Manuel Busto

The next 18 of September, the Sevillian orchestra director Manuel Busto will return to the International Festival of Opera and Ballet “Maria Biesu” from Chisinau, to direct Bohemian Puccini within the framework of the celebration of the thirtieth anniversary of the well-known festival created on the initiative of the famous prima donna moldava Maria Biesu, which each year brings together local and international artists, becoming a cultural symbol of the Republic of Moldova.

Bust, who already directed Aida Y La Traviata in previous editions of the festival, will lead a cast led by the voices of the Moldovan soprano Natalia Tanasiiciu (Mimi) and the Egyptian tenor Ragàa Eldìn (Rodolfo), in a production with theatrical signature of Rodica Picireanu. This is the first Bohemia for the Andalusian orchestra conductor, who has already directed numerous operatic titles in internationally renowned theaters such as the Teatro Lirico Giuseppe Verdi in Trieste, the Dutsch National Opera of Amsterdam, the Taiwan National Opera House or the National Theater of Opera and Ballet "Maria Biesu" of Moldova, among others.

your season 2022/2023 also includes other important commitments, among which it is worth highlighting the debut with the City of Granada Orchestra and the return to the Teatro Comunale di Bologna, in addition to an extraordinary concert with the ROSS in the Cathedral of Seville and the To pity of Eslava in lecterns.

Manuel Busto

After the successful premiere of his chamber opera The woman tigre in a new production of Teatro de la Maestranza and the Lope de Vega Theater, Manuel Busto returns to the capital of Seville next 22 July to direct The Traviata in Verdi in the David McVicar production, which has already been presented at the Scottish Opera in Glasgow, la Welsh National Opera de Cardiff, the Royal Theater in Madrid and the Liceu in Barcelona. Bust, who four years ago directed the famous title of Verdi's popular trilogy at the Teatro Lirico Giuseppe Verdi in Trieste, will lead the Royal Symphony Orchestra of Seville (ROSS), the Maestranza Theater Choir, and a cast led by soprano Ashley Galvani Bell (Violetta), Antoni Bunk (Alfredo Germont) and Carlos Arambula (Giorgio Germont).

Among the upcoming commitments of the Sevillian conductor, it is worth highlighting his debut with the City of Granada Orchestra at the Manuel de Falla Auditorium, as well as important engagements abroad, such as his return to the Teatro Comunale di Bologna and The Bohemia by Puccini at the International Festival of Opera and Ballet “María Biesu” in Kishinev. further, as a composer he will be present in the season of the Fine Arts of Mexico with his works caged e Invocation bowling alley, commissioned by the National Ballet of Spain.

Manuel Busto has become one of the most sought-after conductors of his generation, with an extensive national and international curriculum in the field of opera and ballet, collaborating with outstanding orchestras such as the Taiwan National Symphony Orchestra, the Valencian Community Orchestra (OCV), The Musical Afternoons of Milan, the BBC Symphony Orchestra, the Barenboim-Said Academy Orchestra, the Orchestra and Choir of the Community of Madrid (BARREL), the Royal Seville Symphony Orchestra (ROSS), and performing in renowned theaters such as the Palau de Les Arts Reina Sofía in Valencia, the Teatro de la Zarzuela, the Teatro de la Maestranza, and the Giuseppe Verdi Theater in Trieste, el Teatro Comunale di Bologna or the Dutch National Opera de Ámsterdam, among others.

Manuel Bustos

Next Thursday 21, conductor and composer Manuel Busto will make its debut in the Palau de Les Arts Reina Sofía of Valencia with the premiere of Invocation, next to National Ballet of Spain, title that will be on the poster in the Valencian coliseum until 24 of April. In addition to working as musical director at the head of the Valencian Community Orchestra (OCV), Manuel Busto also signs the score for Bowling Summon Y caged, two of the works that make up this show designed by Rubén Olmo, artistic director of the BNE, in which a global vision of Spanish Dance is offered (bowling school, stylized dance and flamenco). The program is completed with Eternal Iberia by Manuel Moreno-Buendia, Y of the flamingo, that pays homage to Mario Maya.

