea, Ebony, Schumann and Emerson nor the great voices materialized in the soprano Anna Lucia Richter and the baritone Konstantin Krimmel.

Tickets for all concerts this fall, with a General price 10 a 20 euros, are already on sale in the National Auditorium ticket offices, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.

Photograph (c) Andrej Grilc

Interview with Riccardo Frizza

He started out playing the piano, until the 14 years, during an Easter holiday in Vienna, attended a concert being fascinated by the figure of the director, none other than Karajan. Why then settle for an instrument, being able to make all of them sound? Thus began the trajectory of Riccardo Frizza. He is currently director of the Donizetti Festival in Bergamo, has recently been awarded as best musical director for his Lucia de Lammermmor in ABAO and from the 23 September will be in charge of premiering one of the most special seasons of the Royal Theater. He does it with La Cenerentola, de Gioachino Rossini, and with the firm intention of showing that the genius of Pesaro is on a par with Mozart or Beethoven and that his Cenerentola is a true masterpiece. Riccardo Frizza

 

Antonio Canales

With the show The guitar sings The Sevillian bailaor pays tribute to the king of the flamenco world instrument.

They will accompany you David del Arahal, to the guitar; David “El Galli” Y Manuel de la Tomasa, in cante, Y Lucky Losada, on percussion.

With this great appointment, a season that has been dedicated to Blanca del Rey and through which sixteen renowned artists have passed, who have represented different families, schools and currents of flamenco art.

Flamenco Real is a co-production of SOLANA Entertainment and the Royal Theater of Madrid, has the sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil, Group Corporalia.

The next 29 of July Real Flamenco will end its third season with the help of an artist who, since the creation of this space that the Teatro Real dedicated to our most universal art, has been linked to the project with his support and tutelage, the choreographer and dancer Antonio Canales.

This time, the Sevillian choreographer and dancer, wants to pay tribute to the great companion of flamenco singing and dancing, Guitar. For that, will have the presence of the guitarist David del Arahal; the cante of David “El Galli” Y Manuel de la Tomasa and the percussion of Lucky Losada.

Last November began a season dedicated to the mythical Blanca del Rey, bailaora, coreógrafa, businesswoman and muse of the Spanish dance of the last 50 years. To the beat of the Yiyo a cycle was opened that has passed through this period, marked by pandemic and restrictions, with a warm welcome from the public, that has exhausted all sessions, and a torrent of optimism and hope for all the artists who have participated leaving behind the difficult break of confinement.

Miguel Fernández Ribas has offered their art at the tablao of the dance hall this season, ‘The Yiyo’; Antonio Molina, Eduardo Guerrero, Alba Heredia, Amador Rojas, Andres Peña & Pilar Ogalla, Belén López, Ivan vargas, Yolanda Osuna, Maria Jose Franco, Maria Moreno, Sergio Lope, Mercedes of Cordoba, Sara Calero and Macarena Ramirez. Farruquito took the stage of the Real and Antonio Canales will give us the desire for an autumn that will present flamenco.

TocaTR21-1
TocaTR21-2

TocaTR21-3

TocaTR21-4
TocaTR21-5
TocaTR21-6
TocaTR21-7
TocaTR21-8
Tosca shines at the Teatro Real
Tosca
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Tosca by Giacomo Puccino at the Teatro Real

The end of an opera season that he Teatro Real has lived with special intensity, since it has been the only lyrical theater in the world that has presented a complete program in the period 2020-2021, and in which every time the curtain has risen it has felt like an artistic and human reward in defense of safe culture.

With this spirit, the Royal Theater wants to share with all these appointments, before the summer break and just one year after the reopening after confinement, broadcasting on outdoor screens, in the Plaza de Oriente and in the Plaza de Isabel II (Opera), two of his shows this season. For that, the public space has been adapted to the health safety regulations of the Community of Madrid against COVID-19, seeking a limited capacity, with safety distance, which It will be accessed with free tickets obtained with prior reservation at the Theater website from 5 July at 11.00 hours.

The same day, for those who cannot move or live outside the Community, the opera will also be broadcast free of charge, to 21.00 hours, in MyOperaPlayer (where it will become part of the catalog) and in the channels of YouTube of the Royal Theater and RTVE, co-producer of audiovisual production. The next day, 11 of July, to 23.00 hours, Tosca will be broadcast in La 2 of TV.

The great party will begin Saturday at 12.00 hours with the retransmission of the Beethoven's Ninth Symphony, symphony No. 9 in D minor, on. 125 “Coral”, performed at the Teatro Real last September to commemorate the 250 anniversary of the birth of the German composer, directed by Gustavo Dudamel in front of the Head of the Royal Theatre Orchestra.

The concert also had the participation of the Students of the Queen Sofía College of Music, he

Orfeo Català, he Chamber Choir of the Palau de la Musica Catalana, soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, and baritone José Antonio López.

At 21.00 hours, an hour and a half after the start of the opera on stage, to avoid the heat and excessive light that may occur at 19.30 hours, will start the retransmission of Tosca, from Giacomo Puccini, one of the most beautiful and popular titles in the lyrical repertoire. The play will star the voices of the soprano Sondra Radvanovsky (Floria Tosca), the tenor Joseph Calleja (Cavaradossi) and baritone Carlos Alvarez (Scarpia).

Leading the extraordinary cast and Choir Y Titulares Orchestra of the Royal Theater the teacher will be Nicola Luisotti, Principal Guest Director of the Teatro Real, whose presence has been fundamental during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement (just a year ago) and inaugurating the present temporada, last september, with A masked ball, stimulating with your dedication, trust and dedication, both artists and workers.

The stage manager Paco Azorín conceives opera as conceived as a journey from the outside to the inside of the characters, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, leading the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like incorporating a character inspired by the painting Freedom guiding the people, by Eugène Delacroix, that symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

Photograph: Javier del Real

The Beautiful Otero

The National Ballet of Spain will premiere The Beautiful Otero of the 7 al 18 July in the Teatro de la Zarzuela in Madrid. This dramatic ballet, created and directed by Ruben Olmo, tells the intense life of one of the most famous and influential dancers of the late 19th century, Carolina Otero. World famous Spanish artist, his name is known all over the world, but whose history remains hidden from many. A woman from a Galician village who invented herself from a tragic event in her childhood. With Carmen de Merimée as a guide, used men to advance her artistic career and was admired by kings across Europe, Although the only love in whose arms he fell was that of the game. The Beautiful Otero is a reflection on abuse, the ambition, the success, the inability to love and loneliness.

The director of the National Ballet of Spain, Ruben Olmo, I had been with the idea of ​​creating a choreography about Bella Otero for many years, attracted by the fact that one of the most famous women of her time outside of a town in Pontevedra. But until he was appointed director in 2019 He did not find the opportunity he was waiting for to be able to do it as he imagined, like a large format show, both for the number of dancers and for the deployment of costumes.

“The spirit of the last two programs that we have premiered was to enjoy Spanish dance in all its styles. Instead, now I have put dance at the service of the plot to achieve the fusion that would allow me to tell the life of a surprising woman, using from folklore to contemporary dance, the stylized and flamenco ", explains Rubén Olmo. "It is a very emotional and also dramatic show, because it tells the story of a woman who reaches the top and ends up alone and forgotten ".

The person in charge of the dramaturgy has been Gregor Acuna-Pohl, regular collaborator of the choreographer Johan Inger. The actor, dance director and playwright has tried to distill the essence of the historical character to the maximum without losing the highlights of his biography, leaving out the anecdotal. “The most important thing for me was to show a person with a lot of magnetism, charisma and strength ", affects. After researching Carolina Otero in books, press clippings, audiovisual material and files, selected the most representative moments of his life that could be expressed through dance.

"By writing an argument about such a complex life, obviously we have to simplify. But we are not making a value judgment on what is right or wrong; we just try to be true to reality, while making it attractive to the viewer. Dance must excite rather than make judgments. I have tried to stick to the historical character and make it an interesting ballet for the public. After, let each one draw their conclusions about the character ", Add.

Two artists for a Bella Otero

The argument of The Beautiful Otero passes through different periods of Carolina Otero's life, so Rubén Olmo chose to play the main character at different ages to Patricia guerrero Y Maribel gallardo. “I invited Patricia Guerrero to the National Ballet of Spain because she is a dancer who gives off great strength on stage. He was part of my company and I directed it at the Andalusian Flamenco Ballet. It has the same magnetism that made Bella Otero great. Today she is one of the most relevant figures of the most avant-garde flamenco and it is a pride to be able to count on her ", explains Rubén Olmo. "As well as the former prima ballerina of the Spanish National Ballet, Maribel gallardo. Besides dancer, she is a wonderful actress, that has brought many characters to the scene, and he always commits himself to the maximum with all the projects that I propose to him ".

According to Patricia Guerrero, Bella Otero is a complex character due to the fact that she lives various conflicts that make her a dramatic hieroglyph. "She was a woman with a lot of character, a lot of self-confidence and a brutal survival instinct. He enhanced his charisma and sensuality like no one else to achieve success ". The Granada-born artist aims to bring every detail to the dance to make the public understand this woman she admires, above all for their safety and their ability to enchant, aspects in which you have clung to get under your skin. "La Bella Otero it is a hard work in its background, but it is dynamic, funny, fresh, and with a color and energy that will make us all enjoy, on and off stage ".

Maribel gallardo, who plays Bella Otero in her maturity, defines the character as a transgressive woman before a macho society, and recognizes that in all women there is something of the Bella Otero. For the repeater teacher and choreographer, who has danced with the National Ballet of Spain roles of prima ballerina as Medea O La Celestina, this character is a great motivation and a great challenge for having to face the language of a choreographer with whom I had not worked as a dancer until now, Ruben Olmo, and to achieve the physical form that every dancer requires to go on stage again.

Music and costumes

In the same way that the choreography fuses different styles of dance, the music of The Beautiful Otero integrates compositions of various forms and composers into the symphonic score. The composer and conductor Manuel Busto has coordinated the creation of the score, in which they have participated Alejandro Cruz Benavides Y Augustine Diassera. further, guitarists have collaborated with flamenco compositions Diego Losada, Victor Marquez, Enrique Bermúdez Y Pau Vallet; and the group Strange people has set the scene that takes place in Galicia with his particular psychedelic Celtic rock. Fragments of the opera have also been inserted in the work Carmen, Bizet, and the zarzuela Last year for water, of Chueca and Valverde.

"My main challenge when developing the arrangements and orchestrations was not to lose an iota of freshness and original personality., but they will be inserted as a natural part of the work ", explains Manuel Busto. The final result "is a music without prejudices in its conception and that does not renounce anything".

The Community of Madrid Orchestra (BARREL) will perform the score live at the Teatro de la Zarzuela under the direction of Manuel Busto. The original music has also been recorded by the students of the Barenboim-Said Foundation to be used in the functions of other theaters where a live orchestra is not available, as well as in rehearsals.

The designer Yaiza Pinillos has drawn the near 200 designs that require scenes from The Beautiful Otero, set in very different places and situations. The Canarian creator has used multiple sources of inspiration and research, from the photographs of José Ortiz Echagüe to the paintings of Zuloaga, Manet, Ramon Casas, Boldini or José Cardona. There is also no shortage of reworkings of Jacques Doucet and Balenciaga models, and even contemporary couturiers like Issey Miyake or Alexander McQueen who, passed through the Belle Époque filter, offer amazing results.

The centerpiece of the protagonist's wardrobe is the Byzantine-style beaded gown that Bella Otero wears in one of her most iconic portraits., signed by Reutlinger. ”I am especially proud of that design because it is a reworking of that well-known image of Otero that I think we have been able to enrich through a look that, more than emulating it, evokes her, adding effects that enrich the staging and that reflect the essence of an era ".

