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.


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.


By Diego Garcia Perez


By Diego Garcia Perez.

The Marriage of Figaro premiered on 1 May 1786 at the Imperial Court Theater in Vienna, achieving relative success. Its premiere in Prague in February 1787 if it was extraordinarily successful. Ya, in 1789, its revival took place in Vienna. It premiered in Paris and London, respectively in 1807 Y 1815. For almost the entire 19th century, this opera as well as others by Mozart practically fell into oblivion. It is from the end of the 19th century and the beginning of the 20th., when it returns to be represented with some assiduity, first in the New York Metropolitan, where it had been released in January 1894, with a cast that included American soprano Enma Eames (The Countess of Almaviva), along with the famous baritones: the Italian Mario Ancona and the Polish Edouard de Rezke, respectively interpreting Figaro and the Count of Almaviva. During the next fifteen years it was performed quite frequently in the New York theater., almost always with the Countess of Emma Eames, whose last interpretation of this character took place in February 1909, along with other famous singers of the time: the Polish soprano Marcella Sembrich (Susanna), also Polish bass Adamo Didur (Figaro), the great Italian baritone Antonio Scotti (Count) and the famous American soprano Geraldine Farrar (Cherub), with the orchestral direction of Gustav Mahler (this great composer was an accomplished Mozartian interpreter). Some fragments of this opera can be heard on YouTube: el precioso duet of Acto III "Che soave zeffiretto", with the voices of Enma Eames and Marcella Sembrich, the aria from Act I “Non piu andrai” in the voice of Adamo Didur and the duet from Act III, "Cruel because so far", in the voices of Antonio Scotti (Count) and Geraldine Farrar (Susanna). These very old recordings with poor sound, they show us magnificent interpreters, especially the powerful and beautiful voices of Antonio Scotti and Adamo Didur, with a truly modern singing style.

The Marriage of Figaro at the Salzburg and Glyndebourne Festivals.

Definitely, The Marriage of Figaro received a great boost during the thirties of the last century., at the Salzburg and Glyndebourne festivals (south of london), in whose first edition, in 1934, Several performances took place, which were repeated in the following years. In the editions that took place between 1934 Y 1939, destaca sobremanera la soprano Finlandesa Aulikki Rautawaara, who combined great vocal quality with an excellent mastery of the Mozartian singing style, together with an elegant and beautiful stage presence, that make her the main interpreter of the Countess in the thirties. During editions of 1934 Y 1935, took place at Glyndebourne, the first complete recording of this opera, where next to Rautawaara, highlighted the magnificent interpretation of Figaro performed by the German baritone Willi Domgraf-Fassbaender (father of the famous mezzo-soprano Brigitte Fassbaender) and also the good interpretations of the English soprano Audrey Midmay (Susanna) and the Austrian soprano Luise Helletsgruber (Cherub), being much more discreet the interpretation of the English baritone Roy Henderson (Count). The orchestral direction was in charge of the famous German conductor Fritz Busch, with a refined performance not exempt from intensity and theatrical life, that in this recording is diminished by the absence of the recitatives so important in this opera. Some years ago, the NAXOS seal, made a reissue of this recording with sound enhancement, which can be heard on YouTube. The Salzburg Festival, created in 1921, start programming this opera, with great assiduity, from 1925, with magnificent performers like the Countess played by the famous Ukrainian-Austrian soprano Viorica Ursuleac; although with the problem of being sung in German. It is in the edition of 1937, when it begins to be performed in Italian including the recitatives, there is a live shot (Available on YouTube), donde Aulikki Rautawaara, plays the Countess again, together with the extraordinary Figaro of the Italian bass Ezio Pinza, and another famous interpreter, el bajo italiano Mariano Stabile (Count), who were joined by the also famous Hungarian soprano Esther Rethy (Susanna) and another great performer with magnificent vocals, Czech soprano Jarmila Novotna (Cherub). The orchestral direction was in charge of the great Bruno Walter, the head of the Vienna Philharmonic, always attentive to underline the many and varied nuances of this score. The Metropolitan took up this opera in the forties, programming it quite regularly, counting on the magnificent countess of the American soprano Eleanor Steber, exquisite singer with a wide voice and sumptuous color, with intense and sensual phrasing, along with a great interpretative capacity, which is converted from 1942 and until the mid-1950s in the official Countess of the New York theater. Y, in the forties, next to Steber, in many functions, an extraordinary group of singers: Ezio Pinza (Figaro), Australian baritone John Brownlee (Count), elegant and stately performer, together with the Brazilian soprano Bidù Sayao (Susanna), who gives a lot of grace and mischief to his character and Jarmila Novotna (Cherub). Although there are different live shots with this set of performers, It is worth highlighting the one carried out in 1944 (You can listen to it in full on YouTube), with orchestral direction by Bruno Walter.

Two referential countesses: Lisa Della Casa and Elisabeth Schwarzkopf.

Parallel to the New York performances of Eleonor Steber, at the Salzburg Festival 1947, the great German soprano Elisabeth Schwarzkopf plays the role of Susanna and the following year that of the Countess, directed by Herbert von Karajan (your great guarantor). This exquisite performer, magnificent vocals and great technique, along with an absolute mastery of the Mozartian style of singing, is going to be the official Countess in the editions of the Salzburg Festival of the fifties, along with great performers like the soprano Irmgard Seefried (Susanna), and next to them, in the years 1956, 1957 Y 1958, the great Berlin baritone Dietrich Fischer-Dieskau, a Count of reference for his great vocal quality together with a high degree of expressiveness with an intense and contrasted phrasing. Also in those editions, greatly highlighted the famous German mezzo Christa Ludwid, with an extraordinary creation by Cherubino.

The orchestral direction was in charge of the Austrian maestro Karl Böhm, accomplished mozartian interpreter. The live shot made in 1957, can be heard, complete on YouTube (with good sound). Elisabetth Schwarzkopf participated in two studio recordings for the EMI label, the first in 1950 (Available on YouTube) with Herbert von Karajan conducting the Vienna Philharmonic, where the great Salzburg master, offers suggestive and refined orchestral timbres showing at all times as a consummate stylist, getting the singers an optimal performance, both of the stylized and perfect Countess of Schwarzkopf, like some sensational Irmgard Seefried (Susanna) y Sena Jurinac (Cherub), alongside the remarkable creations of George London (Count) y Erich Kunz (Figaro). The problem with this recording is that it does not have the recitatives. Ten years later, in 1960, Schwarzkopf made a second recording, already in stereo, with the magnificent direction of the great Italian master Carlo María Giulini, who achieves a vigorous and highly theatrical version, getting splendid performances from the singers, where exquisiteness shines again, nuance and refinement of the great German soprano, along with the expressive and humorous interpretation of the great Italian baritone Giuseppe Taddei (Figaro), next to the very expressive and vigorous count of the Austrian baritone Eberhard Wächter (with certain language problems), junto a la sugerente y sensual Susanna from the North American soprano Anna Moffo y el Cherubino from the magnificent Italian mezzo Fiorenza Cossotto.

The other referential Countess was the great Swiss soprano Lisa Della Casa, a luminous voice, of precious timbre and an intense and contrasted phrasing; he did not have the great technique of Schwarzkopf, but her interpretations were of greater warmth and humanity than those offered by the German soprano. Della Casa was the one who played the Countess the most times, nails on 150 representations in twenty years. His debut in that character occurred at the Zurich Opera, in 1950, and the following year he will perform it at Glyndebourne. Ya, in 1953, made his debut at the Metropolitan, precisely with the role of the Countess, alternating until 1956, with performances by Eleanor Steber and also with the great Victoria de Los Angeles, exquisite Countess of precious vocality, as can be seen in the recording taken in that theater, in 1952, directed by Fritz Reiner, where he shared a cast with the magnificent Figaro of the Italian bass-baritone Cesare Siepi, true successor of Ezio Pinza, together with the famous Italian baritone Giuseppe Valdengo as the Count. Lisa Della Casa, in 1955, participated in the historic recording of The Marriage of Figaro (full version including all recitatives) for Decca, considered as a reference of this opera, with the extraordinary direction of Erich Kleiber, the head of the Vienna Philharmonic, who manages to offer an impeccable reading from the stylistic point of view, with a perfect fusion of orchestra and singers. The Swiss soprano offers an anthological performance, with a very elegant edge line. Highlight in this recording the extraordinary performance of Figaro by Cesare Siepi, together with the famous Austrian soprano Hilde Güden, who performs a magnificent interpretation of Sussanna; Y, as well, highlight the great performance of the Belgian soprano Susanna Danco as Cherubino.

More discreet the interpretation of the German baritone Alfred Poell as The Count. This superb recording can be heard in its entirety on YouTube.. From 1956, Della Casa will be the official Countess at the Metropolitan, with some last performances in 1967, year in which the great soprano Pilar Lorengar takes over, performing numerous functions until 1972. Lorengar had debuted the role of the Countess, at the Glyndebourne Festival 1958. He had also performed it at the Teatro alla Scala, in 1964 and in Covent Garden, in 1966. So, he had an excellent mastery of the character, offering her lyrical and precious voice, to compose a Countess of great vocal and dramatic height. This can be seen in a live shot made at the Metropolitan, in 1967, where he shared cast with the great Cesare Siepi (Figaro), junto to Mirella Freni (reference Susanna), who shows his magnificent vocality, and a performance full of expressiveness, enhancing femininity, mischief and cunning of the character; Y, to Teresa Berganza, in an extraordinary interpretation of Cherubino. This recording can be heard on YouTube.

The interpretations of new generations of singers

When Lisa Della Casa, in 1971, last played the Countess at the Vienna State Opera, a very young singer from New Zealand, called Kiri Te Kanawa, debuted at London's Covent Garden, the role of the countess, directed by Colin Davis, and that he will keep in his repertoire until the end of the 20th century, with brilliant character creation. Lyrical voice of great timbre beauty to which she joined her dazzling stage presence (tall and very pretty woman). Ya, in the age of video recordings, we can hear it in a take made at the Glyndebourne Festival in 1973, with very acceptable images for the time, with the magnificent orchestral direction of John Pritchard (great Mozartian interpreter closely linked to this festival), conducting the London Philharmonic Orchestra. Junto a Kiri Te Kanawa, the other great attraction of this recording is the presence in the role of Cherubino, of the then very young North American mezzo Frederica von Stade, of excellent and exquisite vocality, along with a beautiful stage presence, who became the great interpreter of this character for twenty years. Also heard on this recording is the excellent Romanian soprano Ileana Cotrubas in the role of Susanna. This video recording is available on YouTube. It is worth noting another recording marketed on DVD, por GERMAN GRAMOPHONE, from 1976, where the famous Jean-Pierre Ponnelle production can be seen filmed, where next to the splendid countess of Kiri Te Kanawa, singers from previous generations can be heard: the magnificent Figaro of the German baritone Hermann Prey, who endows the character with great liveliness and sympathy. Y, el gran Dietrich Fischer-Dieskau, in his referential creation of the Count.

They are joined by Susanna by Mirella Freni, who returns to show his great creation of this character, together with the very notable Cherubino of the North American soprano María Ewin, with Karl Böhm conducting the Vienna Philharmonic. This footage is available on YouTube. An excellent DECCA recording can be heard in audio, from 1982, directed with his usual energy and dramatic sense by the great Georg Solti, conducting the London Philharmonic, as well, with Kiri Te Kanawa, next to a splendid Lucia Popp (Susanna), Again Frederica von Stade (Cherub), and the excellent North American bass-baritone Figaro Samuel Ramey, alongside Thomas Allen (Count), role that this great English baritone, will play very often, highlighting also his intervention in a production, del Covent Garden, in 1989, this time with another magnificent Countess, the one interpreted by the North American soprano Carol Vaness, brilliant vocals and great stage performance, his duets with Thomas Allen are impressively theatrical. They can be seen on YouTube, fragments of that production: the magnificent solo interventions of Carol Vaness, the entire grand finale of Act II, as well as the concluding scene of the opera. Ya, in the nineties, It is worth mentioning the dazzling interpretations that the great American soprano Renée Fleming made of the Countess. wide lyrical voice, of great timbre beauty, considerable, excellent phrasing and a very remarkable theatricality, with absolute mastery of all registers and agilities, with a magnificent technique that he learned from his teacher Elisabeth Schwarzkopf. Two video recordings are available and can be viewed on YouTube, and that prove the extreme quality of their Countess: the first in Glyndebourne, in 1994, conducted with the Dutch grandmaster Bernard Haitink. Y, especially, the one he performed at the Metropolitan, in 1998, with musical direction by James Levine, alongside an excellent cast that included the great creation of Figaro by Welsh bass-baritone Bryn Terfel, magnificent of vocality and with an imposing theatrical performance. The half Cecilia Bartoli as Susanna, with dazzling vocals, since he performs two alternative arias that Mozart composed in the Vienna revival, in 1789, para the soprano Adriana Ferrarese del Bene: in Act II “Un moto de gioia” which replaced “Venite, you knelt down!" Y, in Act IV, instead of “Deh, he comes, don't delay ”, "At the desire of those who adore you", this last, very long and very complex coloratura.

The cast was completed with the notable performances of the American baritone Dwayne Croft (Count) and Susanne Mentzer (Cherub).
Ya, in the elapsed years of the 21st century, It is worth mentioning the great creation of the Countess made by the German soprano Dorothea Roschmann, of magnificent vocals together with a great theatrical performance, which can be seen in the video recording made at the Salzburg Festival of 2006, alongside the excellent Susanna by Anna Netrebko, the very remarkable Figaro played by the Italian bass-baritone Ildebrando D'Arcangelo , together with the Danish baritone Bo Skovhus (Count) and the German soprano Christine Schafer, in a great creation of Cherubino. The direction was in charge of the Austrian teacher Nikolaus Harnoncourt, who shows his great mastery of this score.

In very recent times, the young Italian soprano Federica Lombardi has emerged with great force., who is offering great interpretations of the Countess, with a beautiful wide lyrical voice, of considerable volume and magnificent technique, along with an excellent theatrical performance. This year 2022, has achieved great triumphs in Covent Garden and this same month of April, at the Metropolitan. fragments can be seen (available on YouTube) of his performance at the Munich Opera, in 2017, that show his very high vocal and interpretative quality.

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

ABAO Bilbao Opera

Saturday 24 of September, a spectacular concert opens the 71º Season ABAO Bilbao Opera and says goodbye with honors to the emblematic project All Verdi, after 16 years of activity. The new season brings numerous proposals, activities cultural, social programs, and an artistic program that includes five titles at Euskalduna Bilbao y four shows at the Arriaga Theater. legendary voices, big teachers, unpublished productions and a permanent commitment to maximum quality throughout its field of action, backbone of the new opera season in Bilbao, inspired by the keys of musical Romanticism.

The 71st season offers fans and the general public, a programming exciting, different, suggestive and of unquestionable artistic quality.

ABAO Bilbao Opera and the BBVA Foundation, main sponsor of the season, contribute to promoting excellence and operatic culture and to bring the public top quality shows.

He italian repertoire stars in the season with well-known titles such as Tosca, So do all and Il Trovatore, and others less frequent as I puritani Y Anna Bolena.

Among the operas and shows scheduled, there is own production, premiere absolute: Così fan tutte and two premiere productions in Spain, The Troubadour and the ABAO international co-production: Anna Bolena.

A total of 44 functions: 26 in the general season at the Euskalduna Bilbao, 17 for children and young people in the Abao Txiki season at the Theater Arriaga, and a performance of the Tutto Verdi Concert also at the Euskalduna.

Six grandes trampoline visit the new season: Daniel Oren, Giacomo Sagripanti, jordi benacer, Oliver Diaz, Pedro Halffter Y Francesco Ivan Ciampa to lead the Bilbao Symphony Orchestra and the Basque National Orchestra, that next to opera choir Bilbao, expand their repertoire by reinforcing the artistic prestige of collaborators ABAO stables.

Debut 9 singers along with important and outstanding interpreters who triumph in the world's leading opera houses.

ABAO Small offers 4 shows for different ages. Three of them will have school sessions revalidating the ABAO's commitment to training and the children and youth.

three premieres in the ABAO Txiki season: Story of a seed, Hansel & Gretel e From the sea.

He educational and training program offers a multitude of free activities in distinct programs from performance what include charlas pedagogical, workshops, colloquia Y cycles from conferences for collective from different ages Y origins.

Continues successfully Gazteam program with economic activities and incentives for the minor 25 Y 30 years.

The program “Opera and +” at Cruces University Hospital consolidate its activity with activities both inside and outside the Hospital, for patients, relatives and healthcare professionals from Nephrology units, Day hospital, Digestive, Pediatrics and Neonatology. The program has the collaboration of the Foundation EDP, “la Caixa” Foundation Y Zabalgarbi.

71Th Opera Season
The new season includes five titles, more a great concert and is inspired by postulates of musical Romanticism, between the years 1810 and the first decade of the 20th century and the appearance of truth. The operas and the artistic proposals highlight the quality of the expression of intimate and personal feelings and emotions in an imaginative style, romantic and full of musical chromatism.

five composers: Verdi, Bellini, Donizetti, Mozart Y Puccini bring to the Bilbao scene well-known titles from the Italian repertoire such as Tosca, Così fan tutte e The Troubadour, and others less frequent as I puritani Y Anna boleyn. He Concierto Tutto Verdi presents some of the composer's best-known passages with pieces by
Macbeth, The Troubadour, Don Carlos, A masked ball, Aida Y Nabucco, and an unpublished piece in ABAO: he Anthem of the Nations.

A new season in which nine singers and two stage directors make their debut And six great batons will be at the head of the Bilbao Symphony Orchestra and the Basque National Orchestra. He Bilbao Opera Choir, directed by Boris Dujin, deals with the choral part of the season.

Showing off its well-deserved fame as an institution of great voices, ABAO brings together some of the plus requested in the main theaters of the world as: Jessica Pratt, Xabier Anduaga, Silvia Tro Santafe, Marko Mimica, Vanessa Goikoetxea, Oksana Diving, Roberto Aronica, Mikeldi Atxalandabaso, Anna Pirozzi, Ekaterina Semenchuk O Celso Albelo, between others.

The BBVA Foundation whose distinguishing feature is the impulse to scientific knowledge and the cultural creation, collaborates with ABAO Bilbao Opera as main sponsor of the season.

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


Alina Ibragimova and Cédric Tiberghien in a new concert of the cycle Mozart through his letters delves into the composer's second stay in Paris in 1778, when he had to overcome the death of his mother. The musicians are accompanied by the voices of the actors María Adánez, Carlos Hipolito and Pedro Casablanc.

The act can be followed in person and live by Canal March Y YouTube. “The medieval origin of European music 30 days.

since they met in 2005 as members of BBC Radio 3 New Generation Artist, the violinist Alina Ibragimova and the pianist Cédric Tiberghien have maintained a long-lasting collaboration. They have played together in some of the most prestigious cycles and venues in the world, including Wigmore Hall, and performed the complete Beethoven and Mozart sonatas for violin and piano. Three of these last, KV forest 304, 305 Y 306, they have recorded for Hyperion Records, can be heard this Friday and Saturday in Madrid in a new concert of the cycle Mozart through his letters: "Paris, 1778. Desolate Mozart” presented by Andrés Ibáñez and complemented by the voices of the actors María Adánez, Pedro Casablanc and Carlos Hipolito.

The cycle, Mozart through his letters, consists of seven articulated concerts between October and May around seven places and outstanding milestones in Mozart's biography, and presents some of the most relevant creations from the composer's chamber catalog in combination with the reading of some of his letters. More of 1600 missives written by the composer, by his father and other people around him, describing their continuous travels, his tribulations or even the genesis of some of his works. The next two sessions, which will take place on 18 Y 19 of March, will be preceded by a presentation by the writer and literary critic Andrés Ibáñez, who will talk about the composer's second trip to Paris in 1778, in which, although Mozart will be invited to various salons and will receive some commissions, "It doesn't seem like anyone is taking him, in the background, seriously".

Without mastering French, on that trip Mozart will have to face an ungenerous aristocracy, who will receive it with indifference, and although the public admires his symphony No. 31, he will not get the position at court that his father wanted for him. The most relevant of that visit will be the death of his mother Anna María, that will plunge the composer into a deep regret that will be reflected in his letters – “I have left behind one of the saddest moments of my existence”, write the 3 of October 1778– and in which his fear of having to communicate the fatal outcome to his father is also appreciated.

From this Parisian period, Mozart, who had left Salzburg as a child, He will return as an adult capable of overcoming difficult times and facing his father's will.. A handful of masterpieces will also remain, among them the "Paris" Symphony and the famous Turkish march, and others that reflect the influence on the composer of the gallant aesthetic, like the six sonatas that inaugurate a new way of composing for violin and piano. At the concert "Paris, 1778. Desolate Mozart” can be heard three of them: the Sonata in A major KV 305, composed before traveling to Paris and which seems to reflect the optimism of the composer during his stay in Mannheim; the Sonata in D major KV 306 and the Sonata in E minor KV 304, tinged with melancholy and composed just after his mother died.

With a repertoire that ranges from the Baroque to the present, with ancient and modern instruments, Alina Ibragimova has established her reputation as one of the most complete violinists of her generation. His prominent presence at the BBC Proms since 2015 illustrate this reality: in addition to making interpretations of the usual repertoire, has participated together with a group of baroque music and carried out an interpretation of the integral of the Partitas and sonatas of Bach that has been praised by The Guardian. at the proms of 2019, Alina performed the premiere of the Violin Concerto by Rolf Wallin with the Bergen Philharmonic Orchestra under the direction of Edward Gardner. His long-standing collaboration with the pianist Cédric Tiberghien has led him to successfully perform the complete Beethoven and Mozart sonatas for violin and piano at Wigmore Hall and in some of the world's most prestigious concert cycles.. Together, Alina and Cédric have recorded a wide repertoire for Hyperion Records, including the Brahms violin sonatas, Franck, Vierne y Mozart.

French pianist Cédric Tiberghien has built an international career based on his versatility (as evidenced by its wide repertoire), its innovation when it comes to programming, his openness to explore innovative concert formats and his dynamic collaboration with other musicians. He has recently offered concerts with the Berlin Philharmonic, the London and San Francisco Symphony Orchestras. further, Cédric maintains a close relationship with Wigmore Hall: in addition to participating in various chamber music projects, will perform the complete Beethoven variations over the next two seasons. In the near future, she will offer concerts with Alina Ibragimova and the Doric Quartet throughout Europe. Cédric has received five Diapason d’Or awards for his solo and duet recordings for Hyperion. further, has released several albums with Harmonia Mundi. He regularly collaborates with the violist Antoine Tamestit, the baritone Stéphane Degout and the violinist Alina Ibragimova.

Andrés Ibáñez he is a writer, author of fifteen novels and three books of short stories. He studied music at the Madrid Conservatory and Hispanic Philology at the Autonomous University. It was National Critics Award in 2015 for his novel shine, sea ​​of ​​eden, translated into english and polish. He has developed extensive work as a literary critic and cultural columnist in the cultural supplement of ABC and other media., and has been a classical music critic for the ABC newspaper. He has written the libretti for two operas, Dulcinea and the public, with music by Mauricio Sotelo, both premiered at the Teatro Real in Madrid.

Upcoming concerts

The next concert of the cycle will be “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). Then, the Kristian Bezuidenhout concert will take place, (9 Y 10 of April), which will explore the influence of counterpoint by J.S.. Bach in the work of the Salzburg genius. 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!”. These next sessions will be preceded by the presentation of the musicologist and presenter of Radio Clásica María del Ser, the musicologist and professor at the Complutense University of Madrid Cristina Bordas and the Professor of History of Spain at the University of Delaware Jesús Cruz Valenciano.


Friday 18 and saturday 19 March at 18:30

With a previous presentation by Andrés Ibáñez at the 18:00h.

Mozart through his letters. "Paris, 1778. Desolate Mozart”.

Alina Ibragimova, fiddle. Cédric Tiberghien, piano. Andrés Ibáñez, presentation.
Maria Adanez, Pedro Casablanc and Carlos Hipolito, narration.


Paper 1: Anna Maria Mozart on Leopold exhibition (Mannheim, 1778) and Leopold to his son Wolfgang (Salzburg, 1778)

Wolfgang Amadeus Mozart (1756-1791)

Sonata for violin and piano in A major KV 305

Paper 2: Mozart a su padre Leopold (Paris, 1778)

Wolfgang Amadeus Mozart

Sonata for violin and piano in E minor KV 304

Paper 3: Mozart a su padre Leopold (Nancy, 1778)

Wolfgang Amadeus Mozart

Sonata for violin and piano in D major KV 306

Reading of letters and documents of the time by María Adánez, Pedro Casablanc and Carlos Hipolito

Noto's Quartet

The next 20 of March, the Notos Quartett will start a concert tour around our country at the Caixaforum in Barcelona, which will run until the month of May with performances at the Valencia Philharmonic Society, the Palacio de Congresos de Cádiz and the Caixaforum de Sevilla. In these concerts they will interpret the Piano Quartet in E b Major KV 493 Mozart and Piano Quartet in G minor op. 25 Brahms.

Founded in 2007 Berlin, the Notos Quartett has become an international reference ensemble on the current chamber music circuit, since it is one of the few stable ensembles with piano quartet formation. “We like to refine the well-known masterpieces, discover lost and forgotten treasures, and champion new compositions for the unique genre of the piano quartet”, say the members of the Notos Quartett, who have six first prizes and numerous special prizes in leading international competitions (Holland, Italy, England and China).

Applauded by international critics, that has highlighted his virtuosity, technical perfection, passion and artistic maturity, the Notos Quartett is made up of Sindri Lederer (fiddle), Andrea Burger (viola), Philip Graham (cello) y Antonia Köster (piano). In addition to numerous world tours, stand out his performances on prestigious European stages, like Wigmore Hall in London, la Philharmonie of Berlín, the Konzerthaus in Berlin, the Concertgebouw in Amsterdam, La Fenice in Venice, the BOZAR of Brussels, or the Tonhalle in Zurich, and the Schwetzingen Festivals, Rheingau, Mecklenburg-West Pomerania and Montpellier Radio France, among others.

The next 25 In March his third album will be released on Sony Classical under the title "Paris Bar", which brings together works by composers Jean Françaix, Alexandre Tansman y László Lajtha, Inspired by the Parisian atmosphere of the "Roaring 20's".

La clemenza di Tito

ABAO Bilbao Opera receives the year with premiere in Bilbao of Mozart's last opera and also his most political work: La clemenza di Tito, sponsored by the BBVA Foundation. a story of power, betrayal and remorse in which compassion finally triumphs, with a premiere production in Spain and the debut at ABAO of great voices. Due to the reduction in capacity to 800 localities marked by current regulations, ABAO has scheduled one more function of the usual ones for the days 22, 24, 26, 28 Y 31 from January at the Euskalduna Bilbao. The performances will begin 19:30h except Saturday 22 which will start at 19:00h.

La clemenza di Tito is a serious opera in two acts with music by Wolfgang Amadeus Mozart and a libretto by Pietro Metastasio and Caterino Mazzolà. In 1791, and while he was composing one of his most famous operas: The Magic Flute (The magic Flute), Mozart was commissioned to write an opera to celebrate the coronation of Leopold II as King of Bohemia.. Premiered in Prague shortly before the composer's death, updates a drama set in Ancient Rome with a plot around the conspiracy of Vitellia and her lover Sesto to assassinate and overthrow Tito, the new emperor, who once knows betrayal, He decides to show compassion and forgive the rebels, proving that the greatest virtues of a ruler are generosity and mercy..

Highlights the debut in ABAO, in this Clemenza di Tito, of three great voices of the current lyrical panorama. Paolo Fanale, the fashionable Italian tenor, firm timbre and passionate expression, faces for his debut in the Bilbao season the leading role of Emperor Tito. A character of integrity personality with arias of great difficulty and passages of lyrical singing.
Two mezzo-sopranos also debut in male characters: Daniela Mack in the role of Sesto, Vitellia's lover and treacherous friend of Tito, an interpreter of reference in Mozartian roles, with great scenic solvency, balance and elegance; Y Veta Pilipenko as Annio, friend of Sesto and in love with Servilia, a fresh and forceful voice.
Vanessa Goikoetxea assumes the role of Vitellia, the villain of the opera, jealous and manipulative. Singer with great vocal sensitivity, strong emission and remarkable dramatic expressiveness.
Bilbao completes the cast Itziar de Unda as Servilia, Y Josep Miquel Ramón like the obscure Publius.

Teacher Riccardo Frizza, recently awarded the Ópera XXI Award for Best Musical Director for his work on Lucia of Lammermoor en ABAO Bilbao Opera, stands in front of the Basque National Orchestra to face the last operatic score of the composer from Salzburg, containing some of his most inspired arias.
Mozart composed La clemenza di Tito in just six weeks, but that did not prevent him from endowing it with great instrumental and musical solidity.. Already from the "Opening", a work of great sonority and expressiveness is appreciated, with an extraordinary dramatic and poetic potential, where great scenes full of vertiginous lyricism stand out, along with brilliant ensemble pieces by soloists and the Bilbao Opera Choir.

winner in 2016 of the International Opera Award for Young Direction, Fabio Ceresa, debuting in ABAO, he is considered one of the most promising Italian stage directors of his generation.
The production devised for the Opéra de Laussane, It is a premiere in Spain and offers an elegant and monumental proposal, made of large moving figures and modular panels. Ceresa combines an aesthetic with neoclassical elements of Ancient Rome with a more contemporary look close to the modernism of the years 30 last century. A staging with a conscious timelessness, to highlight the universality of the work.
The scenery Gary McCann presents a creative line of great quality and effectively combines the palatial environment with other settings such as baths or hot springs, recreating a fluid Ancient Rome, corporeal, versatile and of great theatrical plasticity. Palacios, statues, monuments, swimming pools and pantheons coexist in a scenic space in the form of an allegory about the way in which men fight for power.
The dramatic approach draws the characteristics of the characters with costumes also by Gary McCann, lighting Ben Cracknell and choreography Mattia Agatiello, with careful group movements.

The cycle The ABC of opera discovers the most relevant aspects of each title of the season in a conference on the eve of the premiere, in the Auditorium of the Bilbao Fine Arts Museum.
On Friday 21 from January, Andrea Merli, music critic, essayist, opera producer and lecturer, will be in charge of revealing the ins and outs of this opera and the work of its composer.
To access this free activity, an invitation is required, which can be picked up at the ABAO Bilbao Opera offices or by calling 944 355 100, since Monday 17 from January. reduced capacity.

La clemenza di Tito

The Italian conductor returns to ABAO Bilbao Opera after Lucia di Lammermoor, title with which last year he won the Ópera XXI Award for best musical director of the Spanish season.

will be with La clemenza di Tito, masterpiece of the Mozartian genius never before performed in the ABAO Bilbao Opera program, that the Basque institution and the teacher Riccardo Frizza open their operatic season 2022. The production arrives from the Opéra de Lausanne, whose premiere in the Bilbao capital is scheduled for the day 22 from January (with reruns on days 24, 26, 28 Y 31 from January), with stage direction signed by Fabio Ceresa, set design and costumes by Gary McCann, lighting by Ben Cracknell and choreography by Mattia Agatiello, while in the leading roles are Paolo Fanale (Tito), Daniela Mack (Sixth), Vanessa Goikoetxea (Vitellia), Veta Pilipenko (Annio), ltziar de Unda (Servilia) and Josep Miquel Ramón (Publius).

For Riccardo Frizza, who on this occasion will conduct the Euskadiko Orkestra Sinfonikoa and the Bilbao Opera Choir prepared by Boris Dujin, La clemenza di Tito, Mozart's last opera, “recalls the old stylistic features of the golden period of opera seria, in a world in which with Gluck –the great reformer of the genre– it had reached its maximum splendor and then fell into decline”. The Italian musician has been collaborating with the abaist course for almost twenty years, and this opera, composed to celebrate the coronation of the Grand Duke of Tuscany Leopold II of Habsburg as King of Bohemia, was set to music by Mozart to a libretto by Metastasio “especially revised by Caterino Mazzolà with the reduction from three to two acts, the cutting of various recitatives and the transformation of some arias into ensemble pieces. It has multiple Masonic references in shades, rhythmic cells and in the same argument, extolling the qualities of a sovereign crowned with all virtues, forgiving and enlightened. In the score Mozart's genius emerges in all its splendor drawing a sovereign dedicated to the public good, with fluid musical structures and wonderful music that, definitely, anticipates solutions that later Beethoven, Weber and Rossini will take as a model for their works”, comments the director born in Brescia.

The clemency of Tito is performed for the first time in Bilbao, so I feel very honored that they have trusted me with this task. In the end, I arrive in Bilbao feeling at home to direct a novelty for the members of ABAO. Since my debut in 2005 with La Sonnambula, this is my eighth production in the Basque lands and I am happy to meet again with the musicians of the Euskadi Symphony, with which in 2019 directed Lucia of Lammermoor, title for which the Ópera XXI association awarded me the award for best director of the season in Spain“, concludes Riccardo Frizza.

Among other commitments, in 2022 await you at the Malibran Theater in Venice (symphony concert), Teatro San Carlo in Naples (The three queens de Donizetti with Sondra Radvanovsky e The Barber of Seville), en el Teatro del Maggio Musicale Fiorentino (L'amico Fritz) and at the Metropolitan Opera in New York (Lucia of Lammermoor).

Riccardo Frizza © Gianfranco Rota

Abao Bilbao Opera

Riccardo Frizza

Daniela Mack

The Argentine mezzo-soprano Daniela Mack will debut in the 70 ABAO Bilbao Opera season in La clemenza di Tito January 2022, with the role of Sesto.

Daniela Mack leads the vanguard of a new generation of opera singers and stands out for her intensity, boldness and charisma of their performances. The artist has been described by critics as “outstanding” (The New York Times), “a mighty vehicle” (Wall Street Journal), “possessing a virtuous technique without equal” (The Guardian) Y “a voice like polished onyx: strong, dark, deep and gleaming ” (Opera News). In 2013 was a finalist in the BBC Cardiff Singer of the World competition.
His commitments this season include Partenope at the Theatre Royal, The capulets and the montecchi in the Maestranza, Amadigi di Gaula in Boston Baroque, Serse at Carnegie Hall and Nabucco again at the Royal Theater, among others.