Bowling Summon is a contemporary vision of the traditional bowling school, that arises in the eighteenth century in Spain as a result of the combination of Andalusian popular dances with academic dances. “This is a composition designed for the corps de ballet, not for soloists, so the sound dimension is different and offers a unique opportunity to see all the essence of the National Ballet of Spain. further, to the artistic talent of the dancers, the energy of singing is added to the live music of the flamenco musicians of the BNE and the Orchestra of the Community of Madrid”, says Manuel Busto. "And the order of caged by the NBE, I was especially excited, because I think it is very innovative to mix granaína, with a cello solo, and the footwork”, concludes.

After the recent premiere of his chamber opera The tiger woman last march, with great success of critics and audiences, Manuel Busto, one of the batons with the greatest international projection in our country, will return to the pit of the Teatro de la Maestranza in Seville in May and July, to direct the dramatic ballet The Beautiful Otero with the National Ballet of Spain (of which he is also a composer), and opera La Traviata in Verdi, at the head of the Royal Symphony Orchestra of Seville (ROSS).

Manuel Busto

The days 12 Y 13 of March, he Lope de Vega Theater in Seville will host the world premiere of The tiger woman, chamber opera of the composer and conductor Manuel Busto, commissioned by the Teatro de la Maestranza, in co-production with the Teatro Lope de Vega. With dramaturgy by Julio León Rocha and stage direction by Fran Pérez Román, The tiger woman will feature the participation of soprano Natalia Labourdette, the Arbós Trio, Lorca Project, the percussionist Agustín Diassera, the bailaora Paula Comitre and the cantaora Reyes Carrasco, among others.

Opera and flamenco go hand in hand in The tiger woman, which tells the story of a woman who woke up a tiger and reflects on monstrosity understood as a social construction. “This is a contemporary stage tune; The tiger woman has a number of parallels with the 18th-century stage ditty, in which the pre-Flemish aesthetics merged with the operatic language of the time. further, the theme is completely current, as it was in the eighteenth. The dramaturgy takes place in contemporary times and highlights the reality of today's society", says Manuel Busto, who will also direct the premiere.

The tiger woman It is the second chamber opera by the Sevillian composer, who recently received the prestigious Leonardo Scholarship from the BBVA Foundation, and has just signed a contract with the famous music publisher Universal Edition for the edition of its catalog of works, among which are included name among tuberoses, Jaleo’s bright, caged O Bowling Summon, commissioned by the National Ballet of Spain.

Teatro de la Maestranza

Manuel Busto

The next 29 from December, bandleader Manuel Busto will debut at the legendary Teatro Comunale di Bologna, at the frente of the Orchestra of the Teatro Comunale of Bologna, who have directed batons of the stature of Sergiu Celibidache, Sir Georg Solti, Kurt Masur, Rostropovich, Georges Prêtre, Riccardo Muti, Riccardo Chailly, Daniele Gatti or Christian Thielemann, among others. Manuel Busto will be responsible for the Musical Direction of the ballet Don Juan with the Aterballetto National Dance Foundation (the leading Italian dance company), that can be seen until 2 January on the stage of Sala Bibiena. Manuel Busto is also responsible for the score and its orchestral adaptation on original themes by Marc Álvarez.

The show Don Juan, made in co-production with the Ravenna Festival, and the Teatro Regio in Parma, the Sferistery of Macerata or the Festspielhaus St. Poelten, among other institutions, has been designed by the Swedish choreographer Johan Inger, that addresses the figure of Don Juan as an ancient and contemporary paradigmatic myth. Tirso de Molina's original comedy, Moliere, Bertold Brecht and the play by Suzanne Lilar inspire Inger and his playwright Gregor Acuña-Pohl, who consulted a total of 25 different texts related to the figure of Don Juan, and they introduce us to all the characters of the story in this Chamber play: Donna Elvira, Donna Anna, Zerlina, Masetto…

It is not the first time that Manuel Busto directs in an opera house in Italy, as he has previously worked at the Teatro Verdi di Trieste. further, directed several concerts of the well-known Orchestra I Pomeriggi Musicali di Milano at the Dal Verme Theater in Milan, Bergamo and Bellagio. In addition to his extensive career as an orchestra conductor, Manuel Busto also carries out numerous commissions as a composer and this spring he will premiere his first opera The tiger woman, commissioned by the Maestranza Theater and the Lope de Vega Theater.