One of the challenges of the designer has been to combine the narrative character of the costumes with the danceability and the ease of switching between scenes., also complicated by the characterization of the characters, who wear wigs, beards, mustaches and hats to faithfully represent the time in which the story unfolds.

Scenography and lighting

The challenge for the set designer Eduardo Moreno In his first job for the National Ballet of Spain, he has been to promote the rhythm in the succession of scenes because the dramaturgy of the work requires great agility when going through many moments in the life of Bella Otero. Its design vertebrates the space through a great architectural element, a dome, that frames the whole show and hosts the different scenes, differentiated by some simple ones that identify the time and place. It also meets the requirement that the production can easily rotate through different theaters., to adapt to the itinerant vocation of the National Ballet of Spain.

Meanwhile, Juan Gómez-Cornejo, National Theater Award, I had the difficult task of wrapping Bella Otero with light. "The light must accompany, clothe, help and, if this would be possible, caress those dancers and dancers so that the story reaches the stalls with the greatest clarity and the same emotion with which it was created ". Lighting travels through the character's story to help recreate the places and situations they lived through, from rural Galicia reminiscent of Goya's black paintings to the Portuguese countryside illuminated by the full moon or the bright lights of theaters and casinos.

After its premiere in Madrid, the National Ballet of Spain will represent The Beautiful Otero the days 26 Y 27 May 2022 at Teatro de la Maestranza in Seville. Before, as the closing of the season 2020/2021, will participate the 7 August at the Santander International Festival, With the program Invocation. This year, in an unusual way, there will be three occasions in which the National Ballet of Spain will perform in Madrid. After the absolute premiere of La Bella Otero, are scheduled Centennial Antonio Ruiz Soler at Teatro Real of the 13 al 16 October, e Invocation, at Teatro de la Zarzuela, of the 10 al 22 from December.

About the National Ballet of Spain

The National Ballet of Spain (BNE) is the benchmark public company of Spanish dance since it was founded in 1978 under the name of Spanish National Ballet, with Antonio Gades as first director. It is part of the production units of the National Institute of Performing Arts and Music (INAEM), under the Ministry of Culture and Sports. The purpose of the BNE is focused on preserving, disseminate and transmit the rich Spanish choreographic heritage, collecting its stylistic plurality and traditions, represented by their different forms: academic, stylized, folklore, bowling and flamenco. Likewise, works to facilitate the approach to new audiences and promote their national and international projection within a framework of full artistic and creative autonomy.

Ruben Olmo, director of the National Ballet of Spain

Ruben Olmo, National Dance Award 2015, has joined the National Ballet of Spain in September 2019 with the intention of working for the preservation, the dissemination and mobility of the traditional repertoire of Spanish Dance, also incorporating new creations and opening the doors to the avant-garde and experimentation. This is his second stage at the BNE, company was part of it as a dancer between 1998 Y 2002.

Since 2011 He served as director of the Andalusian Flamenco Ballet, Institution dependent on the Junta de Andalucía, with which he premiered his own productions such as Cry for Ignacio Sánchez Mejías O The death of a minotaur. Previously, formed his own company, for which he created shows like Once upon a time, Belmonte, Poe's temptations, Hours with you, Naturally flamenco Y Navigator Dialog. He has also collaborated as a choreographer or dancer with leading figures of Spanish Dance such as Aída Gómez, Antonio Najarro, Eva Yerbabuena, Victor Ullate, Antonio Canales, Rafael Amargo, Isabel Bayón and Rafaela Carrasco.

Tosca at the Royal Theater

Between 4 and the 24 of July They will be offered 16 functions Tosca, with free broadcasts in different formats YouTube channels, MyOperaPlayer, The 2 TVE, RNE Classic Radio and outdoor screens in Plaza de Oriente and Plaza de Isabel II, that will carry the popular title of Puccini to all corners, celebrating the end of an intense and very special operatic program, since Real has been the only lyrical theater in the world to present a season 2020-2021.

Nicola Luisotti has played an important role during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement, inaugurating this season last September with A masked ball and stimulating, with your dedication, trust and dedication, to the artists, workers and Choir Y Titulares Orchestra of the Royal Theater during these uncertain times.

With Tosca, Luisotti He will direct his ninth opera at the Royal Theater, this time leading three deals with four Cavaradossi, working together with Paco Azorín, which has renewed for Real the production created in 2014 for the Liceu of Barcelona and the Maestranza of Seville.

Conceived as a thriller film, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, Azorín leads the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

Paco Azorín, who began his career as a set designer at the Real have seen his sets for the operas The prisoner Y Suor Angelica (with the direction of Lluís Pasqual) and for the ballets 2 you Maestro, The love wizard Y Electra­, also assumes the stage direction in this production, adapting the guidelines of the acting performance to the idiosyncrasy of each singer.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like the incorporation of an actress who symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

The opera, co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville premiered in 2014, will star three casts led by the sopranos Sondra Radvanovsky, Maria Agresta Y Anna Netrebko; tenors Joseph Calleja, Michael Fabiano, Yusif Eyvazov Y Jonas Kaufmann; and baritones Carlos Alvarez, Gevorg Hakobyan Y Luca Salsi.

Sondra Radvanovsky, who already played Tosca in 2011, will return to Real with this role, after embodying Amelia in A masked ball at the opening of this season. The soprano also returns Maria Agresta, who starred Rule (2016), The Troubadour (2019) Y Don Carlo (2019). Anna Netrebko will perform his second opera at the Real, after your participation in War and peace, Sergey Prokofiev, in 2001.

American tenor Joseph Calleja debuts at the Teatro Real, Michael Fabiano assumes a new starring role after his participation in Cyrano de Bergerac (2012), I due Foscari (2016), Giovanna D'Arco (2019), La traviata (2020) Y A masked ball (2020), Y Yusif Eyvazov will perform an opera for the first time at the Madrid Coliseum, after having participated in a concert next to Anna Netrebko in 2019. Finally, Jonas Kaufmann, who acted in a role of La clemenza di Tito in 2009, will now play Cavaradossi in two roles.

Scarpia's role will be defended by Carlos Alvarez that completely changes registration after his recent triumph in Long live the mother­, Gevorg Hakobyan, debuting at Real, Y Luca Salsi, who appeared in Rigoletto (2015) Y Don Carlo (2019).

After the reopening of the Real, they have offered 32 functions Tosca in the seasons 2003-2004 Y 2010-2011, all with scene direction of Nuria Espert. This popular operatic title returns with a new focus, born from the musical and dramatic richness of this frenetic masterpiece by Puccini.

Photography © Antoni Bofill

CNDM presentation

The General Director of INAEM, Miguel's Amaya and the Director of National Dissemination Center Musical (CNDM), Francisco Lorenzo, have presented this morning at a press conference the Season 21/22 of the institution. He CNDM, unit dependent on National Institute of Performing Arts and Music (INAEM) renews in its twelfth season its commitment to its founding values ​​of recovery and dissemination of the valuable Spanish historical musical heritage, the promotion of contemporary creation, attention to less common repertoires or popular tradition, like flamenco or jazz, and the development of new audiences through numerous educational activities. Likewise, he CNDM will continue to fulfill another of its fundamental missions: provide its own programming to National Music Auditorium with a content that is the best showcase of the trends of the music scene both Spanish and international. All this while maintaining a high level of quality and a wide and diverse offer, unparalleled in any other musical institution in our country.

– The twelfth season of CNDM will consist of 274 different activities Madrid and others 28 Spanish cities from 12 autonomous communities, besides being in 8 foreign cities (a total of 37 different cities). Of the 216 concerts planned, 107 They will be offered in Madrid and 109 outside the Spanish capital.

– The international presence translates into 12 concerts in the following cities: Basel (Switzerland), Elvas (Portugal), Potsdam (Germany), the city-emirate of Dubai and the italians Milan, Roma, Naples Y Palermo.

– The figures of Resident Composer, with the composer Mauricio Sotelo (Madrid, 1961), while the violinist Lina Tur Bonet will hold a "double residence": on the one hand like artist in Residence, while the formation by her founded, Alchemy Music, will be Resident Group.

– He CNDM This season proposes three transversal cycles that run through the entire program: #AlfonsoX.800 commemorates the eight centuries since the birth of Alfonso X the Wise. With #RodriguezdeHita. 300 he CNDM vindicates Antonio Rodríguez de Hita, Spanish composer of sacred and theatrical music. Finally, harpsichordist and organist Benjamin Alard will offer the 3 concerts that complete the #ProjectClavierÜbung, the cycle of 6 concerts started last season around the keyboard literature published during the lifetime of Johann Sebastian Bach.

We will attend the eabsolute premiere of 48 new scores, 22 of them commissioned by the CNDM, of which more than half will be created by female composers. HE will recover 54 compositions of the Spanish musical heritage that will see its premiere in modern times this season. Among these we highlight The Nitetti, opera by Niccolò Conforto -Neapolitan composer installed at the Madrid court-, originally released in 1756.

– In this new season we will enjoy a roster of essential artists of various genres such as Philippe Jaroussky, one of the most famous countertenors in the world; teacher René Jacobs in front of the Freiburger Barockorchester offering a special and little frequented title by Antonio Caldara (Magdalene at the feet of Christ); William Christie, undisputed name of European early music at the forefront of Les Arts Florissants; Jordi Savall, famous director, musicologist and violagambist and one of our most prolific and prestigious musicians; the overwhelming and virtuous violin Janine Jansen; high-level sets, as the Academy of Ancient Music Berlin (Akamus) or the magnificent Emerson Quartet.

The legendary Argentine pianist will also visit us Martha Argerich, that this season celebrates its 80 anniversary; Elisabeth Leonskaja next to String quartet of the Staatskapelle Berlin, in two concerts; the merger of Belcea Quartet and the Cuarteto Ebony, a whole “dream team” that we will listen to in “octet” format, or the reputed Klangforum Wien, one of the most required international ensembles. – At Lied we will enjoy, among other, of voices like that of the soprano Eva-Maria Westbroek, for the first time on the show, or the baritone Christian Gerhaher. We will also listen to figures of other genres such as Camané, the simpar prince of fado, to the cantaor Archangel, to the great Mayte Martin in the field of flamenco, along with many other stars of the genre; to the versatile Anne Sofie Von Otter in an elegant project with the quartet Brooklyn Rider, to the pianist minimal Joep Beving; a Dianne Reeves, undoubted queen of vocal jazz along with other great artists of the genre, like the all-rounder Madeleine Peyroux (signer of the most famous Careless Love), O Andrea Motis, one of our most international names. We also highlight heterodox proposals such as those of the restless Rodrigo Cuevas or that of the unclassifiable Elche boy, among many others.

– Education will play a relevant role again, with 58 activities, almost all free, in 13 Spanish cities. We will also celebrate a new edition of the Pedagogical Project "We all create", in which two primary and secondary educational centers of the Community of Madrid will participate. The theme of this new edition will be "Between the networks".

– He CNDM will collaborate in the season 21/22 with 153 public institutions and private entities and will incorporate new alliances, like the one started with him The Palace of Arts in Valencia, where a new cycle of baroque music will be premiered: The Arts is Baroque.
– The institution has maintained its commitment to reschedule those concerts and cycles affected by the health emergency declared in 2020. A) Yes, after relocating last season 64 concerts, in the 21/22 he CNDM has included practically all the concerts that could not be rescheduled in the previous season.

– Notably more than 50% of composition commissions made by the CNDM they are to women, a figure that shows the effort of the institution to reflect the growing recognition that corresponds to women in the cultural and creative world. Similarly, We must underline the notable presence of Spanish artists in the programming of the CNDM.