Daniela Mack is a student of the Adler Scholarship Program at the San Francisco Opera, where he has sung Idomeneo, Faust Y The dead City. He has played the lead role of Cinderella as a member of the Merola Opera Program and a recital of the San Francisco Opera Schwabacher Debut Recitals series.

On the concert level stand out Spanish time, The child and the spells, Y Cocked hat with the Orchestra of the Suisse Romande, la Boston Symphony Orchestra y la Chicago Symphony Orchestra, under the direction of Charles Dutoit. He has performed on stages such as the Royal Opera House, Washington National Opera, Santa Fe Opera, San Francisco Opera, Atlanta Opera, Metropolitan, Omaha Opera, Palm Beach Ópera, Philadelphia Opera, etc.

Daniela Mack replaces the one originally planned Daniela Barcellona, who is recovering from an injury that, although it does not have important gravity, prevents you from joining the rehearsals of the opera on the bill on the scheduled dates. ABAO has conveyed to the artist its best wishes for a speedy recovery.

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.



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.



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 ...


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.


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..


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.

Quiroga Quartet © Igor Cat

He Tuesday 10 November at 19.30 hours, National Dissemination Center Musical (CNDM) presents one of the most internationally recognized quartets by the public and critics, the acclaimed Cuarteto Quiroga, on the second date of the cycle Liceo de Cámara XXI at audience National Music from Madrid. This time, the famous spanish quartet, National Music Award 2018, will play works composed in C major by Haydn (on. 33 “The bird” y on. 74) and Mozart (on. 19 “Of dissonances”), included in his recently released latest album called And there was light. Haydn & Mozart: The birth of a new Era, in C Major. The latest posts, with a General price 10 a 20 euros, are already on sale in the National Auditorium ticket offices, INAEM theaters, and on the phone 91 193 93 21. h

In C major
After the success of his previous record releases, the Quiroga Quartet returns with this double CD to portray musically one of the most fascinating periods in the history of music: the birth, the expansion and triumph of the string quartet as a genre and, with the, the advent of a new era in which a new generation of Europeans saw in this pure and instrumental music an art that emanated from reason and thought but spoke directly to feelings, so he had the power to persuade and convince, perfectly combining the syntactic and structural force of language with the free semantic poetics of the imagination. A new music to light up a new world, a music to instruct and seduce. A universal and democratizing music, totally modern and illustrated.

To light up this journey to musical Enlightenment, the repertoire focuses on four masterpieces by Haydn and Mozart, all of them written in C Major, the symbolic tonality of the Light, the one also chosen by Haydn himself to represent the moment of creation in his most famous oratorio, with the shining shout of «Und Es Ward Licht!!» ("And there was light!”). This recording illustrates and celebrates a musical process that, son of his time, He ended up building a way of writing and making music that would enlighten generations of composers., interpreters and music lovers, and whose ethical and aesthetic reflections continue to shine today. A journey from darkness to light, from wit to genius, from the human to the sublime. A journey to the very roots of Europe's musical and cultural identity.

Praised by The New York Times for its "exquisite and fresh performances", he Cuarteto Quiroga has established itself as one of the most dynamic and unique quartets of its generation, internationally acclaimed by critics and audiences for his unique personality, as well as for his bold and original approach in approaching the string quartet repertoire.

Formed in 2003, the Quartet takes its name from the Galician violinist Manuel Quiroga, one of the most outstanding string players in our musical history. They studied with Rainer Schmidt at the Reina Sofía School of Music in Madrid, with Walter Levin at the Musikakademie in Basel and with Hatto Beyerle at the European Academy of Chamber Music. Other important artistic influences are Johannes Meissl, György Kurtág, András Keller, Eberhard Feltz y Ferenc Rados. Strongly committed to teaching chamber music, are professors at the Superior Conservatory of Music of Zaragoza, la University Mozarteum Salzburg, Musikene and the Royal Conservatory of Music of Madrid, and regularly invited to give master classes at universities and music conservatories throughout Europe, United States and Latin America.

Winners of the National Music Award 2018, the RNE Critical Eye Award and winners in the main international competitions for quartet (Bordeaux, Paolo Borciani, Geneva, Beijing, Fnapec-Paris, Palau Barcelona), in 2013 the Quiroga Quartet became the first ensemble in residence at the Royal Palace of Madrid in charge of the Stradivarius quartet decorated from the palatine collection.

The Quartet is currently a resident ensemble at the Cerralbo Museum in Madrid and a regular in the most prestigious rooms on the international stage., como la Pierre Boulez Saal, Konzerthaus and Philharmonie in Berlin, Wigmore Hall Londres, The Frick Collection and Lincoln Center in New York, DaCamera in Los Angeles, National Gallery of Art de Washington DC, Amsterdam Concertgebouw, The Invalides of Paris, Martin Hall de Prague, Nybrokajen from Stockholm, Auditorio Nacional de Madrid, Basel Stadtcasino, Salzburg Mozarteum, and at festivals such as the Heidelberger Frühling and the Amsterdam String Quartets Biennial.

Among his regular stage companions are musicians of the stature of Martha Argerich, Veronika Hagen (that accompanies them in this latest recording adventure), Jörg Widmann, Javier Perianes, Valentin heirs, Richard Lester, David Kadouch, Jonathan Brown, Cappella Amsterdam and the Doric string quartets, Meta4, Ardeo and Galatea. Passionate defender of contemporary repertoire, the quartet collaborates regularly with composers of our day, and presenting and recording new creations to establish a constant dialogue between tradition and new music. They have premiered works by prominent composers such as Peter Eötvös, Cristobal Halffter, Jose Maria Sánchez-Verdú, Anton Garcia-April, Jesus Villa- Red, Marisa Manchado, Narine Khachatryan and Cecilia Díaz, and they have performed the entirety of György Kurtág's work for quartet and, in future seasons, Works by Jonathan Dove to premiere, Jörg Widmann y José Luis Turina.

Since 2012, the Quiroga Quartet has embarked on an ambitious journey to build an inspired and unique record catalog with the Dutch independent label Cobra Records. In this fall of 2021 present their latest album, And there was light. Haydn & Mozart: The birth of a new Era, in C Major, recorded with the prestigious violist Veronika Hagen and dedicated to the birth and explosion of chamber music and the string quartet as genres children of the Enlightenment. Your previous CD, Heritage, offers an eloquent anthology of the musical scene of the string quartet in Madrid at the time of Goya. Published in 2019, this «necessary album» (Joke) is played on gut strings and includes two world-first recordings by Boccherini and Brunetti. His first album, that paired Haydn and Webern with Sollima, won the CD of the year award 2012, awarded by the Union of Independent Producers (UFI). Among his previous recordings for Cobra, critically acclaimed, Schönberg's early music albums listed, Webern and Alban Berg; the Opus quartets 51 Brahms; and works by Bartók, Ginastera and Halffter. In 2016, published a recording with Javier Perianes for Harmonia Mundi that includes rarities for piano quintet by Granados and Turina.

Quiroga Quartet © Igor Cat

Cecilia Bartoli

He 19 of November, Cecilia Bartoli to release an album of dramatic classical-era concert arias. these pieces, notable for their difficulty, were composed by the great composers of the classical era for the most outstanding sopranos of the time. The project has been in the works for almost a decade, and the music was recorded in 2013 with the Basel Chamber Orchestra under the baton of Muhai Tang. The list of titles was finalized by Bartoli when the pause in her performance program caused by the pandemic allowed the singer to look back at her unfinished works.

«I liked being able to take care of so many things that I had left unfinished, postponed or forgotten. I finally had the chance to rummage through my sound files for hidden gems.. Among the many rediscovered friends that came to light, I feel a special attachment to the recordings of this album ». Cecilia Bartoli

More than 12 million audio and video recordings sold, Cecilia Bartoli is one of the most successful classical artists of our time. Bartoli has been 1988 recording exclusively for Decca Classics and has received five Grammy Awards, over a dozen Echo and Brit awards, the Polar Music award, the Léonie-Sonning-Music Prize and the Herbert von Karajan Prize. He has performed in auditoriums, most prestigious operas and festivals in the world, works as artistic director of the Salzburg Pentecost Festival, and in January 2023 will become director of the Monte Carlo Opera, the first woman in history to direct it.

In Unreleased, Bartoli performs dramatic concert arias composed over a period of 23 years by four composers whose mutual influence is evident, and whose compositions reflect the measure of the sopranos for whom they were written.

Ah! Perfidious Beethoven, composed for the famous singer Josepha Duschek during the composer's visit to Prague in 1796, may herald some of the music written for Beethoven's only operatic heroine: Leonore de Fidelio.

Duschek also premiered Bella my flame, from Mozart, who also originally composed for her Ah, it I anticipated, and that Aloysia Weber finally sang. Other parts of Unreleased are Mozart arias originally composed for other great singers of the 18th century, como el castrato Tommaso Consoli, who was the first to interpret I will love it, I'll be constant of Mozart at the opera The Shepherd King.

Bartoli continues his work with works that are rarely performed with HE May felt. Written by the Czech composer Josef Hunter, this aria belongs to his opera by 1734 The Clemency of Titus and it was composed for Pietro Benedetti (which also premiered some of Mozart's early operas). Hunter, who was a miller in his native Prague before moving to Italy, He had already become the most successful and highest paid composer of operas in Europe when he befriended Mozart.

Bartoli has sung before Scene from Berenice of Haydn in concert to great acclaim from the public, and his interpretation of 2001 at the Styriarte Festival it was described by Gramophone as "one of the best recorded concerts on DVD". This is Bartoli's first studio recording of Haydn's difficult aria, that Brigida Bant premiered in London in 1791.

The violinist, Israeli violist and conductor of Russian origin Maxim Vengerov plays two violin solos on two of the pieces: I will love you I will be constant Y I forget about you?

«I would like to thank my dear colleague and friend Maxim Vengerov, which has always been a great source of inspiration for me and has accompanied me in the recording of these two beautiful arias by Mozart ».

Cecilia Bartoli


Beethoven: Ah! Perfidious, On. 65

Mozart: I forget about you? K.505

Hunter: If you ever hear from La Clemencia de Tito

Mozart: Ah, I foresaw it!…Ah, flee you…deh, not vicar K.272

Mozart: My beautiful flame, goodbye… Stay, oh way, K528

Mozart: L’amero, I will be constant from The Shepherd King. K.208 (violin solo: Vengerov)

Haydn: Scene from Berenice, Hob. XXIVa:10

Prensal wheel from Mozart's REQUIEM opera

He Palau de les Arts starts next thursday, 30 of September, the lyrical season with the premiere in Spain of the theatrical version of the 'Requiem', Mozart, performed by Romeo Castellucci, under the musical direction of James Gaffigan.

Jesus Iglesias Noriega, artistic director of Les Arts, has presented today at a press conference the first title of the section ‘Les Arts pera’ as “one of the most relevant bets in this new stage of theater as a promoter of new aesthetics and proposals of reference in the operatic circuit”.

“Romeo Castellucci, one of the protagonists of the avant-garde theater space in Europe, premieres in Spain its applauded version of Mozart's unfinished mass for the dead. Staged as a hymn to life of extraordinary plastic beauty and overwhelming theatrical force, the proposal of the playwright and plastic artist is considered one of the essential shows of recent years ".

‘Requiem’ is a co-production of Les Arts with Festival d’Aix-en-Provence, Adelaide Festival, Theatre Basel, Wiener Festwochen y La Monnaie / De Munt with Romeo Castellucci as the architect of the stage direction, scenography, costumes and lighting. Silvia Costa (associate stage director), Evelin Facchini (choreography) y Piersandra di Matteo (dramaturgy) complete the creative team.

Iglesias Noriega has highlighted, Besides, “The excellent members with whom Les Arts addresses one of the greatest challenges, both in its musical and technical aspects, of the 2021-2022 season ".

“James Gaffigan, good connoisseur of Mozart's music, and particularly his 'Requiem', makes his debut as musical director in the Main Hall in front of the stable bodies of the theater: Cor de la Generalitat, exceptional in one of his most complex and demanding works both on a vocal and stage level, and the Orchestra of the Valencian Community, reference training in the pit ”.

"In the soloists section, Les Arts brings together leading performers from the Mozart repertoire: Elena Tsallagova, Sara Mingardo, Sebastian Kohlhepp and Nahuel Di Pierro, as well as the soprano boy Juan José Visquert of the Escolania de la Mare de Déu dels Desemparats ”, has pointed.

Meanwhile, James Gaffigan has highlighted the great work of Castellucci with his staging, that never distracts the viewer or disturbs Mozart's music, but, quite the opposite, enhance your excellence. Likewise, The New York musician has praised the great work of the Cor de la Generalitat both on a musical and stage level to carry out the demands of production.

Say goodbye to life

Fully assuming the fragmented character of the 'Requiem', Castellucci gives life to a show built from a series of silent images capable of expressing the imperative need to say goodbye to life.

The Italian artist captures the fading of life as the origin of all possible human beauties. This ‘Requiem’ is opposed to what one would expect from a mass for the dead; it is not a space of lamentation, wants to celebrate life in the fragility that belongs to him.

A constant projection of animal names, plants, towns, Languages, cities, extinguished feelings can be read in parallel to what happens on stage. The phrases take the form of a goodbye to the elements in connection with the lives of each of the spectators, thanks to an approach to our time and the abandonment of things close to the viewer.

As Castellucci himself explained, "The 'Requiem' addresses the fundamental question of time, of the hope of rebirth; explore the origin and the end, but also the end as origin ".


Les Arts has scheduled six performances of Mozart's 'Requiem' on the days 30 September and 2, 3, 6, 8 Y 10 October.

Airam Hernández in Oviedo

If there is any feature that characterizes the artistic career of the Tenerife tenor Airam Hernandez is its versatility. He has sung the most varied repertoires, from baroque oratorios to Verdi operas or contemporary music, but now enjoy with one of your favorite composers: Mozart. And he does it in a big way, with one of the most important characters for your rope, that of prince tamino of the immortal Magic Flute Opera in Oviedo. It will be in a new production signed by the regista Albert Estany, with musical direction by Lucas Macías. The trip to the Mozartian world has been a discovery for the singer, a repertoire in which, states, can exploit all its resources, “especially in heroic character roles, that require a lyrical voice, but ductile”. The elegant and refined singing of the Spanish tenor suits Tamino's character like a glove.. “This is a style of great vocal demand in which you have to find a balance between the dramatic character of the character and the pure and clean line. I have been specializing in this repertoire for some time and I hope to be able to debut all the characters of the composer that suit me throughout my career.”, points singer. The play will premiere at the Campoamor Theater in the Asturian capital on 8 October, completing the calendar with functions the days 10, 12, 14 Y 16 October.

Hernández, with solid musical training, first as a horn player and later as a member of the Barcelonés Liceu Choir and the Zurich Opera ensemble, you are at a very sweet moment in your career, having made much of his career internationally with debuts in half Europe and the United States; this course, at last, he will be seen in various Spanish stages. Among other commitments, in addition to this debut in Oviedo, returns to the season of the Teatro Real de Madrid will play Federico García Lorca in the absolute premiere of the opera the letter opener by Luis de Pablo. Performances also await you at the Teatro de La Maestranza in Seville (I Capuleti ed i Montecchi Bellini), Opera in Tenerife (Florencia en el Amazonas by Daniel Catán) or at the Gran Teatre del Liceu in Barcelona (Rule Bellini).

Airam Hernandez

Opera Oviedo


After the successes of Philip Glass · Piano Works, Johann Sebastian Bach, Debussy · Rameau and Debussy · Rameau Reflections (more of 225 million streams to date and more than 320.000 albums sold), the multi-award-winning pianist Víkingur Ólafsson now focuses his attention on the music of MOZART. Ólafsson presents some of Mozart's favorite piano works as well as a selection of pieces by prominent contemporary composers. By juxtaposing works by Mozart, Haydn, C. P. E. Bach and the rarely engraved Galuppi and Cimarosa, Mozart & Contemporaries dispels the image of Mozart as the angelic and prodigious scholar stupid, presenting, instead, to a mature composer by means of music composed mostly during the decade of 1780: a resourceful adult, who works hard and who had already known adversity. Everything is cleverly assembled by Ólafsson's very personal programming, which is always an invitation to reflection.

Ólafsson comment: “This decade of the life and art of Mozart seems infinitely fascinating to me. Mozart was not just a composer and I have the feeling that, when he wrote for himself as a piano virtuoso, he allowed himself more than ever that sublime playful character that is at the very center of his originality and inventiveness. This is the time when Mozart was not only perfecting the classical tradition, but subverting it in a subtle way. The shadows are darker; the nuances and ambiguities, deeper".

“Víkingur Ólafsson is revitalizing classical music” The Economist

Carl Philipp Emanuel Bach (1714-1788); Joseph Haydn (1732-1809); Baldassare Galuppi (1706-1785) Y Domenico Cimarosa (1749-1801): Perhaps all four provide an opportunity to calibrate the contemporary ear to ideas, the dominant styles and tastes of the time ", comment Ólafsson. “I trust that this particular context, a mixture of the famous and the hidden, may slightly modify our psychological adjustment, leaving aside part of the baggage that we all instinctively incorporate into Mozart's music. This is, in any case, what I set out to do to myself: approach even the best-known works of Mozart with the same freedom and childlike enthusiasm that I felt when discovering the rare and astonishingly lyrical works of composers like Galuppi and Cimarosa ".

Mozart: a bird that flies free

Mozart & Contemporaries offers us a fascinating snapshot of a decade in which changes were abuzz, composers were constantly experimenting and Mozart was writing such visionary pieces as the Sonata in C minor K. 457. The album - the pianist's fourth for Deutsche Grammophon - also includes Ólafsson's own transcripts: evocative arrangements of two sonatas by Cimarosa, plus a masterful transcription for piano solo of the great Adagio in E flat major from the K string quintet. 516 Mozart. To close the disc, the Adagio in B minor K. 540 of Mozart flows, after a smooth transition, in Franz Liszt's transcription of the motet Ave verum corpus, composed by Mozart in his last year of life. The ascent of the vocal lines to the higher registers of the piano is seen by Ólafsson as the representation of a final sensation of death and transfiguration.

"When I play Mozart, I feel like I'm getting to know myself as a musician.
I get to know aspects that I did not know before. He seems to reflect in the music

your most intimate being. "

Víkingur Ólafsson

Víkingur Ólafsson made an unforgettable impact with the publication of his first three albums, Philip Glass · Piano Works (2017), Johann Sebastian Bach (2018) Y Debussy · Rameau (2020) en Deutsche Grammophon, label of which he is an exclusive recording artist. The project Debussy · Rameau, what made him Daily Telegraph define it as "the new superstar of classical piano", has reached almost the figure of one hundred thousand records sold and has exceeded the 75 million streams, which has brought the total number of streams of Ólafsson's music to more than 227,5 millions.

Ólafsson's multiple awards include the Opus Klassik for the best Instrumental Recording to solo (piano) for two consecutive years (2019, 2020), Album of the Year at the LA Awards BBC Music Magazine in 2019 and Artist of the Year magazine Gramophone in 2019. The New York Times rated it, meanwhile, of “Glenn Gould de Islandia”.

Only in 2020 made a series of eight broadcasts on Icelandic radio; hosted his own primetime TV series in Iceland, call Musical bites; and created his own three-part series for BBC Radio 3, Transcribe, To transform. During confinement, Ólafsson was also the artist-in-residence for three months on BBC Radio's teaches art program 4, Front Row (First row), broadcasting weekly recitals live from a deserted Harpa concert hall in Reykjavik, that were heard by millions of listeners around the world.

Víkingur Ólafsson will make his debut at the BBC Proms on 14 August and will play Mozart & Contemporaries at the International Piano Series at London's Southbank Center on 2 October 2021.

Rene Pape

René Pape interprets works of Dvořák, Mozart, Sibelius Y Quilter this Sunday, 16 of May, to 18.00 hours, in the Main Hall of the Palau de les Arts.

The German artist, considered the best bass of its generation, is in charge of closing the second edition of the cycle of ‘Les Arts és Lied’, in which, throughout the season, have performed some of the most sought-after voices such as Lise Davidsen, Ainhoa ​​Arteta, Anita Rachvelishvili, Christian Gerhaher and Sonia Yoncheva.

Ever since he sang the role of Sarastro in Mozart's 'The Magic Flute' at the Salzburg Festival in 1995 directed by Georg Solti, René Pape has become an essential name for the main theaters and auditoriums of the world, especially at the New York Metropolitan, where have you interpreted 18 roles in more than 160 functions, and at the Berlin Staatsoper, company of which you have been a member since 1998.

German opera is the great specialty of Dresden bass, that combines with a long career as a liederista, in which he shows off his recognized technical mastery and his acting skills. Winner of two Grammys, was named ‘Vocalist of the Year’ by Musical America, and ‘Artist of the year’ in 2006 by the German Critics Association.

René Pape performs at Les Arts accompanied by the pianist Camillo Radicke, with whom he forms one of the most celebrated tandems for his recitals dedicated to the ‘lied’. This is the first time that the artist appears in the Main Hall of the theater. René Pape debuted in 2008 in the Auditorium, under the direction of Lorin Maazel, in Verdi’s ‘Requiem’.

Les Arts recalls that the tickets for René Pape's recital have a price range that ranges from 20 Y 40 euros.

Photograph: Jiyang Chen

Judith Jáuregui

The pianist from San Sebastian Judith Jáuregui will offer her first two concerts of this new year on 22 Y 23 January at the Monumental Theater in Madrid together with the Spanish Radiotelevision Symphony Orchestra within their subscription season, dedicated to the Musical Revolutions, under the direction of the Dutch Jan Willem de Vriend. Judith will perform Concerto No. 20 Mozart, his most dramatic and tormented concert. The program is completed with the Symphony No. 1 by Mendelssohn and Gluck's overture 'Orfeo y Eurídice' by orchestra and conductor. “Written in D minor like her Requiem or her Don Giovanni –explains the pianist- he 20 Mozart is revolutionary in its way, with the author introducing the novelty of the piano input totally different from the orchestra introduction, and it was a success since its premiere in 1785. It became one of the favorite works of Beethoven who wrote cadences for the first and third movements and maintained the admiration of the romantics, who sometimes called the Mozartian style too ‘light’, but they did identify with the storm and the momentum of this great work. Artists like Clara Schumann, Brahms or Busoni played it recurrently ".

The two appointments at the Monumental are the first concerts of the year for Judith Jáuregui, within a season that began at the Victoria Eugenia Theater in San Sebastián and in which he was able to cross a border, arriving to play in the Czech Republic, but now it is expected to be more focused on Spain, after their commitments in Italy and Switzerland were postponed. In this sense, the pianist especially values ​​the possibility of offering this concert despite the circumstances. "In a time as complex and emotionally heavy as the one we are experiencing at all levels, from personal uncertainty to the challenges we have been facing as a society for now 8 months, join with the ORTVE and the Master of Vriend to make this Mozart in particular I live it as a kind of miracle –he declares-. I applaud the Spanish cycles and orchestras that are, despite the difficulties, standing as they can and being an example of courage and commitment to music, the culture and the artists and human teams that make it possible. Going back to Mozart, inside the tragedy, hope is always found in his music. Their melodies seek the light, and at this moment that luminosity is a huge inspiration to move on –concludes Judith- ".

After postponements abroad, Judith's agenda turns to Spain, with concerts in the first months of the year at the Palau de la Música in Valencia, the Zaragoza Auditorium, the Alicante Auditorium together with the ADDA Simfònica, the Principal Theater of Pontevedra, the Euskalduna in Bilbao and the National Auditorium in Madrid, among others.

Musical Revolutions 3
Friday 22/01/2021 – 19:30 h and Saturday 23/01/2021 – 19:30 h. Monumental theater (Madrid)
RTVE Symphony Orchestra. Director: Jan Willen de Vriend
C. W. Gluck – Orpheus and Eurydice Overture
Wolfgang A. Mozart – Piano Concerto No. 20 In D minor K. 466
Judith Jáuregui, piano
Felix Mendelssohn – Symphony No. 1 and Do menor Op.11

With his enormously personal style, elegant and creative, Judith Jáuregui has become one of the most captivating pianists of today. In the words of the German magazine Piano News, “It is not only the impeccability of his interpretation that counts, but the impression of listening to a pianist who really has something to say ".

Born in San Sebastián, has been linked to diverse cultures since childhood: of Basque mother and Mexican father by birth and French by adoption, Judith began in music in her hometown and later finished her studies in Munich, Germany, under the tutelage of Russian master Vadim Suchanov. In recent seasons it has been enthusiastically received in reference rooms such as the National Auditorium of Madrid, the Palau de la Música de Barcelona, el Southbank Central London, Louvre Auditorium in Paris, the Konzerthaus in Berlin, Tokyo Suntory Hall, NCPA Beijing, the La Roque d’Anthéron Piano Festival, the Lille Piano Festival, the Montpellier Radio France Festival in France, Schloss Elmau, Murten Classics y Klosters Music.

He has collaborated with the Britten Sinfonia, Neubrandenburg Philharmonic, PFK Prague Philharmonia, The New Orchester Cologne, Aarhus Symphony Orchestra, Slovak Sinfonietta and the Simón Bolívar Orchestra of Venezuela, as well as with great Spanish orchestras, including the National Orchestra of Spain, and the Basque Country Symphony, from Bilbao or from Castilla y León.

In June 2020 his latest album ‘Die romantische Seele’ was released with music by Robert and Clara Schumann, recorded with the Camera Musicae and Tomàs Grau Symphony Orchestra for the German label Ars Produktion. His previous discography shows his wide repertoire and includes different authors and eras: from Schumann himself, to whom he dedicated his first album released in 2010 and was awarded Best Classical Album at the Independent Music Awards, to other composers like Granados, Liszt, Chopin, Failure, Mompou, Albéniz, Szymanowski on Scriabin. In 2019 his fifth job For the tomb Claude Debussy (Ars Production) it was a live record from an intimate concert in Vienna and was warmly welcomed in the music press, who praised the interpretation of Judith defining it as pianistic sovereignty poetry that shines with its own light, surprising for its extroversion and freshness, certainly, an artist whose upcoming publications should be followed closely. '. The album was also selected as a nominee for the Opus Klassik Awards 2020 within the Live Recording of the Year category. Judith Jáuregui is a Bösendorfer artist.





Don Giovanni
Wolfgang A. Mozart (1756-1794)
Playful drama en dos actos
Libretto by Lorenzo Da Ponte, based on the Trickster of Seville (1616) de Tirso de Molina y en el libreto de Giovanni Bertati for the opera Don Giovanni Tenorio or the stone guest (1787)
Production of the Berlin Staatsoper, from Salzburger Festpiele
Teatro Real, Madrid 29 December 2020
D. musical: Ivor Bolton
D. scene: Claus Guth
Responsible for the replacement: Julia Burbach
illuminator: Olaf winter
Dramaturgy: Ronny Dietrich
Choreographers: Ramses Sigl
D. choir: André Máspero
interpreters: Adrian Eröd, Goran Juric, Adela Zaharia, Airam Hernandez, Federica Lombardi, Marco Mimica, Cody Quattlebaum, Marina Monzó
Titulares Choir and Orchestra of the Teatro Real Personally I have to say that I have had bad luck with the Don Giovanni that I have attended. So unlucky I think this is the best I've ever seen. And I also have to admit that a few contradictions arise after seeing the representation. Some things I like a lot, other, less. But if you look at the whole, in all elements (which they are few) that make up this production, I can say that I left the Theater happy after having enjoyed Don Giovanni seems to have some kind of curse in Madrid, because the representations that have been made of him in recent decades have not been exactly brilliant. La de Claus Guth, which premiered in 2008 at the Salzburg Festival and now arriving at the Royal Theater, Since then he has been on stage with enough dignity. It is also the only Mozart opera that remained in the repertoire since its premiere in the Romantic period., when the rest had disappeared from the programming.There are two versions of Don Giovanni, the Prague of 1787 and Vienna in 1788, which is the one represented on this occasion, although the final sextet and the duo between Zerlina-Leporello have been dispensed with. How Mozart wrote for singers, adapted the Vienna version for the Austrian soprano Caterina Cavalieri for the role of Elvira, one of the most famous singers of the moment. He did the same with the role of Don Ottavio, which in Vienna was played by Francesco Morella, for who wrote the aria of Il mio tesoro, a tenor with more skill and facility for coloratura than Antonio Baglioni, which premiered the version in Prague.Guth has created a forest of extraordinary realism. Rotary, how could it be otherwise in the case of the German director. The forest ... that place where we hide or love each other. A place where we can feel fear, we get lost and worry, but where emotions are always strong. Claus Guth's scenography begins by altering the libretto, for the Commander mortally wounds Don Giovanni already in the overture, as a spoiler. From here we witness the agony, in real time, of a Don Giovanni who is like an animal hunted and wounded in a forest that, at turning, besides being a bit dizzy, It unveils the mysteries and corners in which the scenes take place. All this in a permanent and brilliant twilight created by Olaf Winter. There is room for a car, a bus stop or a swing. All, less a palace; neither the costumes nor the incomprehensible scenic elements accompany the immersion, like Don Giovanni's allusion to drugs and, in general, the lack of sensitivity in a work like this Ivor Bolton, that is handled very well in the Mozartian repertoire, had a somewhat uneven result this time. It was less to more, after a slightly muted overture, like most of the first part, a second came with greater musicality and refinement on the strings. The music managed to suffocate the moments in which the scenery took you out of the work. I didn't understand that James Ellis's mandolin had to be amplified. I do not know if this was the cause of the lack of neatness in its emission in an aria that, on the other hand, was cleverly lit creating one of the most sublime moments of the performance. The singers have been very balanced.. You should highlight the interpretation of Don Giovanni by Adrian Eröd, of a high interpretive level. Frivolous and hasty in his conquests while dying. Too bad your broadcast wasn't clean, it seemed like I had a problem. Cold, maybe. A character treated scenic as a poor erratic man. Nothing to do with the Don Juan that we have internalized, the Croatian Goran Jurik offers a good image of Comendador, thanks to his stage presence and his powerful bass voice in an ungrateful role, For brief I liked Adela Zaharia in her role as Donna Anna. The Romanian soprano combined sensitivity with vocal solvency and a good interpretation. She, like the rest of soloists, they had to sing while balancing on an uneven stage. Sometimes there is little thought about singers and much about unstable and unnecessary elements of the set. Nor was Federica Lombardi's Donna Elvira bad., with a solid central zone and good highs that allowed him moments of brilliance. Croatian Marko Mimica's Leporello had almost more vocal prominence than Don Giovanni himself. Not so in the interpretive facet. Though truly serious voices are missed these days, Mimica fulfilled her role.

The role of Don Ottavio has been played by Airam Hernández, a cowardly character who was well portrayed by the Tenerife tenor who was also at a good level in the vocal part.

Marina Monzó's Zerlina was one of the night's satisfactions, no surprise. Next to Cody Quattlenaum's Masetto, they created a well-connected couple in the theatrical part.

Another night of opera at the Teatro Real, which is behaving like a great ship moving forward, Through thick and thin and keeping the course, in a vast ocean of ice.

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

Don Giovanni

Between days 18 December and 10 January the Teatro Real will offer 15 functions Don Giovanni, Wolfgang Amadeus Mozart, in a production of the Berlin Staatsoper, premiered at the Salzburg Festival in 2008, with the same leading duo that will perform at Real: british baritone Christopher Maltman, as Don Giovanni, and the Spanish-Uruguayan bass-baritone Erwin Schrott, as Leporello.

The interpretation of both, unanimously praised by critics, acquires a special meaning in this montage, as Claus Guth reinforces, in its staging, the macabre bond of the two characters, whose complicity and piety bring, maybe, the only tender and compassionate moments of the production.

The plot takes place in a very versatile fir forest, designed by the set designer Christian Schmidt, where the different pictures of the opera are happening, distorted by the agony of Don Giovanni, that slowly bleeds out from the first to the last scene.

Wounded by the Commander at the start of the opera, in the paroxysm of death the perverse games of seduction that have filled his hectic life parade through his head, walking towards alienation and death without ever abandoning his impetuous spirit, lewd and blasphemous.

Helped by Leporello, friend junkie and adventure buddy who accompanies him in the painful trance, Don Giovanni mezcla, at the opera, the vivid memories encouraged by his hedonistic eagerness, With the blurry visions that precede death. Hidden in the meanders and recesses of a forest always complicit, wisely illuminated by Olaf winter, the forest reflects the drama of the characters, in a pictorial game of chiaroscuro that links the baroque universe of Tirso de Molina's libertine, With the murky world of sexual morons of the 21st century.

Two casts of internationally renowned singers embody the characters of Don Giovanni, led with expertise and depth by Claus Guth, which has already left its mark on three productions presented at the Teatro Real: Parsifal (15/16), Rodelinda (16/17) Y Lucio Silla (17/18).

The baritones Christopher Maltman Y Adrian Eröd (Don Giovanni), the bass-baritones Erwin Schrott Y Marko Mimica (Leporello), las sopranos Anett Fritsch Y Federica Lombardi (Donna Elvira), tenors Mauro Peter Y Airam Hernandez (Don Ottavio), las sopranos Brenda Rae, Adela Zaharia Y María José Moreno (Donna Anna), and also Louise Alder Y Marina Monzó (Zerlina), as well as the bass Krzysztof Baczyk Y Cody Quattlebaum (Masetto), Y Tobias Kehrer Y Goran Juric (The commander), will alternate in the 15 programmed functions, always under the direction of Ivor Bolton, who will direct his fifth Mozart title at the Real, in front of Coro and Orchestra Titulares del Teatro o Real.

Don Giovanni will be presented for the fourth time since the reopening of the Royal Theater: in June 1999 with Daniel Barenboim and Thomas Langhoff; in October 2005 with Víctor Pablo Pérez and Lluis Pasqual; and in April 2013, with Alejo Pérez and Dmitri Tcherniakov.

The production that now reaches the Real is offered in a period of uncertainty and difficulties, demanding an additional effort from everyone to present the opera within the health safety regulations.

The stage manager Claus Guth has modified several details of the staging and the Titular Choir of the Teatro Real will perform with masks specially designed for singers, that promote voice projection and facial movement without releasing aerosols. But these and other adaptations will not prevent the Royal Theater from offering, with the highest quality, a different perspective of the great myth of Spanish literature, with new interpretations that continue to enrich your aura.