Municipal Theater of Bologna

MANUEL BUST

After his success with the operatic ballet The Beautiful Otero, the composer and conductor Manuel Busto returns to the pit of the Teatro de la Zarzuela to lead the Orchestra of the Community of Madrid (BARREL) in Invocation, the proposal of the National Ballet of Spain that will be on the poster of the 10 al 22 from December; In addition to working as musical director, Manuel Busto signs the score for Bowling Summon, Y caged, two of the works that make up this show designed by Rubén Olmo, artistic director of the BNE, in which a global vision of Spanish Dance is offered (bowling school, stylized dance and flamenco). The program is completed with Eternal Iberia by Manuel Moreno-Buendia, Y of the flamingo, that pays homage to Mario Maya.

Bowling Summon is a contemporary vision of the traditional bowling school, that arises in the eighteenth century in Spain as a result of the combination of Andalusian popular dances with academic dances. “This is a composition designed for the corps de ballet, not for soloists, so the sound dimension is different and offers a unique opportunity to see all the essence of the National Ballet of Spain. further, to the artistic talent of the dancers, the energy of singing is added to the live music of the flamenco musicians of the BNE and the Orchestra of the Community of Madrid”, says Manuel Busto. "And the order of caged by the NBE, I was especially excited, because I think it is very innovative to mix granaína, with a cello solo, and the footwork”, concludes.

Considered one of the conductors with the greatest international projection of his generation, Manuel Busto will make his debut this month at the Teatro Comunale di Bologna, where will he lead Don Juan, produced by the National Dance Foundation / Aterballetto, with the Orchestra of the Teatro Comunale di Bologna en atriles. His next commitments also include the Palau de Les Arts Reina Sofía in Valencia and the Teatro de la Maestranza in Seville..

Teatro de la Zarzuela

Manuel Busto

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Interview Manuel Busto, director and composer of La Bella Otero Folk Music, flamenco, classical… All these musical genres and different aesthetic currents are those used by Manuel Busto to compose and conduct La Bella Otero., the operatic ballet premiered by the National Dance Company at the Teatro de la Zarzuela. A challenging and ingenious aesthetic and musical proposal by this young Sevillian director, one of the most promising races on the national and international scene.Brío Clásica: La Bella Otero was one of the most influential women of her time and her life was truly exciting, What characteristics of this character have you wanted to convey through your composition?

Manuel Busto: Work as a composer, from the approach of the dramatic ballet by Rubén Olmo and Gregor Acuña's own libretto, leads us to capture the rich characteristics of the intense life of this character in a very strong way in the musical dimension. La Bella Otero was from Valga, Galicia, where the rape she suffered forced her to flee semi-repudiated by society itself together with a group of itinerant gypsies, appearing later in Barcelona where the discovery of the character of Carmen made her become a "false Andalusian". From there he went to the France of the Belle Époque to conquer the world., starting with New York, have the most powerful men of the moment at your feet being one of the stars of the Folie Bergère. got to have it all, went broke and finally hid too young, when the beauty of youth disappeared, and live with his own loneliness in the south of France until the end of his days.

all, all the aesthetics of the places he passed through, but updated and with a personal vision, they should be present without losing sight that it is a single life. Unity as a global concept was essential on a technical and artistic level as a composer.

B.C: It is a work that has musically several registers and in its elaboration they have participated 3 composers. What part have you taken care of and how has the writing process been? Has each one written their part autonomously?