He National Dissemination Center Musical (CNDM), unit dependent on the National Institute of Performing Arts and Music (INAEM), proposes for your twelfth season an extensive program that maintains its mission of recovery and dissemination of our vast historical heritage and cultured popular music such as flamenco and jazz, as well as support for the current creation and development of new audiences through the various activities organized autonomously or in collaboration with more than a hundred national and international institutions.

One of the fundamental missions of the CNDM is provide its own program to the National Music Auditorium with a content that is the best showcase of the trends of the music scene both Spanish and international. In addition to this essential presence in the National Auditorium, he CNDM is present in the Teatro de la Zarzuela with the Lied cycle and in the audience 400 of the Museo Nacional Centro de Arte Reina Sofía (Nnchhahris), where today's music cycle is held Series 20/21, erected as one of the most important in Europe of its kind.

Throughout these twelve years the CNDM has become the most complete and ambitious musical project in our country, a creative and educational center, dynamic and decentralized, capable of structuring and integrating his artistic proposals covering the entire Spanish geography, as well as numerous foreign countries.

The season 2021/2022 It is composed of a total of 274 activities that will take place from the 16 September 2021 and up 18 July 2022. The program will take place in Madrid and other 28 Spanish cities 12 autonomous communities, to which we must add 8 foreign cities with 12 concerts spread over Basel (Switzerland), Elvas (Portugal), Potsdam (Germany), the city-emirate of Dubai and the italians Milan, Roma, Naples Y Palermo, until reaching a total of 37 different cities, with a great offer of concerts, educational sessions, interpretation courses, master classes and lectures by leading performers and creators. Total, will occur 216 concerts, with music from the 12th to the 21st century, of which 109 will be offered outside the Spanish capital.

The concerts organized in Madrid spread, again, in 9 cycles developed in its three usual spaces: he National Music Auditorium, in which they are celebrated Baroque universe (Symphonic Hall and Chamber Hall), Liceo de Cámara XXI, Borders, Andalucía Flamenca, Jazz at the Auditorium Y Bach Vermouth; he Teatro de la Zarzuela, in which the Lied, and the Museo Nacional Centro de Arte Reina Sofía (Nnchhahris), that houses Series 20/21. To all the aforementioned, we must add the tenth edition of the pedagogical and social project "We all create", which will be dedicated this time to the theme "Between the networks".

In the next season the CNDM keeps your collaborations with more than 150 public institutions and private entities. A) Yes, will co-produce the cycle again Historical Music of Leon -In its XIX edition, next to the City of León Auditorium and the City Council-, the current music cycles of Badajoz, Malpartida de Cáceres (Vostell Malpartida Museum) Y Segovia; the baroque cycles of Oviedo Y Salamanca, to which must be added a new cycle dedicated to this music at the Palau de Les Arts de Valencia, in addition to the concerts co-produced by the cathedral councils and included in the series El Órgano en las Catedrales. In Barcelona, in co-production with Palace of Catalan Music and the Franz Schubert Association the Schubertíada, as well as the avant-garde Sámpler Series cycle at L’Auditori. Stable co-productions with the festivals international music of Cádiz, Sevilla, Úbeda-Baeza and Granada. In this new season the CNDM will be present again in Alicante, specifically in the Auditorium of the Provincial Council, and to co-produce the thriving Early Music festival of Betanzos.

He CNDM It will continue its activity in the field of jazz, insisting on its commitment to contribute to the development of a stable national circuit for this genre in which its main performers are valued.. A) Yes, after the first and successful first edition of Oviedo Jazz -a festival "recovered" and carried out in co-production with the Municipal Foundation of the City Council of the Asturian capital, which in its last edition placed the "no tickets" sign at all its concerts, he CNDM will co-produce again Salamanca Jazz, next to the University of Salamanca. Similarly, the institution will once again collaborate with Jazz Madrid.

The international program repeats the collaboration for the seventh year with the Portuguese town of Elvas. Likewise, he CNDM collaborate with him again Europe project next to Cervantes Institute to co-produce 4 concerts of Lina Tur Bonet and whole Alchemy Music in many other Italian cities: Milan, Roma, Naples and Palermo. Likewise, will be present at the Potsdam Sanssouci Festival, with the presence of some of our best interpreters, as the Basque Barrokensemble, soprano Lucia Caihuela next to Apotheosis, mezzosoprano Maite Beaumont Y Al Ayre Spanish one to Orquesta Barroca de Sevilla. He CNDM will also be present in Basel -with the Resident Composer, Mauricio Sotelo– and in the Expo 2020 from Dubai con “Rediscovering Spain”, the famous project of Fahmi Alqhai and the singer Rocío Márquez to which the flamenco guitar of Dani moron and the dance of the new flamenco star, Patricia guerrero.

In the section of CNDM residences, in this installment the Resident Composer it will be Mauricio Sotelo (Madrid, 1961), one of our most universal names, a unique creator, forger of a personal universe, in a happy balance between the most avant-garde languages ​​and the most traditional textures, especially that of flamenco expression. In this new season we will be able to learn more about the powerful sound universe of this essential artist, of which we will hear a large number of works, between them 4 prèmieres. In the auditory 400 of the Reina Sofía Museum the public will be able to enjoy a selection of his works, including several absolute premieres, commissions from CNDM.

In this line of commitment to represent our most international artists and values ​​we have the "double residency", what will it show Lina Tur Bonet, on the one hand like artist in Residence Y, for other, with your training Alchemy Music as Resident Group. Lina is versatility, creativity and explosion of beauty and colors on the violin. The musical proposals of Lina Tur Bonet and Alchemy Music will be present throughout the season, transporting us to different creative universes: of the stylus phantasticus to the creations of Vivaldi and Corelli, also approaching Johann Sebastian Bach and ending in the repertoire of our days, con autores como György Kurtág, Kaija Saariaho or our Mauricio Sotelo and Josep Maria Guix, in both cases with premieres.

The programing 21/22 of the CNDM proposes this season three transversal cycles. In #AlfonsoX.800 we commemorate the eight centuries since the birth of wise king, delving into the sublime Cantigas. Throughout the entire season, Several Spanish ensembles will offer concerts throughout the peninsular geography that celebrate the anniversary.. With #RodriguezdeHita. 300 he CNDM vindicate and recover, to the 300 years of his birth, the music of Antonio Rodríguez de Hita, Spanish composer of sacred and theatrical music, considered one of the initiators of the traditional zarzuela. Finally, the harpsichordist and organist Benjamin Alard will offer the three concerts that complete the #ProjectClavierÜbung, the historic cycle of six concerts started last season giving life to some of the best pages of Johann Sebastian Bach.

In this season the CNDM deepens again in the recovery of our valuable historical musical heritage with 54 premieres in modern times. Likewise, the traditional appointment with our lesser known lyrical repertoire is maintained with milestones such as the historical recovery and premiere in modern times of The Nitetti, 18th century opera of Niccolò Conforto, Neapolitan composer installed in the Madrid court, with libreto by Pietro Metastasio. This play premiered in 1756 at the Buen Retiro Theater in Madrid as a birthday present from María Bárbara to her husband, King Ferdinand VI. The ensemble will offer this opera in concert version Nereydas, under the direction of Ulises Javier Illán and starring a cast of magnificent national voices such as Maria Espada, Nuria Rial, Y Lucia Caihuela. You will also see its premiere in modern times works by Antonio Rodríguez de Hita, Francisco Corselli and José de Nebra, among others, performed by the best Spanish groups and performers.

In the lyrical field we will attend other important milestones: Radamisto of Handel with Tomato and the great Philippe Jaroussky along with a cast of great voices; he Orfeo by Monteverdi played by the tenor Ian Bostridge Next to the Europa Galante from Fabio Biondi; he Amadigi di Gaula of Handel with Xavier Sabata Y Nuria Rial; the always welcome Les Arts Florissants, that they will bring us a haendelian oratory: The Allegro, The Penseroso and Moderate. We also highlight the sublime Mass in E minor Johann Sebastian Bach, for him Balthasar Neumann Ensemble and Choir, directed by Thomas Hengelbrock Y Magdalene at the feet of Christ, little known oratory of Antonio Caldara that will resonate under the baton of René Jacobs.

He CNDM maintains its policy of support for contemporary creation, with 48 prèmieres, 22 of which are commissions of the CNDM to renowned authors and young promises, more than a half, composers, whose works will see the light both on Madrid stages and on national circuits, Performed by leading Spanish and foreign musicians and formations.

Series 20/21 consists of 16 concerts, starting the first of them with the Finnish soprano Anu Komsi together with her husband, violinist and conductor Sakari Oramo, interpreting the Kafka fragments the Gyorgy Kurtag; the ensemble will follow LUX:NM, with an absolute premiere commissioned by CNDM from a work by Carolina Cerezo Dávila. After a new edition of the SGAE Foundation Young Composers Award-CNDM, we will attend the concert "a tres" by the cellist Jean-Guihen Queyras, clarinetist Mark Simpson and pianist Pierre Laurent-Aimard.

The resident composer of the CNDM, Mauricio Sotelo, He is the protagonist of many of the concerts of the cycle, the first of them in charge of the Music Chamber Orchestra Vitae, with the absolute premiere of the composer's arrangements of Scarlatti's sonatas and Preludes no. 4 y nº 8 belonging to the op. 28 Chopin, together with the piece Sculpture of red internal light. Later, the auditorium 400 of the MNCARS will present again Halfway through life, commissioned by CNDM a Mauricio Sotelo and premiered with great success this year 2021.

This work - a peculiar musical look at Dante Alighieri's magnum opus- will have the cantaor again Archangel, the double bass player Pablo Martín Caminero, the pianist Juan Carlos Garvayo and percussionist Augustine Diassera. After the performance of the Trío Untitled, which will offer an absolute premiere of Francisco Coll, the famous set Klangforum Wien, directed by Mauricio Sotelo, will unveil the premiere of a piece by the latter, also commissioned by CNDM.

The Series tour 20/21 for contemporary music will continue with St. Lawrence String Quartet, who will perform various premieres by Juan José Colomer, Osvaldo Golijov and Jessica Meyer. Then it will be the turn of the pianist Juan Carlos Garvayo, -soloist and member of the renowned Arbós Trio- that will abound in the music of our resident composer. The program will continue with the concerts of the Sinfonietta of the Reina Superior School of Music Sofia and with a violin recital by our distinguished resident artist, Lina Tur Bonet, in which it will address a varied program with works by authors of the seventeenth century and contemporaries, including absolute premieres of both works by Mauricio Sotelo and Josep Maria Guix.

The cycle will continue with Plural Ensemble –Together with the clarinetist Jörg Widmann-, directed by Fabián Panisello, and the always dazzling Diotima Quartet, with a concert focused on the "quartets" by Mauricio Sotelo. Series 20/21 will culminate his journey with the Grup Instrumental de Valencia, who will perform the concert in co-production with the Casa de Velázquez, and with him Extreme Sound Ensemble, collective that will close this season the cycle that the CNDM dedicated to today's music.

Symphonic Baroque Universe It will consist of ten concerts, two of them extraordinary; in the first, the Orquesta Barroca de Sevilla, directed by the specialist Giovanni Antonini, will offer the Integral of the Orchestra Suites Johann Sebastian Bach; the second, made by Alchemy Music Y Lina Tur Bonet, will pose a "dialogue" between the orchestral music of Bach and that of Vivaldi. The season's undoubted highlight of the cycle will be the concert of Tomato giving life to the opera Radamisto de George Frideric Haendel, with a cast of voices led by the countertenor Philippe Jaroussky.