For José Bogas, CEO of Endesa "contribute so that culture does not stop and, in particular, support the Royal Theater, is an enormous pride for Endesa. We greatly value that the Royal Theater is one of the few Opera Houses in the world that has maintained its programming through thick and thin, despite the pandemic; Besides, it has done it with an enormous quality and without neglecting safety. And that is what we are going to verify with this ‘Don Giovanni’ that Endesa sponsors.

so do all of them

The Palace of Arts reflects on the loneliness and fragility of human relationships in a production of 'So do all of them' adapted to the new normal, with which the 27 september season 2020-2021 in the Main Hall.

Les Arts has presented this title today at a press conference that, under the musical direction of Stefano Montanari and scenic Silvia Costa, stars in a cast of young but experienced performers, habitual in this repertoire in the distributions of the most prestigious theaters and festivals: Federica Lombardi, Paula Murrihy, Marina Monzó, Anicio Zorzi Giustiniani, Davide Luciano Y Nahuel Di Pierro.

The artistic director of the theater, Jesus Iglesias Noriega, has underlined the effort not only of the artistic and creative team, but also the technical team, artistic and administrative theater, as well as the Cor de la Generalitat and the Orquestra de la Comunitat Valenciana for launching this new production in just two weeks after the cancellation of Romeo Castellucci's stage adaptation of Mozart's ‘Requiem’.

“A theater is a dynamic institution and cannot stop. It is our obligation to continue to keep culture alive and offer citizens a space and forums for reflection and criticism with the maximum guarantees of safety for the public and artists ".

The violinist and conductor Stefano Montanari, baton of accredited prestige in the baroque and classical repertoires, return to Les Arts, where he first performed in 2006 as a soloist with the Byzantine Academy in 'Island of Pleasure' de Martín i Soler. This time, debuts on the podium with the Cor de la Generalitat and the Orquestra de la Comunitat Valenciana in a production that, as he points out, allows the perfect relationship between music and scene.

In the scenic section, Silvia Costa proposes a timeless vision, a symmetrical and abstract space that confronts two worlds. The montage, with props and costumes made by the theater's technical team, and lighting by Marco Giusti, puts your focus, according to the ‘register’, in "loneliness of characters" and "the fragility of human relationships", as the musical director also points out.

Ascendant performers

He made his debut in Les Arts, with the role of Fiordiligi, the ascendant soprano Federica Lombardi, consecrated despite her youth as one of the most sought-after interpreters, especially in Mozartian papers, in theaters like La Scala in Milan, the Metropolitan New York, the Vienna Staatsoper or the Munich Opera.

In the role of her sister Dorabella, The mezzo-soprano Paula Murrihy is presented to the Valencian public. Common in European and American opera houses, The Irish singer is also one of the reference voices for Teodor Currentzis, with whom he collaborates regularly with his MusicAeterna group.

The Valencian Marina Monzó closes the female shortlist as the intriguing maiden Despina. The emerging artist, after his applauded work in ‘La tabernera del puerto’ last season, will make his long-awaited operatic debut at Les Arts with ‘Così fan tutte’.

In the male section, Italian baritone Davide Luciano sings for the first time in the Main Hall (William) what, thanks to his forays into the classicist and bel canto repertoire, has been revealed as one of the new values ​​in his tessitura with works in New York, Milan, Berlin or Moscow, among other squares.

Photograph: Miguel Lorenzo

Palau Arts in Valencia

The Palace of Arts will open the season 2020-2021 with a version of 'So do all of them', Mozart, adapted to the requirements of the current healthcare reality.

This opera will replace in the calendar the representations of the impressive scenic recreation of Romeo Castellucci of Mozart's 'Requiem' which had been announced as the inaugural title.

Given the evolution of the COVID-19 situation in recent weeks, Les Arts considers it appropriate to postpone, for its scenic complexity, the acclaimed montage of the Italian playwright and plastic artist.

The co-production of Les Arts with Festival d’Aix-en-Provence, Adelaide Festival, Theatre Basel, Wiener Festwochen and La Monnaie will premiere within the season 2021-2022.

In order to guarantee the safety of artists and public, a version of ‘Così fan tutte’ will be offered with an approximate duration of 2 hours and 15 minutes without rest.

The violinist and conductor Stefano Montanari, baton of accredited prestige in the baroque and classical repertoires, will direct this opera, with which the so-called Mozart-Da Ponte trilogy closes.

Les Arts thus continues with its commitment to the repertoire of Wolfgang Amadeus Mozart, which already opened last season with ‘Le nozze di Figaro’, the first of the trilogy titles, that arises as a result of the collaboration of the Salzburg composer with the successful librettist of Treviso Lorenzo Da Ponte.

Silvia Costa, close associate of Romeo Castellucci, signs the conception of this semi-staged proposal, to be held ‘ad hoc’ for their performances in Les Arts, and that has lighting by Marco Giusti.

Outstanding Mozartian performers make up the cast. Anett Fritsch, Anicio Zorzi Giustiniani, Davide Luciano, Nahuel Di Pierro, among others, star in the entanglements of the celebrated ‘giocoso dramma’, which will also mean the opera debut in Les Arts by the Valencian Marina Monzó with the role of Despina.

In the coming days, Les Arts will contact its subscribers to inform them of the different options before this change in the programming.

More information

Main room of the Palau de Les Arts. Photographs Miguel Lorenzo / Mikel Ponce

The Orquestra de la Comunitat Valenciana, artists Training Center and the Cor de la Generalitat star in the different sessions.

The towns have a single price of 5 euros and can only be acquired through the Les Arts website and online 902 202 383.

He Palau de les Arts puts on sale this Monday, 8 June at 10.00 h, tickets for the series of concerts and recitals ‘Torna a Les Arts’, with which the cultural center resumes artistic activity after the period of confinement.

After the concert dedicated to health personnel on Friday, 12 of June, the Main Hall, will host, from saturday 13 this month, ten sessions with different proposals by the Orquestra de la Comunitat Valenciana, the artists of the Center for Perfection and the Choir of the Generalitat.

The concerts, with towns with a single price of 5 euros, will be one hour long, without a rest, and will be held on Thursdays, Fridays and Saturdays, until the next 11 of July.

Under sanitary protocols, sessions are marketed with a numbered seat. and a capacity always adjusted to current regulations. Les Arts recalls that, within its commitment to promoting lyrical and classical music for the youngest, Friday sessions will be reserved exclusively for children under 29 years.

Tickets can be purchased through the Les Arts website, as well as on the phone 902 202 383, which will be operational from Monday to Friday from 10.00 h a 14.30 h. The minimum purchase is two contiguous locations. Individual tickets can only be requested through the telephone sales line.

The artistic direction of Les Arts has adapted the different musical proposals and programs to the requirements of the current situation. Both the Orchestra of the Valencian Community, in chamber grouping, as the Choir of the Generalitat, with a reduced workforce, they will maintain at all times the requirements of distance on stage.

The Orquestra de la Comunitat Valenciana will offer three different programs during this cycle: one for string instruments, with pages of Mozart, Dvořák, Barber Y Chaikovski, another dedicated exclusively to the horn section, with works by Donizetti, Gounod and Beethoven and a third proposal for winds and strings with scores by Cimarosa, Mozart and Haydn.

Cor de la Generalitat, meanwhile, in his only performance the 2 of July, will perform works by Victoria, Palestrina, Guerrero, Bach, Elgar, Bruckner, Poulenc y Fauré, among others, with the accompaniment of Francisco Hervás on piano.

The singers of the Center of Perfection, accompanied by the pianists José Miguel Román and Stanislav Angelov, They will perform different programs with arias and romances of opera and zarzuela in their respective sessions.

Photograph: Miguel Lorenzo / Mikel Ponce

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

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

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

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

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

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

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

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

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

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

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

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

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

Text: Paloma Sanz
pictures: Javier del Real

A film Magic Flute

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

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

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

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

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

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

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

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

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

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

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

Photograph: Javier del Real

Symphony Orchestra of Castilla and Leon

The Socioeducativa Area Symphony Orchestra of Castilla and Leon, with the director Alejandro Garrido, Saturday presents an innovative proposal works around Mozart y Strainsky, to be held in the emblematic room Museo Nacional del Prado, on the occasion of the closure of the acts of its Bicentennial. This proposal is part of the Iberian Orchestral Project, promoted by the Junta de Castilla y León.

Iberian Orchestral Project (PIO) entrepreneurship and leadership beginning in the year 2017 as a unique initiative of the Socioeducativa Area Castile and León Symphony Orchestra, with the collaboration of the Centro Cultural Miguel Delibes, in which young musicians from Andorra involved, Spain and Portugal selected by major groups of young musicians from the three countries. A being a multidisciplinary team three dancers from the Professional School of Dance of Castilla y Leon and the young Portuguese baritone add, Frederico de Vasconcelos, along with a dozen young musicians.

Secretary General of Culture and Tourism of the Junta de Castilla y León, Gregorio Muñoz Abad, He has been present in the presentation of the program designed to mark the closing ceremony of the bicentennial of the Museum of the Prado. The repertoire PIO presented in two performances at the art gallery next Saturday, 14 from December, It consists of the following parts: 'Madamina, this is the catalog ' (Mozart aria for baritone), ‘Andante’ (Stravinski), 'Ah, come to the window' (Mozart aria for baritone), ‘X14’ (Alejandro Garrido) y 'Open a little' those ochhi ' (Ara for baritone Mozart), under the direction of Alejandro Garrido.

During the morning trials will open place in three different spaces of the Museum of the Prado, and in the evening they will surprise the visiting public with two performances in an emblematic room of the permanent collection of the Museum. During the day on Saturday (also the days 12, 13 Y 15 from December) the public can enjoy an audiovisual show on the street it includes live music and play of light, in tribute to the institution through a tour of his works.

Audiovisual intervention will take place on the facade of Goya with the artistic collaboration of Daniel Canogar. The objectives of the PIO are innovation, disruption, dare, commitment, training, leadership, multiculturalism, territory. In the context of OSCyL, Iberian Orchestral Project, margin to influence the artistic high-level training, It expands with training to prepare young people for the future, responding to the high professionalism of the sector and a highly competitive environment.

also influences provide a different view of musical expression, body and staging. Actually, musician becomes a figure interdisciplinary: a dancer, musician and actor at the same time, taking the view that through the interdisciplinary, musical performance is enhanced, where young musicians perform without sheet music.

In the Iberian Orchestral Project also actively collaborates People Foundation, thanks to the involvement of up 60 People with Disabilities Foundation. further, costumes designed by Nina Cruz, and they use in their performances, It has been made in sweatshops Foundation People in Guardo (Palencia). The Foundation aims to promote prevention, care and inclusion of people with intellectual disabilities and provide services that improve their quality of life and their families.

Iberian Orchestral Project has performed in these three years looking for new venues in cities such as Madrid, Lisbon and Valladolid.

More information

William Christie debut in the Palace of Arts with 'La Finta Giardiniera', Mozart, this Sunday, 10 of November, to 18.00 hours. The Main Hall welcomes this unique feature of the first comic opera of the genius of Salzburg, which is semi-staged version.

Respected harpsichordist, orchestra director, musicologist and professor visit the arts center with training, Les Arts Florissants, which this year celebrates its 40 anniversary and is considered the 'ensemble' reference in the recovery and interpretation of baroque and classical music on ancient instruments.

The cast of the play is composed of soloists from Le Jardin des Voix, singing academy for young artists of Les Arts Florissants, William Christie and directing Paul Agnew. Mariasole quinine (Sandrina), Lauren Lodge-Campbell (serpetta), Deborah Stamp (Arminda), Théo IMART (Ramiro), Moritz Kallenberg (The Count Belfiore), Rory Carver (The mayor) y Sreten Manojlovic (Nardo) make up the cast. His performance means, Besides, the only visit of the talents of Le Jardin des Voix scheduled in Spain 2019.

Sophie Daneman directs this semi-staged version of "La Finta Giardiniera ', with scenery and costumes by Adeline Caron Pauline Juille, This past summer premiered at the festival Dans les Jardins William Christie.

'La Finta Giardiniera' is the second incursion of Les Arts this season in the Mozartian repertoire after the success of 'Le nozze di Figaro', which opened 'Les Arts is Opera'. Those interested in attending can purchase their tickets at the theater box office, in and telephone sales line 902 202 383. The ticket prices range from 24 Y 60 euros.

First comic opera

Mozart composed with just 18 years 'La Finta Giardiniera', opera buffa in three acts with libretto by Giuseppe Petrosellini. Released on 13 of January of 1775 Salvatortheater in Munich with great success, This is the first comic opera of the genius of Salzburg.

Comedy of deception, and disagreements between three couples with moments of great musical nobility. The action takes place on a farm on the outskirts of Milan in the middle of the eighteenth century. To be near his beloved, Count Belfiore, Marchioness Violante Onesti decides the impersonating a young gardener, Sandrina, to seek employment in the court of the 'podestà' hacienda. His servant pretending to be his brother Nardo.

These and other actors as Arminda, Sobrino of the 'podestà', Ramiro knight and maid Serpetta plunge into chaos cheerful in three acts, in which all pairs of lovers have their own happy ending.

Le Jardin des Voix 2019

Le Jardin des Voix has become an essential project for both the public and programmers, who they are in this space the pool of young talents who join the international music scene, entre ellos Sonya Yoncheva, Read Desandre, Marc Mauillon o Christophe Dumaux, that were, at the beginning of their careers, the first fruits of this garden flourishing. On the occasion of 40 Anniversary Les Arts Florissants, the ninth edition of Le Jardin des Voix has chosen the interpretation of the opera 'La Finta Giardiniera', written by Mozart 18 years and, so, even younger than these singers, not even reach thirty. For a program called "The Garden of Voices", the choice of this "feigned gardener" is not innocent, since it was created in the gardens of William Christie, in Vendee (France), in semi-staged version signed by Sophie Daneman.

William Christie

clavecinista, director, musicologist and professor, William Christie is a pioneer in the rediscovery and approach of French Baroque music to the general public. A native of Buffalo and educated at the universities of Harvard and Yale, his career took a decisive turn when he formed Les Arts Florissants. At the head of this set, in 1987 He achieved its public consecration to the production of 'Atys', Lully, Opera in Paris, project followed by many successes focusing on French and European Baroque repertoire. Interested in deepening its work as a trainer, William Christie, along with Les Arts Florissants, I believe in 2002 Le Jardin des Voix, a biennial academy for young singers.

Les Arts Florissants

It is one of Baroque vocal and instrumental groups of the world's most sought. Founded in 1979 por William Christie, It specializes in the interpretation on period instruments and has played a pioneering role in the recovery of the repertoire of the seventeenth and eighteenth centuries. Under the baton of William Christie and Paul Agnew, the set offers about a hundred concerts and opera performances in the most prestigious concert halls in the world.

He Wednesday 9 October at 19.30 hours, National Dissemination Center Musical (CNDM) inaugurates the series of concerts featuring violinist Isabelle Faust German, "Artist in Residence" at the Center for season 19/20. In this residence, Isabelle Faust travel from the seventeenth century to the modern creations, some written specifically for her. In the first concert, to be held in the Chamber Hall of the National Music Auditorium, within the Liceo cycle Chamber XXI, Faust lead an octet of great instrumentalists composed of Anne-Katharina Schreiber (fiddle), Danusha Waskiewicz (viola), Kristin from Golt (cello), James Munro (double bass), Lorenzo Coppola (clarinet) Javier Zafra (fagot) y Teunis van der Zwart (horn). The program will consist of the Six bagatelles for string quartet of a. Webern and two key works of F. Schubert: he String Quartet No. 12 en do menor ‘Quartettsatz’ and the Octet in F major.

Throughout the season Isabelle Faust will participate in four more concerts included in three different cycles of the CNDM programming. The next meeting will be 4 November at the Auditorium 400 the Reina Sofia Museum, Series in the cycle 20/21, where Isabelle Faust will address a solo program made up of works by G. Rochberg, L-G. Guillemain, H. Holliger, J. Georg Pisendel, G. Benjamin y H.I. Franz von Biber. Junto a la Akademie für Alte Musik Berlin, the German violinist will make her foray into the Baroque Universe cycle, accompanied by Bernhard Forck (concertino y director) y Xenia Löffler (oboe) to interpret the large repertoire of J.S. Bach y č.p.. Bach. The concert will be held 2 March in the Symphony Hall of the National Auditorium. He 4 June three key players of the current scene will join Isabelle Faust in one of the most anticipated events of the Lyceum Chamber cycle XXI. Cellist Jean-Guihen Queyras, the pianist Pierre-Laurent Aimard clarinetist Jörg Widmann and will play alongside Faust one of the most important works of the twentieth century: he Quartet for the End Times O. Messiaen. Complete music program A. Berg, M. Ravel y E. Carter. By last, in the Symphony Hall of the National Auditorium, The CNDM will hold a concert in co-production with the Galician Symphony Orchestra with Isabelle Faust as soloist of the first version of the Concerto for Violin and Orchestra in D minor J. Sibelius. The appointment will be 10 June 2020.

Isabelle Faust fascinates his audience with his solid performances. Delves into every conscious part of the musical context, historically appropriate instruments and authenticity in accordance with a state of contemporary knowledge. Constantly stands out in a repertoire ranging from H. I. Franz von Biber a H. Lachenmann. After winning the Competition Leopold Mozart and Paganini, He acted very quickly with the most important orchestras in the world, such as the Berlin Philharmonic Orchestra, Boston Symphony Orchestra, NHK Symphony Orchestra in Tokyo, the Chamber Orchestra of Europe and the Freiburg Baroque Orchestra. Faust is currently enjoying working closely with directors like Giovanni Antonini, Frans Brüggen, Sir John Eliot Gardiner, Bernard Haitink, Daniel Harding, Philippe Herreweghe, Nelsons y Robin Ticciati. The great artistic curiosity Isabelle Faust and his open mind covering all ages and instrumental forms of cooperation. In addition to the great symphonic concerts violin, plays, for example, he Octet Schubert with historical instruments and Kafka Fragments G. Kurtág con Anna Prohaska about A Soldier's Story I. Stravinski con Dominique Horwitz. With great commitment, providing exceptional service to the interpretation of contemporary music and in the coming seasons will premiere works by P. Eötvös, O. Adamek, M. Stroppa, O. Strasnoy y B. Furrer. Faust recordings have been unanimously praised by critics and awarded the Diapason d'Or Award, Grammophone Award, Choc de l'année and other prizes. The most recent include Mozart's violin concerts with Il Giardino Armonico under the direction of Giovanni Antonini. Isabelle Faust also has in his discography with outstanding recordings, among other, and scores of sonatas for solo violin J.S. Bach, as well as violin concerts by L.v Beethoven and A. Berg directed by Claudio Abbado. Faust has a long collaboration in chamber music with the pianist Alexander Melnikov, with which he has published all the sonatas for piano and violin by L.v Beethoven, as well as other works. Isabelle Faust has been artist in residence at Kölner Philharmonie during the season 2018/2019.

Photograph: Felix Broede

The Palace of Arts opens on Friday, 27 of September, the season 2019-2020 with the premiere in the Main Hall of 'The Marriage of Figaro', Mozart.

The artistic director of the Arts, Jesus Iglesias Noriega, He has presented at a press conference this show with his musical director, the British Christopher Moulds, as well as Emilio Sagi, architect of the staging.

"Mozart is an essential for any theater composer with an international vocation and so will be at Les Arts from this season, in which we can already hear an unreleased title for our audience, as 'The giardiniera feinting', next November ", Iglesias noted Noriega. "It is also an indispensable author in our commitment to the formation of new audiences. Therefore, 'Le nozze di Figaro' is one of the titles that Les Arts has programmed with popular prices, between 18 Y 60 euros, but with the same artistic level as the rest of the proposals of the season ", It noted.

Christopher Moulds, internationally recognized for his work in the Baroque and Classical music, debuts with Heart of the Government and the Orquestra de la Comunitat Valenciana.

British teacher, who has had words of praise for the stable bodies of the theater, has worked from the perspective of chamber music to extract a more classical sound from the OCV, ‘A formation of romantic customs’, as you have pointed out.

Emilio Sagi signs the staging of ‘Le nozze di Figaro’, which is a co-production of the Teatro Real de Madrid with the Asociación Bilbaína de Amigos de la Ópera (ABAO) and the National Theater of Opera and Ballet of Lithuania, with scenery by Daniel Bianco, Renata Schussheim's wardrobe, Eduardo Bravo lighting and choreography by Nuria Castejon.

Essential figure in the history of Les Arts, where he has presented productions such as ‘The witch’, 'The king who raged', The duo 'The African' ', ‘Katiuska’, 'Luisa Fernanda', 'Lucrezia Borgia', ‘Tancredi’, 'The world of the moon' or 'Rigoletto', Sagi faithfully reproduces the sensuality of the city of Seville in the mid-18th century.

The director from Oviedo, which considers ‘Le nozze di Figaro’ as a theatrically perfect piece in which there is room for alterations, raises a ‘hyperrealistic’ Mozart, exaggerating the Spanish character of the argument, with items such as Schussheim's wardrobe, clearly Goyesco cut.

Les Arts brings together recognized voices from the Mozart repertoire in this cast, with two of the most international Spanish sopranos, María José Moreno and Sabina Puértolas, in the roles of Countess of Almaviva and Susanna, respectively. Likewise, arts center features Canadian baritone Robert Gleadow, acclaimed by the public and critics as the new reference performer in the role of Figaro.

The emerging Polish baritone Andrzej Filończyk, as the Count of Almaviva; or the sobresaliente 'mezzo-soprano' from Rossini Cecilia Molinari, who plays the naive Cherubino, The leading quintet closes. The soprano Susana Cordón completes the cast of the production, the bass-baritone Valeriano Lanchas, the tenor José Manuel Montero, the bass Felipe Bou, and the artists of the Center de Perfeccinment Plácido Domingo Joel Williams, Vittoriana De Amicis, Aida Gimeno y Evgeniya Khomutova.

‘Le nozze di Figaro’ will be performed at Les Arts on 27 and the 29 of September, as well as the days 2, 4 Y 6 October in the Main Hall.

'The Marriage of Figaro'

‘Le nozze di Figaro’ is a comic opera in four acts with a libretto in Italian by Lorenzo Da Ponte, which was based on the work of Pierre Augustin Caron de Beaumarchais, "Figaro's wedding".

With this title begins the so-called Mozart-Da Ponte trilogy, which arises as a result of the collaboration of the Salzburg composer with the successful librettist from Treviso, Lorenzo Da Ponte, and to which ‘Don Giovanni’ and ‘Così fan tutte’ belong.

Set in the second half of the 18th century, in the residence of a Spanish nobleman in the fields of Seville, ‘Le nozze di Figaro’ stages the moral conflict around the feudal law of pernada. Background, a fresco of daily life in which serfs evolve, the bourgeois and the lords to the sound of the final mockery of the archaic laws that the lords still enjoy.

The work is considered a song in favor of a new social order in which the gift of intelligence owes nothing to money and the cradle, and the value of the manufacturing classes frivolous ineffectiveness of the ruling classes and passive contrasts. Its premiere took place on 1 May 1786 in Vienna, Three years after the outbreak of the French Revolution.

Theaters Canal Madrid present two programs aimed at family audiences interpreted by the Youth Orchestra of the Community of Madrid (JORCAM) the days 12 Y 18 May 2019.

First, the day 12 of May, members of JORCAM Little Singers will perform in the Green Room program Music colors II. A repertoire in which the works themselves reflect their musicianship different colors and environments that evoke works as Clouds in the blue sky the Holst, Green songs Y Four yellow ballads of the Chilcott watercolors Anton Garcia Abril.

The day 18 the Timbarimba group will make an exciting journey through the world map through the experiences of a traveling marimba. Music from classical authors, Bach and Mozart as, to current pop songs, through folk music, ethnic and soundtracks.

The Timbarimba Group specializes in designing and starring in shows with an informative character for the family audience, where children and adults can enjoy music. Timbarimba are three percussionists musical training professionals, soul clown and artistic spirit.

In its tenth edition, Ibercaja Music Series has consolidated its activity while maintaining a seal of quality and innovation, directing its offer to all audiences, and preserving the commitment to educational concerts and family, in an entertaining format, both, formative. Hand of JORCAM, a young project with a great connection with society, This cycle is designed to provide an opportunity for young performers, so that they can share their talent and creativity.

Youth Orchestra and Choir of the Community of Madrid (JORCAM), in its various formations (youth Orchestra, Young and Young Child Camerata Singers and BBVA Foundation) It consists of a 370 young boys (210 instrumentalists and around 160 voices). Its main objective is to expand and develop the musical knowledge to facilitate and prepare its members for future access to professional groups. This learning is done through knowledge and practice of choral and orchestral repertoire, experience in chamber groups, comprehensive participation in artistic projects such as dance, musical theater, the opera, etc.

Program 12 mayo

watercolors A. García Abril
KolorezkoKaiola D. Azurza
Four yellow ballads B. Chilcott
Cuckoo, Jazz-man, Old Abram B. Britten
the Canaveral R. alarco
Wind blowing J. Bust
Nigra sum P. Casals
Gaubeltza D. Azurza
My father has a castle A. García Abril
the sleeve M. Bor
three hojitas R. Lluch
Green Songs B. Chilcott
Clouds in the blue sky G. Holst
Lullaby in Blue B. Chilcott
The blue sea A. Degree
Frmprm D. Azurza

Program 18 of May
Violin Sonata No. 2 (Slowly) J. S. Bach
Turkish rondo W. A. Mozart
Ghanaia M. Schmitt
The Entertainer S. Joplin
Serbian game N. J. Zivkovic
Sweet Dreams P.I.Tchaikowsky
Remains of the day D. Elfman
The Little Mermaid A. Menken & H. Ashman
The turtle Arr. P. philistine
Spain C. Korea

Annalisa Stroppa

After getting a great success in Carmen last course of the season Alfredo Kraus of the Friends of the Opera de Canarias (ACO), Annalisa Stroppa back in May to Las Palmas to play the delicious Dorabella, one of the protagonists of the coral Così fan tutte, a masterpiece of Mozart and trilogy composer Salzburg perform with Lorenzo Da Ponte as libretista. Stroppa, who has played the sympathetic sister Fiordiligi at the Teatro Regio in Turin (Italy, 2018), Saatsoper in Vienna (Austria, 2016), in the Rouen Opera Normandy (France, 2016) and the Teatro Verdi in Sassari (Italy, 2013), the character faces "Special illusion", since it is about "One of the most interesting roles conceived by Mozart for string mezzosoprano".

para Stroppa, Dorabella "It is a little woman who begins to understand that in the game of love no one is completely safe. The play, a comedy of tangles with a vision that today could even be branded sexist, It proposes a fun two girlfriends cheating sisters who exchange them their promised. Dorabella is the first to fall, perhaps being the most naive. In any case it has a wonderful music and arias, duets and ensemble numbers are endearing ".

Annalisa Stroppa got exactly a year ago, last season in Las Palmas de G. C., a great success as the star of Carmen Bizet. "This is a completely different character, and I love the canary public can see me in this most comical and relaxed side. I loved singing there and it is an honor to return. I'm sure ACO's friends get a new success with this fantastic opera by Mozart ".

Stroppa returns to the Canary Islands from Munich, where he has been Suzuki Madama Butterfly and Adalgisa of Rule, part of a hectic schedule that also has led to Naples (The Tales of Hoffmann), Berlin (The Barber of Seville), Padua (Cinderella) or Buenos Aires (Rule), a journey that, after Las Palmas will continue in the festival Chorégies of Orange (Don Giovanni), Parma (Nabucco) and Hamburg (Cinderella).


Photo © Victor Santiago

Idomeneo 1

Idomeneo 3

Idomeneo 4

Idomeneo 5

Idomeneo 6


Idomeneo, King of Crete
Idomeneo, King of Crete
Wolfgang Amadeus Mozart
serious opera in three acts, K. 36
Teatro Real, 20 February 2019
Libreto de Giovanni Battista Varesco, based on the work Idoménée (1712) Antoine Danchet, inspired by the eponymous play (1705) Prosper Crébillon
reviewed by Mozart for the premiere at the Palace version
Auersperg in Vienna 10 March 1786
New production of Teatro Real, in coproduction with
the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma
D. musical: Ivor Bolton
D. scene: Robert Carsen
scenographers: Robert Carsen and Luis F. Carvalho
Costume designer: Luis F. Carvalho
illuminators: Robert Carsen y Peter Praet
Director motion: Marco Berriel
Video Designer: Will Duke
D. from the choir: Ándres Máspero
Distribution: Jeremy Ovenden, Anicio Zorzi Giustiniani, Sabina Puertolas,
Pleiades Sabirova, Krystian Adam, Oliver Johnston, Alexander Tsymbalyuk
Choir and Orchestra of the Teatro RealLas Headlines wars between Greeks and Trojans, Jolyoy described by Prosper in the Crébillon 1705, Antoine inspired Idoménée Danchet in which the libretto by Giovanni Battista is based Varesco. In the works of Mozart are the descendants of the protagonists of the Iliad they face, but this time does not end with the destruction of Troy, This mozartiano Idomeneo is solved with the reconciliation of peoples through marriage of the Trojan Ilia and Idomeneo Idamante.La Greek composition, Re di Creta is a huge creative leap. Mozart was fully involved in developing the script, which earned him not a few disputes with Varesco. I wanted the drama had a major role and was most convincing posible.Su influence on the script led him to develop several versions. Among the first, premiered at the Munich Resodenztheater 29 of January of 1781, and the second, premiered in Vienna five years later, Mozart made numerous changes until just before estreno.Aunque choruses and marches follow the French style Tragédie lyrique, Mozart, with its commitment to constantly update the work and aware of the decline of Italian Baroque Theater court, decide to shorten the long dry recitatives, that lightened with musical accompaniments, He developed a wider vocal line, Italian singers used a much richer and orchestra instruments and timbres. All these elements gave the score a lot more depth and frescura.Mozart had in Munich with the famous tenor virtuoso Anton Raaff, known for his coloratura, for which he composed two arias charged vocal pyrotechnics. These arias disappeared in the Vienna version, We do not know if because the singer this time was not so bright. Another important change was the replacement, the role of Idamante, initially she is written for countertenor and tenor became.

Mozart would have liked to release his Idomeneo in Vienna rather than in Munich, but the weight of Gluck at that time was too important. Vienna was represented Iphigenia in Tauris first and then Alceste, preventing be scheduled at the same time the works of Gluck and a devoted young 25 still unknown years, as Mozart.

The version offered by the Teatro Real is inspired by the review Vienna. Apart from the two long arias Arbace, as it did Mozart. It does in coproduction with Toronto theaters, Rome and Copenhagen. The set design is done by Robert Carsen and, as usual in it, the stage is clear. A beach and sea are the only items where some Greeks and Trojans updated, winners and losers, military and refugees appear as showing that the tragedy remains current.

A sea of ​​orange vests and projection of a city destroyed, complete the scene. A pacifist plea somewhat forced and, of hackneyed, it is tiresome and lacking in originality.

What it does very well Carsen is to manage the crowds standing on stage. More of 60 choir members and a 100 figurantes filled the stage perfectly synchronized. Reserving scenic absolute privacy for the stars, especially Idomeneo duets with Idamante, or arias of Elettra.

A dark scenery, which highlights the subtle lighting Carsen and Peter van Praet, They are projecting the shadow of a huge Idomeneo afflicted. Lighting full of details and information that amplifies the open spaces and helps create more atmospheres reserved.

Extraordinary is the work in front of the Titular Orchestra of the Royal Theater performs its director Ivor Bolton. The inclusion of some vintage instruments, as muted horns, devised by Leopold Mozart, or wooden flutes, get a truly sound mozartiano. Bolton takes a reading full of details and refinement, with his peculiar and enthusiastically directing, while accompanying the key, It makes the music is above the other elements of production, as it could not be otherwise.

Another protagonists of these representations highlight, It is the chorus. Increasingly inspired, both vocals, and interpretive. this choir, hand of its director Andrés Máspero, It seems limitless. No score or scenery can resist them. Sparkly!

Idomeneo, character requires some agility and refinement, She was played by Jeremy Ovenden. His voice is too light for a king. Its small size showed in the set arias, in which he was barely listening.

Elettra ha sido Interpreter por Pleiades Sabirova. precise character of a dramatic soprano of agility. vigorous, for those moments di forza, in fighting for the love of Idamante. The soprano Uzbek, which was the most applauded by the public, he managed to give his character strength and lyricism, with a high volume of voice and dramatic intensity.
Ilia's character was played by the Spanish soprano Sabina Puértolas. The greatest difficulty in this role, for soprano as Puértolas, It is in its coloratura. He knew the character address with courage and with that fresh and elegant vocal line of which always makes gala. His voice is widening, gaining body and sound. Just lacked a bit of volume.

The role of Idamante, Mozart originally composed for castrate, Vienna version and modified it became tenor. El Real has been interpreted by the Italian Zorzi Giustiniani Anicio quite discreetly. It has a beautiful tone but full of strange sounds and, like the rest of the cast, that if this is balanced, the volume is very low.

A good reading of Mozartian Indomeno, musiclamente talking, what is the important.

Text: Paloma Sanz
pictures: Javier del Real


The next 19 February Royal Theater debut a new production from Idomeneo, King of Crete, coproduction with the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma, which will be presented later. The opera, which will be staged until 1 March ─9 features double reparto─, It will be recorded for DVD release, broadcast live across Europe (Classical Radio and UER) and delayed by the TV channel Half.

The stage director Robert Carsen ─ which also signed the scenery, with Luis F. Carvalho, and lighting, shared with Peter van Praet─, moves the Homeric struggles between Greeks and Trojans, Original background of the opera, to a Mediterranean island today, where about 170 ─miembros choir performers and actores─ represent the army, deported, refugees and victims of war. characters, according Carsen, “They have lost their bearings: desnortados by war and pain, They do not know where to go…”

The sea, so brilliantly evoked in the instrumentation of Mozart, It is omnipresent in production, reinforcing the sense of rootlessness, soledad, insecurity or fear of characters. On shore the great themes of the opera develop, articulated from an illustrated version frenchified ridge XXIV Iliada in which Idomeneo, back to Crete after beating the Trojans, to save his life threatened by the raging sea, Neptune promises to sacrifice the first person he meets on shore, It will prove to be his own son Idamante.

complex, painful and tense relationship between father and son, that beats throughout the opera, It is often compared to the then living Mozart himself, that their 25 years had left Salzburg and his father's house, composing much of the score in Munich, away from the yoke and protection of his father.