M.B: My part has been the whole, the global and unitary vision as a composer assuming most of the new creations, where there are so many aesthetics present. Example can be the first number, where I use a bagpipe prelude, flamenco percussion, where there is a clear reference to the Muñeira and a base of flamenco tiento, all using contemporary compositional techniques as well as instrumentation and orchestration treatment. All this is enhanced by including songs by great musicians who come from worlds other than mine., for example, Augustine Diassera, that comes from flamenco with forays into other currents, o Alejandro Cruz related to television and theater.

B.C: How do they merge into one, proposals from composers who come from so many styles and that the final result has a coherent musical discourse?, Is this part perhaps the one that has presented the greatest difficulty?

M.B: From them I received a sound proposal, which I respected but made mine to not only treat them with an orchestral sense, as my own, but in which he transformed by adding his own material, or even using part of their proposals at a motivational or rhythmic level in their own parts. I was free to use these approaches as my own, since the main purpose was that the work as a whole was solid on a musical level, which under a giant respect for the freshness that they brought, I have tried extremely to make it cohesive, no edges in the macrostructural or microstructural plane. Perhaps this part has been the most different or challenging, and the one that should be made with more care, I respect, coherence and I must confess, that with greater skill and ingenuity.

B.C: Is there an element in a dance composition that, by rule, make it different from an operatic composition?

M.B: Without a doubt the rhythm, and even more so since it is a ballet like the National Ballet of Spain, only one in the world. As a conductor I come directly from the world of opera, and it is true that both have their own language when making, very close in many ways, but different in terms of priorities. The characteristics of the National Ballet of Spain, and the use of the Spanish school or flamenco gives it a differentiating element that puts the composer before a greater challenge, if it fits, what is it to be able to understand that language first, and then speak through music with the same language in favor of what happens on stage.

My relationship of admiration, study and research with flamenco, makes me feel in my natural habitat by working for this company, where I have it and in fact I have used it in flamenco elements at a musical level, something that I think gives the sheet music of La Bella Otero a unique personality at the timbral level, to which must be added that ballet itself is a great percussion instrument due to its sonic dimension to be taken into account in creation.

B.C: How do you define your compositions, how would you classify them?

M.B: I precisely consider myself a person who avoids cataloging, or cataloging, that is to say, falling under one's own or external yoke on an aesthetic or technical level. For me in art the most important thing is the artistic message, and then the artistic medium at a technical level (here the preparation and the job is essential) with which to ensure that the emotional impact is the greatest possible on the viewer, and therefore in society. It is true that the use of flamenco is important, but only when I think that it is essential that it is present, since for example there is nothing of him in my first chamber opera Monologue to 2: Existence or in the job I just finished for Johan Inger and the Fondazionea Nazionalle della Danza Aterballetto.

B.C: He has just been awarded the prestigious Leonardo grant from the BBVA Foundation in the category of "composition and opera", to compose an opera. Do you already have an idea for this project?, What inspires you when you write, a character, a story…?

M.B: When it comes to aspiring to obtain this recognized award, two fundamental factors are taken into account according to the bases: the trajectory and content of the project presented. The title of my project is very revealing: "Flamenco in opera as a creative need: Blood Wedding, opera on rural tragedy by Federico García Lorca. This project will be a natural step in my own production, where, though not always, flamenco is present because of the enormous capacity to generate emotions that it has, just like opera, or the development of aesthetic currents through history that lead to contemporary aesthetics and techniques. Aspiring to know the latter is relatively natural in the development of the study of any composer, but not flamenco, and maybe because I was born where I was born, Los Palacios and Vfca. in the lower Guadalquivir, I have been forced to have a feeling of guilt well into adolescence for feeling ignorant in this matter. Which led me to discover it and, especially, to perceive your potential. So I decided to thoroughly study all its wealth, so that his language became part of me and my work. I insist, with the interest that his ability to generate emotions became part of me.

Rafael Riqueni

The next 24 of April, he Teatro de la Maestranza in Seville, will host the premiere of Suite Sevilla by Rafael Riqueni, in version of Concerto for Guitar and Orchestra, with the interpretation of Rafael Riqueni himself, Next to the Seville Symphony Orchestra (ROSS), directed by Manuel Busto.