Then, Jordi Savall will propose a concert dedicated to Cantigas by Alfonso X, in a session registered within the "transversal" of the CNDM dedicated to wise king; the Catalan musician was precisely the signer of one of the reference recordings dedicated to this essential corpus. Then, the renowned bachiano Thomas Hengelbrock, at the head of the two groups that he founded in 1991 Y 1995 -the Balthasar-Neumann-Chor & Soloists and the Balthasar-Neumann Ensemble– will perform a monumental work of art: the Mass in B minor Johann Sebastian Bach. Another essential and regular name for cycles baroque of the CNDM It's of Fabio Biondi, that next to his Europa Galante and the Chamber Choir of the Palau de la Música Catalana will ring L'Orfeo Monteverdi, accompanied by a cast led by the tenor Ian Bostridge.

The feast will continue with Evenings Arnadí, directed by Dani Espasa, what the haendelian will offer Amadigi di Gaula along with a cast of great voices led by the countertenor Xavier Sabata and soprano Nuria Rial. Les Arts Florissants, this time with William Christie in front, they go back to the cycle with The Allegro, The Penseroso and Moderate, one of Handel's most original oratorios. We reached the final stretch of the cycle with René Jacobs and the Freiburger Barockorchester who will interpret the oratorio Magdalene at the feet of Christ by Antonio Caldara, work turned into a cult piece by the Belgian musician.

The symphonic cycle of CNDM will close with a great event: the historical recovery and premiere in modern times of La Nitteti, opera performed for the first time at the Teatro del Buen Retiro in 1756 as a birthday present from María Bárbara to her husband, King Ferdinand VI. The libretto was by Metastasio and the music by Niccolò Conforto, a Neapolitan composer who had just arrived at the Madrid court. This "rescue" is signed by the whole Nereydas, directed by Javier Ulises Illán, who directs a cast of solo voices among which we can name the tenor Zachary Wilder and the sopranos Maria Espada, Ana Quintans, Nuria Rial Y Lucia Caihuela, among other.

Baroque Universe in the Chamber Room proposes a long and intense program made up of 17 concerts. Will open fire Baroque Orchestra of the University of Salamanca directed by Alfredo Bernardini who, under the generic "1685. The year of the giants ", will offer works by Domenico Scarlatti, G.F. Handel and J.S. Bach, three musicians born in that year. The residents" Lina Tur Bonet and his Alchemy Music will present a good sample of the best creations framed in the stylus phantasticus 17th century.

We will then attend a concert of Nevermind, young group that has dazzled with their good work and that will bring us closer to the flute quartets, viola and bass by Carl Philipp Emanuel Bach, together with three counterpoints of The Art of Fugue from "Bach father". Old style, Distinguished representatives of the quarry of English polyphonic groups will honor Josquin Desprez on the fifth centenary of his death.

Meanwhile, set the Galania from Raquel Andueza turns ten and, to commemorate it, they will visit some of their "greatest hits" after consulting their followers through social networks; the result: works by Claudio Monteverdi, Antonio Cesti, Benedetto Ferrari and Tarquinio Merula. La Grande Chapelle by Albert Recasens will perform a concert registered in the transversal # RodriguezdeHita.300, in which the work of Antonio Rodríguez de Hita is rescued, Madrid musician, important reference of musical theater in the third third of the 18th century and master of the sacred repertoire; in this concert various psalms will be premiered in modern times, Responsories and antiphons for eight voices signed by the composer. The always bright Academy for Early Music Berlin, “Akamus”, will celebrate a concert around Claudio Monteverdi and the birth of instrumental music. Les Arts Florissants, with Paul Agnew at the helm, they will resume their “integral” of Gesualdo's five-voice madrigals.

Benjamin Alard, one of the great bachianos of today, will continue its journey through the # ProyectoClavierÜbung in the fourth concert of this historic transversal cycle of the CNDM that occupies two seasons. Concerto 1700 by Daniel Pinteño will join forces with the countertenor Carlos Mena and soprano Jone Martinez to face a program of historical recovery of works by three important composers of the Hispanic Baroque: Antonio de Literes, Francisco Corselli and the lesser known Antonio Corvi Moroti. Will come back later Benjamin Alard to tackle the legendary Goldberg variations, in a new appearance in the cycle.

The program will continue with the Retreat, the group directed by Josetxu Obregón that, together with a group of four extraordinary harpsichordists -Pierre Hantaï, Daniel Oyarzabal, Ignacio Prego Y Diego Ares– will offer the concerts for two, three and four keys by Johann Sebastian Bach. Boscareccia Music, the ensemble founded by the soprano Alicia Love and violinist Andoni Mercero, return to Francisco Corselli in a concert in which two of his works will see their premiere in modern times. Bach returns from the hand of Kristian Bezuidenhout, one of the great figures of vintage keyboards, immersing himself in various works of the German giant, especially in one of his youth plays.

Set Jupiter, founded by lute player Thomas Dunford and mezzo-soprano Lea Desandre will focus on two of the greatest melodists in history: the British John Dowland and Henry Purcell. With the program "A pleasure garden", Antiqva form, led by harpsichord player Aarón Zapico, will lead us to a seductive symbiosis of music and gardening, recalling the refined entertainment Londoners have enjoyed for centuries in Vauxhall Gardens, with works by Handel, among many other authors of the XVII and XVIII. As a farewell to the cycle, Ottavio Dantone y su Accademia Bizantina will propose, with French mezzo-soprano Delphine Galou, an Italian Baroque program.

Liceo de Cámara XXI, another cycle-icon CNDM, It will be made up of 16 concerts, two of them extraordinary; the first of them will take place in the Symphonic Hall and will be starred by the great Martha Argerich, an event for any music lover in a recital in which we will have the opportunity to applaud this legendary virtuoso in her 80 anniversary. Next to the pianist Nelson Goerner will shape a recital in which two influential composers will be honored: Claude Debussy and Sergey Rachmaninov.

The second extraordinary concert will be starred by another great, Janine Jansen -for the first time a cycle of CNDM-, together with the pianist Denis Kozhukhin, forming one of the most brilliant duos of today; will offer various sonatas by Schubert, Brahms y Beethoven. Four young soloists with impeccable resumes, Hyeyoon Park (fiddle), Timothy Ridout (viola), Kian Soltani (cello) Y Benjamin Grosvenor (piano), They will meet at the next Liceo de Cámara concert to perform three quartets for piano and strings by Gustav Mahler, Richard Strauss and Robert Schumann.

Next you will visit the cycle on Cuarteto Quiroga, a group firmly established among the best of today, which will propose the audition of two works by Haydn and one by Mozart. The resident Lina Tur Bonet will join forces with the pianist Alba Ventura to shape a precious repertoire dedicated mostly to leading names in Spanish music (Enrique Granados, Joaquin Turina, Manuel de Falla, among others). Four young Spanish musicians, Aitor Hevia (fiddle), Lara Fernandez (viola), Fernando Arias (cello) Y Noelia Rodiles (piano) demonstrate their virtuosity with a program consisting of two Mozart quartets together with two works by Schubert, specifically his String trio in B flat and the Musical moments, considered one of the summits of his piano work. Later, the great Georgian pianist will return to the Auditorium Elisabeth Leonskaja together with the string quartet of the State Chapel of Berlin to star in two consecutive concerts in a double program dedicated entirely to Brahms. Two of the most brilliant quartets of the present -the Belcea and the Ebony– will join forces to offer a repertoire made up of two outstanding works: the Mendelssohn Octet and the Romanian George Enescu Octet.

In the next appointment of the cycle we will enjoy the Cuarteto Casals, one of our most international formations. Along with another figure of great global projection, the pianist Juan Perez Floristán, will tackle one of Antonín Dvorák's major works: his Quintet for piano and strings No. 2 in most. The next appointment of the cycle will be an event, since the cycle of songs posthumous work of the recently disappeared will be released Cristobal Halffter in a concert for voice - with the wonderful mezzo-soprano Anna Lucia Richter– and quartet - the Schumann Quartet, to which the arrangements will be added, a cargo de Stefan Heucke, of four songs about lieder by Johannes Brahms, Robert Schumann y Clara Schumann.

At the next concert of the now legendary Emerson Quartet, we will listen to some of the summits of the 19th century string quartet signed by Schubert and Beethoven. Tabea Zimmermann (viola) Y Javier Perianes (piano) they will tour pieces that reveal more or less distant worlds represented by authors of different origins and aesthetics: from Pablo Casals to Dmitri Shostakovich, passing by Astor Piazzolla, Benjamin Britten and our resident Mauricio Sotelo.

The German baritone Konstantin Krimmel and the spanish quartet Cosmos they will delight us with an unconventional program, in which Franz Schubert is summoned, Maurice Ravel and Swiss Othmar Schoeck. The final stretch of this exhaustive chamber music feast will be starred by the cellist Gautier Capuçon, who will propose three samples of the richness of literature for cello alone with pieces from different centuries signed by Johann Sebastian Bach, Henri Dutilleux and Zoltan Kodaly. The finishing touch for the cycle will be put by the young man Azahar Ensemble next to the great pianist Christian Zacharias shaping the Beethoven quintet alongside works by an often-forgotten author, Anton Reicha.

Borders is the restless and heterogeneous cycle of CNDM, a privileged space to discover music from the past, of the present and even of the near future. The program of the season consists of ten concerts, one of them extraordinary and starring the Philip Glass Ensemble, a whole myth of the music of our time whose influence has already left its mark on at least three generations of music lovers.

The border trip of the CNDM will proceed with Rudolf Buchbinder y “Diabelli 2020”, that brings together the famous Diabelli variations by Beethoven and eleven new commissions, made by the CNDM and various institutions and international concert halls, composers of the stature of Tan Dun, Toshio Hosokawa, Max Richter, Rodion shchedrin, Johannes Maria Staud o Jörg Widmann, among others, and that the pianist has recently published with Deutsche Grammophon. Then we will meet Joep Beving, neoclassical composer and pianist who will introduce us to his peculiar microcosm of beauty, reflection and melancholy. Equally exhilarating - amid neoclassicism, electronics and the avant-garde- It is the proposal of the young Polish duo formed by the pianist and singer Hania Rani and the cellist Dobrawa Czocher. The sober and distinguished Camané, accompanied by piano Mario Laginha officiate the great ritual of Portuguese popular culture and demonstrate why they call him the Prince of Fado.

Also exciting is the project of the restless violagambista Fahmi Alqhai with the dancer and choreographer Patricia guerrero, that will transport us to the Seville of the seventeenth century, imbued with Afro-Caribbean rhythms and dances from the New World through the Sevillian port. Then the always heterodox returns to Fronteras Elche boy, an artist that exceeds any label and rating, this time presenting his new project The exclusion.

The musical adventure will continue with the highly anticipated concert by the icelander Víkingur Ólafsson - signer of award-winning record projects and a reputation as a "new piano genius"- in which we will listen to his new album project about Mozart and his contemporaries. The most illustrious mezzo-soprano Anne Sofie von Otter has triumphed in all the world singing meccas, but his most precious gift is still versatility: will demonstrate it once more in his Madrid recital, performing with the quartet Brooklyn Rider Franz Schubert pieces in dialogue with others by contemporaries such as Rufus Wainwright and Osvaldo Golijov. Borders will close the great Rodrigo Cuevas, folklore archaeologist, performer, transgressive ... with the waste of ingenuity and creative hyperactivity of this singular artist we will bid farewell to this installment of the most eclectic cycle of the CNDM.