In the late score that freedom and freshness, an infinity melodic invention and an orchestration filled findings and harmonic daring, despite corseted lie between two models ─ the Italian opera and francesa─ who lived in the troubled Europe at that time.

Mozart masterfully connects the recitatives, with arias, set numbers and choral parts on a hinge score between two styles Ivor Bolton known depth and veteranía. The musical director of the Royal Theater, mozartiano governing its fourth title in front of the Titular Orchestra of the Teatro Real --after The Marriage of Figaro, The magic Flute Y Lucio Silla─ also he played Alceste, from Christoph Gluck, in 2014, with which Idomeneo finds many affinities, especially in the wonderful choral numbers, marches and orchestral interludes.

Embody the double star quartet tenors Eric Cutler Y Jeremy Ovenden (Idomeneo), Y David Portillo Y Anicio Zorzi Giustiniani (Idamante); y las sopranos Anett Fritsch Y Sabina Puértolas (their), Y Eleonora Buratto Y Pleiades Sabirova (Elettra), which they will be accompanied by Benjamin Hulett Y Krystian Adam (Arbace), Oliver Johnston (The high priest of Neptune) Y Alexander Tsymbalyuk (Neptune's voice).

Holder Choir prepared Teatro Real, as usual, by director Andrés Máspero, It has in Idomeneo a role of great dramatic and musical importance, performing some of the most beautiful pages mozartianas.

Idomeneo, King of Crete He offered at the Royal Theater in July 2008, in a co-production with Teatro Real La Scala in Milan and Paris National Opera, with musical direction Jesus Lopez Cobos and stage director Luc Bondy. Munich version then interpreted, from 1781, the role of Idamante, originally written for castrato, played by mezzo Bernarda Fink and Joyce DiDonato. This time one based version which will be offered rewrote Mozart, with substantial modifications, for Vienna, in 1786, the role of Idamante intended for a tenor, but regardless of arias and ballet Arbace, for the benefit of the dramaturgical coherence of the opera.

Idomeneo Real returns to the conception of Robert Carsen, like a "Powerful anti-war statement, with a final full of hope: the possibility that a new generation brings love and peace and can transform a world wounded by the power, war and destruction ".

Photograph: Javier del Real

Eleonora Buratto

The soprano Eleonora Buratto, a favorite maestro Riccardo Muti singers, who for a decade usually works in the most famous international stages, Elettra will in the next release of the Royal Theater: Idomeneo, King of Crete Mozart, con musical direction of Ivor Bolton and stage firm Robert Carsen. After its extraordinary success in its debut at the Royal Opera House Micaela (Carmen), and before his performance in Simon Boccanegra Verdi alongside Placido Domingo in the Wiener Staatsoper, Eleonora Buratto returns to the scene of the Madrid coliseum to play, for the first time, the princess of Argos, in love with Idamante; mozartiano role to play again in April at the Teatro Massimo of Palermo. Three years after his acclaimed Mimì (La boheme) the Gran Teatre del Liceu, next July, Mantua soprano returns to Barcelona coliseum, to debut the role of Luisa Miller in Verdi.

Considered by audiences and critics as a singer of extraordinary talent, the young Italian soprano has an extensive resume of performances in the most famous festivals and opera houses internationally renowned as the Salzburg Festival, Festival Aix-en-Provence, Ravenna Festival, the Arena di Verona, the Teatro alla Scala in Milan, the Metropolitan Opera in New York, la Lyric Opera de Chicago, la Vienna State Opera, the Royal Opera House in London, la Opera de Zurich, the Teatro San Carlo in Naples, el Teatro Opera in Rome, the Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, the Semperoper Dresden or Dutsch National Opera in Amsterdam, among others. Also active in the field concertístico, He has sung Stabat Mater Rossini with the Orchestra and Chorus of the Royal Theater in the Cathedral of Toledo, en Roma junto a la National Academy of Santa Cecilia, and the Teatro Comunale in Modena, in a tribute to his teacher Luciano Pavarotti; the Petite Messe Solennelle Rossini at the Wiener Konzerthaus and the Philharmonie Luxembourg; the symphony No. 4 Mahler, the Four last Songs and the Requiem Verdi at the Teatro San Carlo in Naples; the symphony No. 2 Mahler in the Opera Florence, and the Mass in B minor de Bach en Chicago, accompanied by the Chicago Symphony Orchestra.

Eleonora Buratto has collaborated with leading conductors such as Zubin Mehta, Riccardo Muti, Daniele Gatti, Gianandrea Noseda, Ivor Bolton, Daniel Harding, Fabio Luisi, Ottavio Dantone, Michele Mariotti or Juraj Valcuha, among others.

His upcoming engagements include his return to the Metropolitan Opera in New York and debut at the Staatsoper Berlin, in addition to performances in London, Tokyo and Amsterdam.

Mozart Arts

The Palace of Arts offers the 26 and the 27 from January 25 free activities in the different spaces and rooms of the building to celebrate Mozart's birthday with the third edition of 'Mozart night and day ’.

The educational program Les Arts channels this initiative 25 hours of continuous activity opera, show and symphonic concerts, recitals, chamber music, talks cafe, educational workshops, readings, cinema and a session with DJ around the figure of the Salzburg genius and his repercussion on the different artistic disciplines.

From the 20.00 hours of 26 January until 21.00 hours of the day 27, the Main Hall, the Auditorium, the Martín i Soler Theater, the Master Classroom, the Espai Los Toros and the lobbies of the theater halls will chain a complete program for all audiences that, except for educational workshops, They will be freely accessible until the capacity of the different enabled spaces is completed.

The launch of the third edition of 'Mozart Nacht und Tag' has been possible thanks to the selfless collaboration of artists and institutions: the Subdirectorate of Music of the Valencian Institute of Culture; the University of Valencia, through the departments of English and German Philology; the Joaquín Rodrigo Conservatories (CSMV), José Iturbi and number 1 of Valencia; as well as the Lluís Vives Secondary Institute, the Center Placido Domingo, a UNIT, DJ Eduardo Díaz, OCV soloist Susanna Gregorian, Gourmet Catering & Spaces and Tossal Productions.

The activity starts at 20.00 hours of 26 January with the first performance of the concert show ‘Lumina’, first collaboration between Les Arts and the Subdirectorate of Music and Popular Culture of the Institut Valencià de Cultura.

Hilari García conducts the singers of the Center Plácido Domingo and the Jove Orquestra de la Generalitat Valenciana in this show with stage direction by Allex Aguilera, that links fragments of Mozart's operas with light as a common thread.

In parallel form, 35 Primary Education students, that belong to the Professional Conservatory of Music of Valencia, they will arrive at the theater, around the 20.45 hours, to spend a night at the Palau de les Arts and learn more about the figure of Mozart thanks to the work of students of the university master's degree in Secondary Education Teacher, organized by the Department of English and German Philology of the University of Valencia.

At 21.30 hours, the lobby of the Teatre Martín i Soler will host a reading accompanied by piano of Mozart's letters, carried out in collaboration with the German Language students of the Lluís Vives Institute, which will be followed by a violin recital by the teacher of the Orquestra de la Comunitat Valenciana, Susanna Gregorian, at the Teatre Martín i Soler at 22.45 hours.

Y, while the little ones get ready to go to sleep in the Main Room, the lobby of the Teatre Martín i Soler will be transformed into a lively café to chat about Mozart's letters and exchange opinions on the figure of the Salzburg genius in a debate organized by UNED.

Starting at midnight, Les Arts proposes two alternatives for the most late-night public: opera or music session with DJ. The Teatre Martín i Soler will become a cinema for 380 people with the projection of the opera ‘The Magic Flute’ broadcast from the Garsington Opera House through the OperaVision portal.

Y, meanwhile, the hall of the Aula Magistral will be transformed into a unique dance floor with a music session with a DJ on the work of Mozart, with DJ Eduardo Díaz as the creator of the show.

Morning proposals

The morning of the day 27 start with breakfast, in the main hall, of the little ones who have spent the night in the Main Room. Activity, courtesy of Gourmet Catering & Spaces, puts an end to the didactic workshop.

Starting at 11.00 hours, artistic activity is resumed with an uninterrupted cycle of concerts and recitals in the main scenic spaces of Les Arts.

While the students of the Joaquín Rodrigo Superior Conservatory of Music star in a recital with arias and fragments of the composer's most popular operas in the Aula Magistral, Espai Los Toros welcomes students of string instruments from the same institution to interpret the ‘Quartet for strings in D minor K 421’ by the genius from Salzburg.

The CSMV Joaquín Rodrigo Symphony Orchestra, meanwhile, will debut at the Auditori de Les Arts with a symphonic concert at noon, which will include pages such as ‘Concerto for piano and orchestra in D minor number 20’ and the motet for orchestra and string ‘Exsultate, Jubilate’. How to close the program, the orchestra will pay tribute to Salvador Giner, essential figure in the start-up of your musical training center.

The Martín i Soler Theater, nerve center of the Mozart marathon, presents at 13.00 hours ‘The businessman’, a production of Tossal Producciones del ‘singspiel’ ‘Der Schauspieldirektor’, that the genius composed as a commission from the emperor for festivities at the Schönbrunn Palace.

It is one of the lesser known operas by the Salzburg composer. The libretto narrates the vicissitudes of an opera impresario to carry out a montage in the time of imperial Vienna. Manuel Pérez Múgica musically conducts this unpublished work in Les Arts, that brings together alumni of the Center Plácido Domingo under the stage coordination of Zvonimir Ostoic.

Simultaneously, the arts center continues with its offer of concerts and recitals, which include a string quartet made up of CSMV students with the work ‘Las disonancias K465’, to 13.15 hours in Los Toros, and a chamber music proposal in the Aula Magistral with ‘Trio for clarinet, viola and piano in E flat major K 498 ’.

The also known as ‘Kegelstatt Trio’ can be heard again at 19.00 hours also performed by students from this conservatory on the same stage.

After the midday break, to 15.30 hours the activity is resumed in the Master Classroom. Students of the Professional Conservatory of Music number 1 de València offer a selection of fragments from one of the composer's most appreciated and performed operas: 'The Marriage of Figaro'. For those interested, the arts center informs that the show will be re-enacted at 16.45 hours.

Joaquín Rodrigo's students star in the evening offer of recitals and chamber music, starting at 16.00 hours at the Teatre Martín i Soler with the second voice and piano recital of this Mozart marathon. Thirty minutes later, CSMV instrumentalists will perform at the Espai Los Toros ‘Quintet with clarinet in A Major, K. 581' and to the 17.45 hours, Theater in Martín i Soler, will offer one of the most popular scores: "A little night music K525".

Meanwhile, flute and guitar students from the José Iturbi Municipal Music Conservatory offer a Mozartian diversion at Espai Los Toros 19.00 hours as penultimate activity of the day.

The second screening of the concert-show ‘Lumina’, made in collaboration with the Music Sub-Directorate of the IVC and the Plácido Domingo Center, will close the edition of 2019 de ‘Mozart night and day’.


The next season will start the Kursaal Eszena 22 and the 23 February with "Magical "Mozart flute, Opus production Lirica, the first of two operas protagonists of this season. "The Magic Flute" is one of the most famous operas in the history of music and shows a combination of traditional Viennese dramatized story and the scenic rite in which the humanist ideals of the Enlightenment are represented. further, for him 24 February Opus Lirica has designed a shortened version of "The Magic Flute" with piano for younger audiences. He 29 of June will be the second opera, an essential event in this season. It is lyrical gem "Mendi Mendiyan", one of the great compositions of José María Usandizaga, in which Calixto Bieito again face the challenge to stage a great work of a Basque premier author. The production will premiere at the Teatro Arriaga and then presented at the Kursaal.

The start of payment of classical music will be the 26 February, with La Cetra Barockorchester Basel and soprano Patricia Petibon, we will guide you through a fascinating journey between the Old and the New World, through a selection of well-known arias and musical curiosities of the seventeenth century. They will perform arias in which the old continent represent what French baroque melodies, English and Spanish, and the New World is embodied in popular songs of Latin America, Patricia Petibon rescues from oblivion.

Another major events of the season will be the 7 of March, the interpretation of "3rd Symphony" Mahler in which the composer expressed his great love for nature and will be performed by the youth orchestra Gustav Mahler Youth Orchestra. He 7 of April, Concertgebouw Chamber Orchestra will offer an original program that will be heard works from the classicism of Mozart concert to Webern, one of the greatest exponents of the Second Viennese School.

The Academy for Ancient Music Berlin will perform at the Kursaal 25 of May. The Berlin Chamber Orchestra will perform one of the most popular pieces of Baroque repertoire, the "Water Music" by Handel, along with other works by Marais, Delalande telemann and inspired by the same liquid element.

The magic Flute 1

The magic Flute 2

The magic Flute 3

The magic Flute 4

The magic Flute 5

The magic Flute 6

The magic Flute 7

The magic Flute 8

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

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

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

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

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

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

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

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


The magic Flute

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

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

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

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

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

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

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

new version

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

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

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

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

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

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

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

Experience and youth

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

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

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

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

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

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

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

Wilhelm Schwinghammer

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

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

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

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

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

Maria João Pires

On Wednesday 14 of November, the pianist Maria João Pires returns to Madrid at the hands of the Philharmonic to offer a concert with a very unusual repertoire in which the Sonatas for piano four hands Mozart.

Wednesday 14 November 2018 | 19.30 | Chamber Hall of the Auditorio Nacional


Each of the appearances of Maria João Pires has been a great event: After his successful appearances, the universally revered and admired landmark returns to Madrid for the fourth time with the Philharmonic. On this occasion she is accompanied by the young Armenian pianist Lilit Grigoryan, which debuts in the season. Both will delight us with Sonatas for piano four hands Mozart, as beautiful as rarely performed.


During his youth, Wolfgang Amadeus Mozart and his older sister Nannerl used to play together very often; during his long tours of Europe, popularized the interpretation of small pieces for piano four hands. Highlights the Sonata for piano four hands, K. 19d in C major, the first that Mozart composed when he was only nine years old. This requires an important technical part on the part of the interpreters.

The composer did not compose music for piano for four hands again until the summer of 1786, in which the Sonata for piano four hands, K. 497 in F major, one of the composer's greatest and most ambitious duets followed by the Piano Sonata for Four Hands K. 521 in C major.


Between the years 2012 Y 2016, Lilit Grigoryan was an artist-in-residence at the Belgian institution for higher artistic education Chapelle Musicale Reine Elisabeth. The first year, The young Armenian pianist was under the direction of the Lebanese pianist Abdel Rahman El Bacha; the following together with Maria João Pires. The latter was an intense and inspiring collaboration with the pianist and allowed Lilit to find new ways to communicate and share her passion for classical music with other people..

With the famous pianist at the head of the "Project Partitura", in 2016, Pires counts on Grigoryan and some of his colleagues to participate and collaborate. The project questions the place, aesthetic responsibility, ethic, social, pedagogical and spiritual in a society where some of the most fundamental human values ​​seem to be in crisis. The team (formed by several pianists, a music therapist, a soprano, a composer and an author) works to transmit education by promoting reciprocal listening between generations: known musicians to encourage young musicians and invite them to share the concert stage. The aim is to allow an open dialogue between the different genres of art and science and to contribute to a more complete understanding of the human beings in their environment..

Maria João Pires, piano

Born 23 July 1944 in Lisbon, Maria João Pires performed her first public performance at 4 years. He began his piano studies with Campos Coelho and Francine Benoît, and later with Rosl Schmid and Karl Engel in Germany.

In addition to its numerous performances, has made recordings for the Erato label for fifteen years and for Deutsche Grammophon for twenty.

Since 1970 He has dedicated his work to reflect the influence of art on life, community and education, looking for new ways to implement pedagogical theories in society and promote the exchange of ideas through the development of cultures and respect for them. In 1999 created the Belgais Center for the Study of the Arts, in Portugal. Later this project was expanded with initiatives in the cities of Salamanca (Spain) and Salvador de Bahia in Brazil.

In 2012, in Belgium, He initiated two complementary projects: the Equinox Project, It is offering help underprivileged children through choral singing, and the Score Project, which aims to create an interaction between artists of different generations and provide a development platform alternative to a world too focused on competitiveness.

lilit Grigoryan, piano Born in Yerevan (Armenia) in 1985, Lilit Grigoryan began playing the piano at age seven with Arkuhi Harutyunyan; later she was a student of Sergey Sarajyan and Matthias Kirschnereit. Graduated from Rostock University of Music and Theater (Germany) with the highest distinctions. Between 2012 Y 2016, Lilit was also artist-in-residence at the Chapelle Musicale Reine Elisabeth in Belgium., under the direction of Maria João Pires. The intense and inspiring collaboration with the pianist, gave him the opportunity to share and communicate his passion for classical music, creating in 2016, with several of his colleagues, the "Score Project", under the initiative of Maria Joao Pires. Lilit has toured around the world and has performed in world-renowned concert halls such as the Konzerthaus in Berlin., la Philharmonie de Essen (Germany), Elbphilharmonie o el Laeiszhalle de Hamburgo, the Concertgebouw in Amsterdam, the Mozarteum Hall in Salzburg, the Cortot Hall and the City of Music in París, the Bozar Art Center or the Flagey in Brussels, the Palau de la Música Catalana in Barcelona and the Steinway Halls in New York, London and Hamburg. Highlights of the season 18/19 includes the release of his new solo album Orchid Classics with works by Szymanowski, Beethoven, Mendelssohn, Bizet y Bach / Busoni, solo recitals throughout Europe and numerous duet recitals with artists such as Maria João Pires, Sarah Christian y Hiyoli Togawa.


MOZART, Piano Sonata for Four Hands in C major, K. 19d
MOZART, Piano Sonata in B flat major, K. 333

MOZART, Adagio and Allegro for piano four hands in F minor, “A piece for an organ in a clock ”, K. 594
MOZART, Fugue for four hands piano in G minor, K. 401/375e
MOZART, Piano Sonata in D major, K. 576
MOZART, Piano Sonata for Four Hands in C major, K. 521

Maria João Pires, piano
Lilit Grigroryan, piano

Davini Rodríguez

The agenda Davinia Rodríguez continues to consolidate on the international circuit. He is having debuted in February as the protagonist of the opera Thaïs by Massenet at the China National Center for the Performing Arts in Beijing (NCPA), Canary diva back in November that scenario this time to get into the skin of Donna Elvira, one of the women deceived by Don Juan, the Spanish erotic myth that inspired Mozart for his great Don Giovanni. "I have a great memory of my debut in this amazing theater in the capital of China", said the singer, "Where I was struck by how attentive and caring which is the Chinese public, and now I return with another character who I love and who already sang at the Festival dei Due Mondi in Spoleto (Italy)”.

The Spanish interpreter knows very well the work, as it also has in the other great repertoire deceived by Don Juan, Donna Anna, who sang in Bilbao. "These are two characters who complement each other and each has great moments in this masterpiece of the history of opera is Don Giovanni". Finally he added that "what they say that Mozart again now and then is very healthy for the voice is a great truth, because it helps you stay in good condition, even more so if I come to sing more demanding as Verdian roles are roles, they have to contend with orchestras much larger than the Mozartian ".

Davinia Rodriguez just won the Verdi Festival in Parma, the most important dedicated to the work of Italian composer, nothing less than tucked into the skin of the dreaded role of Lady Macbeth, which debuted in Vienna in 2016. Now, in this new return to the Mozartian repertoire, will perform in Beijing days 27 Y 29 November and 1 from December. Later, he 28 Y 29 from December, They expect him two New Year concerts with the Symphony of Las Palmas Alfredo Kraus Auditorium in the capital of Gran Canaria.

More information

Benjamin Grosvenor

Known for its electrical and penetrating interpretations, the young British pianist Benjamin Grosvenor It will be responsible for programming resume Cycle Great Performers Foundation Scherzo after the summer break. Grosvenor, one of the most sought after performers in the world, will debut next 9 October on stage National Music Auditorium with a program that includes works of Bach, Mozart, Chopin, Granados and Ravel.

Critic The New York Times David Allen has said that he commands the stage with an aristocratic ease ... Grosvenor makes you sigh with joy ... a strange feature in the past, and much more today ". His virtuous inspiration in the most strenuous technical complexities never compromises the depth and intelligence of his interpretations. Grosvenor is renowned for its personal sound and described as "poetic and subtly ironic, sparkly, clearheaded but with humor, everything translates marvelously through crisp detail” (The Independent).

In 2004, to the 11 years, Grosvenor piano won the final of the BBC Young Musician Competition. Since then, It has become an internationally renowned pianist, performing concerts with renowned orchestras such as the London Philharmonic, RAI Torino, the New York Philharmonic, Philarmonia Orchestra, Gewandhaus Orchestra Leipzig, Tokyo Symphony; and he has presented at the Royal Festival Hall, Barbican Centre, Victoria Hall Singapore, The Frick Collection and Carnegie Hall, among other.

With 19 years, Benjamin performed with the BBC Symphony on the first night of the BBC Proms, filling the Royal Albert Hall. He returned to the BBC Proms in 2012 along with the Royal Philharmonic Orchestra and Charles Dutoit and, in 2014, with the BBC Philharmonic and Gianandrea Noseda. In 2015 He debuted on the last night of this cycle of concerts with the BBC Symphony Orchestra and Marin Alsop.

His recent and upcoming projects include collaborations with the Boston Symphony, the Finnish Radio Symphony Orchestra, the Gürzenich Orchestra Cologne, with the orchestras of Cleveland, Gulbenkian and Hallé, the Gewandhaus Orchestra Leipzig, La Scala Philharmonic; and its projects with the London Symphony and orchestras of Melbourne, San Francisco, Singapore, Tokio y la Washington National Symphony. Its main recitals include performances at the Vienna Konzerthaus, Theater des Champs Elysees de París, Music Building the Ámsterdam, Carnegie Hall, New York, Konzerthaus Berlin, Barbican Center, Musashino Civic Cultural Hall de Tokio, Lucerne festivals and Gilmore, La Roque d'Antheron, in international series of Southbank Center, and his first tour of Latin America.

In Spain, Grosvenor debuted at the Palau de la Música Catalana (Piano 100) before reaching this 2018 Great Performers cycle at the Auditorio Nacional de Madrid. Next year will be his first performance with the National Orchestra of Spain and return to Palau de la Música Catalana.

Grosvenor is exclusive Decca artist for and sign discs after the recital.

This will be the seventh concert of the 23rd season of Great Performers Series of the Scherzo Foundation. In addition to Grosvenor, the public can enjoy three other appointments more: Murray Perahia (13 November); Jan Lisiecki (11 December); and the extraordinary concert by the director Gustavo Dudamel – which he garnered a huge, resounding success in the previous season – returning to the cycle in front of the Mahler Chamber Orchestra (20 of September). Along the 2018, pianists Mitsuko Uchida extensive experience as, Grigori Sokolov o Radu Lupu, They have shared the stage with talented young artists as Yuja Wang.

The ticket price is set from the 25 euros. Young people under 26 years may attend concerts 10 euros going to the National Auditorium box office half an hour before the start of the concert. Throughout more than two decades of life of this cycle sponsored by El País and Cadena Ser, They have acted almost a hundred pianists in more than 200 concerts. These figures have become one of the best in their specialty cycles at European level.

National Music Auditorium in Madrid, 19:30 hours

French Suite No. 5 in G Major, BWV 81
Sonata No. 13 in B flat major, K. 333
Barcarola on. 60
Two pieces of Goyescas:
the requiebros
Pestle and nightingale
Gaspard of the night
Joel Prieto

the tenor Joel Prieto will begin the season 18/19 one of his favorite roles and debuting in Lausanne Opera: it will be En Ferrando Cosi fan tutte. Opera Mozart It will be presented at the Swiss coliseum day 28 Y 30 October 2, 4 Y 7 of November, in a production of Jean Liermier and under the direction of Joshua Weilerstein, time that the Puerto Rican tenor of Spanish origin back to one of the composers most abundant in their repertoire.

The Salzburg genius part Prieto DNA, winner 2009 the Operalia competition Placido Domingo. "The truth is that Mozart me feel at home, very comfortable; his work has been with me since the beginning of my career and I love each of the characters I've played mozartianos, but it is also true that the horizon is opening up to other codes in which I am also very comfortable; my voice is evolving and I love new challenges ", points singer.

But back to Mozart now and then is synonymous with vocal health. Ferrando de Cosi fan tutte es, precisely, one of the characters of the Mozartian universe Joel Prieto has more played. "And it's very good for my vocalism. I've done all kinds of stagings, traditional, modern and even groundbreaking. In any case, always it ends up imposing the nobility and humanity of a role that has one of the arias in simpler appearance of Mozart, but it is very demanding in terms of concentration and line edge, 'Loving aura'". A decade ago Joel Prieto kept in repertoire Ferrando, when they had debuted in 2009 in the Palau de Les Arts in Valencia and has since played, among other places, Scottish Opera in Glasgow, Opera Luxembourg, Palm Beach Opera Florida (OF. UU.), Bavarian State Opera de Múnich, Washington National Opera a Gran Teatre del Liceu of Barcelona, in addition to walk it by festivals such as I "Mondi of Spoleto, Aix en Provence, Edinburgh, BBC Proms in London and New York Mostly Mozart. Later they await commitments in the La Monnaie / De Munt in Brussels (Don Pasquale, Donizetti), Liceu Barcelona (Rodelinda, Händel), Teatro Real in Madrid (Falstaff, Verdi) and Teatro dell'Opera in Rome (Idomeneo, Mozart).

Jonas Kaufmann

Jonas Kaufmann will offer its first concert at the Royal Theater, although the debut of this great tenor on its stage was the 14 March 1999, when he replaced Zoltan Todorovich, a vocal condition which prevented play the title role of La clemenza di Tito, Wolfgang Amadeus Mozart.

Jonas Kaufmann concert to be held was originally scheduled for tomorrow 10 of January of 2017 Y, later, for him 22 November of the same year, but both times the tenor had to cancel his performance due to health problems.

This time will come with a program consisting of arias by French composers ─Camille Saint-Saëns, Charles Gounod, Georges Bizet, Jacques F. Halévy Y Jules Massenet─ in the first part, and Wagnerian arias La Valquiria, Die Meistersinger von Nürnberg Y Lohengrin, in the second. A program that will showcase its renowned talent and versatility, which reconciles excellent vocal and dramatic skills for demanding Wagnerian roles, with great depth and sensitivity in interpreting the French repertoire, which it is exploring and expanding increasingly in recent years.

CAMILE ST SAËNS (1835-1921)
Samson and Delilah
CHARLES GOUNOD (1818-1893)
Romeo and Juliet
«Ah, get up, soleil!»
GEORGES BIZET (1838-1875)
Carmen Suite nº 2
"Bohemian Dance"
"The flower that you had me thrown"
"Rachel when from the Lord"
Jules Massenet (1842-1912)
The Virgin
"The Last Sleep of the Virgin"
The Cid
"O sovereign"
RICHARD WAGNER (1813-1883)
The Valkyrie
"Ride of the Valkyries"
"A sword promised me the father '
The Mastersingers of Nuremberg
Prelude Act I
"Morgenlich glowing in rosy glow"
"In Ferno Land"
La Clemenza di Tito

The Palace of Arts on Sunday opening 24 of June, to 18.00 h, ‘The clemency of Tito ', Mozart, in the Auditorium. Arts, which will provide a second function the 28 this month, It presents this work, with musical direction Nimrod David Pfeffer, in semi-staged version.

The cast of "La clemenza di Tito 'Mozartian brings together renowned performers and young artists from the latest developments of Plácido Center Sunday. the tenor Carlo Allemano, soprano Eva May and the 'mezzo-soprano' Margaret Gritskova share the stage with young professionals trained in Valencia: soprano Karen Gardeazabal, the 'mezzo-soprano' Nozomi Kato and low Andrea Pellegrini.

Allex Aguillera sign the scenic concept of this montage, self-produced by Les Arts, with scenography by Manolo Zuriaga, wardrobe by José María Adame and lighting by Antonio Castro.

‘La clemenza di Tito’ is the last ‘dramma per musica’ written by the genius from Salzburg and the penultimate opera that he premiered before his death. While finishing ‘The Magic Flute’, Mozart took over the commission for the score, which would serve as the main act of the crowning glory of Leopold II of Austria as King of Bohemia.

He 6 September 1791 This serious opera in two acts and with a libretto in Italian by Caterino Tommaso Mazzolá premiered at the National Theater in Prague, based on the drama by Pietro Metastasio.

The work offers the image of Titus, Roman emperor of recognized righteousness, but kind to his people, even before an assassination attempt against him orchestrated by Vitellia, daughter of the overthrown emperor, and carried out by Sesto, ruler's friend, although in love with the ambitious young woman.

Consolidated artists and young values

The rising teacher and renowned pianist Nimrod David Pfeffer (Tel Aviv, 1984) debuts with the stable bodies of Les Arts, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana. The young director, currently assistant director of the Metropolitan of New York and musical director of the Lyrical Opera of Guatemala since 2016, debuted last February at the Israeli Opera.

Italian soprano Eva Mei takes on the role of Vitellia. Refined performer of the Italian bel canto –Bellini, Rossini, Donizetti y Verdi–, has never stopped singing Mozart and has played almost all the most interesting title roles of this composer.

In the last two decades it has performed in the most important opera houses around the world and has been directed by batons such as those of Nicolas Harnoncourt, Claudio Abbado, Zubin Mehta, Riccardo Muti, Colin Davis, Daniel Barenboim, Lorin Maazel, Franz Welser-Möst, William Christie, Daniele Gatti, Fabio Luisi, Myung-whun Chung, Antonio Pappano and Jonathan Nott.

Carlo Allemano sings the role of Tito. The beginnings of the tenor, awarded in competitions such as the Toti dal Monte contest in Treviso (1989) and the Mozart competition at the Vienna Staatsoper (1990), have allowed him to build a solid career, with performances at La Scala in Milan, the Vienna Staatsoper, the Bayerische Staatsoper and at festivals such as those in Salzburg or Glynndebourne.

Likewise, has worked with leading directors, including Christophe Rousset, Emmanuelle Haïm, René Jacobs, Wolfgang Sawallisch, Claudio Abbado, Riccardo Muti, Zubin Mehta, Leopold Hager, Gianandrea Gavazzeni, Marco Guidarini and Alessandro De Marchi.

The three main characters are closed by the Russian ‘mezzo-soprano’ Margarita Gritskova (Sixth). Awarded in various international competitions, is from 2012 soloist of the Vienna Staatsoper, where he has worked with artists such as Anna Netrebko or Piotr Beczala. Likewise, has sung at the Salzburg Festival, at the Rossini Festival in Wildbad, the Lyon and Cologne operas, as well as the Deutsche Oper in Berlin.

Lusine y Sergey Khachatryan

Khachatryan, the exceptional Armenian violinist

The violinist Sergey Khachatryan will debut next 21 March at the Philharmonic. His extraordinary instrumental level and profound musicality have made him one of the most outstanding violinists panorama. Khachatryan, musician earnestly, grants very few concerts a year and each of his appearances is an event. At the same time, Khachatryan is very proud of the culture of their country of origin, Armenia, a small territory that has a great wealth of popular music that Armenian composers and performers have always claimed.

Debut of a brother duo

The duo of brothers Lusine y Sergey Khachatryan will debut at the Philharmonic, with works by Mozart, Prokofiev and Franck. Children of family of musicians, have grown up studying under the tutelage of their parents, both concert pianists and pedagogues. Lusine and Sergey share a successful career, full of international awards and debuts in the main halls of the world. Since 2002 they have recorded numerous CDs, the last of which is entitled "My Armenia", with works by Armenian composers (2015).

Franck Sonata, one of the milestones of violin literature

The recital will begin with the Violin Sonata No.. 32, Mozart, also known as Sonata Strinasacchi; followed by the Sonata no. 2 in D major, Prokofiev, written in a remote haven for Soviet artists during WWII. The concert will end with one of the milestones of violin literature: the Sonata by César Franck, work of maturity, of purely romantic melodies, which was inspired by the friend and compatriot of the composer, Belgian violinist Eugene Ysaye.

Franck Sonata



Mozart, Sonata in B flat major, K. 454

Prokofiev, Sonata no. 2, in D major, on. 94 to

Franck, Sonata in A major

Wednesday, 21 March 2018, 19:30 h
National Auditorium – Symphony hall

SERGEY, Fiddle

Born in Yerevan, Armenia, Sergey Khachatryan won first prize at the VIII Helsinki International Jean Sibelius Competition at the 2000, thus becoming the youngest winner in the history of this contest. In 2005 won first prize at the Queen Elisabeth Competition in Brussels.

In the last seasons, Sergey has performed with the Bamberger Symphoniker (Herbert Blomstedt and Jonathan Nott), Munich Philharmonic (James Gaffigan), Swedish Radio Symphony Orchestra (Waltz), The Mariinsky Theater Orchestra (Valery Gergiev) and Paris Orchestra (Andris Nelsons y Gianandrea Noseda). He has collaborated with the Berliner Philharmoniker, Orquesta del Concertgebouw, Radio Philharmonic Orchestra, Rotterdam Philharmonic, NHK Tokyo Symphony and Sydney and Melbourne Symphony Orchestras.

The season 2017/18 includes Sergey's debut at the Colorado Aspen Festival, Elbphilharmonie Hamburg with Hamburger Symphoniker and Salzburg Festival performing Beethoven's violin concerto. He is invited again to perform with the Finnish Radio Symphony Orchestra, Orchestra of the Academy of Santa Cecilia, Rotterdam Philharmonic, Royal Flemish Philharmonic Orchestra, St. Petersburg Philharmonic and Cleveland Orchestra.

He opened the previous season with a tour in Japan with the Nippon Foundation and returned with the Seattle Symphony alongside Ludovic Morlot., with the French National Orchestra, Philharmonia Orchestra, National Orchestra of Bordeux Aquitaine, National Orchestra of Belgium, Luxembourg Philharmonic, National Symphony Orchestra of Washington y Orchester de la Suisse Romande. Sergey debuted with the Ulster Orchestra, Gulbenkian Orchestra, Stavanger Symphony Orchestra y Nuremberg Symphony.