The well-known Sevillian composer and musician, considered a living legend of the guitar, debuts with the ROSS in this concert organized in collaboration with the Institute of Culture and the Arts of Seville (ICAS) and the Bienal de Flamenco.

In 2011, Suite Sevilla It was adapted by the National Ballet of Spain with a show that has been performed on numerous stages around the world.. The famous guitarist Rafael Riqueni presents the definitive incarnation of Suite Sevilla, in concert version for guitar and symphony orchestra in four movements (The real, My walk, Dream, Y Reality), that describe poetic moments, sensations and places in the vital course of the city. The orchestration of the work has been carried out by Manuel Busto, one of the young Spanish directors and composers with the greatest projection on the symphonic scene, which has recently released the double production The love wizard – The Short Life at the Taiwan National Opera; Besides, has composed several commissions to be interpreted by the BNE in recent seasons. His method has been conceived from a deep study of the flamenco genre and its particularities, completing with Rafael Riqueni the precise tandem for the creation of "Suite Sevilla", Concerto for Guitar and Orchestra.

Suite Sevilla, disc published in 1993, it is the first work that successfully fused classical and flamenco music. In direct conjunction with essential elements of the jondo, Rafael Riqueni, renowned flamenco musician and composer, has developed an inimitable style on the guitar through his proven classical influence, in which he develops currents of Spanish romanticism and impressionism to create a defined harmonic concept in pursuit of "contemporary Andalusian music", what in 2017 I'd find an exceptional new chapter with Maria Luisa Park, considered one of the best albums of the year in Spain.

Rafael Riqueni (c) Manuel Naranjo

Teatro de la Maestranza

Rafael Riqueni

Taiwan National Opera

The following days 26 Y 27 of September, the Taipei Opera will premiere a double production of the ballet "El amor brujo" and the opera "La vida breve" by Manuel de Falla. A special program that pays tribute to one of the most important musical figures of the Spanish 20th century, at the opening gala of the new season 2020/2021, and that it will have Sevillian conductor Manuel Busto conducting the legendary National Taiwan Symphony Orchestra (NTSO).

It will be the first time that a double production of these two Falla titles will be represented in Asia and Asia-Pacific, and the premiere of "La vida breve", an opera never seen in Taiwan. A musical event that will come true, thanks to the tireless efforts of Dau-Hsiong Tseng, baritone, conductor and artistic director of the Taipei Opera company, for presenting this Falla opera to the public in Taiwan. Tseng, who also signs the stage direction, founded the Taipei Opera in 1971 in order to bring western opera closer to Taiwanese society, and since then it has released more than fifty titles, work for which in 2011 received the prestigious National Medal of Arts and Culture. Expert on the life and work of the well-known Andalusian composer, who wrote a monographic book in Mandarin, Dau-Hsiong Tseng thus fulfills the promise he made at the grave of Manuel de Falla during his stay in Spain in 1969 to enjoy a scholarship at the Real Conservatorio Superior de Música de Madrid.

With "La vida breve", Manuel de Falla wanted to compose a "Spanish" opera, and Dau-Hsiong Tseng wants to be as faithful as possible to the composer's wish in this production designed entirely in Taiwan, but totally respectful of Spanish culture; for it, wanted to have the young Andalusian director and composer Manuel Busto, recognized specialist in the work of Falla and great connoisseur of flamenco. further, the set designer and costume designer spent a month in Andalusia to learn first-hand about their customs and to be able to capture them in this production, which has the collaboration of the Fundación Archivo Manuel de Falla.

This ambitious production, with which the Taipei Opera wants to show the triumph of Taiwanese society in its fight to combat COVID-19, will be broadcast internationally through an innovative 4K Live Streaming developed by Rexcel Group LLC.

Links to the two 4K channels through which Live Streaming can be followed:

https://youtu.be/_Ijve2_GBy4

https://youtu.be/kxGjNI15X4M

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