He CNDM and the Andalusian Institute of Flamenco present in co-production a new edition of Andalucía Flamenca, that will once again bring together the best representatives of the passionate and exciting flamenco art in the Auditorium: the first concert will be given by two living legends of cante from the Jerez neighborhood of Santiago: Juana ‘The One with the Pipe’ Y Luis ‘El Zambo’. Then the Huelva will arrive Argentina, with a recital in which he will offer the songs of his sixth album dedicated to Christmas. Mayte Martin will visit the cycle with "Memento", a look back, an incitement to musical memory and "religious respect" that the cantaora professes to flamenco. “Noche flamenca” is the proposal of Maria Mix Y Sandra Carrasco, who will take a tour of the popular flamenco songbook "drawn" from different aesthetics and geographies: Sanlúcar and Huelva. The turn will be later for the legendary José Cortés ‘Pansequito’, a veteran artist who has spent his entire life touring the most important stages in the world. They will close this program of great voices and unique personalities Maria Toledo, artist with a deep preparation as a singer and pianist and the singer Manuel Lombo, interpreter of a work full of aromas, nuances and lyrics in its purest form.

Come back too Jazz at the Auditorium, with a relevant representation of national jazz and a formidable roster of international artists. Up to four extraordinary concerts in the Symphonic Hall have been scheduled this season, starring three great jazz divas: Madeleine Peyroux, Dianne Reeves, Y Cecile McLorin Salvant. The fourth extraordinary concert will be starred by our dear Andrea Motis, one of the most dazzling talents of national jazz.

Other exciting proposals await us in the Chamber Room, as the dialogue between Enrico Rava (trumpet) Y Fred Hersch (piano); the concert of Enrico Pieranunzi next to Eurostars Trio; Antonio Serrano Quartet with "Clazzical" together with Albert Sanz (piano), Toño Miguel (double bass) Y Stephen Keogh (drums); Artemis, band made up entirely of women of colossal talent, led by the pianist Renee Rosnes. The constellation of stars continues inexhaustible with Chano Dominguez, decisive musician in the aesthetics of jazz-flamenco, the double bass player Christian McBride in quintet format with Inside Straight. Then the concert of the pianist will take place Joey Calderazzo duet with John Patitucci and the veterans The Cookers. Will close this brilliant tour Jazzmeia Horn, a singer with a powerful voice and classic resonances who has become essential on the world circuit of the genre.

The new edition of the successful Bach Vermouth will offer eight concerts in Madrid that will bring together the most prestigious organists of today. The cycle -with its novel bet on organ concerts broadcast on the big screen, accompanied by a later aperitif enlivened by jazz ensembles-, has already become a cultural phenomenon, playful and social (Although this last aspect has been temporarily postponed due to the security measures derived from the health situation). To these recitals we must add another eight concerts framed in "The organ in the cathedrals", that will take place in Murcia, Bilbao, Burgos, Lion, Barcelona, Pamplona, Malaga and Las Palmas.

This "cathedral cycle" of the CNDM was created with the vocation of bringing organ music to a large number of Spanish cities through a series of concerts that bring together the best national and international instrumentalists. further, the program highlights the magnificent instruments of our cathedrals, keeping this heritage alive not only from a musical point of view but also from a historical point of view. Between both cycles we will listen to greats of the organ such as Jean-Baptiste Robin, Gunnar Idenstam, Alberto Sáez Puente with the Children's Choir of the Bilbao Choral Society, Pablo Márquez, Benjamin Alard, Herman Jordaan, Oscar Candendo Next to the Chamber Choir of Navarra, Christian Schmitt, Aaron Ribas, Pieter Van Dijk, Joan Seguí, Angel Montero Y Vaqué Sea.

He Lied, in its twenty-seventh edition at the Teatro de La Zarzuela, will bring together one more year some of the best voices of the genre in ten concerts, in which we can listen to Ekaterina Semenchuk, Marlis Petersen, Eva-Maria Westbroek (in his presentation in the Lied cycle), Matthias Goerne, Josep Ramon Olive, Katharina Konradi (these last two also debuting in the cycle), Andre Schuen, Mark Padmore Y Christian Gerhaher in two concerts, the first of them next to Julia Kleiter (in his debut in the cycle), and the second accompanied by Anna Lucia Richter.

He CNDM maintains its determination by incentivize and promote The incorporation of new audiences to its different informative and educational programs with 58 activities, almost all free, in 13 Spanish cities, in coproduction with 15 academic institutions: seven Spanish universities (Oviedo, Lion, Salamanca, Complutense of Madrid, Granada, Cádiz and CEU), six Spanish Conservatories of Music (Alicante, Badajoz, Don Benito, Merida, Madrid and Oviedo), and two primary and secondary schools in the Community of Madrid (who will participate in the eleventh edition of the Pedagogical Project “We all believe”, coordinated by the pedagogue Fernando Palacios and dedicated this year to “Between the networks ", a project in which young students will analyze and work around the current reality of our “interconnected” world).

In the University of Salamanca will take place the already traditional Historical Singing Course imparted by Carlos Mena just like him Baroque Rope Course imparted by Pedro Gandía, Andoni Mercero e Itziar Atutxa. And in the Ciudad de León Auditorium the X Course of Baroque Vocal Interpretation, annually taught by the director, harpsichordist and musicologist Eduardo López Banzo.

The discounts for youth under 30 years, with various offers and important advantages in the acquisition of tickets, especially through the Last Minute program (that as a novelty offers the price of 2 euros for seats purchased from one hour before the start of the concerts) and stable agreements with numerous schools so that students who actively participate in the courses and cycles co-produced jointly, can attend for free to concerts and other activities programmed by the center in different Spanish cities. They will benefit from a discount from 50% older than 65 years, those under 30, The unemployed, large families and people with a minimum disability of the 33%. Groups over 20 people can take advantage of a discount of 20%.

Just like last season, in the 21/22 ticket sales will take place in two phases. For the "Preseason", which includes the concerts scheduled in Madrid between the months of October and December, there will only be single tickets and they may acquire from 25 of June. The "season", which will include the concerts scheduled in the capital between the months of January and June will have season tickets and single tickets if conditions allow. The acquisition of these locations may be carried out from autumn and will be reported later on all the details, depending on the measures dictated by the Community of Madrid.

The entrances of the preseason of the cycles programmed in the National Music Auditorium can be purchased from 25 June at the box office of the National Music Auditorium, at the box office of the INAEM network of theaters, in www.entradasinaem.es and on the phone service 91 193 93 21. Tickets for the Lied cycle CNDM at Teatro de la Zarzuela are available from 21 of June.

Tickets for all concerts scheduled in autumn at the Symphony hall will have a cost between 5 Y 60 euros and those programmed in the Chamber room between 10 Y 40 euros. He XXVII Cycle of Lied of the Teatro de la Zarzuela keeps your locations 4 a 35 euros, Y Series 20/21 programmed into the Reina Sofia Museum will keep the free access until the capacity of the room is reached.

Rocks is the name of the series of images that make up the new season of CNDM and they are the work of the Basque photographer Isabel Diez. The images, all of them photographs of rocky surfaces have been chosen not only for their plasticity and visual "rhythm" but also for transferring the idea of ​​solidity of the project from the CNDM, a project that even in the most difficult and challenging circumstances has remained, reaching high levels of activity and public influx, reaffirming its commitment to musical excellence, with society and with the Spanish music sector.

Photograph (c) Elvira Megías

Orlando Furioso

The next 17 June the stage of the Royal Theater will be filled with the music of one of the jewels of the Baroque, Orlando Furioso, by Antonio Vivaldi. Performed by the formation Harmony Athena, under the direction of the great specialist in the repertoire, George Petrou, has a cast of great voices led by the countertenor Max Emanuel Cencic in the title role.

The soprano completes the cast Julia Lezhneva (Angelica), mezzosoprano Ruxandra Donose (Alcina), the contralto Jess Dandy (Bradamante), countertenor Philipp Mathmann (Medoro) Y David D.Q. Lee (Ruggiero) and the bass baritone Pavel Kudinov (Astolfo).

Orlando Furioso is an opera in three acts by Antonio Vivaldi, with Italian libreto by Grazio Braccioli, based on the epic poem Orlando Furioso of Ludovico Ariosto. The play tells the story of Orlando, a noble knight brave and in love, although unrequited, trapped on the island of the beautiful sorceress Alcina. The scene, woven with love triangles, tangles and magic, combines various arguments from the original work and composes a love story, jealousy and madness.

The chivalric epic poem written by Ariosto in 1532 contains several main characters, even though only one gives it a name, and has inspired numerous authors, from Lully to Haydn. Years after the premiere of this Vivaldi, would see the light two of the best known titles of Händel: Alcina (1735) Y Orlando (1733).

The first performance of the title took place in Venice, at the Sant’Angelo Theater, in 1727, and it is one of the few that remain from the prolific creation of the Venetian composer. His demanding vocal writing - loaded with arias and recitatives as beautiful as they are difficult-, its complex plot –which makes the characters evolve in their dramatic color- and the extent of the work, requires a set of world-class voices, like the one that now meets at the Teatro Real.

Harmony Athena is a project of the Camerata de Atenas, founded in 1991 at the inauguration of the Megaron concert hall in Athens, where it has its headquarters since then. In autumn 2009, started a regular collaboration with the conductor George Petrou, interpreting with period instruments a wide repertoire that goes from baroque to classicism. In addition to his usual activities with period instruments, the orchestra maintains various projects in the field of opera and contemporary music.

Petrou He is considered one of the world's leading Baroque specialists, but nevertheless, his musical activity is very wide, and includes 20th century and contemporary music.

Photography design © Pep Carrió

VivalaMamma-1

VivalaMamma-2

VivalaMamma-3

VivalaMamma-4

VivalaMamma-5

VivalaMamma-6

VivalaMamma-7

VivalaMamma-8

VivalaMamma-9

 

The theatrical conveniences and inconveniences
Viva la Mamma!
Gaetano Donizetti (1797-1848)
Playful drama en dos actos
Teatro Real, Madrid 5 June of 2021
Libreto by Domenico Gilardoni, based on the works Le convenienze teatrali
(1794) y The theatrical inconveniences (1800) by Antonio Simeone Sografi
Choir and Orchestra of the Teatro Real holders
D. musical: Evelino pido
D. scene: Laurent Pelly
Costume designer: Jean-Jacques Delmotte
scenographer: Chantal Thomas
illuminator: Joel Adam
D. choir: Andrés Máspero
Distribution: Sabina Puértolas, Gabriel Bermúdez, Luis Cansino, Francesca Sassu,
Alejandro del Cerro, Carol Garcia, Enric Martínez-Castignani, Piotr Micinski,
Luis López Navarro Opera is a very broad artistic expression. Total Art, Wagner was talking about. And behind the own stories that an opera tells us, there are others that are being woven between those who participate in them. To such an extent those other stories were important, that became a genre within the operatic compositional panorama towards the second half of the 18th century, in full classicism. The great animator of this new genre was Benedetto Marcello. Related to opera through its many facets as a composer, writer and businessman, in 1720 publishes a kind of satirical pamphlet entitled "Il teatro alla moda", that quickly generated a movement of critics adept at his cause and that did not leave a puppet with a head, they were already composers, singers, businessmen or simple stagehands. Marcello thought that classical opera had succumbed to the whims of the divas and the superficiality of the scenography.

The "Il teatro alla moda" actually had a lot to do with the way of doing theater at the time with great success among the public.. At that time, a kind of highly hierarchical operatic show was still taking place., where the singers had the command. The scores were at the service of the interpreters, even getting to write the works on the fly depending on the tastes or whims of the singer on duty.

A good number of works were then written on the subject, But with the passage of time the roles were reversed and it was the directors and entrepreneurs who came to take command. From that moment on, these works stopped making sense and were being forgotten..