Early in the season 2014/15, Sergey participated in the Lucerne Festival performing Beethoven's violin concerto with the Vienna Philharmonic and Gustavo Dudamel with the prestigious Credit Suisse Young Artist Award.

Sergey and his sister, the pianist Lusine, they perform regularly as a duo. Among his most recent recordings are the CD "My Armenia" released with Naïve Classique and dedicated to 100 Armenian Genocide Commemoration Anniversary, who received the Echo Klassik award in the Chamber Music Recordings category. further, they have recorded together three sonatas for piano and violin by Brahms. Sergey's discography includes a recording of Sibelius and Khachaturian's concert with the Warsaw Symphony and Emmanuel Krivine., as well as both concerts by Shostakovich with the French National Orchestra and Kurt Masur, the sonatas of Franck and Shostakovich for violin and piano and the integral of sonatas and partitas for solo violin by J.S. Bach.

Sergey plays a 'Ysaÿe' Guarneri of the year violin 1740 por gentileza de Nippon Music Foundation.


In today's world of classical music, Lusine Khachatryan is considered a “Keyboard poet”.
Born in Yerevan, Armenia, in a musical family, Lusine began his piano studies under the tutelage of
His parents, Irina Hovhannisyan y Vladimir Khachatryan, both concert pianists and pedagogues.

From 2001 a 2008 Lusine studied at the Karlsruhe Academy of Music (Musikhochschule) And graduated
with a double master's degree specializing in piano with Prof. S. Speidel and in Chamber Music with Prof. Dr. S. Tatubaeva. Lusine Khachatryan's successful international concerts have inspired audiences at venues such as, Old Opera in Frankfurt , Main, Friedrich Thiersch Hall, Kurhaus en Wiesbaden, Herkulessaal en Munich, Liederhalle en Stuttgart, Tonhalle in Zurich, Concertgebouw and Amsterdam, the Louvre, the Salle Gaveau and the Théâtre des Champes-Élysees in París, Wigmore Hall and London, Flagey y Palace of Fine Arts in Bruselas, National Concert Hall in Dublin, Palau de la Música in Barcelona; Madrid National Auditorium, Carnegie Hall in New York, Great Theater of Quebec, Oscar Peterson Hall en Montreal, Oji Hall in Tokyo and A. Khachaturyan Concert Hall en Erevan.

Lusine Khachatryan has received numerous awards throughout his artistic career. Among them is the Musical Advancement Award of from the Baden Cultural Foundation, the scholarship of the “circle of friends” de la Music Academy of Karlsruhe, and a special grant from the German foundation, German Foundation for Musical Life. It has also been awarded at the International Piano Competition in “City of Ostra”, “Marsala city”, in Italy (2003) and at the 2nd European Piano Competition in Normandy, Ouistreham and Le Havre in France (2009).

Lusine Khachatryan has performed in many renowned festivals such as the I Festival del Mediterrani
(Valencia, Spain),the Piano Festival Vladimir Nielsen, the Ravinia Music Festival (OF. UU.), he
Music Festival Bremen, the Schleswig-Holstein Music Festival (Germany), Edinburgh International
Music festival (Scotland), the International Music Festival “Bartok + Mozart” (Miskolc, Hungary),
the Music Festival “Snow and Symphony” (St. Moritz, Switzerland); and the “Succee night”(Cannes, France).

She is an equally compelling performer with chamber and symphony orchestras who have performed with the Rheinland-Pfalz State Philharmonic Orchestra., the Cannes Regional Orchestra, the
Warsaw Symphony Orchestra, Chamber Orchestra “Euregio”, Armenian Philharmonic
Orchestra, the National Symphony Orchestra of Ecuador, and others.

Lusine Khachatryan also performs regularly as a duo with her brother., violinist Sergey Khachatryan. Together they have recorded their “Debut CD” in EMI Classics in 2002; with the French label Naïve, Sonatas for Violin and Piano by C. Franck and D. Shostakovitch (2007), the Complete Sonatas for Piano and Violin by J.Brahms (2013) and his new CD release “My Armenia” with works by Armenian composers (2015).

In 2012, Lusine Khachatryan created a new art form: “The Piano-Theatre”, in which dramatic art
and classical piano music merge into one piece. Through the theatrical world, music reaches a unique dimension and intensity. Lusine has so far written and produced the following Piano Theater productions: “Maria Stuart” after F. Schiller (2012), “Chopin – “The piano is my second self” (2013), ““Clara Wieck plays Schumann”(2013) Y “LONGING” / “Nostalgia” about the Armenian soul and culture (2015).


Philharmonic offers great concerts with the top artists on the international scene today. Its programming ranges from the baroque to the twentieth century, the great symphony orchestra the most intimate recital and is designed for music lovers enjoy it with the best performers of each repertoire.

Joel Prieto

Under the direction of conductor of the Symphony Orchestra of Puerto Rico, Maximiano Valdés, the tenor Joel Prieto, He born in Madrid and raised in Puerto Rico, returns to his island to close the edition 2018 Casals Festival, an event that appeals to international harmony and understanding after the tragedy that has marked the country's agenda, recently devastated by hurricanes and Maria Irma. “Together we are striving to raise the country”, tenor Joel Prieto says, “and musical activity, that comforts the soul and breathes strength to succeed, It is essential at times like this”. Prieto attend the Casals Festival to perform at the closing ceremony, time that will perform Mozart's Requiem next 17 March by the Puerto Rico Symphony, Philharmonic Choir of San Juan and soloists such as soprano Zulimar López, Celia Sotomayor mezzo-soprano and bass Herman Iturralde.

The tenor travels to the Caribbean island in a hiatus of his performances at the Teatro Real in Madrid the work of Kurt Weill Street Scene (released in February and again billboard Madrid in May and June); in April he will play Don Ottavio in Don Giovanni opera, Mozart also, on his return to the National Opera of Santiago de Chile in early May and will return to Puerto Rico for a concert by the Children's Choir of San Juan.

More information

After a successful debut with critics and audiences at the Salzburg Festival 2005, Maite Beaumont has not lowered of the most important stages in Europe, as Opéra national de Paris; Royal Theater of La Monnaie; Bavarian State Opera; Staatsoper Unter den Linden in Berlin; Capitole in Toulouse Theater; Teatro Real in Madrid; La Scala Milan en; Municipal Theater of Santiago de Chile; y Lyric Opera Chicago. The next 1 Y 3 December we will be able to hear it again in the Gran Teatre del Liceu as Ottavia, from The Coronation of Poppea. A repertoire, Baroque, for the depth and warmth of her voice, accompanied by stage presence, They have made the Spanish mezzo-soprano, one of the most sought after singers of his rope.

Brío Clásica: It is increasingly national and international presence and there are many times we have to enjoy their art, but we would like to know more about you. Tell us about your beginnings, Where your hobby is music and singing?

Maite Beaumont: I come from a family of musicians. My mother was choir director, Professor of Music Pedagogy at the University ,my father amateur singer and my sister professional singer. I have been fortunate to have musical education from a very young, breathing the passion for music that was in my house. I was able to attend many rehearsals choir from very young, where my mother ran and my sisters and father were singing.

My father always took home Vocal music: He is passionate about singing. He has an exceptional voice, but it has not been dedicated professionally. We were two of the four daughters, we have dedicated to it. My sister has been able to help and advise me on the most important moments of my life.

B.C.: Once awareness is taken to devote himself to music professionally, How do you plan a career like this?

M.B.: With 18 years, I could not imagine that I could devote a future singing professionally. The good thing was, It is that the musical base was. I always studied music and singing. My sister was my role model: was she who went to study in Germany and, After studying Sociology, I encouraged her to go. And there, This is where it all began.

B.C.: Soon he moved to Germany. There they are common ensemble operatic. What is the difference between being part of a ensemble And be Freelance? What advantages and disadvantages have each?

M.B.: For me, how good of a Ensemble is that you build a good foundation that will serve your entire career. To test small, medium, large papers with good supervision, It's essential. Power sharing cartel with highly experienced professionals and gives you a lot of motivation and know the daily life of a singer, with trials, study, functions… It is important.

The only drawback I see, is that age is good it come out, meet new people, other ways to, working, to make music… That has to choose each, It is according to his character and stage in life.

B.C.: We are celebrating the 450 anniversary of the birth of Claudio Monteverdi and, precisely, he 1 and the 3 December interpreted in the Gran Teatre del Liceu in Barcelona to Ottavia, from The Coronation of Poppea, a character who knows. we can not forget your Sesto clemency Tito, Mozart, last season at the Teatro Real. It is not easy to address these repertoires. How you reach the Baroque? What demands have?

M-B.: I had very early a very special affinity with this repertoire.

The biggest demand I see, It is the style.

B.C.: You have great importance for the recitatives, something that some managers often modified to accommodate certain productions. Do you think that today are essential? why?

M.B.: For me, recitative matter if it serves to better understand the plot of the opera, If you give us information about what is happening or will happen. I conceive it as pure theater, talk singing.

Not that they are more essential now than before. The difference is that now part theatrical works more. The stage direction has evolved so much, not just have to know sing well, also interpret.

For example, Mozart recitative is a treasure worthy of a play.

B.C.: Baroque music has ample room for improvisation, especially the Italian Baroque. The decision to vary or decorate an Aryan From the beginning, Singer owns or principal?

M.B.: Actually it belongs to the singer. He suggests director and singer who ultimately decides which ones are best.

The important thing is to be in style, This is learned like anything else. There are others who like to have everything more controlled. Everything depends on the singer and director. For me , It is a teamwork: a mixture between what like the director and ornaments that go well with your voice.

B.C.: Following the baroque repertoire, What technical difficulties can be found in a score that, in its origin, It was written to the physical characteristics of a man?

M.B.: La voz de mezzo-soprano , its timbre and color, it resembles more or evokes a male voice. For me, physically we have the same force that could have a castrato. Even more, I would say. It depends on the temperament of each, regardless of being male or female. Under the vocal point of view, women can use more chest voice, obtaining more power than a castrato. but hey, it all depends. Now there are many countertenor with very good technique.

B.C.: Although increasingly baroque works are scheduled, What do you think are the reasons why remains scarce presence in the Spanish programming?

B.M.: It is a very specific audience that likes the Baroque. I think the operatic culture in Spain is increasing. More and more people dare to go to a function. It is best to start more traditional repertoire, then create taste and attract more special titles like Baroque.

B.C.: His repertoire is not limited to the Baroque. We can hear their interpretations of Lied, the works of contemporary composers such as Kurt Weill. We also know of his love of Bel canto, How the transition is made to these styles?

M.B.: As the voice unfolds, It will be facing new repertoire that requires more mature voice, such as Bel Canto.

B.C.: He is inspired by a singer when preparing a new role?

M.B.: There is always a singer who would you like parecer.Primero study the role and then compare different versions to get an idea of ​​how you want your own version.

B.C.: How do you see the evolution of his voice? What repertoires is singing in a more distant future?

M.B.: I am in a moment, where I feel safe and to address the bel canto repertoire. So far I've done a lot of Baroque and Mozart , among other things, but it is now when I am at the right time to sing Isabella, Adalgisa, Elisabetta, Giovanna Seymour… After having been so long in Germany, I also feel prepared for the roles of the German repertoire for mezzo-soprano and lyrical as Oktavian Composer.

Within ten years, I'll see how I develop and where.

B.C.: When can we hear again in Madrid?

M.B.: At 2019 I will sing in Verdi's Falstaff Meg. After, I hope that many more interesting roles, where I can teach all my facets.

Daniel Barenboim
Is there today a wonderful musician, talented and versatile Daniel Barenboim? Director of opera and symphony orchestras while concert pianist, recitalist, chamber musician, Lieder accompanist par excellence, the Argentine-Israeli musician is also one of the artists with more recordings of all time. Sony Classical is pleased to present the first complete retrospective collection of his albums CBS / Sony Classical and RCA Red Seal in 46 CDs y DVDs.
Barenboim, in his role as pianist, He published his first commercial recordings 1958 and soon she began recording disk format vital and innovative interpretations of Mozart y Beethoven. It was not long before he added his role as director to his already intense musical activity, and in 1965 He began a close relationship with the English Chamber Orchestra. Much of that collaboration can be heard in this new collection of Sony, in particular his recordings of Mozart concertos in which Barenboim has deep knowledge of this composer is serving violinists Isaac Stern and Pinchas Zukerman.
Barenboim soon would direct the best American and European orchestras. Among the groups that stand out in this new collection the London Philharmonic is, with which Barenboim recorded a series of works by Elgar, including "a passionate interpretation" (Penguin Guide) of the second Symphony: "The interpretation of the London Philharmonic Orchestra is superb at all times and the group responds to every whim of Barenboim … Music rarely moves me to tears, but I confess that the soft interpretation of the last bars, of 'very slow', he got it". (Gramophone).
Another treasure joint project composed tandem Barenboim / London Philharmonic which was carried out with the legendary Arthur Rubinstein in Complete Beethoven piano concertos (when his solo recording accompanying Otto Klemperer He had already become an iconic recording). This winning album Grammy for "Best Classical Album" in 1977, Gramophone wrote: "They have been the best Beethoven concertos ever accompanied, If this interpretation can be defined as 'accompanying'? ... In each of the pieces [Barenboim and the orchestra] They provide a set of such starting weight, richness of characterization and beauty of sound that the entry of the soloist, so well prepared, It reaches almost as an anti-climax. It will be a while before they even Rubinstein's personality can match the splendor of the scene that has been prepared for him. "
The list of other notable collaborations Barenboim in this issue is very extensive and includes, among other: The Brahms violin sonatas Itzhak Perlman with which here they appear not only on CD, but also for the first time, a DVD; The Beethoven Violin Concerto (New York Philharmonic) Y The third concert of Saint-Saëns (Orchester de Paris) con Isaac Stern; The Elgar cello concerto with the Philadelphia Orchestra and Jacqueline du Pré; The Elgar Violin Concerto (London Philharmonic) with Pinchas Zukerman ("A reading gloriously combining virtuoso Heifetz swagger with tenderness and warmth of the young Menuhin. Barenboim is a splendid companion ") and with him also as viola soloist in Harold one Italia Berlioz (Orchester de Paris); Rodrigo guitar concerts and Villa-Lobos (English Chamber Orchestra) con John Williams, and also he worked with Dietrich Fischer-Dieskau, in Mahler song cycles (Filamónica Berlin).
In the wide variety of symphonic works from this collection, Daniel Barenboim conducts the fourth symphony de Tchaikovsky (New York Philharmonic); the Seventh from -From Beethoven legendary concert at the Berlin Wall in 1989-; the unfinished symphony from Schubert and Symphonie Fantastique from Berlioz (Berlin Philharmonic) Y Pelleas und Melisande de Schoenberg (Orchester de Paris). Barenboim can also be heard in his role as a solo artist Brahms piano concertos (with Zubin Mehta and the New York Philharmonic) and Beethoven (himself directing the Berlin Philharmonic Orchestra from the piano). There is also a large-scale choral work, he Berlioz Te Deum, in a superb recording made in St. Eustache with the Orchester de Paris.
The videos included in the new collection are especially interesting. As we have already mentioned, are published for the first time on DVD the Violin Sonatas de Brahms con Itzhak Perlman, next to Trio for horn Brahms (with the famous Dale Clevenger Chicago Symphony). Also it included in CD and DVD extraordinarily innovative and diverse interpretation of New Year's Concert by the Vienna Philharmonic 2014, definitely, one of the most admired in recent years. The Times of London he highlighted: "Concerts latest New Year have been rather flat, but the champagne flows without limit in the second period Daniel Barenboim on the podium… The plums (to distinctive) It is a seductive Tales from the Vienna Woods (Johann II) and wonderful 'Interlude moonlight' Capriccio ", While Presto Classical wrote: "Although it is commonly associated with heavier Austrian composers, Barenboim is not exceeded at any time and the piece is known by heart… molds and gives rhythm to things in a wonderful way, revealing all the details. "
Content Collection:
DISCO 1: MS 7179
Berg: Chamber Concerto for violin and 13 wind instruments (Pierre Boulez, Daniel Barenboim, piano; Saschko Gawriloff, fiddle)
Berg: Three Pieces for Orchestra, On. 6 (Pierre Boulez)
Berg: Altenberg Lieder, On. 4 (Pierre Boulez, Halina Lukomska, soprano)
DISCO 2: M 30055
Mozart: No concert. 5 in most, K. 219, “Turkish” (Pinchas Zukerman, fiddle)
Mozart: No concert. 4 in re mayor, K. 218 (Pinchas Zukerman, fiddle)
DISCO 3: M 30572
Tchaikovsky: symphony No. 4 in F minor, On. 36
DISCO 4: M 31369
Mozart: Sinfonia Concertante for violin, Viola and Orchestra in E flat major, K. 364 (Isaac Stern, fiddle; Pinchas Zukerman, viola)
Stamitz: Sinfonia Concertante for violin, viola and orchestra in D (Isaac Stern, fiddle; Pinchas Zukerman, viola)
DISCO 5: M 31997
Elgar: symphony No. 2 in E flat major, On. 63
DISCO 6: M 32599
Elgar: Falstaff (Studio Symphony) for orchestra, On. 68
Elgar: Overtura “Cockaigne” (In London Town), On. 40
DISCO 7: M 32807
Elgar: symphony No. 1 in A flat major, On. 55
DISCO 8: M 32301
Mozart: Violin Concerto No. 1 in B flat major, K. 207 (Pinchas Zukerman, fiddle)
Mozart: Violin Concerto No. 3 in G major, K. 216 (Pinchas Zukerman, fiddle)
DISCO 9: M 32936
Elgar: Marches pomp and circumstance, On. 39
Elgar: Crown of India – Suite, On. 66
Elgar: imperial march, op.32
DISCO 10: M 32937
Mozart: Concertone in C major for two violins and orchestra, K. 190 (Isaac Stern, fiddle; Pinchas Zukerman, fiddle; Neil Black, oboe)
Pleyel: Sinfonia Concertante in B flat major for violin, viola and orchestra, On. 29 (Isaac Stern, fiddle; Pinchas Zukerman, fiddle; Neil Black, oboe)
DISCO 11: M 33206
Mozart: No concert. 2 in D major for violin and orchestra, K. 211 (Pinchas Zukerman, fiddle)
Mozart: Rondo in C major, K. 373 (Pinchas Zukerman, fiddle)
Mozart: Adagio and my older, K. 261 (Pinchas Zukerman, fiddle)
Mozart: Rondo in B flat major for violin and orchestra, K. 269 (Pinchas Zukerman, fiddle)
DISCO 12: M 33208
Rodrigo: Aranjuez's concert (John Williams, guitar)
Villa Lobos: Concerto for guitar and small orchestra (John Williams, guitar)
DISCO 13: M 33584
Elgar: Morning Song, On. 15, No. 1
Elgar: Night Song, On. 15, No. 2
Elgar: Elegy for Strings, Op.58
Elgar: Serenade for Strings, Op.20
Elgar: Hi love, Op.12
Elgar: Romance, On. 62 for bassoon and orchestra (Martin Gatt, fagot)
Elgar: Rosemary
Elgar: Dearest
Elgar: sighing, On. 70
DISCO 14: M 33587
Beethoven: Concerto for Violin and Orchestra in D major, On. 61 (Isaac Stern, fiddle)
DISCO 15: CRL5-1415
Beethoven: No concert. 1 for piano and orchestra, On. 15 and you (Arthur Rubinstein, piano)
Beethoven: No concert. 2 for piano and orchestra, On. 19 in B flat (Arthur Rubinstein, piano)
DISCO 16: CRL5-1415
Beethoven: No concert. 3 for piano and orchestra, On. 37 in the lower (Arthur Rubinstein, piano)
Beethoven: No concert. 4 for piano and orchestra, On. 58 a sun (Arthur Rubinstein, piano)
DISCO 17: CRL5-1415
Beethoven: No concert. 5 for piano and orchestra, On. 73 in Eb (Arthur Rubinstein, piano)
DISCO 18: M 34500
Ravel: Daphnis y Chloe, Suite No. 2
Chabrier: Spain
Debussy: Prelude to the Afternoon of a Faun
Ibert: scales
DISCO 19: M 34517
Elgar: Violin Concerto in B minor, On. 61 (Pinchas Zukerman, fiddle)
DISCO 20: M 34530
Elgar: Concerto for cello and orchestra in E minor, On. 85 (Jacqueline du Pré, chelo)
Elgar: Variations on an Original Theme for orchestra, On. 36 “Enigma”
DISCO 21: M 34536
Berlioz: You gods, On. 22
DISCO 22: M 34541
Berlioz: Harold en Italie, On. 16 (Harold one Italia) (Pinchas Zukerman, viola)
DISC 23: M 34550
Saint-Saens: Concerto for Violin and Orchestra No. 3 in B minor, On. 61 (Isaac Stern, fiddle)
Chausson: Poem, On. 25 (Isaac Stern, fiddle)
Fauré: Lullaby, On. 16 (Isaac Stern, fiddle)
DISCO 24 : M 35112
Berlioz : Royal Hunt and Storm / Caza y real tormenta
Berlioz: Romeo and Juliet, on. 17 Suite
DISCO 25: M 35160
R. Strauss: Concerto for oboe and small orchestra (Neil Black, oboe)
R. Strauss: The Bourgeois Gentleman: Suite, On. 60 (Peter Frankl, piano)
DISCO 26: M 35880
Elgar: marine paints for contralto and orchestra, On. 37 (Yvonne Minton, soprano)
Elgar: In the South overture, On. 50, “Alassio”
DISCO 27: M 35885
Brahms: No concert. 2 for piano and orchestra in B flat major, On. 83 (Zubin Mehta, Daniel Barenboim, piano)
DISCO 28: M 35884
Brahms: No concert. 1 in D minor for piano and orchestra, On. 15 (Zubin Mehta, Daniel Barenboim, piano)
DISCO 29: M 38557
Schoenberg : Pelleas und Melisande: symphonic poem, On. 5
DISCO 30: IM 39859
Berlioz: Symphonie fantastique, On. 14
DISCO 31: IM 39676
Schubert: symphony No. 2 whether more, D. 125
Schubert: symphony No. 8 in B minor, D. 759 “unfinished”
DISCO 32: IM 39671
Schubert: symphony No. 3 in D major, D. 200
Schubert: symphony No. 5 in B flat major, D. 485
DISCO 33: M 42072
Schoenberg: Lunar Pierrot, On. 21 (Pierre Boulez, Daniel Barenboim)
DISCO 34: M 42316
Schubert: symphony No. 9 in C major, D. 944 (“The Great”)
M 42322
R. Strauss: Sinfonia Domestica, On. 53, trve 209 (Mehta, Zubin)
R. Strauss: Burleske and D minor for piano and orchestra, trve 145 (Zubin Mehta, Daniel Barenboim, piano)
DISCO 35: M2K 42489
Schubert: symphony No. 1 in D major, D. 82
Schubert: Rosamunde, D. 797 (fragments)
DISCO 36: M2K 42489
Schubert: symphony No. 4 in the lower, D. 417 “tragic”
Schubert: symphony No. 6 in C major, D. 589
DISCO 37: SK 45830
Beethoven: Piano Concerto No. 1 in C major, On. 15
Beethoven: symphony No. 7 in most, On. 92
DISCO 38: SK 44922
Mahler: Des Knaben Wunderhorn (Dietrich Fischer-Dieskau, baritone)
Mahler: Songs of a Wayfarer (Dietrich Fischer-Dieskau, baritone)
DISCO 39: S2K 44504
Schubert: Sonata (Sonatina) for piano and violin, On. Posth. 137, No. 1, D. 384 (Isaac Stern, fiddle, Daniel Barenboim, piano)
Schubert: Sonata (Sonatina) for piano and violin in A minor, On. Posth. 137, No.2, D.385 (Isaac Stern, fiddle, Daniel Barenboim, piano)
Schubert: Sonata (Sonatina) for piano and violin in G minor, On. Post.137, No. 3, D.408 (Isaac Stern, fiddle, Daniel Barenboim, piano)
DISCO 40: S2K 44504
Schubert: Sonata (Duo) for piano and violin in most, On. 162. D. 574 (Isaac Stern, fiddle, Daniel Barenboim, piano)
Schubert: Fantasy for Violin and Piano in C Major (“Greetings!”), On. Post.159, D. 934 (Isaac Stern, fiddle, Daniel Barenboim, piano)
Schubert: Rondo (Rondeau Brillant) for Piano and Violin in B minor, Op.70, D. 895 (Isaac Stern, fiddle, Daniel Barenboim, piano)
DISCO 41: SK 45819
Brahms: Violin Sonata No. 1 in G major, On. 78 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
Brahms: Violin Sonata No. 2 in most, On. 100 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
Brahms: Violin Sonata No. 3 in the lower, On. 108 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
DISCO 42/43:
New Year concert 2014
Concert of the Berlin Wall 1989
Brahms: Violin Sonata No. 1 in G major, On. 78 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
Brahms: Violin Sonata No. 2 in most, On. 100 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
Brahms: Violin Sonata No. 3 in D minor, On. 108 (Itzhak Perlman, fiddle, Daniel Barenboim, piano)
Brahms: Trio for Violin, horn and piano in E flat major, On. 40
New Year concert 2014
Lucio Silla

With only 14 years, and during a tour of the then kingdoms of Italy with his father, Mozart the first serious opera premieres of his career, Mitridate, kings of Pontus. Such was the success that the young Mozart received another custom Teatro Regio Ducal in Milan, an opera to celebrate, Two years later, Winter carnivals the Lombard capital.

Lucio Silla It is a crucial work in the evolution of the musical language of Mozart. While it is retaining many of the conventions of the operas of the eighteenth century, as the role of a character followed historical and endless endless recitative arias. But nevertheless, and we find some new elements, as the orchestral accompaniment of recitatives. This new musical structure anticipates changes that will be consolidated with Idomeneo and be part of the unmistakable style of his operas more mature, as Don Giiovanni O Così fan tutte.

Mozart worked with great discipline and with little time. He had summoned the most talented singers of the moment 6 weeks of the release to begin rehearsals. As was customary at the time, the particelas They were composed thinking about the vocal characteristics of each performer, taking them to the limit of its capacity. This made it almost unfeasible than any other singer could address the role. Main reason why Lucio Silla, once released, tardase 200 years back to be displayed.

The main roles was in charge of the great tenor Archangel Cortoni, as Lucio Silla, and castrated Venancio Rauzzini, in the role of Cecilio and soprano Anne de Amicis, as Giunia. But the best proof of the genius of Mozart teen came when there were only 6 days for the premiere. The Cortoni protagonist fell ill and had to be hastily replaced by another tenor. No one dared to take on the difficulties of that paper was a mediocre singer who oratorios, scared by the difficulty of the character, He dared with. For that, Mozart had to seriously maul the score of the dictator adapting to the vocal possibilities of the singer. Although only reduce their intervention 2 arias, Mozart manages to convey the psychology of the character, complicatedly hesitant and unable to express what he feels, leaving the responsibility to express the feelings of the orchestra chair.

A theatrical scenery high voltage

For a stage director, Lucio Silla is a poisoned gift. Throughout history it has been considered an impossible work for its statism. Baroque works arouse suspicion among not a few stage directors for their arias

dacappo and the difficulty of this musical structure when providing the desired fluidity scenery. Lucio Silla is scenically as later works of Mozart, plays in themselves. The spirit of the characters have more weight than his vocalism, although this is endiablada for singers.

this opera, almost contemplative, also it has a great dramatic burden Claus Guth He has captured perfectly. It has created a stage where the pictures flow before the public with pace, beating statism with an almost cinematic continuous motion effect.

As is customary in Guth's stage development, a psychological X-ray of the characters and their feelings is presented. This journey to the introspection of the protagonists is achieved through the atmospheres, always oppressive, that describe with great accuracy the intention of the protagonists. A good direction of actors and a revolving architectural structure with underground tunnels stand out. An underworld in which dreams and nightmares unfold. It is here where the plays of light and shadow of Manfred Voss, that have been updated for the occasion by Younger Hoffmann, acquire great beauty and prominence.

The cold desolation that accompanies Lucio Silla is also successful. A room that deciphers the complex psychology of a fickle character dictator, hesitant and unpredictable. Chair appears in a room of decaying white tiles that are staining with the blood that spills. It seems to stay a butcher.

The direction of Ivor Bolton

Lucio Silla is an improper score of a teenager 16 years because of its complexity, for their maturity and being so meticulous in details. They have maintained the original arias with minor adaptations to improve tempis, which has facilitated the flow in the direction of a Ivor Bolton that continues the path marked extraordinary last season Billy Budd Y Rodelinda.

This time, and since the long overture, strikes a perfect balance between brass and strings. His reading of the work and the work done with the orchestra, taking the letter and not the music as a starting point, He gave sound vibration and precise pulse score. Especially in times when the orchestra broke in pieces the ins and outs of the main character. Recitatives are accompanied by the proper key Bolton, allowing a greater connection with the orchestra. Always attentive to detail and outstanding singers, which greatly facilitates the work, along with a set that facilitates voice projection and singing in proscenium.

A very balanced distribution

Lucio Silla requires equally vocal and dramatic qualities. And in that line are the protagonists of this production, Kurt Streit y Patricia Pertibon.

American tenor Kurt Streit, responsible for giving life to the protagonist, It is a great connoisseur of the Mozartian style and excellent Actor, something very important in this production. Lucio Silla presents a little hesitant and entity, insecure and characterless. At the end of the work, when it transformed into magnanimous and leaves the throne, a successful histrionic appears intent. Its excellent performance and compensates a voice in decline.

Patricia Petibon is pure theater. Expressiveness and personality on stage had deserved response from the public. He had a difficult time in the aria ¡Ah, when the cruel peril! where coloratura becomes impossible, but more than it offsets a large repertoire of gestures that describe the anguish of the character. The dramatic intensity of Petibon, above the vocalism, not detract neither the character nor the score, especially after improvising a wrenching passage to the end of the first part.

A Silvia Tro Santafe he had to give life to the role complex Cecilio. An almost impossible score that Valencia resolved with impeccable professionalism. His initial aria "The moment tereno", an extreme difficulties registry changes, It was resolved with a single solvency surpassed by the virtuosity. High volume voice and expressiveness, a phrase in Italian and a line of impeccable singing. The duet with Giunia was a moment of great beauty and delicacy. Mezzosopranos being one of the most prominent and valuable right now, surprising that no more presence in national settings.

María José Moreno It was another of the joys of the night. His character does not reach the vocal demands of the protagonists, but it has a treble that Granada soprano issued no muss. Cecilia's role is somewhat finicky, but his three interventions (It has been removed of its Aryan) They are bright. He brought freshness with its beautiful Mediterranean timbre and perfect diction.

The mezzo Letona Inga Kalna in his role as Lucio Cinna, a bit exaggerated masculinity of the character and was somewhat rough. Sound good volume but unsophisticated. But he knew keep up with the cast.

No doubt this has been a good start to the season in an important year for which celebrates its Teatro Real 200 anniversary. The season looks very attractive and opera is one of those places where dreams find refuge. Surrender to art.

dramma per musica in three acts
Wolfgang Amadeus Mozart (1756-1791)
Libretto by Giovanni de Gamerra
First performed at the Teatro Regio Ducal in Milan 26 December 1772
New production of Teatro Real
Headlines Choir and Orchestra of the Teatro Real
D. musical: Ivor Bolton
D. scene: Claus Guth
Replacement: you Buyse
Scenography and costumes: Christian Schmidt
Lighting: Manfred Voss
Dramaturgy: Ronny Dietrich
D. from the choir: Andrés Máspero
Distribution: Kurt Streit, Patricia Petibon, Silvia Tro Santafe,
Inga Kalna, María José Moreno, Kenneth Tarver

Lucio Silla

The next 13 september opera Lucio Silla, from Wolfgang Amadeus Mozart (1756-1791) will open the new season of the Teatro Real, finally repairing a debt to the public in Madrid, he could never see this opera represented, despite the undoubted quality and beauty of his music.

The opera will arrive at the Royal Theater in a production conceived by Claus Guth, that has triumphed in several theaters since its premiere at the Festival Wiener Festwochen in 2005. The German stage director strips the work of its most anecdotal content and recreates himself by exploring the psychological relationship between the characters and the interiority of each dramatic situation, infusing the opera with enormous dynamism.

To do this, he uses once again an ingenious rotating set designed by the set designer and costume designer. Christian Schmidt ─author also of the scenographies of Parsifal Y Rodelinda─ that allows streamlining the continuous succession of scenes that make up the work.

Although Mozart premiered the score in Milan in 1772, with scarcely 16 years, The young composer had been writing scenic-musical works of different formats since the 11 years, Y Lucio Silla It was already the third opera that he presented successfully in Italy, after Mithridates, kings of Pontus Y Ascanio in Alba.

Following in the wake of the opera seria eighteenth then in vogue, the libretto is inspired by the exploits of a character from Classical Antiquity, without attending to any pruritus of verisimilitude or historical rigor. In fact, kinship ties, love affairs and magnanimity of Lucio Silla of Mozart are far from what the historiography illuminates about the life of the bloodthirsty tyrant and great military strategist Lucio Cornelio Sila (138-78 a.C.).

The plot, dramaturgically flimsy, is, but nevertheless, structurally consistent by the complex relationships between the six characters, belonging to two rival and enemy sides, between which conflicting feelings and passions flow, uncontrolled and capable of breaking the codes of honor that shield so many atrocities and power struggles.

Musically the opera conforms to the rigid canons of the opera seria, in which arias and recitatives alternate, with some wonderful ensemble numbers and orchestral interludes. But the genius of Mozart manages to give each scene a unique atmosphere, with great contrasts, singing lines of poignant dramatic breath and an increasingly autonomous orchestra in the dramaturgical expression of the characters.

Although Mozart had the best singers of the time to interpret his Lucia Chair, the replacement, in the days before the premiere, of the leading tenor by another of much lower rank, forced the composer to adapt that role to the new circumstances, simplifying his music and dispossessing the character of the greatness that should have the title role, that the tenors will interpret at the Real Kurt Streit Y Benjamin Bruns.