One of these works is ¡Viva la Mamma!, whose real title is Le convenienze ed inconvenienze teatrali. It was too long a title that was replaced by ¡Viva la Mamma! when he returned to the stage. It was one of the last compositions of this genre and it is the first time that Donizetti wrote the libretto for one of his works.. A funny satire that talks about the entanglements and rivalries that occur during the staging and performance of an opera.

These popular works also had great flexibility in making changes.. Donizetti composed a first version consisting of a single act and, as if it were a zarzuela, had spoken parts that were written in Neapolitan dialect.

Four years later it opens in Milan and the composer adds a second act, removing the Neapolitan from the score so that it could reach the entire audience.

Laurent Pelly is the stage director of this new production of the Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva. scenography, using the idea of ​​forgetting this type of work, presents an old theater that is used as a parking lot. On stage, The characters that compete for the title role or to sing the best arias are parading, being the victims of these internal wars, businessmen, composers and librettists.

Pelly has turned to the theater within the theater and has created some characters, rather belonging to the past, that are fun while producing a certain melancholy. characters, as its authors wrote and Benedetto Marcello described well, they exaggerate their flaws to cause more hilarity. Characters for which singers who have a very important interpretive level are needed, apart from the vocal demands, that are not few in this score.

This second cast has been led by the soprano Sabina Puértolas and her Daria, the first woman. A candy that Puértolas embroiders thanks to its sophistication on stage and a very good execution of the first act cabaletta, full of difficulty due to its demanding agility.

Procolo is Daria's husband, played by Gabriel Bermúdez. A toxic husband pretending to be another prima donna like his wife. Bermúdez achieves a great performance, fun and with a good vocal level.

The tenor Alejandro del Cerro played Guglielmo, el first tenor, that embroidered the character stretched out and with a German accent. Had some very inspired moments, as in his aria from the second act.

Without a doubt, the winner of the night was Luis Cansino and his role as Mamma Agata. A transvestite in reverse, because until then only women dressed as men. Cansino gets into this role that can be said to be a specialist. She brilliantly recreated the twisted mamma de la seconda donna pretending to be the diva herself. He changed his register from baritonal to falsetone quite naturally in those unwritten notes and with which he played with mastery..

Luigia, the second gives, hija de Mamma Agata, was in charge of the Italian Francesca Sassu. He interpreted the timid and timid character of compresaria very well and showed the quality of his instrument., being at a very good level.

The rest of the cast had a participation at the height of the protagonists. Stage director Luis López Navarro, businessman Piort Micindki, the poet Enric Martínez-Catignani and the funny Pipeto by Carol García.

Evelino Pidó knows this repertoire well and it shows that he has a trade and experience. He solved the balance between pit and stage very well in such a sparkling play.

The performance ends with a group of workers entering the scene with their destructive machines., which is a true plea in defense of culture in a year as complicated as this. But the strength of those who, in the worst circumstances, they have defended it.

Text: Paloma Sanz
pictures: Javier del Real

Teatro de la Zarzuela 21/22

Daniel Bianco, director of Teatro de la Zarzuela: "A new season is a new illusion that promises a future, it is a horizon that offers hope, something we all need now more than ever "

They will be presented 10 musical theater titles, 4 recoveries lyrical heritage, 6 large repertoire productions and 5 new productions

They offer 164 functions, maintaining the average of recent years

One of the main lines of programming is once again the figure of women in Spanish music, expanding and dedicating the cycle Chamber Sundays Women with Ñ in full and for the second consecutive year to Spanish composers, as well as the recital of “Notes from the Ambigú " A Woman in Music –On the occasion of International Women's Day– and the concerts Zarzuela has a woman's name by Rosa Torres-Pardo and Nancy Fabiola Herrera based on romances that have the woman as the protagonist and Women of Music by Sole Giménez

He Zarza project –Strap made by young people for young people– recently awarded the Opera XXI Award for Best Development Initiativeof the Lyric, will again be a fundamental piece of the season, and the didactic projects they will again surpass the 20% programming

He Concerts cycle will offer 8 proposals some of the leading voices of lyric, he flamenco, he pop and popular music

The cycle 'Notes from the ambigu', that continues its incessant public success, offers 10 recitals

The cycle, "About…", hand in hand with the musical director of the Theater, Guillermo García Calvo

They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM

Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

He Teatro de la Zarzuela presents Season 2021/2022 whose 164 functions scheduled, what maintain the average of recent years, will be the embodiment of a new horizon in sight. This is what he points out Daniel Bianco, colosseum director, that labels the new course as "the season of illusion". And the confidence and the good tuning is not for less, since in the season that we are still the fierce threat of the covid has not been able to with this Theater: “We can proudly say that we have not delayed a single performance or canceled a single day due to covid ", points, and indicates that "all the productions of the theater, concerts and recitals have been carried out to this day ".

And he does not want to fail to mention anyone in this arduous task that has involved carrying out an entire program with the hostile circumstances that the entire society still faces.: “It has been an effort of all. Technicians, Choir, Singers, dancers, actresses, Actors and Artists who love and arm the Theater with the mission of raising the curtain every night. And so we did, mission accomplished", affirms with an undisguised satisfaction.

This explains the illusion to which the director alludes as the motto of the season in the headline of the presentation.; illusion because the music, zarzuela, will continue to play on this stage in the next season. "I firmly believe that music and scene are capable of changing the world and together improving it, and that its miracle is present when the public and artists participate in the same rhythm, the same song, the same dream, the same breath ".

And complacency transforms into deep emotion when he alludes to the public. "When we started the season we didn't know how he was going to react, if he would accompany us on this path, if I would be afraid to return ... But the response has been excellent: has once again demonstrated its loyalty by going to all our functions, following our broadcasts by streaming, our conferences and online meetings with artists. Being part of life, of the day to day of this theater ". And with a categorical statement, supports the certainty that there is only room for excitement and gratitude: "Without the audience this theater would not exist".

And Daniel Bianco wants to remember that extreme caution to which at the beginning of the season that now ends, alluded to as the only possible way to function: “As a public theater this is our first responsibility and our commitment: prudence has guided our steps and we have completed the entire season rigorously complying with all the recommendations and regulations that protect us from the coronavirus dictated in the INAEM protocol ".

The season

This that is presented is the sixth season since Daniel Bianco arrived at the Theater (although it could also be presented as the season 162 Since its founding in 1856): "This is one more stage of a long-range project whose objective pursues a specific purpose: that the Teatro de la Zarzuela continue to fulfill the mission with which it was born, which is none other than be the privileged setting of Spanish musical theater, with the inalienable vocation of being a public theater, accessible and affordable, open to anyone who wants to discover and enjoy the Spanish lyrical heritage. These are the reasons why - as our statutes say - we are and will continue to be the National Lyric Theater ".

Thus, and under that maxim, in the next season they will be presented 164 functions, maintaining the average of functions of the last years; 10 musical theater titles, of which 4 They are recoveries of the Spanish lyrical heritage: two of them in concert and two on stage; in addition to 6 lyrical titles of the great Zarzuelistic repertoire. The concert cycle with 8 proposals ranging from lyric, flamenco, pop or popular music and the cycle notes of the ambigu with 10 recitals. further, The Sunday Chamber series dedicated to Spanish female creators is extended he starts walking a new cycle by the musical director of the Theater, Guillermo García Calvo.

Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, the season will begin with the recovery of one of the capital titles of Spanish opera. We talk about ‘Circe’, work of great significance in the history of Spanish opera because in it Ruperto Chapí develops to its last consequences its own style that the Wagnerian avant-gardes assume and transpose them to the Spanish lyric. Not in vain, ‘Circe’ was (together with ‘Farinelli’ from Bretón and ‘María del Pilar’ from Giménez, both also recently recovered by the Teatro de la Zarzuela) one of the titles of the opening season of the Teatro Lírico de Madrid, Coliseum that was built precisely to give space and opportunities to Spanish opera, in contrast to the Italian and French opera that dominated the city's lyrical billboard. It will be directed by Guillermo García Calvo and will feature the voices of Session Hernández, Alejandro Roy, Rubén Amoretti and Pilar Vázquez. They will 2 functions in concert version the days 10 Y 12 of September.

After 20 years without performing at the Teatro de la Zarzuela, one of the most beloved and celebrated titles by the public faithful to the genre and its theater returns to its stage: ‘Los Gavilanes’. This was precisely the first foray of the Master Jacinto Guerrero in the big zarzuela, and it has remained until today in the repertoire and in the sentimental memory of fans. The play talks about immigration, of the passage of time, of young loves and forgotten loves. This new production of the Teatro de la Zarzuela will have as musical director Jordi Bernàcer and as stage director to Mario Gas. Have been scheduled 13 functions 8 al 24 October, and will have the participation of Juan Jesus Rodriguez, Javier Franco, Maria Jose Montiel, Sandra Ferrández, Marina Monzó, Leonor Bonilla, Ismael Jordi, Alejandro del Cerro,
Lander Iglesias, Esteve Ferrer, Ana Goya,
Trinidad Iglesias, Enrique Baquerizo, Mar Esteve and Raquel del Pin. The scenography will be Ezio Frigerio, your wardrobe Franca Squarciapino and lighting Vinicio Cheli.

Now a year ago, when we were still coming out of confinement, the Teatro de la Zarzuela promised to relocate all the shows that were affected between March and June 2020. During this season, all the concerts and recitals that had to be postponed have been rescheduled., and last January the new production of ‘Luisa Fernanda’ scheduled for May 2020. In November 2021 he will get over ‘La Tabernera del puerto’, a production that was not only affected by the confinement, but also by the strikes of 2018 against the merger of the Teatro Real and the Teatro de la Zarzuela. On that occasion, only five functions could be held. In november of this year, the public can enjoy, between 19 and the 28 of November from 8 functions of this essential title of Pablo Sorozábal, with musical direction by Óliver Díaz, scenic of Mario Gas, scenery Ezio Frigerio, wardrobe Franca Squarciapino and lighting Vinicio Cheli. In the distributions they will participate María José Moreno, Sofia Esparza, Damian del Castillo, Rodrigo Esteves, Antonio Gandia, Antoni Bunk, Rubén Amoretti, Ruth González, Vicky Pena, Pep Molina, Ángel Ruiz, Abel García and Agus Ruiz.

If ‘La Tabernera del puerto’ is one of the most popular works of our genre, he Master Sorozábal has not so well known jewelry, as is the case of ‘Between Seville and Triana’, lyrical sainete in two acts premiered in 1950. Between 26 January 6 February They will be offered 10 functions stories of this work that arrives for the first time on the stage of La Zarzuela. As usually happens in all the works of the San Sebastian composer, no one will be indifferent: this time, the dignity of women is vindicated (in the figure of a single mother) against the customs and morality of a time that fortunately is already history. In it we will be dazzled by the most Andalusian Sorozábal that exists, with melodies full of light and others of deep drama. It is a production of 2012 of the Arriaga Theater in Bilbao, the Maestranza Theater in Seville, the Canal Theaters in Madrid and the Campoamor Theater in Oviedo. The musical director will be Guillermo García Calvo, musical director of the house, and the scene Curro Carreras. The scenography is by Ricardo Sánchez Cuerda, the costumes of Jesús Ruiz and the choreography of Antonio Perea. The two casts will have Carlos Alvarez, Javier Franco, Ainhoa ​​Arteta, Carmen Solis, Andeka Gorrotxategi, Alejandro del Cerro, Anna Goma, Jesus Mendez, cross Beitia, Pedro Bachura, Antonio Martinez, Rocío Galán, Nathan Segado Y Lara chaves.

The days 4 Y 6 of March, and again following the policy of recovery of the Spanish lyrical heritage of the Theater, will be rescued from oblivion ‘Tabaré’, magnificent work like all of Tomas Breton. Premiered in its day by the tenor Francisco Viñas in 1913 at the Theatre Royal, It could only be heard in three unique performances and to this day it has never been performed again.. It is a mature composition that synthesizes the melodic lyricism of the Italian tradition, the harmonic treatment of Wagnerian opera and sounds typical of impressionism. Breton himself considered it his most personal and independent work. And the subject on which the argument is developed could not be more particular: the fight between Charruas Indians (that populated what is now Uruguay in the 16th century) and the spanish. An unconventional theme with a libretto by Tomás Bretón himself based on the homonymous epic poem by Juan Zorrilla de San Martín. It will be directed by the teacher Ramón Tebar in front of the Titular Theater orchestra, Community of Madrid Orchestra, BARREL, and the Titular Choir of the Teatro de la Zarzuela, and a cast that has Andeka Gorrotxategi, Maribel Ortega and Juan Jesús Rodríguez.

Another especially important moment will be lived in the month of April: the stage recovery of the musical comedy of Isaac Albeniz ‘The Magic Opal’. It is the first stage work that Albéniz composed for the English public. Premiered in London, in English, in 1893, was quickly translated into Spanish and presented in 1894 at the Teatro de la Zarzuela.
In that occasion, the public did not understand the work because it was far from the Spanish musical tradition. But nevertheless, it is a colorful work, suggestive and fresh: a different Albéniz. The translation of the libretto of 1894 –Titled then ‘The Ring ’– has not been preserved, and that is the reason why for this representation that recovers the title a new translation into Spanish has been commissioned by Javier L. Ibarz Y Pachi Turmo. The musical direction will Guillermo García Calvo, the stage direction and scenography of Paco Azorín, your wardrobe Juan Sebastian Dominguez, lighting Pedro Yagüe and the audiovisual design of Pedro Chamizo. They will lead the deals Ruth Iniesta, Carmen Romeu, Santiago Ballerini, Leonardo Sánchez, Luis Cansino, Rodrigo Esteves, Damián del Castillo and César San Martín. They are scheduled 8 functions 1 al 10 of April.

The following title is an example of great mastery: with just one orchestra composed of the string sections and two harps, Manuel Penella manages to write one of the most beautiful titles in the repertoire. Speaking of ‘Don Gil de Alcalá’, an opera set in the Viceroyalty of New Spain in the 18th century, which will be presented in a production of the Spanish Lyrical Theater Festival of Oviedo signed by Emilio Sagi in 2017. They offer 14 functions 5 al 22 of May, the musical direction will be Lucas Macías and in the distributions they will intervene Celso Albelo, José Luis Sola, Sabina Puértolas, Irene Palazón, Carlos Cosías, Facundo Munoz, Carol Garcia, Lidia Vineyards-Curtis, Esteve Manel, Eleomar Neck, Stefano Palatchi, Simon Orfila, Mary Jose Suarez, David Sanchez, Ricardo Muñiz and Miguel Sola. The scenery is Daniel Bianco, your wardrobe Pepa Ojanguren, lighting Eduardo Bravo and choreography Nuria Castejohn.

And to top off the lyrical season, one of the unavoidable titles of zarzuela, of those who make the genre great and create fans, The barberillo Lavapies' from Francisco Asenjo Barbieri, who will hit the stage in the coliseum production which premiered with thunderous success in 2019, and that he has traveled with the same luck to Sevilla, Oviedo and Valencia. Signed by Alfredo Sanzol, one of our most prominent playwrights and directors, National Dramatic Literature Award in 2017, in the musical he will direct it again José Miguel Pérez-Sierra; the scenery and costumes are by Alejandro Andújar, lighting Pedro Yagüe and choreography Antonio Ruz. Maybe Borja, David Oller, Cristina Faus, Carol Garcia, María Miró, Cristina Toledo, Javier Tomé, Francisco Corujo, Gerardo Bullón and Abel garcia will make up the casts in the 10 functions to go of the 15 al 26 of June.

With the introduction of these 8 titles the theater will continue to be one more year unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success of its first five seasons, he CONCERT SERIES in the main room presents 8 new proposals with some of the leading voices of lyric, the popular song, he flamenco and the pop. This makes the Theater a fundamental space in our theater because there is room for the plurality of Spanish music, without prejudice and with a spirit open to all audiences. The singer will open the cycle Sole Giménez presenting ‘Women of Music’, continuation of the concert that already offered last season as part of a broad project that brings together great songs composed and written by women with the intention of making visible the work of women as authors in the world of music (18 October); soprano Lisette Oropesa, internationally acclaimed, He makes his debut at the Teatro de la Zarzuela and will sing for the first time in his career a recital of Spanish and Cuban zarzuela romances: ‘Zarzuela back and forth’. A very special concert with which the singer wants to pay a heartfelt tribute to Cuba, the land of their fathers, and in which she will be accompanied on the piano by Rubén Fernández Aguirre (13 from December); the traditional Christmas Concert, with the teacher Guillermo García Calvo as musical director, who will the soprano accompany Ainhoa ​​Arteta with the Community of Madrid Orchestra and the Holder Choir Teatro de la Zarzuela (30 from December); Estrella Morente, with his privileged voice, unique sense of rhythm, passion and heritage of his elders, This undisputed benchmark of flamenco and Spanish music returns to his home in Madrid to celebrate 20 years as a unique artist. (31 from January); and from one star of the flamenco firmament to another: Archangel, one of the leading singers in the current flamenco scene with an extensive career characterized by the balance between tradition and the avant-garde, it show us 'Bel cante'. With that tireless search for new paths, will immerse the public in a journey through zarzuela, flamenco and opera next to Quintet Tottem Ensemble (5 of March); then the show will come ‘Zarzuela has a woman’s name’ in which two essential artists, the pianist Rosa Torres-Pardo and mezzosoprano Nancy Fabiola Herrera they meet in a recital in which they will “converse” through different romances that have women as the main character (5 of April); Silvia Pérez Cruz. 'Farce (impossible gender)’. Alone: the renowned artist from Palafrugell returns to this stage, alone, with his guitar, creating an intimate space to present their latest album project. (9 Y 10 of May); Xabier Anduaga. 'Our music'. The San Sebastian tenor, brilliant winner of the International Opera Award and the Opera XXI Award for best young singer and before the Zarzuela Operalia Award and also for the Best Young Singer of the International Opera World Competition, will sing for the first time in this Theater a recital of zarzuela and songs by Spanish composers. further, will seduce the public with romanzas and zarzuela arias (21 of June).

Since its inception, five seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign of ‘sold out places’ and have left a sweet and different taste to any musical experience due to the proximity of the artist with the public that creates an exciting and happy atmosphere. This time, the protagonists will be the soprano Sabina Puértolas with pianist Rubén Fernández Aguirre, who will offer a recital entirely dedicated to Emilio Arrieta (1821-1894) in commemoration of the bicentennial of his birth (28 October); the singers and actors Nuria Pérez and David Pérez Bayona, that accompanied by the pianist Alvaro Ortega Luna, will present ‘Engaged. From musical theater to zarzuela ’. The story of two young people from musical theater who began their career in the Zarza Project and discovered in zarzuela a genre that, without knowing it, it belonged to them (20 October); the bandoneon player Claudius Constantine and pianist Louiza Hamadi that will commemorate the centenary of the birth of Astor Piazzolla (1921-1992) (2 from December); countertenor Alberto Miguélez Rouco with Pablo Fitzgerald (lute) Y Theodore Chest (viola da gamba) will offer us a program dedicated to Cantadas by Jose de Torres (1670-1738), one of the most important composers of the Spanish Baroque; choirmaster, editor musical, organist and composer of zarzuela (4 from January); the tenor Enrique Viana, accompanied by pianist Ramón Grau, will give the public an hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung. A ≪cabaret lirico≫ with music from our zarzuela under the title 'Luisa Fernanda, I already have Instagram’ (7, 8 Y 9 from January); the soprano Carmen Romeu and pianist Borja Mariño will present 'My home ’, a program with which we will discover music by Valencian composers such as Oscar Esplá, Manuel Palau Boix, Miquel Asins Arbó, Angeles Lopez Artiaga Y Matilde Salvador, among others (11 February); on the occasion of International Women's Day, actress-singer cross Beitia will offer the recital ‘A woman in music’ dedicated to women composers of popular music such as Chabuca Granda, Mercedes Sosa, Violeta Parra, Consuelo Velázquez O Cecilia, and with César Belda the piano (8 of March); the tenor David Alegret and pianist Rubén Fernández Aguirre they will offer the recital ‘Catalans around the world’ with works by Catalan composers who also composed in other languages: in Catalan, Eduard Toldrà; in German, Joan Manen; in French, Pau Casals; in Spanish, Jaume Pahissa; or in italian, Isaac Albeniz; among others (18 of April); 'Contemporary Spanish Music'. In order to promote the creation of new works for chamber groups, the Teatro de la Zarzuela, in collaboration with the Real Conservatorio Superior de Música in Madrid, summons a composition contest for young composers. The three winning works will be premiered at this concert by the Ensemble Opus 22 (28 of June); and to close the cycle the guitarist Rafael Aguirre will dedicate his recital 'The last romantics' to the music of Francisco Tárrega e Isaac Albeniz (4 of July).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ. Third edition of the cycle of Spanish chamber music that for the second year in a row she will be fully dedicated to the role of women in music in her role as a composer. With this cycle the Theater wants to continue with the dissemination of these works, many unpublished, and discover to the public the excellent quality of the creations of these Spanish composers who rarely had or have due recognition for their creations. In this way, some of our 20th and 21st century composers will be valued as Maria Teresa Prieto, Rachel Garcia-Tomas, Claudia montero, Diana Perez Custodio, Illuminated Perez Frutos, Laura Vega, Maria Jose Arenas, Mercedes Zavala, Dolores Serrano, Marisa Manchado, Sonia Magías, Cruz Lopez de Rego, Zulema de la Cruz, Maria Rosa Ribas, Emma Chacon, Elena Mendoza, Emiliana de Zubeldia, Gabriela Ortiz, Nuria Núñez O Teresa Catalán, among other. And the commitment of the Teatro de la Zarzuela is also with the future of the authors, so that each concert will feature an absolute premiere by young female composers, students of the Royal Conservatory of Music Superior of Madrid. The five appointments of this edition will be: Breton Quartet (7 of November), Cristina Montes, barley (20 February), Sax-Ensemble Quartet (20 of March), trio Arbós (24 of April) Y mario Prisuelos, piano (5 of June). The absolute premieres will be of the students AGarrido sends, Adela Rodríguez Yus, Laura de las Heras, Miriam Sanz Ortega and Nuria M. Sanchez Sanchez.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVIII edition with 10 recitals: the mezzosoprano Ekaterina Semenchuck (4 October), soprano Marlis Petersen (23 of November), soprano Eva-Maria Westbroek (20 from December), baritone Matthias Goerne (7 February), baritone Josep Ramon Olive (21 of March), soprano Katharina Konradi (4 of April), baritone Andre Schuen (17 of May), the tenor Mark Padmore (20 of June), soprano Julia Kleiter with the baritone Christian Gerhaher (11 of July) and mezzosoprano Anna Lucia Richter also next to the baritone Christian Gerhaher (18 of July) and again the baritone Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last five seasons in a decade.