As two of the male characters originally intended to be sung by castrati will be performed by a mezzo-soprano and a soprano, it can be said that in Lucio Silla the great vocal difficulty falls on the four female singers, especially Giunia, whose very difficult role will be played alternately by the French sopranos Patricia Petibon Y Julie Fuchs. They will be supported by the mezzo-sopranos Silvia Tro SantafeY Marina Comparato (Cecilio), las sopranos Inga Kalna Y Pleiades Sabirova (Lucio China) Y María José Moreno Y Anna Devin (Celia). The tenors complete the casts Kenneth Tarver Y Roger Padullés (Aufidio).

Together with both casts the Orchestra and Chorus of the Royal Theater Headlines, under the sensitive musical direction of Ivor Bolton, with extensive experience in the Mozart repertoire.


15, 19 Y 21 of September | National Archaeological Museum

Thematic guided tours free with limited capacity.

Rome at the National Archaeological Museum: 15 of September, 18.00 h.

Dear to dear with Lucio Cornelio Sila (138-78 a.C.): 19 of September, 18.00 h. Y 21 of September, 12.00 h.
It is essential to book in:

17 of September, to 12.00 hours | Teatro Real, living room

Chamber Sundays

Concert entirely dedicated to Wolfgang Amadeus Mozart

Adagio in A Major KV 580 a
Quartet in C Major KV 465, Dissonance
Sonata for bassoon and cello in B flat major K 292
Quintet for piano and wind in E flat major K 452

Soloists of the Titular Orchestra of the Teatro Real

19 of September, to 17.30 hours | Spanish Film Library, room 1

Film screening Nannerl, mozart's sister (Nannerl, Mozart's sister),

by René Féret (2010)

Detailed program

23 of September, to 19.00 hours

Live broadcast of Lucio Silla on the tv channel HALF.

Joel Prieto

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

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

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

More information:

The Marriage of Figaro

Theater Auditorium San Lorenzo de El Escorial Community of Madrid presents Le nozze di Figaro, A production of Spoleto Festival dei 2 Mondi with musical direction Yi Chen Lin and stage director Giorgio Ferrara. This production will enjoy two unique functions day 20 Y 22 July within the program of the Summer Festival.

Together with Orchestra and Choir of the Community of Madrid, the cast of this production The Marriage of Figaro It is headed Lucas Meachem, Carmela Remigio, Simon Orfila Y katerina Tretyakova.

Composed between October 1785 and April 1786, Le nozze di Figaro, from Wolfgang Amadeus Mozart, It is the first of three operas written by the Salzburg composer a libretto by Lorenzo da Ponte. An extraordinary collaboration that would produce two other masterpieces of opera as Don Giovanni Y Così fan tutte. The theme of the libretto was extracted from the Beaumarchais comedy, The Marriage of Figaro from 1781.

A quick and captivating plot, in which women and men are opposed to over a "crazy day", full of dramatic events and comic, It is allowing musical research psychologies at stake. A satire on the privileged social classes of the time, but also an acute metaphor of the various phases of love.

The opera, staging for the first time at the Burgtheater in Vienna 1 May 1786, It is articulated in four acts and narrates, thousands of complications, the arduous but successful defense Figaro, created del Count Almaviva, It makes Susanna, his girlfriend, pursued by the whim of the employer, who they cheat and ends up being the mockery of all, He was forced to consent to the marriage between the two servants.

The audience will enjoy the Summer Festival program to 5 August and ahead are shows like the premiere of the chamber opera Tenorio, from Tomás Marco Y Free Bach 212, of the Fura dels Baus, among other musical events.

Oviedo y Mario

Auditorium Theater San Lorenzo de El Escorial It presents the opera Oviedo y Mario, played by the Little Singers of the Youth Orchestra and Choir of the Community of Madrid (JORCAM) with musical direction Ana González and direction of scene Marian Bollain. this opera, which it is part of the Summer Festival program, It can be seen in three unique functions day 7, 8 Y 9 of July. Le nozze di Figaro, a tribute to Piazzolla and the Fura dels Baus, are some of the protagonists of the 17 shows and concerts of this new edition.

Oviedo y Mario, Singspiel in one act, It is one of the first operas Mozart, written in 1768 when he was only twelve years old. It is assumed that this work was commissioned to make a satire of the then prevalent "pastoral" gender, specifically a parody of opera The village soothsayer from Jean-Jacques Rousseau.

The story takes place in a village of shepherds, in a time not determined. The shepherdess Bastienne fears losing the love of Bastián and turns to a witch, Colas, to return to him fall in love with its magical powers. Colas comforts her telling him not abandoned the Bastián, is rather dazzled by gifts makes him a noble lady. The magician Colas advises Bastiana acting coldly towards Bastián and so, He will run.

Mozart wrote the opera with only twelve. The story of two pastors highlights a reality that has not gone out of fashion: Bastián teenager is left dazzled by a chic girl your Bastiana and this will have to scramble to get his boy.

In this assembly, Oviedo y Mario They study in a modern school. They have always been together, but upon reaching adolescence there are many new people in class and Bastián, dazzled by her new classmates, forget Bastiana, The other girls wear designer clothes, They wear makeup and are much more brazen than Bastiana. Colás, a professor something different, will help reconcile lovers.

The mount features young performers Small Singers of JORCAM and students of the Escuela Superior de Canto de Madrid. Several deals cover both the lead roles as classmates Oviedo y Mario. scenography, simple and realistic, It shows the environment of a high school.

The smallest of the JORCAM

In September 2009, within the framework of the Youth Orchestra of the Community of Madrid, the children's choir Cantores was created Small, a group aged between 6 and the 15 years. The choir is directed by Professor Ana González, director of vast experience in child voice field.

The Little Singers have participated in various productions at the Canal Theater (at Revoltosa, Pepita Jiménez) also from the season 2010/2011 and to date, Small Cantores are the children's choir holder opera productions Teatro Real Madrid and likewise, They have sung Teatro de la Zarzuela in Madrid.

In September 2015 They were directed by the Mtro. ZubinMetha in the 3ª Symphony from G. Mahler with the Orchestra of the Maggio Musicale Fiorentino and the Orfeón Donostiarra. June 2015, Small Singers were invited by the Children's Choir of the Vienna State Opera, performing a joint concert in the Mahler Chamber of the Theater, and other recitals in this European capital.

Joel Prieto

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

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

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

Carmela Remigio

After reaching at the Salzburg Festival last record 400 performances in Don Giovanni, the famous Italian soprano, Carmela Remigio, recently awarded as best singer with the prestigious "Abbiati Prize", debuts at the Gran Teatre del Liceu as Donna Anna, the next 19 of June.

Claudio Abbado chose her personally to give life to Donna Anna in the prestigious edition of Don Giovanni with the Deutsche Grammophon seal. Since then, the soprano born in Pescara, Has made 350 performances on the most prestigious lyrical stages in the world, in the role of Donna Anna and, fifty, as Doña Elvira, in the famous drama playful from Mozart.

The Italian soprano, probably the best Donna Anna of today and the most requested, points: “Anna is one of the most refined Mozartian characters. There is something miraculous in every pulse, as well as the germ of so many other characters in the belcanto. His recitatives and arias are of a perfection and a neatness, that is unmatched in the history of music. They seem to anticipate the melody and phrasing of successive masterpieces such as Anna Bolena, Rule e I puritani. To understand, precisely, in depth to Anna - continues Remigio -, I have also sung the role of Donna Elvira in some productions of Don Giovanni and I'll sing it again at La Fenice in Venice in the fall. They are two very different characters: Elvira is more dramatic, while Anna, instead, is more enigmatic and sinuous. Y, so, they complement, in some way; one is a mirror of the other. "

I was only eighteen, when Pavarotti fell in love with the crystalline color of her voice and became the new winner of her famous “Luciano Pavarotti International Voice Competition” in Philadelphia. Later, Carmela Remigio would accompany him in hundreds of concerts and tours around the world.

Heir to the best Italian vocal tradition, soprano Carmela Remigio has sung in the main theaters, international festivals and concert halls: Teatro alla Scala in Milan, Salzburg Festival, Royal Opera House de Londres, Teatro San Carlo in Naples, the Mint of Bruselas, Teatro Massimo of Palermo, Aix-en-Provence Festival, La Fenice in Venice, Rossini Opera Festival de Pésaro, Carnegie Hall in New York or Royal Albert Hall in London, among others.

Carmela Remigio makes her debut at the Barcelona coliseum, after his recent successes on his return to the Teatro dell ’Opera in Rome, playing for the first time the role of Elisabetta in Maria Stuarda of Donizetti and in the Maggio Musicale Fiorentino, in the demanding role of another Mozartian heroine, Elettra (Idomeneo, King of Crete).

In the acclaimed production of Don Giovanni, as firm Kasper Holten, with musical direction by Josep Pons, soprano Carmela Remigio will sing with Mariusz Kwiecen (Don Giovanni), Eric Halfvarson, (The Commendatore), Dmitry Korchak (Don Ottavio), Miah Persson (Donna Elvira) and Simón Orfila (Leporello).

David Alegret

The Palau de la Música Catalana You will receive next 1 June to the tenor David Alegret, a singer with a Mozartian consolidated in the field of international opera career especially in the rossiniano and- and the oratorio, but what, Besides, a lover recital repertoire is declared. In his performance he will have a special role the "Lied" Catalan, a selection of disc contents of Alegret "Impressions of nature" (edited by Columna Música and recorded at the Petit Palau) centered, precisely, in this repertoire and which includes some findings of the pianist Daniel Blanch, performer who accompanies the Catalan tenor at the Palau recital and on the album. Blanch is the president of the Joan Manén Foundation, entity that claims not only the work of this virtuous composer, but also that of other Catalan authors. In addition to the usual pianistic repertoire, Blanch has worked to rescue from oblivion by bringing to record and recovering works, among others, of Manén, Joaquín Nin-Culmell, Xavier Montsalvatge, Carlos Suriñach, Manuel Blancafort O Ricard Lamote de Grignon, of whom some of his pieces for song and piano are included in the album and in the recital together with others by his father, Joan Lamote de Grignon, that stood out for its catalog of cultured songs that reached a hundred works. "Impressions de natura" also includes works by Francesc Montserrat -the name of the album comes from one of its pieces-, Francesc Pujol -whose unpublished scores have been found in the Library of the Palau de la Música Catalana- and the much better known Eduard Toldrà.

After this appointment with the Barcelona public, David Alegret's international career will take him to the Massimo Bellini Theater in Catania (The rose pilgrimage, from Schumann), to the Granada Festival (arias concert of Mozart with the Granada Orchestra conducted by Pablo González), back to the Palau de la Música Catalana (Ninth Symphony of Beethoven and Passion according to Saint John of Bach with the Orquesta Simfònica del Vallès), to the Life Victoria Festival in Barcelona to offer a recital of Lied accompanied by the pianist Albert Guinovart, at the Gran Teatre del Liceu in Barcelona (Romeo you Juliet, from Gounod, directed by Josep Pons), to the Toulon Opera (The Barber of Seville, Rossini) and the Oviedo Opera (The Turkish in Italy, from Rossini).

Joel Prieto

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

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

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

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Bejun Mehta
He Sunday 23 of April to 19.30 hours, the cycle Baroque universe National Broadcasting Music Center (CNDM) presents his penultimate appointment in the Symphony hall of the National Music Auditorium of Madrid with “Cantata” countertenor recital Bejun Mehta accompanied by the reputed Academy for Ancient Music Berlin. Mehta returns to the baroque season of the CNDM after his splendid Orfeo from Gluck three seasons ago and following his recent success as Bertarido in the opera Rodelinda from Haendel programmed in the Teatro Real in Madrid. Mehta, one of the most refined counters on his string, presents a program that will bring us closer to the peak of the castrati, recreating a multifaceted universe containing arias from Handel's English oratorios along with sacred and profane cantatas from Bach Y Vivaldi. A journey that will transport us to the musical heart of the 18th century.

Considered one of the most reputable current countertenors, Bejun Mehta He is a regular guest of the main international opera and concert halls. The American is, during this season, Resident Artist at the Dresden Philharmonic, where he is demonstrating his artistic versatility with four different shows as a singer and director, in which he presents arias from the great operas and oratorios of Haendel Y Mozart in addition to the work Dream of the Song from George Benjamin, cantata written for him and already premiered in France and the United States. In the operatic scene he has just achieved great success at the Teatro Real in Madrid as Bertarido in Rodelinda Haendel.

Other productions have led him to play Farnace in Mitridate by Mozart in the Royal Opera House in London, the title role of Haendel's Tamerlano in Milan's Teatro alla Scala and Oberon in A Midsummernight’s Dream from Britten. His highlights from recent seasons include the world premiere of Stilles Meer by Toshio Hosokawa for the Hamburg Staatsoper (Stephan's role), that will be performed again in the season 17/18, and a new production of Orfeo ed Euridice by Gluck under the direction of Daniel Barenboim at the Berlin Staatsoper. In addition to her work as a singer, Mehta is boosting his role as a director with a couple of commitments per season, case of his work with the Dresden Philharmonic, and is offering master classes in Singing, such as those given within the Young Singers Project of the Salzburg Festival. Mehta has a wide catalog of records, among which are What Puro Ciel, a collection of classical arias with the Akademie für Alte Musik Berlin and René Jacobs, published in the fall of 2014 by Harmonia Mundi and winner of Le Diamant d'Opera Magazine and Choc de Classica and George Benjamin's Dream of the Song live album with the Amsterdam Concertgebouw Orchestra and George Benjamin conducting, published in 2016 within the RCO Live series, Horizon7 of said orchestra.

George Frideric Haendel (1685-1759)
You are dewy roses (1711/12)
Cantata My heart throbs (ca.1709)
Antonio Vivaldi (1678-1741)
Concerto for strings in D minor ‘Madrigalesco’ (that. 1720)
Johann Sebastian Bach (1685-1750)
Cantata I have enough (1727)
Johann Christoph Bach (1642-1703)
Cantata (lament) Oh that I had enough water to cry
A. Vivaldi
Cantata Plants, sighs and ask for mercy
Antonio Caldara (1670-1736)
From The Passion of Jesus Christ our Lord
Symphony for Strings and Continuous No. 12 in the minor (1730)
Melchior Hoffmann (1679-1715)
Hit it, desired hour (attributed to J.S. Bach)
G.F. Haendel
I will magnify Thee (1717/18)

Cecilia Bartoli

Baroque lovers are celebrating with the programming that the Teatro Real has prepared for this spring. Cecilia Bartoli Y Franco Fagioli in its cycle "Voices of the Real", to prepare the premiere of Rodelinda, the work of Händel who comes to this theater for the first time.

Cecilia Bartoli arrived accompanied by the always original Sergio Ciomei the piano. “A journey through 400 Years of Italian Music” is the name of the tour that the Italian mezzo-soprano is doing these days in Spain. It is not easy to make a selection of 20 works from such a long period, far from having the ability to interpret such a varied repertoire. But Cecilia Bartoli has the power of versatility, among others.

He has shown it once again this Sunday at the Teatro Real, offering a long-distance recital that had as protagonists Giulio Caccini (1551-1618), Alessandro Scarlatti (1660-1725), Antonio Caldara (1670-1736), Antonio Vivaldi (1678-1741), georg Friedrich Handel (1685-1759), Mozart (1756-1791), Gioacchino Rossini (1792-1868),
Vincenzo Bellini (1801-1835), Gaetano Donizetti (1797-1848), Giacomo Puccini (1858-1924), Francesco Paolo Tosti (1846-1916), Stefano Donaudy (1879-1925), IT'S AT. Mario (1884-1961), Salvatore Gambardella (1871-1913), Ernesto de Curtis (1875-1937) and the very Domenico Modugno (1928-1994).

La Bartoli tackles this varied program, giving each work the character and personality that corresponds to it.. And he does it like always, masterfully and without apparent effort. Delve like nobody else in dramatic arias and intensify brave ones, in that baroque repertoire that he knows perfectly.

Cecilia Bartoli's qualities are not only vocal. The uniqueness in his way of interpreting, her ability to transmit and communicate with an audience that adores her and whom she kept in effervescent tension during the two hours that the recital lasted, They are skills that the Roman singer manages with the same dexterity as coloratura or some very pianísimos that dazzled everyone.

The audience asked him to see her in a complete opera. Hope so.

Minkowski y Bach

Les Musiciens du Louvre, considered one of the best orchestras in the world devoted to Baroque music, debut in Ibermúsica with an emblematic work: the St. John Passion, BWV 245, from Johann Sebastian Bach, a piece written for solo voices, choir and orchestra, based on the Gospel of St. John. The concert will take place on Thursday 6 April in the National Music Auditorium, the French group will be led by its founder, Marc Minkowski.

Two passions of the Leipzig musician have come down to us today, the one that Les Musiciens will address in the 47th season of Ibermúsica and that of Saint Matthew (BWV 244). Both compositions are considered the most outstanding of this genre in the history of music.. In the case of St. John Passion - Released on Good Friday in 1724 in the Church of San Nicolás, Leipzig– this is one more work, tense and dramatic than that dedicated to the Gospel of Saint Matthew.


Founded in 1982 por Marc Minkowski, This orchestra offers a reinterpretation of the lyrical and symphonic repertoire from the Baroque to the Modern period with period instruments. Throughout its history it has built its reputation with successful performances by Haendel, Purcell Y Rameau; but also from Haydn Y Mozart (Mass in C minor) and more recently from Bach (Mass in B minor, Passion of St. John) or Schubert (the integral of symphonies) on recording and in concert.

He is also highly regarded for his interpretation of 19th century French music.. He has organized projects focused on Berlioz (Symphonie Fantastique, The summer nights, Harold en Italie), Bizet (additional music for L'Arlesienne) Y Massenet (Cinderella).

His most recent lyrical hits are Alceste (Garnier opera, Paris); Orfeo ed Euridice, from Gluck (Salzburg, Grenoble); Plataea, Rameau (Garnier opera, Paris); a Mozart Gala to celebrate the 30 years of the Orchestra; Hoffmann Tales, from Offenbach (Pleyel room, Paris); The Flying Dutchman; from Wagner (Versailles Opera, Grenoble, Konzerthaus de One, Palau de la Música, Theater an der Wien); Lucio Silla, from Mozart (Mozartwoche, Salzburg Summer Festival and Bremen Festival, where the orchestra is regularly invited from 1995); Le nozze di Figaro (Versailles Opera) Y Fidelio (Wiener Festwochen).

In this season, Les Musiciens has witnessed the creation of the second opus from the Mozart / Da Ponte Trilogy, Don Giovanni at Versailles, Armide (Gluck), at the same time that Alcina (Haendel) en Vienna State Opera, which will be heard in concert version in Bordeaux and Paris. They have also performed a symphony program and a Mozart and Haydn concert at the National Opera in Lyon and in Grenoble, where they have shared the stage with the cellist Anne Gastinel.

Regarding his discography, after recording the integral London symphonies by Haydn for Naïve (2010) Y symphonies Schubert (2012), the Orchestra published The Flying Dutchman Dietsch and Wagner (2013).


From very young, Marc Minkowski decided to become a director. To the 19 years founded Les Musiciens du Louvre, who has played a very active role under his leadership in the renaissance of Baroque performance. Initially, the group focused on French composers and Handel's music before expanding their repertoire to include Mozart, Rossini, Offenbach y Wagner.

He is a regular guest in the halls of Paris, where he has directed productions like Plataea, Idomeneo, The magic Flute, Ariodante Y Alceste at the National Opera; The Beautiful Helena, Carmen Y The fairies in the Châtelet Theater; as well as The white lady, Pelléas et Mélisande Y The bat in Opéra Comique. He has also directed operatic projects at the Salzburg Festival (The Abduction from the Seraglio, Mitridate, Così fan tutte, Lucio Silla), Brussels (the Huguenots Y The Troubadour), Zurich, Venice, Moscow, Berlin, Amsterdam, Vienna (Hamlet Y The Flying Dutchman a theater in Vienna y Alcina and Vienna State Opera) and Aix-en-Provence (The Coronation of Poppea, Le nozze di Figaro, The Abduction from the Seraglio, Idomeneo, Don Giovanni e The turkish in Italy). In season 14/15 debuted at Royal Opera House, Covent Garden and at Teatro alla Scala in Milan. For the Drottningholm Festival in Sweden he is currently working on the Mozart / Da Ponte Trilogy, that started in the summer of 2015 with a magnificent interpretation of Le nozze di Figaro.

He is also a highly sought-after conductor on the concert scene., conducting orchestras like Staatskapelle Dresden, Berlin Philharmonic y Vienna Philharmonic, Salzburg Mozarteum Orchestra, Mahler Chamber Orchestra, Cleveland Orchestra and Mariinsky Theater Orchestra, where he also directs works from the 19th and 20th centuries.

As artistic director of Mozart Week since 2013, He invited Bartabas and his Equestrian Academy of Versailles to perform in a production of Penitent David, Mozart, in 2015 en Felsenreitschule, the old summer baroque riding school. In 2011 founded the Ré Majeure Festival on the Ile de Ré, on the French Atlantic coast. Since September 2016 Minkowski is the new manager of the Opéra National de Bordeaux.


National Music Auditorium, Symphony hall, 19:30 hours

duration 134 minutes

Les Musiciens du Louvre

Marc Minkowski, conductor

Bach The St. John Passion, BWV. 245

Joel Prieto

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

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

Don Giovanni ABAO-OLBE

ABAO-OLBE (Bilbao Association of Friends of the Opera) program for the third time in its history Don Giovanni from Mozart, masterpiece of history and culture. The following days 18, 21, 24 Y 27 February, sponsored by the Provincial Council of Bizkaia, up on stage this opera to which Wagner he called "the opera of operas" and Rossini considered "their particular Bible".

This dramma giocoso, that recreates the myth of Don Juan, so popular in all areas of culture, It is a drama with winks bufos, in which a complex and ambiguous story is depicted, full of pain, amorous passion, revenge, anger and death. To give life to the protagonists of this title that closes the trilogy of Da Ponte Austrian composer, ABAO-OLBE has assembled a cast led by British baritone Simon Keenlyside CBE who debuts in Bilbao Association to give life to libertine dazzling vitality 'Don Giovanni'. Beside the Menorcan returns to Bilbao on Simon Orfila as the servant 'Leporello', the role of 'Donna Anna' rests on the Canary soprano Davinia Rodríguez in which is also his return to Bilbao. Joining them complete the lineup Italian soprano Serena Farnocchia as 'Doña Elvira' in which is its presentation in ABAO, the comebacks of Navarre tenor José Luis Sola as 'Don Ottavio' and soprano donostiarra Miren Urbieta-Vega as 'Zerlina' and Italian debuts low John Romeo Y Gianluca Buratto as 'Masetto' and 'Comendador' respectively.

The musical part is in charge of a baton known for the Bilbao public, Canadian musical director Kery-Lynn Wilson, who takes charge of the Symphony to direct one of the masterpieces of Austrian genius. The choral part is once again task Opera Choir BilbaO, with Boris Dujin in front.

On stage a production of the Palau de les Arts in Valencia designed by one of the great revolutionaries of the operatic scene Jonathan Miller CBE, who also signed the scenery and lighting. Classical conception, corporeal and absolutely respectful of the libretto, It features a sumptuous wardrobe full details signed by Claire Mitchel. Replenishment directs Bilbao Allex Aguilera, and it includes minuet and the bands on stage where they act forty choristers and twenty actors and dancers.

Conference on "Don Giovanni"

In order to analyze, in advance the premiere, the most important aspects of this opera of Mozart, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 17 February in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time, Carlos Imaz, musician, baritone and a regular contributor to ABAO-OLBE, discover the ins and outs Don Giovanni.

Sokolov_Klaus Rudolf

"With a piano great like Sokolov it's hard to keep your enthusiasm contained" The Times

Piano teacher and cult artist, Grigory Sokolov returns to the stage National Music Auditorium in Madrid the next 20 February, within the schedule of the 22nd season of Cycle Great Performers Foundation Scherzo. The qualified as "best pianist alive"By media musicians like James Rhodes, will address on this occasion works by W. A. Mozart Y L. V. Beethoven. Thus closes a tour of Spain that begins in Barcelona (12 February) and continues in Oviedo (14 February), Bilbao (16 February), Valencia (18 February) Y, Finally, Madrid. further, this year will be the twentieth time that Sokolov acts within the Scherzo program. Since its debut in 1996 has participated in practically all organized cycles, First, by Scherzo magazine and, later, by the Scherzo Foundation.

Sokolov was born in St. Petersburg (then Leningrad) in 1950. There he studied music at the conservatory and gave his first recital at the 12 years. With only 16 He won the International Tchaikovsky Competition in Moscow and his candidacy was defended by jury president, Emil Gilels. However, while previous winners in this contest quickly achieved worldwide fame, Sokolov's trip was restricted. Other Soviet artists fled to the West in search of greater personal freedom, but the interpreter preferred to stay in Leningrad to focus on his art. It was only after the fall of the Berlin Wall that it began to enjoy wider international recognition..

He has worked with orchestras such as the Amsterdam Concertgebouw, New York Philharmonic, Munich Philharmonic, Vienna Symphony, Montreal Symphony, Orchestra of the Teatro alla Scala and the Moscow and Saint Petersburg Philharmonics and among the Spanish with the Galician Symphony Orchestra. A few years ago he decided to dedicate himself entirely to recitals. A) Yes, He performs regularly at the Vienna Konzerthaus, la Philharmonie of Berlín, el Théâtre des Champs Elysees París, Zurich Tonhalle, the Philharmonia Warsaw, the Auditorio Nacional in Madrid, the Milan Conservatory, the Academy of Santa Cecilia in Rome, La Fenice in Venice; as well as rooms Munich, Hamburg, Barcelona, Stockholm, Helsinki, Lisboa, Luxembourg, el Festival Piano, Colmar Festival and the Festival of La Roque d'Anthéron.

Sokolov there artista exclusivo del sello German Grammophon. It debuted on this label in 2015 with his Salzburg Recital, which he was a great success and became the best selling album of classical music that season. His latest album, published in January 2016, contains some of the last pieces of Schubert, Like the Impromptus, or the mighty Beethoven sonata, Hammerklavier.

He has performed in 19 Cycle times in the Great Performers, making each concert one of the sublime appointments on the calendar. After one of his last concerts in Spain, journalist Javier Pérez Senz commented: “Such is the wisdom and humility of this generous performer - he enters and leaves the stage quickly, almost without stopping to receive the applause- that when leaving the concert, after a tremendous batch of six tips, you feel much happier and grateful for so much shared emotion ".

After the opening of the 22nd season of Grandes Perérpretes por Daniil Trifonov, Sokolov is the second guest artist. Between January and November 2017 a dozen concerts are scheduled: nine piano recitals and an extraordinary concert by the Simón Bolívar Symphony Orchestra with the Orfeó Català. The 22nd edition of the Great Interpreters Cycle will bring together musicians of the stature of Sokolov himself, Perianes, Zacharias, Angela Hewitt , Ashkenazy O Piotr Anderzewski. Throughout the more than two decades of life of this cycle, They have performed a total of 80 pianists in more than 200 concerts, of those who have enjoyed 300.000 people.

National Music Auditorium, 19:30 hours

  1. A. MOZART

Sonata in C Major nº16 "Facile" , K.545 (1788)

Allegro, Andante, Rondo allegretto

Fantasy in C minor K. 475 (1785)

Slowly, Allegro, Andantino, Most cheerful; First time

Sonata in C minor KV.457 (1784)

Very happy, Slowly, Very happy


Sonata in E minor n. 27 on. 90 (1814)

  1. With liveliness and definitely with feeling and expression
  2. Not performed too quickly and very singable

Sonata in C minor n. 32 on. 111 (1822)

  1. Maestoso – Cheerful with brio and passionate
  2. Arietta: Very simple cantabile adagio
28 horas in The Arts

The Palau de les Arts Reina Sofia offers 28 uninterrupted hours of free activity to celebrate the birthday of Wolfgang Amadeus Mozart with ‘Mozart night and day’, the days 27 Y 28 January. This is a new initiative for all audiences around the figure of the genius of Salzburg and its impact on different artistic disciplines.

As explained today at a press conference by the Mayor of Les Arts Davide Livermore, The idea arises from a proposal that he himself introduced at the Baretti Theater in Turin and that is channeled in Les Arts through the Didactic Program, directed Victor Gil.

Different professionals, Institutions and artists collaborate on a voluntary basis in the launch of this "unprecedented artistic marathon": the University of Valencia, through the departments of English and German Philology; the Salvador Seguí Superior Conservatory, of Castellón; the Joaquín Rodrigo Conservatories, José Iturbi and number 1 From Valencia; as well as the Lluís Vives Secondary Institute, the Center Placido Domingo, the musicians Eduardo Díaz, Elizabete Šīrante, Gianluca Tavaroli and the OCV soloist Susana Gregorian.

Davide Livermore has conveyed his gratitude to them along with the Les Arts professionals involved in the activity, in addition to Gourmet Catering & Spaces for their contribution "to achieve the I edition of 'Mozart Nacht und Tag".

The range of possibilities ranges from didactic workshops, recitals, DJ music sessions, projections, readings, chamber music, ballet and a talk-coffee that will host the Master Classroom, the Teatre Martín i Soler and the Main Hall. A total of 21 proposals, that except for the workshops, They will be freely accessible until the capacity of the rooms or spaces enabled is completed.

The activity starts at 20.00 h del 27 January with a recital of Lied by the singers of the Center Plácido Domingo, Theater in Martín i Soler.

In parallel form, 35 Primary Education students will arrive at the theater, around the 20.30 h, to be the first to spend a night at the Palau de les Arts and get to know the figure of Mozart better thanks to the work of students of the University Master's Degree in Secondary Education Teacher, organized by the Department of English and German Philology of the University of Valencia.

Thirty minutes later, the Lobby of the Teatre Martín i Soler will host a Reading accompanied by piano of Mozart's ‘Letters’, carried out in collaboration with German Language students from the Lluís Vives Institute, followed by a violin recital by the teacher of the Orquestra de la Comunitat Valenciana, Susanna Gregorian.

At 22.30 h, before heading to the Main Room to sleep, the little ones will attend

to an educational session on "The Magic Flute", Mozart's opera favored by children and adults, in Rehearsal Room A, that Les Arts uses for pre-rehearsal work in the Main Hall.

At the same time, the lobby of the Teatre Martín i Soler will be transformed into a lively café to chat about Mozart's ‘Letters’ and exchange views on the figure of the Salzburg genius.

Starting at midnight, Les Arts proposes two alternatives for the most late-night public cinema or music DJ.

The Martín i Soler Theater will become a cinema for 380 people with two emblematic projections: ‘Juan’, by Kasper Holten, prestigious Danish stage director and former artistic director of Covent Garden, with the baritone Christopher Maltman starring, and 'Amadeus', the Oscar-winning vision of Milos They form about the great composer.

Meanwhile, the hall of the Aula Magistral will be transformed into a unique dance floor with two sessions of DJ music on works by Mozart, with DJs Gianluca Tavaroli and Eduardo Díaz as architects of the show.

The morning of the day 28 starts with breakfast for the little ones, courtesy of Gourmet Catering & Spaces, in the Main Lobby, that puts an end to the didactic workshop around Mozart.

Starting at 11.00 h the Teatre Martin i Soler and the Aula Magistral host an intense cycle of recitals along with a ballet session. At 11.00 h, Elizabete Šīrante, of the Superior Conservatory Joaquín Rodrigo, stars in a piano matinee with works by the prodigious author. Hour and a half later, dance comes from the hand of young dancers who have shown their talent in different Les Arts shows and who voluntarily join these days with the staging 'Mozart und Tanz' at the Teatre Martín i Soler.

Mozart Nacht und Tag ’includes four chamber music proposals and two voice recitals. The Master Classroom receives, to 13.00 h, to musicians from the José Iturbi Municipal Conservatory for the first chamber session, which will give way to a recital by students from the Joaquín Rodrigo Superior Conservatory, to 15.45 h. The musical epicenter shifts from the 16.00 h at the Teatre Martín i Soler with two chamber sessions featuring instrumentalists from the José Iturbi Conservatory, to 16.00 h, and the Salvador Seguí Superior Conservatory, to 18.15 h.

The interpreters of the Joaquín Rodrigo Superior Conservatory are the protagonists of the last two sessions of chamber music and vocal music offered by Mozart Nacht und Tag, to 19.15 h in the Master Classroom and at 20.30 h at the Teatro Martín i Soler.

The artists of the Center Plácido Domingo will close the Mozart marathon at 22.30 h with a recital with arias from operas by the genius of Salzburg on his reference stage, the Martín i Soler Theater.

Davinia Rodríguez

The versatile Spanish soprano Davinia Rodríguez again get into the skin of a Mozartian character, this time in the season bilbaína ABAO-OLBE:
Donna Anna will be the Don Giovanni mozartiano the Bilbao Opera proposes day 18, 21, 24 Y 27 February. "It's always healthy again Mozart”, Canary says singer, "Because their music and the way they are written vocal lines of his characters have such perfection and freshness that will do very well to the voices".

Davinia Rodríguez, already known to the public Bilbao, It is "very happy" to return to sing in this artistic season, "One of the most important in Spain; in Bilbao, Besides, I am very happy, It is like coming home ", points. Now it does after incorporating to its repertoire in recent weeks to two iconic characters such as Lady Macbeth in Verdi's Macbeth considered among the most complex and difficult of his rope- in Vienna and Nedda, de Clowns, de Leoncavallo, in Turin. "Como Donna Anna, this is characterful and women who know how to function in their respective environments. Of course the Lady and Nedda not end anything right, but neither Donna Anna, because although he avenges the death of his father, the Comendador, it runs out of her seducer beloved ".

Don Giovanni de Bilbao, A production of Jonathan Miller, will feature musical direction Keri-Lynn Wilson and with Davinia Rodriguez lead the cast Simon Keenlyside, Simon Orfila Y Maria Bayo.

More info:

Joel Prieto

Joel Prieto has been dedicating a large part of his professional career to the work of Mozart. Since he became the first prize in Operalia singing 2008, the tenor born in Madrid and raised in Puerto Rico and New York has found in the work of genius from Salzburg to one of its greatest allies. In late January it will debut at the Los Angeles Opera (U.S) playing for the first time in his career another son of Mozart, Belmonte, protagonist of The Rape of the Seraglio. After a year devoted almost exclusively to Tamino, the prince of Die Zauberflöte (in Madrid and Warsaw and Ferrando, de So do all (in Aix-en-Provence, NY, London and Edinburgh), Joel Prieto begins 2017 with the incorporation of this new role in their repertoire, title that he will later perform at the Semperoper Dresden (Germany). “The role of Belmonte is probably the most difficult Mozartian character I have sung so far. It's kind of a Tamino mix, Don Ottavio y Ferrando, all in one. A good command of the singing line is needed, have good diction, control coloratures, negotiate the passage of the voice well; it is also acute and you have to go deeply into the emotional plane. With this type of role you need a lot of experience in the style. In fact they offered it to me many years ago and then I said no, because intuitively I knew I had a lot to learn”. For the tenor it is a character “very complete, which I am very happy to debut at this point in my career after having sung various Mozart roles for more than 10 years in many theaters of the world”.

But not everything is Mozart on the young singer's agenda. Besides having sung the opera of Berlioz Beatrice and Bénédicte (Toulouse) in september and october, in December he was consecrated to Beethoven when he traveled to Tokyo with the Ninth Symphony together with the NHK Symphony Orchestra and the choir of the Tokyo Opera Singers.

In Los Angeles he will perform six performances of The Rapture (28 from January, Y 4, 8, 12, 16 Y 19 February) in a production signed by James Robinson with the musical director of the LA Opera on the podium, James Conlon.

More information

La clemenza de Tito at the Teatro Real Madrid

Turn away from our life everything that is not love ...”, They sing a duet Annio Y Servilia one of the most romantic moments of this opera. And so in love must be to venture successfully into the ice escenográfico proposed Ursel y Karl-Eenst-Rousset in its proposal last opera composed by Mozart written for the coronation pomp of Leopold II as King of Bohemia.

Time passes for this production was a success at its premiere, back in 1982. He had already aged when it came to this same theater 2012, and he has now aged further. Still it looks like the waiting room of a nursing home in the former Soviet Union, as we in 2012.

A scenic box of a brightly lit white that did not allow viewers stalls read subtitles, ended up getting bored and cooling, not only the public, singers also about those who found it difficult to keep up with the work. Partly because of the contagion scenario Arctic, and partly by the eternal silence to make minimal changes scenic Rome, one of the protagonists of the libretto, hardly suggests the appearance of a column. Not bad intention of stage directors wanting to emphasize the psychological aspects of the characters enhancing the absence of elements on stage, but it was not necessary to reach both.

Recitatives become routine when there is nothing in what support, visually or scenically. Luckily permanently Mozart came to the rescue of all, public and singers, They are immediately comforted by the music genius.

The musical direction Christophe Rousset, good knowledge of this repertoire and expert harpsichordist, He was becoming slow after a good overture. recitatives, Rousset itself accompanied by the fortepiano, They proved poor, if we consider his virtuosity, and they made eternal. Especially in the second part somewhat tedious.

No doubt the vocal ensemble of this production improves of 2012. Bernard Richter It is a lyric tenor with a good voice volume and enough agility to build a Tito solved. Its midrange and treble are powerful and bright. More difficulties had with the serious and the tempi of the recitatives.

Canary Yolanda Auyanet He was splendid in his role as Vitellia. A voice that is maturing with high quality. Clean and without artifice. Good phrasing that ran nimbly his particella. But he shone even more in the interpretive part. He put the spark and intent on stage desangelado.

He also shone pamplonesa Maite Beaumont as Sesto. He went that extra mile to make your voice heard. Best in proscenium.

Anna Palimina, born in Moldova, it unfolded very well in the role of Servilia. The penalty was the clothing that put him, especially shoes.

Another pleasant surprise of the evening was the Canadian mezzosoprano Sophie Harmsen as Annio. light and beautiful voice timbre. His sharp could well put him through soprano.

The Italian baritone Guido Loconsolo It has a good stage presence, but Publius felt very uncomfortable out of the worst records. As to the rest, slow and boring recitatives were more a problem than a relief.

The Holder of the Royal Theatre Choir as always, magnificent. participation as rain in May was expected to break the routine scenography.

A replacement has served to pay tribute to Gerar remembered Mortier, who commissioned this production. Outside this commemoration, this Clemenza not give much more.

Wolfgang Amadeus Mozart
serious opera in two acts
Libreto de Pietro Metastasio, adaptado por Caterino Mazzola
Released in the National Theatre in Prague 6 September 1791
Premiered at the Teatro Real 12 March 1999
D. musical: Christophe Rousset
D. scene: Ursel y Karl-Ernst Herrmann
Scenographer, costume designer and illuminator: Karl-Ernst Herrmann
D. choir: Andrés Máspero
Distribution: Bernard Richter, Yolanda Auyanet, Maite Beaumont, Anna Palimina, Sophie Harmsen, Guido Loconsolo
Headlines Choir and Orchestra of the Teatro Real

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

La Clemenza de Tito

The Royal Theatre will premiere next Saturday, 19 of November, the opera La clemenza di Tito, last title of Wolfgang Amadeus Mozart, who returns to the Royal Theater with the mythical production created and directed by the marriage Ursel Y Karl-Ernst Herrmann, from the Festival of Salzburg and preceded by the success that accompanied in his presentation at the Royal in 2012 programmed Gerard Mortier.

This time, La clemenza di Tito will have the musical direction of the renowned director Christophe Rousset, great expert in this repertoire, that will be placed in front of a double cast and the Choir and Orchestra of the Teatro Real Headlines.

In the interpretation of the main roles the tenors will alternate Jeremy Ovenden Y Bernard Richter (Tito), las sopranos Karina Gauvin Y Yolanda Auyanet (Vitellia), the mezzosopranos Monica Pods Y Maite Beaumont (Sixth) y las sopranos Sylvia Schwartz Y Anna Palimina (Servilia).

La clemenza di Tito was written on the occasion of the coronation of Leopold II as King of Bohemia and was released on 6 September 1791, at the National Theater in Prague, hours after the ceremony. It was the last creation of the Salzburg composer, but not to be released, well a few days later, he 30 of September, The magic flute would see the light.

The opera tells the story of Emperor Titus, whom he portrays as a righteous and just man, but also forgiving, able to forgive your close friend, Sixth, and his fiancee, Vitellia, that they had tried to assassinate him. Based on the original work of Pietro Metastasio, adapted by Caterino Mazzolà, six characters face a score as beautiful as it is difficult, in which the voice is one more instrument, and where each one offers the viewer their most intimate feelings, as in a greek tragedy.

Ursel and Karl-Ernst Herrmann conceive a bare stage space, white and luminous that manages to enhance the conflict of passions that weaves the plot. Indoor action is concentrated in a unique place, "Cold and almost abstract", in which the conflicting feelings of the drama, with its timeless message, are even more heartbreaking. Foreign action opens the doors on an imagined imperial Rome.

Mortier loved this opera in a special way and had a great predilection for the Herrmann staging, to whom he had commissioned it when he directed the La Monnaie Theater in Brussels and which marked the beginning of the tandem as stage co-directors, stage and costume designers. De La clemenza affirmed: “Is the example of an inspired 18th century modern narrative on the greatness of clemency on the part of rulers. A greatness that is reflected in the white space of the scene in which the characters are broken down to the smallest detail ".

A) Yes, with the replacement of this production, the Royal Theater wants to pay tribute to the one who was its artistic director.

More information.

Joel Prieto

Joel Prieto, He born in Madrid and raised in Puerto Rico, He continues unabated with its international career, very focused on the work of his favorite composer, Wolfgang Amadeus Mozart. After being Tamino (The Magic Flute) in Madrid and Ferrando (Così fan tutte) en el Festival of Aix-en-Provence (France), the Mostly Mozart New York, Proms in London and at the Edinburgh Festival (Scotland), this famous singer formed between Puerto Rico and the United States has made a break in his schedule to portray Mozart opera Bénédicte Berlioz Beatrice and Benedict in el Théâtre du Capitole (France) during September and October.

In December he is debuting in the great theater, he Grand Theatre in Warsaw (Poland), to getting back into the skin of Prince Tamino in Die Zauberflöte, and will do so in the same production that triumphed in the Teatro Real in Madrid last January, signed Suzanne Andrade Y Barrie Kosky, and in which the work of the genius of Salzburg is presented as a tribute to silent films (days 11, 13, 15 from December).

Later he will travel to Tokyo (Japan) for interpreting Beethoven's Ninth Symphony by the NHK Symphony Orchestra and the chorus of the Tokyo Opera Singers (21, 23, 24, 25, 27), under the direction of teacher Herbert Blomstedt; this commitment will mark its debut in China and will be the first to sing the monumental composition teacher Bonn.

Joel Prieto begin 2017 with a new and important step in your career: Opera debut in Los Angeles (U.S), always with Mozart, this
Once Belmonte of The Abduction from the Seraglio.

Saint Sebastian

The Musical Fortnight San Sebastián begins its 77º edition, which is held between the 4 and the 31 of August, with 16.000 Tickets sold seven appointments with sign no bills or about to fill all locations. “Fortnight 2016 start off on the right foot: a few days before the start we have two of the great Kursaal concerts sold out - the closing one sold out in less than two hours!- and there are five others that are on the verge of full. further, the renewal of season tickets has been 100%”, It noted Patrick Alfaya, artistic director of the festival. According to the person responsible for programming, this edition stands out as the most choral of recent years. In addition to the usual groupings (Orfeón Donostiarra, Andra Mari O Easo), they will also be Monteverdi, Collegium Vocale Gent, Balthassar Neumann Y Pamplona Choral Society.

The cycle of Kursaal auditorium start the 5 August with "The Passion according to Saint Matthew", from J.S. Bach, in charge of sir John Eliot Gardiner, who will lead English Baroque Soloist, Monteverdi Choir and the twenty young people that make up the Easo School. Tickets for this concert are already sold out. As well as those of the closing show the 31 of August, a historic closing that will bring together for the first time on stage 400 musicians of the Symphony Orchestra of Euskadi and Bilbao to interpret Berlioz's “Te Deum”, in addition to the Donostiarra and Pamplona choirs together with the Easo Escolanía.

Other events that have aroused the interest of the public are the opera "Don Giovanni", Offered in a semi-staged version with a cast including the baritone Christopher Maltman (13 of August); also the performance of the set of Budapest Festival Orchestra and the Orfeón Donostiarra (21 of August); and that of the Radio Symphony Orchestra Frankfurt with the choral music group Andra Mari Choir (27 of August).

The oldest classical music festival in Spain is also, the most sustainable and in this edition dedicates a special role to W. A. Mozart. It seeks to expand its audience through initiatives such as #chatting. Thanks to this project, the Fortnight invites eight people aged between 18 Y 30 years (in the days of 13, 23, 24 Y 27 of August), and from between 30 Y 55 years (21, 23, 24 Y 31 of August), to attend a classical music concert for the first time. Until now, about 200 people have enjoyed their first contact with this genre. In this way, the quote has become an essential reference, reinforcing the image of San Sebastián as a cultural city.

Davinia Rodríguez

Davinia Rodríguez continues to develop his professional career with great success abroad. The Canarian soprano will return to Italy this summer to inaugurate the Spoleto Festival embodying the character of the Countess in the masterpiece of Mozart The Marriage of Figaro. "This is a character that I have a lot of affection for", says Davinia Rodríguez, «A role that I already played in Sassari in 2012 and I love being able to return to after a period in which I have been very focused on my new repertoire, with large-scale roles. It is always healthy for the voice to return to Mozart ».

The Spanish singer just got a big hit as Simon Boccanegra's Amelia in her debut at the Gran Teatre del Liceu of Barcelona next to Placido Domingo. «In addition, they were very special functions, since Plácido celebrated the 50 years of his debut in Spain and for me it was an honor to accompany him ».

Later, one of the most important debuts in the career of any soprano awaits: that of the character of Lady Macbeth from Verdian Macbeth, with which he will open the season of the Theater an der Wien in Vienna (Austria), always with Placido Domingo.


Idomeneo, Mozart

The Palau de les Arts in Valencia He has made a strong commitment, by staging its own production, an opera by Mozart as Idomeneo, King of Crete, little-known Spanish public, despite its high quality music, as it is usually represented very rarely, at least compared with other famous titles like Mozartian: Le nozze di Figaro, Don Giovanni , Così fan tutte The Magic Flute. The five scheduled performances of Idomeneo, They have proved a success, by mass attendances, He has applauded tackles the end of the same.

Mozart received in summer 1780, the order of the elector Karl Theodor of Bavaria, composing a serious opera written in Italian, finally take the title Idomeneo, King of Crete, to be premiered at the Munich carnival 1781. Abbe Giambattista Varesco He was commissioned to develop the script, where the mythological drama narrating the King Idomeneo of Crete, on his return to fight in the Trojan War. The neat and extensive booklet prepared by Varesco offered a wide range Mozart to write music, but soon he began to have doubts about its dramatic structure, having to review it thoroughly, in an attempt to adapt to the maximum text and music. Mozart was especially interested in showing the contrasts between the two pairs of female and male performers: sweet and kind Ilia, as opposed to evil and manipulative Elettra, with his outbursts of hatred, jealousy and anger; Idomeneo faltering as opposed to the sincerity and idealism that always shows his son Idamante. Mozart began composing the score in late summer 1780 Y, once completed the first two acts, in November of that same year, he went to Munich where he finished third and final act, it cost a great effort, with continuous reviews, until very shortly before the premiere at the Court Theater in Munich 29 of January of 1781. Mozart eliminated at the Munich premiere and several arias composed for Act III: Idomeneo "Peace returns to the core”, of Idamante “No, the dead", the complex of Elettra "D'Oreste, of Ajax "and the Arbace (Idomeneo counselor) "If there is written the fates en". At the premiere in Munich, It also included a brilliant ballet music.

Mozart's Idomeneo conducted a review that was presented privately the 13 March 1786 at the Palace of the Prince Johans Adam Auersperg Vienna. The singers were all amateurs and belonging to the nobility. In that version of Vienna, the role of Idamante sang a tenor, while in Munich he had made a castrato. Mozart made some changes in the score: Idomeneo scene and Arbace at the beginning of Act II, It is changed by another which involved Ilia and Idamante. In Act III, a new duo Ilia and Idamante is included, replacing written for the premiere of Munich.

Idomeneo fell into the deepest oblivion, and recovery occurred at the Glyndebourne Festival 1951, with a series of representations directed by Fritz Busch, being his assistant John Pritchard, who becomes the great guarantor of this opera, which often lead, Version essentially Vienna: You can hear the recorded Idomeneo study, in 1956, with John Pritchard to the front of the orchestra of the Glyndebourne Festival, and performed by Sena Jurinac (their), Leopold Simoneau (Idamante), Richard Lewis (Idomeneo) Y Lucilla widows (Elettra). As well, with address Pritchard, there is a live take held at the Glyndebourne Festival 1964, with Idamante, beautifully sung by a young Luciano Pavarotti, next to Gundula Janowiz (their), Richard Lewis (Idomeneo) and Catalan soprano Enriqueta Tarrés como Elettra. Ya, from the seventies of the last century, He began to represent, fundamentally, "Version Munich", where the role of Idamante is sung by a lyric mezzo. This is the version that has been heard in Valencia, with the inclusion of very difficult Elettra aria of Act III "D'Oreste, of Ajax ", which as already mentioned was suppressed by Mozart at the premiere of Munich.

This new production of Idomeneo conducted by the Palau de les Arts, He has as stage director and set designer to his current Mayor Davide Livermore, who makes a visual component proposal stage strong, It manifested from the very beginning of the opera, when it is running the overture, showing at the same time, the image of the face of a statue party, which is becoming a face Idomeneo, aging rapidly, and one of whose eyes the camera to show delves an astronaut wandering through space (clearly inspired by the famous film 2001, an odyssey of space Stanley Kubrick) for, then, another image displayed at the bottom of a platform appears space launch, and in the foreground, Idomeneo figure saying goodbye to a child Your child Idamante! This series of images coincide with the implementation of the overture to the opera, and this That's a personal opinion- You can distract the viewer to concentrate on hearing the brilliant music that is playing.

strong visual component that is maintained throughout the representation, with projections, one reiterative both, a calm sea, or rough with large waves breaking against cliffs and reach a beach, which is continued on the stage itself, with a sheet water present during the entire performance. The scenery is completed by metal platforms that become gateways where roaming characters like Elettra, Modern lecterns or those used by Idamante and Idomeneo to address his subjects.

Aesthetics 2001, an odyssey of space, again present at the end of the opera: first, when the voice of the oracle is heard and appears elegant room dieciochesca, It is returning to look at the final moment of the opera, and all the symbols used by Kubrick in his film: monolith, fetal bags and a character moving towards Idomeneo for both merge into a hug mortal. Although, actually, Idomeneo not die in history, only abdicates in favor of his son Idamante. Successful lighting created by Antonio Castro, It produces beautiful effects that enhance the visual appeal stage.

Highlight the work of Mariana Fracasso as designer clothing, disparate and timeless, It is including spacesuits, mythical Greek warrior costumes, in contrast to modern uniform soldiers and police. Y, in the case of Elettra, the sumptuous model that exhibits in its scenic entrance, compared to the other dressed in a miniskirt and boots used in Act II.

But, the essential part of Idomeneo is its brilliant music, served by a sumptuous orchestral fabric. Here I had a very outstanding performance Fabio Biondi in front of the Orchestra of Valencia, which again demonstrated its high quality and from the same execution of the overture, with splendid sound rope developing a theme that resembles the violent ocean waves, and it will reappear repeatedly in different moments of the opera. Biondi great work in the recitatives: many with orchestral accompaniment that make authentic ariosos. The orchestral sound of greatly looks on the bright marches and in its various interventions with the choir, especially, In between the first two acts, imposing the final Act II, and the concluding opera. Highlight the conciliatory work of Fabio Biondi, since the orchestra is not limited to emphasize and complement the voices, but go above and ahead of them. Finally, point out the great orchestral performance in the execution of the brilliant ballet music (Chaconne), closing the representation, as well as other small ballet: “The dance of the Cretan women ", in this production resumed interprets the representation, after intermediate produced, during Act II, at the end of the aria from Idomeneo "Fuor del mar".

Outstanding performance Gregory customer as Idomeneo, already evident in its scenic entrance, in Act I, with recitative "Here we are at last saved" followed by the aria "Vendromi around" well sung, alternating moments of intense lyricism with other accents full of bravos. His performance is superb in the beautiful cavatina with chorus, marked by sound of the string pizzicato "Acogli, oh kings of mar " belonging to Act III, or that warm final speech "Peoples, to you the last law ". Kunde faces notably the famous aria from Act II "Fuor del mar", especially in passages requiring a song full bravura, or wearing his magnificent record high on the scale ascending to ending aria, where if naturally emits followed by do4. Has some difficulties in the passages adorned profusely dotting this aria and require great vocal agility. The young soprano Brazilian Lina Mendes, it is too light in her role as Princess Ilia troyana, but it offers its pleasant timbre, with good projection and excellent mastery of agility; Y, It showed, in each of his lyrical interventions: at the very start of the opera, to the performing expressively and delicate accents "Father, Germni, goodbye". Showing an excellent line of singing in her aria from Act II, "If the father I lost". His best time is produced fronting the beautiful and delicate aria "Zeffirelli flattering" Act III. In the role of Idamante, the middle veteran Monica Pods, He showed a high degree of expressiveness, although the voice was small and low projection, and this is apparent in her duets with Lina Mendes Ilia. Only proved correct interpretation of the first of its arias of Act I "I do not blame, and I condani ", improving its performance in the second "The father adored", sung with strong accents marked by the rapid pace of the orchestra. Bacelli got his best moments in the recitative-duet with Idomeneo in Act III "Father, My dear father ".

Elettra is the best dramatic character definition of the whole work, and he found an excellent performer in the Valencian soprano Carmen Romeu, beautiful and resounding voice, well managed. He made a great performance, full of theatricality in his big scene in Act I, which begins with the recitative "Extinct is Idomeneo", whose orchestral accompaniment gives a character of arioso, with a song full of anger and tension, whose tone will crescendo in the aria full of difficulty "All I hear in my heart", expertly solving octave jumps and excellent command of agility. And in Act II, His voice was warm accents in the recitative-aria "Who would I try my sweetest pleasure……Idol mio, if backwards ", with a beautiful form of dance music, where the singer showed full intention fraseo, in perfect harmony with orchestral music. Carmen Romeu's performance had its climax in the aria "D'Oreste, of Ajax " Act III, where he again offered that wild and crazy song of Act I, dominating a fiendish coloratura, with complex vocal inflections, where he showed a broad fiato. Some sharp suspenders did not dampen somewhat the excellent performance Valencian soprano.

This opera contains two pages of beautiful invoice: the trio of Act II "Men in partir, Oh God" which involved Idomeneo, Idamante y Electra, with the quartet of Act III of the Act "I'll go and just wandering", sung by Idomeneo, Idamante, Ilia y Electra, well resolved in both cases by singers, although imbalance between the great voices of Gregory Kunde and Carmen Romeu compared to smaller Lina Mendes and Monica Bacelli. Emmanuelle Faraldo in the paper Arbace, He showed in his aria in Act II "If your grief", a voice excessively ugly light and buzzer, although with ease in the upper register. Performances Alejandro López Y Michael Borth, respectively interpreting Voice and High Priest of Nettuno, no discrete passed.

Great performance of the Choir Generalitad in its numerous interventions: in Act I "Let us enjoy peace" festive tone dialing and “Pieta! gods mercy!” with glistening effect the chorus divided into two parts that produce sounds near and far. And in Act II, the beautiful "Placido is the sea" and imposing "What new terror" Y "Let's run, flee”. In Act III, the impressive "Oh tremendous vote" and the concluding opera "Get out Amor, fall Hymen ", with magnificent concatenation of choir and orchestra. The performance of the Ballet of the Generalitad “Chaconne” closing the representation, He was somewhat lackluster, to having its components to dance, with obvious difficulties, on the sheet of water in stage.

These performances of Idomeneo has been devoted to the memory of the director Nikolaus Harnoncourt, recently deceased, and great student of this score.

By Diego Manuel García Pérez

Wolfgang Amadeus Mozart
dramma per musica in three acts, K 366
Libreto de Giambattista Varesco, adapted from a French text of Antoine Danchet
Premiere: Munich, 29 January 1781,
Residenztheater Edition: Alkor Edition Kassel GmbH
D. musical: Fabio Biondi
Stage direction and set design: Davide Livermore
Locker room: Mariana Fracasso
Lighting: Antonio Castro
Videocreación: D-WOK
Choreography: Leonardo Santos
New production Palau de les Arts Reina Sofía
Ballet of the Government
Cor de la Generalitat Valenciana
Francesc Perales, director
Orchestra of Valencia
Distribution: Gregory customer, Monica Pods, Lina Mendes,
Carmen Romeu, Emmanuel Faraldo, Michael Borth
and Alejandro López

Mapping the Teatro Real in Madrid

The next weekend European Opera Days will be held. He Teatro Real has wanted to join this year to the commemorations from its most innovative side, the use of new technologies for the dissemination of art, culture and, especially, music. A) Yes, since Friday 6 and until Sunday 8 of May, Relay online platform Teatro Real, stage Digital ( You will have free access and will make the titles of your video library available to all audiences.

The Teatro Real has become one of the most outstanding institutions in the world of lyric on the technological plane thanks to high-quality audiovisual equipment, your adhesion to the projects of recording and transmission of musical shows through all the channels at your fingertips (web, TV, who…) and a demanding audiovisual production policy. Last april, the Royal Theater became one of the first opera houses in Europe to use 4K production for the recording and broadcast of an opera.

Just a year ago, he 8 of May, was born at the Teatro Real The Opera Platform, a platform completely dedicated to open access opera, rich in information, with full performances and opera excerpts, synopsis and historical material, artist interviews and backstage documentary, through the link

The Royal Theatre, through the Google Cultural Institute, It also has an online exhibition that allows you to take a virtual walk through the bowels of the Theater and access both the public areas and the techniques, to know in detail what happens in the workshops, scenic spaces and much more. A) Yes, the public that visits this space can access virtual exhibitions that will allow them to know its history, the building in detail and its cultural and artistic project = is.

One of the main attractions for fans and curious people is to access, for the first time and with a single click, to a virtual tour that explores a large part of the building's 65,000 square meters, thanks to Google's Street View technology, that captures high-quality 360º images and offers online experiences as if they were reality itself.

We attach images of some of the titles available in Palco Digital, all of them from @Javier del Real / Teatro Real


AS FAN ALL (W.A. Mozart)

Director musical: Sylvain Cambreling

Stage-manager: Michael Haneke

Distribution: Fiordiligi, Anett Fritsch; Dorabella, Paola Gardina; William, Andreas Wolf; Ferrando, Juan Francisco Gatell; Despina, Kerstin Avemo;Don Alfonso, William Shimell



Director musical: Jesus Lopez Cobos

Stage-manager: Pier Luigi Pizzi

Distribution: Violetta Valery, Norah Amsellem; Alfredo Germont, José Bros; Giorgio Germont, Renato Bruson


IOLANTA (P.I. Tchaikovski)

Director musical: Teodor Currentzis

Stage-manager: Peter Sellars

Distribution: Iolanta, Ekaterina Scherbachenko; Robert, Alexei Markov; Count Vaudémont, Pavel Cernoch,; Ibn-Hakia, Willard White.


LUISA FERNANDA (F. Moreno Torroba)

Director musical: Jesus Lopez Cobos

Stage-manager and designer of scenic elements: Emilio Sagi

Distribution: Luisa Fernanda, Nancy herrera; Vidal, Placido Domingo; Javier Moreno, José Bros, and Duchess Carolina, Mariola Cantarero


The Palau de les Arts Reina Sofia opens next 21 of April “Idomeneo”, from Mozart, "A man's journey into his soul", as he noted by the Mayor and stage director of this production, Davide Livermore, news conference.

Davide Livermore incardinated this title in the bid to diversify and expand the artistic story of Les Arts, after the excellent reception of Mozart's opera with titles such as "Don Giovanni", "The Marriage of Figaro", "Cosi fan tutti" or "Die Zauberflöte" ("The magic Flute") in its productions both in the Main Hall and in the Martín i Soler Theater since the theater's first Season.

The first new production of Les Arts in 2016 features scenery by Davide Livermore himself, wardrobe Mariana Fracasso, lighting Antonio Castro, videocreation D-WOK and choreography Leonardo Santos, that runs the Ballet of the Government.

Livermore has been inspired by a set of symbolisms that answer three questions posed by the work: "Who is God, where is the man and who is the monster ".

As explained by the Turin ‘regista’, "Mozart composes a deeply Masonic work, at a time when Freemasonry contributed fundamental concepts in the development of man, like freedom, fraternity and equality ".

"When Mozart gives voice to Neptune," Livermore continues- he is talking about an archaic god who says to man: Idomeneo, you will save yourself but for this you will have to sacrifice your son. It is an enlightened reading because the only one who can save man is man himself. Man can be both a god and a monster, we are capable of cruel actions and we also have the capacity to change ".

The stage direction proposes a contemporary contextualization, with elements and references to cinematographic jewels such as "2001 A Space Odyssey", from Stanley Kubrick, or other feature films that develop discoveries and actions 'on the road'. all, with a significant load of visual effects, like the sea, The rain, the storm and the hurricane ... "is a super production with super miracles in the budget, Livermore has pointed out ".

Fabio Biondi's first opera in the Main Hall

Fabio Biondi debuts in the Main Hall with his third Mozart at Les Arts. The head director of the OCV led for the first time the training with "Davidde Penitente" in the Auditori, and recently, in the same room, with his "Symphony Jupiter".

Para Biondi, "Idomeneo" is "the most dazzling of Mozart's scores at the orchestral level" and a "magnificent proposal for the quality of the OCV". The teacher has also pointed out that the inclusion of the ballets in the montage, by the Ballet of the Generalitat, It allows, also "the confluence of the forces of Les Arts".

"It was the first opera in his heart", continued Fabio Biondi, who also explained that there will be in the pit "a pianoforte and a harpsichord, of continuous instruments, that galvanize the operation in the musicological sense ".

Davide Livermore recalled that the musical direction of the performance of the 28 April falls on José Ramón Martín. Assistant to the musical direction and harpsichord of "Idomeneo", the Valencian musician makes his debut in the pit of the Main Hall.

He has been a master repertorist for Lorin Maazel, Zubin Mehta, Nicola Luisotti O Placido Domingo, work that has been made compatible with incursions in assisting the musical direction of teachers such as Roberto Abbado, Fabio Biondi, Riccardo Chailly, Ottavio Dantone in in the Valencian arts center.

The arts center brings together established stars, rising performers and young singers in "a cast of the highest level and balance", in the words of Davide Livermore.

Gregory customer stars in his second opera in Season X of Les Arts. American tenor, "One of the pillars of the theater's artistic project", as the Mayor has pointed out, embodies the role of Idomeneo.

His role allows the tenor to use the experience he has had in this life, "Well, it addresses very frequent questions to someone my age, the relationship with your god and your children ".

the mezzosoprano Monica Pods, one of the great ladies of the Mozart repertoire sings for the first time at Les Arts. Abbiati Prize of the Italian critics has worked for the main Italian and international theaters with a repertoire ranging from baroque opera, Mozart, to the French lyric of the 19th and 20th centuries.

The role of Idamante, the son of Idomeneo, how has Bacelli tinted, it was written for the ‘castratti’, but it is very common today that it falls on mezzo-sopranos. After passing through this production, the Italian diva, who has sung this work on numerous occasions, "He says he has worked on the depth of phrasing and expression like never before".

Carmen Romeu, Campoamor Award for his Musetta in "La Bohème" in 2012 in Valencia, regresa as Elettra. Artist with outstanding career in Spanish theaters, she is "one of the Valencian sopranos with the greatest international projection", has underlined the Mayor of Les Arts.

Asked about her character, Romeu stressed that “in Elettra you can see all the miseries of the human being, the music becomes stormy every time it appears on the scene. She is a woman who lives in a fantasy, his only link with the story of "Idomeneo" is wanting to achieve power through the love of Idamante. Is, definitely, the antagonist of the opera ".

the soprano Lina Mendes embodies Ilia. Artist of the previous promotion of the Center Plácido Domingo, the Brazilian singer performs her second role in the Main Hall after her Musetta in “La Bohème” which opened the first Pre-season of Les Arts in 2015.

The cast is completed with the current artists of the Center Plácido Domingo Emmanuel Faraldo (Arbace), Michael Borth (High priest) and Alejandro López (The voice).

The premiere of "Idomeneo" is next 21 of April. The remaining functions will take place on 24 Y 28 this month, and the 1 Y 4 of May.

The Arts for all, tickets to 50%

The localities for "Idomeneo" oscillate between 15 and the 135 euros. In this sense, Les Arts recalls that the next day 19 there will be a special sales day ‘Arts for all’, with discounts from 50% for beneficiary groups of the ‘A space for all audiences’ program: Youth card holders, ISIC, retired, unemployed people, large families or citizens with a degree of disability greater than 33%.

The arts center also remembers that it maintains the "Last Minute" discount for this title., with a discount of 50% on the price of all the localities in purchases made 2 hours before the start of the performance on the same day of performance, Monday to Friday, Y 1 hour before saturdays, Sundays and holidays.

One morning with ‘Idomeneo’

On Sunday, 17 of April, to 12.00 h, Les Arts proposes its first activity aimed at family and intergenerational audiences: "A morning with Idomeneo", a practical workshop that explains to young and old the process of building an operatic montage from the heart of the theater, the stage of the Main Hall. The expected duration is 1 hour and 45 minutes.

The price of the tickets is 15 euros for the general public, 12 for subscribers and 7 euros for young people up to 20 years. As the main novelty, Les Arts introduces the Mentor rate (10 euros) for those who accompany a young person from their environment in this activity.

Attendees to "A morning with Idomeneo" will benefit from a discount from 50% in the purchase of tickets for this opera that premieres next 21 of April.

In addition, the participants in this activity, if you make a prior reservation, can enjoy a special menu in the restaurant "Contrapunto" for 20 euros presenting his locality of "A morning with Idomeneo".

About “Idomeneo”

Released on 28 of January of 1781 at the Residenztheater in Munich, two days after Mozart fulfilled 25 years, "Idomeneo" was commissioned by Carlos Teodoro, duke of bavaria, for the carnival of the Bavarian capital.

Giambattista Varesco, Salzburg court priest, was responsible for the preparation of the text - from the French lyrical tragedy "Idoménée", Antoine Danchet, with music by André Campra, which he endowed with a happy ending to comply with the prevailing tradition at that time.

The plot narrates the return of Idomeneo, king of crete, from the Trojan War. On the crossing, their ships are facing a terrible storm. Idomeneo asks the favor of the god Neptune to save his fleet, in return he will sacrifice the first being he meets when Crete arrives, what, to your misfortune, will be his son Idamante.

Palace of Arts

Roberto Abbado Y Fabio Biondi, musical directors of Palau de les Arts Reina Sofia, They share the podium in concert Abbado-Biondi hosting the Auditori 7 April with works by Mozart, Beethoven Y Vitali.

As explained by the Mayor Davide Livermore news conference, This is an unprecedented proposal for both teachers, in addition to a sample of the operation of the dual ownership of the Orchestra of Valencia held by Roberto Abbado and Fabio Biondi since their appointment in 2015.

“I know there were doubts when I submitted a shared musical direction, but in the absence of two titles –Idomeneo, Mozart, in the case of Fabio Biondi, y A Midsummer Night’s Dream, from Britten, for Roberto Abbado- the success of the two teachers with the Les Arts training is an undeniable reality ", Livermore pointed out.

Before I give them the floor, The Mayor also thanked them for their commitment to Les Arts and their proposals, stable bodies and excellences: the Choir of the Generalitat Valenciana, the OCV and the Centre Plácido Domingo.

As indicated by Roberto Abbado, the concert is divided into three parts. It begins with Fabio Biondi on the podium with the Symphony number 41 in C major, Mozart's ‘Jupiter’. After the break, Roberto Abbado offers Beethoven's Fifth Symphony. Ciaccona for violin closes the evening, organ and string by Tomaso Antonio Vitali in the orchestration of Ottorino Respighi with Fabio Biondi as soloist and Roberto Abbado as conductor.

These are two great works of the symphonic repertoire -as Abbado recalled- that have as a closing a piece of great depth and spirituality "with flavor to the beginning of the S. XX and the predominant decadent aesthetic ".