In the new Season a total of 30 functions between the shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, a project that has just received the Opera XXI Award for the Best Lyric Promotion Initiative, is a resounding success every season. In the five that it has been running, have passed through the seats of the Theater more than 35.000 spectators -of which more than 21.000 they have been school from among 12 Y 18 years- who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma', 'Water, Azucarillos y Aguardiente ’and‘ Amores en Zarza ’, and close to 100.000 who have been able to enjoy it online. How could it be otherwise, In the season 2021/2022 the project is back with force and with a record number of nominations for the Auditions: more of 800 young artists have appeared at the same. This year the project will present a new production of the musical by maestro Jacinto Guerrero 'The green envelope' the original libretto of Enrique Paradas and Joaquín Jiménez will be reviewed by the playwright Álvaro Tato. With stage director Nuria Castejón, musical of Cecilia Bercovich, scenery Ricardo Sánchez Cuerda and wardrobe Gabriela Salaverri, the cast will be formed as usual, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 12 functions They will be offered of the 21 al 26 February 2022.

And the didactic projects stand out one more year because, thanks to them, he Ambigú del Teatro once again has the function of a show space for the fifth consecutive year. After two exciting deliveries 'Lost in Bosco' and those of the overwhelming success of 'The incredible story of Juan Latino', The puppet theater with live music will return to Ambigú. The proposal will be on this occasion the premiere of the work ‘The sky of Sepharad’, co-produced by the Claroscvro Theater and Company. Will be others 18 functions between 25 May and 3 June 2022.

Also framed in educational projects, soprano Nicola Beller Carbone, distinguished by a peculiar artistic profile, in which he takes care of the interpretive aspects as well as the musical ones, and what in 2019 founded LIBERAinCANTO to teach master classes for lyrical singers in which he works acting and singing from imagination and creativity, will offer of the 21 al 27 March master classes for young artists.

DANCE

In the next season, dance will also be the protagonist through the two national companies, Theater residents: He National Ballet of Spain arrives with the program 'Invocation', expressly designed for the company by its director, Ruben Olmo, offers a global vision of Spanish dance, encompassing most of their styles, from bowling school to stylized dance and stylized flamenco. It also includes a special tribute to the dancer and choreographer Mario maya (1937-2008), one of the great masters of our dance. They will eleven functions 10 al 22 from December. Meanwhile, the National Dance Company directed by Joaquin de Luz will present a triple program made up of the choreographies'Polyphonia’ from Christopher Wheeldon with music György Ligeti, ‘Big gap' from Hans van Manen with music by Ludwig van Beethoven and 'DSCH concert ' from Alexei Ratmansky with music Dmitri Shostakovich. They will ten functions of the 7 al 17 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 26 September to 4 October They will be presented the seven functions 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, what could not premiere in its day because of the pandemic. With libretto by the Sevillian musician himself from the 18th century, based on the intermediate of Carlo Goldoni, It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Pablo Menor Palomo, your wardrobe Ikerne Giménez, lighting David Picazo, the choreography of Andoni Larrabeiti and the cast make it up Cristina Toledo, David Alegret, David Oller, Javier words Y Andoni Larrabeiti. As usual, The representations will be at the Fundación Juan March.

GREAT VOICES FOR ZARZUELA

One of the achievements that distinguishes the Teatro de la Zarzuela is that of bringing together the great lyrical voices that sing in Spanish each season. A) Yes, in the next we will have the opportunity to enjoy the art of singers such as CARLOS ÁLVAREZ, AINHOA ARTETA, SESSION HERNÁNDEZ, LISETTE OROPESA, NANCY FABIOLA HERRERA, ISMAEL JORDI, María José Montiel, JUAN JESÚS RODRÍGUEZ, SABINA PUÉRTOLAS, XABIER ANDUAGA, ANDEKA GORROTXATEGI, CELSO ALBELO, RUTH INIESTA, SIMÓN ORFILA, CARMEN ROMEU, JOSÉ LUIS SOLA, CAROL GARCIA, MARINA MONZÓ, BORJA MAYBE, CRISTINA FAUS…, and so many and so many others that only their names make the season a truly unique experience.

Marina Heredia

Theaters Canal Madrid present Lorca and passion. A sea of ​​dreams, a cante show, music, dance and performance directed by Marina Heredia that you can see the days 18 Y 19 June in the Red Room.

The show puts on stage Lorca's complex and profound vision of women as explained by Rosario Pardo, responsible for the script and stage direction: “Smart women, did you know, mothers, rural, independent or repressed, have always accompanied his literary universe. Their vision of the world is linked to the feminine way of being. This has been the engine and the choice of the four scenes that we present in this show ...”.

Lorca and passion. A sea of ​​dreams seeks to move the public by choosing each word to show Federico's feminine vision of the world in the same way that he shows his work as a whole, bringing together cante, music, dance and performance. Artists like Marina Heredia, Eva the Yerbabuena, Jose Quevedo the Ball, José Sánchez Montes and Rosario Pardo have joined their creative strength and enthusiasm to give shape to this project.

The King who Rabbi-1

The King who Rabbi-2

The King who Rabbi-3

The King who Rabbi-4

The King who Rabbi-5

 

The King who raged
Zarzuela in three acts
Music by Ruperto Chapí
Libretto by Miguel Ramos Carrión and Vital Aza
D. musical: Ivan Lopez Reinoso
D. scene: Barbara Lluch
Scenography: Juan Guillermo Nova
Locker room: Clara Peluffo Valentini
Lighting: Vinivio Cheli
Orchestra and Choir of the Community of Madrid
Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.

At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.

The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.

This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.

The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.

The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.

The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.

Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.

It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.

A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.

Text: Paloma Sanz
pictures: Javier de Real

Crescendo

The Royal Theater has presented this morning the first edition of a project that we hope will be long-term. Twenty singers under 35 years and eight nationalities Spain, Romania Ukraine, Colombia, Norway, Germany, Venezuela and Chile have participated in the program since last March CRESCENDO, created by Foundation Friends of the Royal Theater and driven by Porosus Endowment Fund Y Edmond de Rothschild Foundations.

This international project, with a pedagogical and inclusive vocation, aims to complement the academic training acquired by young singers in their study centers, offering them workshops, master classes, debates and different transversal activities that enrich their artistic and human development to face a highly demanding professional career, public exposure and competition.

But perhaps the most important and stimulating dimension of the project is the creation of real opportunities for the young participants to start their professional careers., with performances in different initiatives of the Royal Theater.

Through auditions with the artistic direction of the Teatro Real and the directors involved in the different productions or initiatives, singers have been selected to perform at the presentation of the Season 2021-2022 last 20 of May (issued by the YouTube channel of the Royal Theater), in the traveling float installed in Fitur with performances very well received by the attendees on the days 20, 21, 22 Y 23 of May- and in various short and medium term events:

  1. Festival Real Junior: closing concert of the Season 2020-2021 El Real Junior. Main Hall of the Royal Theater, 12 of June from 2021 to 12 hours.
  2. Week Opera Theater Royal: lyrical recital. Sala Gayarre, 9 of July

  3. Mozart Revolution: Season opening concert 2021-2022 El Real Junior. Living room, 3 October from 2021 to 12 hours.
  4. ashen: opera by Pauline Viardot. Royal Theatre production, in co-production with the Teatro de la Maestranza in Seville, the Cervantes Theater in Malaga and the Opera Foundation in Oviedo. Teatro Real, Living room, 20, 21 Y 23 of November from 2021, to 11 Y 13 hours. Subsequent performances in co-producing theaters.
  5. Everyone to the Gayarre!: workshops for the whole family that will take place throughout the season Sala Gayarrre, weekends at 12 Y 17 hours.

GROWING PARTICIPANT SINGERS (alphabetical order)

  1. Agustín Gómez Cortez, tenor (Spain)
  2. Alejandra Maria Acuña Manrique, mezzo soprano (Colombia)
  3. Beatriz Arenas Lake, soprano (Spain)
  4. Celia Cuéllar Calvín, soprano (Spain)
  5. Christian Gil Borrelli, countertenor (Spain)
  6. Cristina Van Roy Roy Rathe, soprano (Norway)
  7. Martyn Estíbaliz, soprano (Spain)
  8. Gabriel Alonso Diaz, baritone (Spain)
  9. Guiomar Cantó Gómez, soprano (Spain)
  10. Juliane Stolzenbach Ramos, soprano (Germany / Portugal)
  11. Maria de los Angeles Gomez Rojas, soprano (Venezuela)
  12. Maria Eugenia Barcia Mendiola, soprano (Spain)
  13. Mario Mendez Saavedra, tenor (Spain)
  14. Marta Briales Villalba, soprano (Spain)
  15. Miriam Silva Martinez, soprano (Spain)
  16. Olga Syniakova, mezzo soprano (Ukraine)
  17. Paola Andrea Leguizamón Santos, mezzo soprano (Colombia)
  18. Ramina Scrob, soprano (Romania)
  19. Ramiro Maturana Coronado, baritone (Chile / Argentina)
  20. Vanessa Wax Bull, soprano (Colombia)

FESTIVAL REAL JUNIOR FOR THE ENTIRE FAMILY

Main Hall of the Royal Theater

12 of June, Saturday, to 12 hours

Script and presentation by Fernando Palacios

An attractive visit, fun and surprising to unexpected corners of the world with exciting music: native songs of Amazon Indians, Malaysian and Balinese rites, dances to accompany the cocky step of a Pink Panther or from a baroque opera, frenetic rhythms from Vivaldi and Mozart, soundtracks of pirates and novels, walks through the center of Madrid ... A varied assortment of songs and dances that will be performed by young people from JORCAM Choir and Orchestra, with the participation of the mezzo-soprano Olga Syniakova under the direction of Rubén Gimeno.

THE SPONSORS OF CRESCENDO

He Porosus Endowment Fund has the mission of helping young talents that emerge in the sports and artistic fields. Their goal is to support and promote their careers. Supported sports projects include golf, The surf, riding, badminton, The artistic skating, etc. The artistic disciplines concerned are, among other, performing Arts, Dance, music, cinema… Porosus endowment fund aims for excellence and high standards to support the most deserving young talents in their sporting and artistic endeavors.

In the Edmond de Rothschild Foundations push the limits of philanthropy. They find disruptive ways to engage partners and establish unforeseen collaborations between civil society, the private sector and public institutions. By expanding the impact, promote diversity and harness business zeal, make a real change. The result is more than the sum of all the parts to create the future together.

Mercedes of Cordoba

Has clear things, a firm will and a spirit that was born to dance. Is Mercedes of Cordoba, the bailaora that the next 3 June will star in the two sessions of the cycle Real Flamenco, to 19.00 and to the 21.00 hours, to show the public that nothing is by chance and that what she does is flamenco, No more.

Winner of the First Prize at the Seville Biennial (2002), Second Prize in Dance at the International Festival of Cante de las Minas (2013) and the First Prize of the National Flamenco Art Contest of Córdoba (2013), among others, are only part of the recognition of an artist whose career begins at the 4 years with her training in Spanish dance, First, and in classical ballet, after.

Her early vocation leads her to participate, to the 6, in the movie Montoyas and Tarantos; the following year he joined Manuel Morao's company, and with only 11 years ago he debuted at the Lyon Biennale, with Javier Latorre and Eva Yerbabuena. Then the Andalusian Ballet would come, directed by José Antonio, with which he was part of the artistic team of the opera Life Brief, Manuel de Falla, that inaugurated the Teatro Real in 1997.

Mercedes de Córdoba dominates all the suits, with extraordinary technique and innate naturalness, with powerful and expressive presence, able to communicate and excite the public through his elegant dance and flamenco, both in her career as a dancer in the most important companies, like performing his own choreographies in front of his company.

The show he now presents at the Teatro Real, No more, reflects his passion for flamenco, without other explanation; the sign of the fight, the dedication and unconditional love for the art that has marked his life, that makes her sick and that cures her. On the Flamenco Real stage she will be accompanied by Enrique “The Extremeño”, as a guest artist in cante; Juan Campallo, to the guitar; Jesús Corbacho, singing and Paco Vega, on percussion.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photography ®Beatrix Mexi Molnar

News