According to Fabio Biondi, It is also a meeting point between the repertoires of both masters, because “it is a look at how interest in the Baroque has developed at the end of the S. XIX”.

The Cicaccona, Biondi has pointed out, is a work that is known in 1860 with the publication of Vitali's sonatas and with which the violinist Respighi falls in love and finally orchestrates in 1908. The Italian composer, mymbro of the 'Eighties Generation' ", was one of the prime movers in the recovery of baroque music.

Teatro Real

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

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

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

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

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

The Magic Flute

musical show with projections

New production at the Theatre Royal


Vienna Chamber Symphony (Vienna Quintet)

Musical direction: Sergio Mastro

Script, staging and interpretation: Pilar Massa

Design drawings: Ximena Maier

Lighting Design: Paco Ariza

Editing projections: Insuel SL

Duration: 60 minutes approximately

preferred public: from 4 years

Teatro Real. Sala Gayarre

*Tickets sold out for all functions, everyday

Magic Flute

Credited is that the most critical situations extracted from each person his "self" most extraordinary. Transferred this theory to a genius like Mozart and mixed with Masonic ideals, the result is one of the most sublime works of art of music. A work that, far from being a children's story, browse the deepest dreams illustration.

With The magic Flute Mozart raised the Singspiel, the most popular music, at its best. Released in 1791 at Theater auf der Wieden, second theater of the city of Vienna, composition proved to be a masterpiece. Libretto by Emanuel Schikaneder, Mozart's friend and Mason as he, and influenced both by the winds of change coming from France, they created a work full of dualities. The transition between darkness representing religious ideas, and the light of the new ideals of the Enlightenment of the eighteenth century.

Based on this general concept that represents The Magic Flute, Barrie Kosky Y Suzanne Andrade have managed masterfully captures the essence of the opera by German composer. Just as Mozart gets the Singspiel as the most popular and intelligible way to reach the public in the suburbs of Vienna, Barrie Kosky also uses another popular and intelligible method as silent films. The theater company 1927, used to working with the keys to the film story, It was initially responsible for transforming this work in movie magic. A perfect operatic recoding with the same key that led to its composition and Mozart would enjoy the most of this production.

It is not easy to surprise the audience with an opera many times represented, but therein lies the success of this version of Barrie Kosky. always keeps public interest.

The scenery does not exist. It is replaced by a large screen where animations are projected with the singers-actors interact in a perfect gear went really silent films evoking the years 20. recitatives, of those who in many productions of this opera is omitted, in this are replaced by the projection of a concise text that singers perform mimed. Those texts puts music piano, which serves continuous, interpreting Fantasies in C minor and D minor by Mozart himself. The result can not be more seductive. Superb sharpness who has managed to integrate all these complex elements and whose result is the most stimulating simplicity. The screen layout on stage facilitates the projection of the voices for its proximity to the pit.

The only production but this may be their excess role. The show is so intense that it can distract from the voices or music.

The box has an important quality singers, the equilibrium. Two powerful deals in which it is noteworthy that 13 of them are Spanish. And well he said Joan Mataboch, "They are here not by Spaniards, but by extraordinary singers ".

The cast shone together, but there were also very good individualities. Debutant Real Joel Prieto, as Tamino, It was the most outstanding. Its beautiful timbre, full of smoothness, an elegant and smooth ridge line adds, perfect diction, remarkable volume and taste in interpretation. Sobre todo en el aria "This portrait is enchantingly beautiful".

The English Sophie Bevan, he served as Pamina-Louise Brooks fluently. It was less to more and gave the audience a heartfelt "ach, I fühl's ".

Another highlight of the evening was the baritone Joan Martin-Royo, Papageno-playing a big comic Buster Keaton, without ever falling into exaggeration. A wide and fresh voice, with perfect phrasing, Successful intention he filled all its interventions.

Christof fish eaters, in his dual role of Sarastro and speaker, He surprised by its timbre and tessitura. An extensive round voice, reaching a consistent dark and serious. Abyssal does not reach the low tessitura of another era, but it is usual and hear deep bass.

Mikeldi Atxalandabaso, como Monostatos-Nosferatu, It was another pleasant surprise. Had a brilliant interpretation interacting with images masterfully and fun. A mighty voice and bright printed accented character to character.

Cadiz Ruth Rosique He left us with honey on the lips as his role of Papagena not give more. Her pert interpretation was high and we hope to hear soon on a larger role.

The soprano of Macedonia Ana Durlovski she played a evil Queen characterized night large spider. It was the most applauded, as it is almost always this character. Pyrotechnic to interpret his two arias qualities are undeniable. Better second than the first. But both lacked emotion. His treble were devilishly agile.

Well the three ladies, interpreted by Elena Copons, Gemma Coma-Alabert Y Nadine Weissmann. Enliven some ladies full of charisma and sympathy vocally fell short of the powerful cast.

If there is a "character" which is always a guarantee on their interpretations, both impasto, Uniformity and expressiveness, that is, definitely, he Coro del Teatro. Impeccable.

Ivor Bolton from the pit all night was very inspired. It has a special sensitivity to this type of repertoire. His enthusiasm spread directing the Orchestra. Pending singers directed them even vocalizing their texts. a notable presence of trumpets noticed, the taste of the work and director, but at some point they are eclipsing the subtle interpretation of other instruments.

No doubt this magic flute has been, Until now, The best of the season. It has also been successful policy of attracting new audiences inviting children and youth trials. stimulating energy that brings us to the theater as one goes to a temple.

The magic Flute
(The Magic Flute)
Wolfgang Amadeus Mozart (1756-1791)
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
D. musical: Ivor Bolton
Stage directors: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade, Paul Barrit),Barrie Kosky
Scenography and figuration: Esther Bialas
illuminator: Diego Leetz
D. choir: Andrés Máspero
D. young singers: Ana González
Distribution: Christof fish eaters, Joel Prieto, Ana Durlovski, Sophie Bevan, Joan Martin-Royo, Mikeldi Atxalandabaso,
Ruth Rosique, Elena Copons, Gemma Coma-Alabert,
Nadine Weissmann, Catalina Pelaez, Celia Martos,
Patricia Ginés, Airam Hernandez, David Sanchez,
Headlines Choir and Orchestra of the Teatro Real,
Little Singers of ORCAM

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


Grenadian Director Pablo Heras-Casado (Granada, 1977) will debut 30 from January 2016 with the Vienna Philharmonic within the programming of the Week Mozart in Salzburg (Mozartwoche). It will be presented with a repertoire dedicated to Mendelssohn – Bartholdy as the first Spanish who faces the orchestra in history, after what Placido Domingo directed it in a concert for Europe in the gardens Schönbrunn ten years ago. Heras-Casado is a regular guest of the festival held in the cradle of the Austrian genius, where previously (today 26) He also directed the Camerata Salzburg.

Before his debut with the Philharmonic, Andalusian musician performed by the Vienna Symphony on New Year's Concert with the Ninth Beethoven, where he was presented the day 30 Y 31 December and January first in the Austrian capital. while, just appeared on the harmonia mundi label his latest album with the Third and Fourth Symphonies of Mendelssohn.

Considered the conductor of the year 2014, by Musical America, Pablo Heras-Casado, enjoy an unusual and varied career ranging from the great symphonic music to operatic repertoire, alternating interpretations historically well-founded and scores of art. He was appointed Principal Conductor of the Orchestra of St. Luke's in New York in the season 2012/13, and Principal Guest Conductor of Teatro Real Madrid in 2014.
Heras-Casado is a regular guest of symphony orchestras of Chicago and San Francisco, the Los Angeles Philharmonic,the Staatskapelle Berlin, Munich Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra, Mariinsky Orchestra and the Metropolitan Opera.

In 2015/16 he returned to the Philharmonia Orchestra, the London Symphony Orchestra, of the Accademia Nazionale di Santa Cecilia and the Rotterdam Philharmonic. He made his debut with the Philadelphia Orchestra, the Israel Philharmonic and the Vienna Symphony Orchestra; He continued to work with the Ensemble Intercontemporain in Paris, the Freiburg Baroque Orchestra and the Balthasar Neumann Chor & Ensemble. It appears regularly at the Salzburg Mozarteum, where he is invited every year for Mozartwoche.
His projects for this season include opera Rigoletto at the Metropolitan Opera in New York (October November 2015) plus I due Foscari at the Teatro Real in July 2016.

In previous seasons he has conducted the Leipzig Gewandhaus Orchestra, la Concertgebouw Amsterdam, the Tonhalle-Orchester Zurich, New York Philharmonic, the Boston Symphony, the Cleveland Orchestra and the Mahler Chamber. It has also been present in the Festspielhaus Baden-Baden, the Salzburg Festival and the Aix-en-Provence, also returned regularly Lucerne.

Heras-Casado recorded with harmonia mundi, así como con German Grammophon's Archiv Produktion, seal of which is Ambassador Archiv. He has received numerous awards for his albums, ECHO awards including three Klassic, un Price German Record Critics, dos Diapason d’Or y un Grammy Latino.

His recent releases include concerts with harmonia mundi Violin and Piano Schumann, with Isabelle Faust Y Alexander Melnikov. According to The New York Times it is one of the best recordings of the year while Forbes magazine placed it in their top 10. He also published symphonies of Schubert us. 3 Y 4 with the Freiburg Baroque Orchestra and Symphony No. 2 Mendelssohn with the Bavarian Radio Symphony Orchestra. He has recorded a disc for Archiv with work Jacob, Hieronymus Y Michael Praetorius, and an album to commemorate the legendary castrato singer and teacher Farinelli. He has also appeared at the launch of the baritone arias Verdi for Sony with Placido Domingo and a DVD German Grammophon Elixir of Love Donizetti de la Festspielhaus Baden-Baden.

Has Pablo Heras-Casado Medal of Honor of the Foundation Rodriguez Acosta. In February 2012 he received the Gold Medal of Merit of the City of Granada, your natal city, which is also an Honorary Ambassador and this November was named favorite son by the Province of Granada. June 2014 He joined the Spanish charity ActionAid to support the cause of the eradication of poverty and injustice in the world.

The magic Flute

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

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

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

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

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

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

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



Circle of Fine Arts - Projections

Film series dedicated to Buster Keaton

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

Circle of Fine Arts - Cinema Studio

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

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

Cine Doré

Chamber Sundays

From Mozart and Wagner

Parallel activity to The Magic Flute and The Prohibition of Love


part I

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

part II

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

Soloists of the Titular Orchestra of the Teatro Real

17 from January, to 12.00 h.

Teatro Real. Great room

Everyone to the Gayarre!

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

stories and games of very different styles.

Workshop conceived and presented by Fernando Palacios

With the participation of the pianist Federico Lechner

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

Teatro Real. Sala Gayarre

Street entrance Felipe V

Bejun Mehta

That pure heaven is the title of the recital that the past has offered 16 December the countertenor Bejun Mehta in the cycle Grandes Voces del Teatro Real. It is also the title of an aria by Orpheus from Gluck. Sadly we could not hear. But the repertoire prepared for this recital and especially, the music of the Academy for Early Music Berlin, They more than met the expectations of the public that occupied not much more than half the capacity of the Theater.

One of the most prestigious orchestras of its kind, la Academy for Early Music Berlin, directed by Elfa Rún Kristinsdóttir, performed with his period instruments works by Mozart, Bach Y Hasse exquisitely. It reached its climax in Ezio's overture, de Adolph Hasse, that excited an audience already delivered.

The elegance of Bejun Mehta in his interpretations places him among the best of his string. With works by Gluck and Bach, Mehta grew as the recital progressed. His best arias were those of the opera Ezio, Gluck. Shone in the coloratures, but the dramatic works had more intention. The public, but nevertheless, still preferring the din of coloratura to the calm of the dramatic aria, much more elaborate and complex.

Joel Prieto

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

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

JD. Flórez

a relajadísimo Juan Diego Florez offered last 16 November a recital at the Teatro Real in Madrid. A crowded Real, for which there were no entries for a long time, Peruvian tenor received the anxiety that only produces an addiction.

The concert began with three songs Henri Dupartc which he dedicated to the victims of the recent attacks in Paris. This new foray into the French repertoire is a promising opportunity to expand horizons jars.

The first part shone works Mozart como "My treasure", Don Giovanni, in which he displayed an extraordinary fiato. They followed works Donizetti Y Rossini. The second part, more inconsistent, He ended with a more than acceptable "T'amo qual s'ama", de Lucrezia Borgia.
He gave the public, By now hotly delivered, five tips. The first, his now famous "Ah! my friends "La Fille du Regiment by Donizetti. After, guitar in hand, a Peruvian folksong, "Jose Antonio", masterfully interpreted. Una simpática "At Mount Ida", La bella Helena, from Offenbach, “A furtive tear” of Donizetti's L'elisir d'amore, to end "La donna e mobile".

In a voice like Juan Diego Florez and a theater like Real must demand a more challenging and balanced program which offerd. You could tell some improvisation. Also in coordination with pianist Vincenzo Scalera, which remedied, with mastery and a powerful tables, the comings and goings of Flórez on stage. Some absences perhaps motivated by the dryness of the air of Madrid, so fashionable lately, which forced him to use an inhaler.

It has undoubtedly one of the best instruments of their rope. In a perfect phrasing beautiful timbre bind, a metallic sheen in acute multiplying harmonics and exquisite taste in interpretation. Although much more loose and relaxed than at other times (is the fifth feliz) rigidity remains one of the difficulties scene. His voice is not large, but if enough. Although it was necessary to keep the piano almost closed.

We are still awaiting their participation in Madrid in an opera represented. Success is assured.

Juan Diego Florez

The next Monday 16 of November, to 20.00 hours, the Royal Theater will offer the second concert cycle REAL VOICES: a recital of Juan Diego Florez, accompanied by piano Vincenzo Scalera.

Since his performance in the season 2012-1013 The Royal Theatre, in which he played the role of Nadir in The Pearl Fishers, from Georges Bizet, Juan Diego Florez continues to expand its catalog, premiering two new operas every year and incorporating songs and arias into his concerts that allow him to explore and deepen an increasingly rich and diversified repertoire.

The program he will offer at the Real reflects that search for different styles and forms of expression. The first part will begin with the delicate and sophisticated songs of Henri Duparc (Sad song, Phidyle Y An invitation to travel), will continue with the wonderful love arias from Wolfgang Amadeus Mozart "My treasure", from Don Giovanni, and "A loving aura", from Così fan tutte,in which the tenor can show off his elegant phrasing and his famous bound, and will conclude with arias and songs by the composers who have consecrated it: Gioachino Rossini, of which he will interpret “Intesi, ah all understood ", from The turkish in Italy, Y Gaetano Donizetti, cuya aria "Tombs of my ancestors", from Lucia of Lammermoor,will reveal his exceptional gifts for the belcanto.

These two composers will return in the second part, which will be a tribute to Italian melodism, in which the known ones will not be lacking chants from Ruggero Leoncavallo Y Paolo Tosti.

At the end of his recital, Juan Diego Flórez will be available to the public for autograph signing in the foyer of the Teatro Real.


Next Tuesday 19 masterclass will take place the Russian pianist Nikolai Lugansky with students Royal Conservatory of Music and the next day, 20 October, will offer his recital in cycle Great Performers of Scherzo to 19:30 hours in the National Music Auditorium.
According to 'The Guardian’ Lugansky is “a mixture of lyricism, brilliance and good sense of boldness”. Nikolai Lugansky has emerged as a pianist of extraordinary intensity and versatility. Demonstrates sensitivity and refinement playing Mozart already Schumann, while boasts an impressive virtuosity Rachmaninov Y Prokofiev.

It appears regularly in some of the most prestigious festivals in the world, including the London BBC Proms, La Roque d’Anthéron, Verbier, and the Edinburgh International Festival. He has performed with the New York Philharmonic, the Orchestre de Paris, Bamberg Symphony, London Symphony Orchestra and St. Petersburg, among many. In the chamber music format, stands out as usual accompanist Vadim Repin Y Leonidas Kavakos. His albums have achieved the Echo Classic Award, as well as the Diapason D'or and Exceptional Scherzo.

He has served previously on three occasions in the Great Performers Cycle, for editions 2003, 2004 Y 2013.
For many, it comes more and better pianist who has grown in recent years. Its powerful virtuosity and programs represent a coherent sum of rediscoveries and new repertoire.

Program 20 October 2015 – National Music Auditorium – 19:30h
FRANCK (transcr. BAUER) Prelude, Fugue and Variation, On. 18
SCHUBERT Sonata in C minor, D. 958
GRIEG Three Lyric Pieces


Of the 15 al 26 of July, he Festival Segovia (FS) will fulfill 40 years. 40 years of travel in which the best performers on the international scene have left their mark with unforgettable concerts. A Festival, endorsed by the 46 editions of his characteristic Chamber Music Week and 20 its Youth Festival, that integrate, bet big and young values ​​panorama of contemporary music, with a program that this year is a tribute to the essence of world music.

historical nooks and full of references where the acoustics are spectacular, like the Plaza de San Martín, the Garden of the Zuloaga, the Garden of the Mute, the Garden and the Patio of the College of Architects, San Juan de los Caballeros-Zuloaga Museum, Cathedral, the Church of San Nicolás, the Patio de Armas of El Alcázar and, for the first time, your La Galera Room, They will be dressed in music to make the public discover true jewels of chamber and symphonic music and at the same time offer Latin music concerts, zarzuela, fado, flamenco or even the characteristic barber shop music.

Inaugurating the Festival, Thursday 16 July, the Plaza de San Martín will be filled with Afro-Cuban music, Tropical harmonies and Latin rhythms thanks to one of the most outstanding Latin bands in the world - and the first authentically Afro-Cuban band in the United States-: Free time. Three-time Grammy nominee, has shared the poster and stage with figures such as Celia Cruz, Aretha Franklin, Gonzalo Rubalcaba or Paulito FG and His Elite, and is famous for its sophisticated tropical music and an irresistible and exciting combination of jazz harmonies., contemporary sounds and seductive Latin rhythms.

Dedicated to Guillermo Pastrana, Exceptional cellist and musician of exquisite sensitivity who has already been part of the Segovia Festival in past editions, the Castilla y León Orchestra (Friday 17 at 10:30 p.m.), directed on this occasion by the young Eduardo Portal, one of the most active and demanded directors today, will perform a repertoire to enjoy a colorful night in the Zuloaga Garden, headed by the work of David de Puerto "Fields of Taurus", that celebrates the rebirth of life in the fields and two of whose five movements come from two of the author's most intimate and beloved guitar pieces. further, viewers will be able to enjoy the most popular Symphonic Suite in Rimsky- Korsakov and the famous work of Russian orientalism: Scheherazade, inspired by One Thousand and One Nights. "A kaleidoscope of images from oriental fairy tales", as the author himself wrote and is collected in his Diary of my musical life.

further, in their quest to develop an eclectic program full of different genres, The FS will also offer an Anthology of the Zarzuela by Luis Olmos (Saturday 18 at 10:30 p.m.. in the Patio de Armas of El Alcázar). A journey through the wonders of the quintessential Spanish musical full of jewels like Luisa Fernanda, The Barberillo Lavapies, The Claveles, Doña Francisquita, etc., intertwined from the dramaturgy implicit in their texts and in their music, in order for the viewer to once again taste the Zarzuela in all its essence.

From traditional Portuguese music, The fados of one of the most beautiful voices of this genre will also arrive, with unusual vocal ability and one of the international ambassadors of fado around the world: Katia Guerreiro (Sunday 19 at 10:30 p.m.. in the Patio de Armas of El Alcázar), to present his latest album, "Until the end" (Until the end) made with the help of Tiago Bettencourt. His fado is characterized by a great lyrical richness and a tribute to contemporary Portuguese writers, singing to António Lobo Antunes or to poets Vasco Graça Moura Y Sophia de Mello Breyner, with a fresh fado, full of contemporary references.

Another of the unusual music that can be heard in the 40 FS is barbershop music (“Barbershop style”), that flourished between 1895 Y 1930 in United States, contributing to the configuration of American popular music along with other genres such as jazz, the blues or the gospel. An exclusively vocal style and four voices not mixed, with an especially attractive and entertaining sound and presentation for the viewer. This will be done by the Aftershave Quartet (Friday 24 at 10:30 p.m.. in the Zuloaga Garden), the best reference of the genre at the national level, that delves into the study of the most characteristic repertoire of the Barbershop, in a very original program with great technical difficulty.

From flamenco, the dancer Manuel Fdez. Montoya "El Carpeta" and the cantaor Miguel Flores Quirós "Capullo de Jerez" will delight the public with their show “Fuego & Earth" (Saturday 25 at 10:30 p.m.. in the Patio de Armas of El Alcázar), conceived with the purpose of uniting and enhancing the qualities of two great artists. A fusion of cante, dance and prose with brilliant staging. Likewise, one of the most relevant voices of recent years will arrive, with a solidity that scares of such haste and consistency and with a spirituality that, reportedly, touch the sky between whining and resounding flamenco scream: Argentina (Sunday 26 at 10:30 p.m.), on a journey through cante with the guitars of Jose Quevedo, The ball Y Eugenio Iglesias and the great bailaora Mary Chania as guest artist.

From Baroque to Romanticism in the 46 Camera Week

A different look for an audience that can also stroll through chamber music, why it defined for already 46 years FS, and that in this edition he will bet on the most splendid music of the Baroque, headed by the Brillant Magnus Quintet (Monday 20 at 10:30 p.m.. In the cathedral), a quintet that combines the brilliance of metal with the energy of percussion, wrapped in the majesty of the organ. An original instrumental formation that allows to create a sound environment that surprises by the combination of the instruments, the virtuosity of its components and the freshness of its interpretations, with works J. S. Bach, trade, Pachelbel, Mouret Y Purcell. Through 4 Historic pianos belonging to the Serrato Collection, the spectators will be able to experience the same that the men and women of Classicism or Romanticism felt when listening to works by J. C. Bach, Haydn, Beethoven, Mozart, Liszt, Brahms Y Granados, on a historical journey through both eras (Tuesday 21 at 10:30 p.m.. in the La Galera Room of El Alcázar).

Works of J. S. Bach, Corelli, Handel and Vivaldi can be heard from the hand of the group Da Kamera (Wednesday 22 at 10:30 p.m.), a training integrated by violin, harpsichord and cello whose way of interpreting focuses on the emotional component (the exciting) of the music, that exists (and what do they exist) to move the affections, to move, to thrill. With "Very affectionate", that promises an evening full of candid passion, will show that 300 years after its premiere, these sonatas are still alive and continue to move those who listen to them in the Church of San Juan de los Caballeros.

Closing Chamber Week (Thursday 23 at 10:30 p.m.. in San Juan de los Caballeros), and going back to J. S. Bach, a look from Bach to the future and from the future to Bach with "Bach to the future", thanks to the Camelot Ensemble. A tribute to the freedom of the Baroque, in which the interpreter gave free rein to his personality when interpreting a work, (re)creating it at the same time, with a roster of exceptional musicians led by the violin of Lina Tur Bonet and with a repertoire composed of two significant baroque works, the Brandenburg concerts n. 5 and n. 6, and works inspired by Bach: Ysäye's Sonata for solo violin, Inspired by Bach's Partita in E major; the trio for flute, cello and piano by Kapustin; a work of Earl Wild, 20th century pianist who translated Bach's Sarabanda from the second Partita for harpsichord into his personal style, and experiments like Varèse's, for solo flute.

Vibrating with family

For young audiences accompanied by adults, the characteristic traditional Family Concert (Sunday 20 at 8:00 p.m.. in San Juan de los Caballeros) will also focus on world music, but since we have never heard them, performed with unusual instruments, unconventional and made from waste materials: chromatic collectors from which millenary melodies come out, showers in jazz key and with a lot of swing, cans turned into guitars and tambourines, bottles, funnels, combs, tubes… Vibra -tó is an interactive educational concert in which two multi-instrumentalist musicians-educators (Joaquín Sánchez and Miguel Iroshi) they interpret their own compositions and music from universal folklore showing that everything sounds ...

The commitment to young hopefuls

But one of the characteristics of the FS is its commitment to the promising young Spanish music scene, and the FS would not be such without its Youth Festival, that fulfills 20 years, a section through which will announce the winners talent 18 Santa Cecilia Piano Award from the Don Juan de Borbón Foundation and the winners of the Intercentros Melómano competitions, Pedro Bote and Jaime Dobato Benavente Young Promises of the Cello Award, concerts free access. further, the Youth Festival will close with a concert of the Clarinets Course offered this year by the FS, directed by Mariano Delgado, and with the EOS Children's and Youth Orchestra.

Parallel activities such as the exhibition “La Dance, it turns… The spinning dance…”, produced by the House of Dance of Logroño and curated by Perfecto Uriel in the Patio of the College of Architects, with photographs of famous dancers in familiar places, will complete one of the most traditional and solid Spanish festivals celebrated in Spain, that offers small and large concerts for all types of public eager to enjoy good music, with prices ranging from gratuity (he 40% of the concerts are free), 3€ and 20 €.


Next August 1st, the San Sebastian Musical Fortnight with the Mahler Chamber Orchestra (days 1 Y 2) and works Prokofiev, Beethoven Y Mozart. It will be the start of a new edition focused on consolidating a new model that without giving up rigor, the variety and quality of your proposals, has achieved a total and very healthy sustainability in times of crisis.

With the season tickets confirmed 100% for editing 2015 and some shows sold out a month after its inauguration with the 78% of the forecast of covered ticket sales, the interest that has aroused has the support of an audience that sees the ‘Tosca’ that will be performed on days 13 Y 15, with Ainhoa ​​Arteta as the protagonist and the show ‘Voces’, from Sara Baras, sold-out.

The symphonic series, with the Mahler Chamber in the opening and successively the Saint Petersburg Philharmonic, Cadaqués Orchestra, the Cologne Radio Symphony - these three with the Orfeón Donostiarra- and the Oslo Philharmonic for closing on 30 of August, They have also been favorably received by the public with the programs that will be directed, in this order, by batons like that of Yuri Termikanov, Alberto Zedda, Jukka-Pekka Sarastre O Vasily Petrenko.

The presence of soloists like Grigori Sokolov (day 10 at the Victoria Eugenia Theater), for many the best pianist in the world, O Javier Perianes, the Spanish with the most international presence, next to the Saint Petersburg Philharmonic, as well as lyrical proposals, old music, Baroque or pedagogical and solidarity programs with a wide presence within the calendar - as planned each year with the funds of the Early Music Cycle, which this season allocates the money collected from the tickets to the ADELA-Gipuzkoa association for Amyotrophic Lateral Sclerosis-, make Donostia one of the most distinguished festivals but best adapted to the modernity of Europe.


The Così fan tutte al High school, which they say is not a Mozartian theater. Since we know very well what is to be or not mozartiano, in the case of a theater, we are left with the doubt. Who does not seem very Mozartian is the stage director of this production, Damiano Michieletto. This young Venetian begins to be known for performing discrete extravagances. Some more successful than others. And it's not this Così fan tutte, that comes from La Fenice, one of his most celebrated productions.

The scenography designed by Michieletto trivializes the plot of Da Ponte. Based on nothing less than works by Bocaccio, Shakespeare Y Cervantes. This is not an opera buffa, but of a dramma giocoso. Or as well defined René Leibowitz, a "tragedy in the form of a game". But the stage manager has created too basic a game this time. He has not been able to see the intelligent proposal of the composer, so given to the game and fun. He has set the plot in a decaying hotel in 5 stars of which you have traced, this time with great success, that dim and daunting light that always invites you to leave the room.

Nor is it right when placing small parallel plots on stage that all they do is distract from the main plot and the action of the singers..

From the pit, the start of the work is promising. It is Mozart! the overture, always vigorous, fills everything. But after the first bars, the lack of spirit begins to show. That spirit that the composer, master of the game of infidelity, so aptly reflected. There is no orchestral line, a musical narration of history.
Pons doesn't pay enough attention to the singers or the chorus. The result is the helplessness of the interpreters and the disconnection between the pit and the stage. Especially in group arias, so important in this work. Untimely tickets and little coordination between singers. The masterful game of entanglements and exchanges proposed by Mozart in his score is absent. In the second act, you go from lack of spirit to boredom. The bad resolution of the end, that is halfway between joy and love disaster, does not fast to leave a good taste in the mouth among the public.

A Juliane Banse he had to play one of the most complete and complex roles written by Mozart, Fiordiligi. A soprano is required driven by agility, with a robust voice to approach arias such as For pity. Juliane Banse has a good central record, but suffered in the lower notes. It also had its difficulties in the complicated Like Scoglio. Aria with great technical demands for which she did not have enough encouragement or support. It was less to more, reaching the second act with a less strident and tighter sound.
Dorabella, Fiordiligi's vocal counterpoint, was interpreted by Maite Beaumont. A much more balanced and homogeneous voice. Nice timbre and good singing line. She was covered several times by her artistic sister, but it gave the character the right character, more shy and demure.

Despina was played by Sabina Puértolas. A soprano with higher tones than the previous ones. He animated the scene with his impudence, exaggerated sometimes, but it gave freshness to the whole work. Broad and expressive voice. She walked the stage while her companions remained static.

The pleasant surprise of the night was the young tenor Joel Prieto, playing Ferrando. His full lyric tessitura, they try hard, is the most suitable for this Mozartian role. He sang with remarkable taste, especially its main aria, Loving aura, who approached with finesse. Cavatina solved very well Betrayed, mocked, theatrically more demanding and for which good bass is required. Very good in the duet with Fiordiligi in the second act. Given his youth and the quality of his instrument, a brilliant evolution is guessed.

Joan Martin-Royo composed a solid Guglielmo. Its baritonal tessitura is reinforced with good bass, that correspond to the character that Mozart described. His acting work was meritorious and shone in the arias. Like the rest of the interpreters, the costumes and the scenery did not favor them too much.

A Pietro Spagnoli They commissioned him a Don Alfonso somewhat rough and with little spark, when what the character requires is an almost buffa. Vocally it was very well resolved by Spagnoli. A magnificent phrasing and a very good declamation in the recitatives. Your tables are noticeable.

The Liceu choir sounded great, Hand Conxita García, despite the shortage of items.

A Così fan tutte something poor and uneven the one that the Liceu has presented on this occasion. Can be improved in any case, but always extraordinary when it comes to Mozart. Let's not think that the Liceu is not Mozartian. Let's give it another chance.


Così fan tutte, third and final collaboration between Wolfgang Amadeus Mozart y of librettist Lorenzo Da Ponte, arrive at Gran Teatre del Liceu under the direction of Damiano Michieletto, debuting at the Liceu with a daring proposal that is set in a luxury hotel. El dramma giocoso, which you can see the 20 al 30 of May, It is inspired by texts Boccaccio, Shakespeare Y Cervantes, and it has the musical direction of maestro Josep Pons.
Così fan tutte is a work with an acute social view of the time that addresses in a direct fight between the sexes, and specifically female infidelity. Mozart opera reflected in an immoral game about feelings and emotions of the protagonists: Fiordiligi and Dorabella the sisters, and Guglielmo and Ferrando promised respective. Not forgetting the Machiavellian Don Alfonso that entangles the whole plot with an irreverent bet, and its ally Despina, two sisters maid.

Michieletto presents, after working two other titles Mozart-Da Ponte, The Marriage of Figaro Y Don Giovanni, a So fan tutte reviewed, with a staging current and majestic, a daring costumes and scenery that stands by the rotational movement that takes the viewer to various rooms of a hotel where all possible entanglements occur. The Venetian director makes Don Alfonso fall on the entire weight of the element metateatral (the theater within the theater) and it makes you be present throughout the play sitting on the side of the proscenium, although the script does not require it.

Così fan tutte It premiered in January 1790 at the Burgtheater in Vienna and it was not until one hundred and forty years after he came to Liceu, although it could be seen at the Teatre de la Santa Creu in 1798. The last function So was the 30 of January of 2004 with addresses Bertrand de Billy (musical) Y Josep Maria Flotats (scenic). The Marriage of Figaro Y Don Giovanni are the two operas that also have the talent of Mozart and Da Ponte, a trilogy that began in the Viennese genius 1786 and he ended with So.

Este Cosi fan tutte presents dos REPARTOS. as Fiordiligi Juliane Banse Y Maite Alberola; Dorabella, Maite Beaumont Y Gemma Coma-Alabert; Ferrando, Joel Prieto Y David Alegret; William, Joan Martin-Royo Y Maybe Borja; Despina, Sabina Puértolas Y Anna Tobella; and as Don Alfonso, Pietro Spagnoli Y William Berger.

complementerias activities:

The Gran Teatre del Liceu offers two unique experiences during the performances of So fan tutte. With the collaboration of Hendrick's gin he will be installed in the Saló dels bar Miralls reproduction scenery of the opera so that attendees can feel protagonists during intermission, and once the function. Hendrick's offers the public to enroll in advance, tasting cocktails and gin and tonics surprising at the end of the representation. By 20 euros you can enjoy a unique evening in a “luxury bar”. Tickets will be on sale at the theater box office and on the website of the Liceu.

The Argentine illustrator Eduardo Relert, a whole and 3D guru streetart, after having exhibited their works in the streets of New York, Tokio, Roma, Mexico, among many other cities, proposes a facility in the historic Liceu lobby for people to interact while staying at the Gran Teatre. The play, original Relero, It is inspired by the operatic world and is built using vinyl arranged in a particular way under the concept of anamorfosis, a technique used to hide or direct attention specifically on something. The composition, that will be seen on a surface 6×6 meters on the lobby floor and the counter, it can display through the lenses of mobile phones and a camera located 1,75 meters that allow users to see the relief of installation on a plasma screen.

Joel Prieto

the tenor Joel Prieto, born in Madrid and winner of the first prize in the Operalia de Placido Domingo, will return to the season of Gran Teatre del Liceu Barcelona after his Fenton de Falstaff now playing one of his favorite roles, el de Ferrando de Cosi fan tutee (Mozart), role that debuted in 2009 in the Palau de les Arts in Valencia. Later he has also performed it at the Washington National Opera, in The Theaters of the City of Luxembourg, at the Palm Beach Opera and at the Bayerische Staatsoper in Munich. “Ferrando is probably my favorite Mozart paper, and also the most I've ever sung during my career”, affirms the young tenor. “The character undergoes a great evolution during the opera: at first he is an innocent boy and he is blind with love for his beloved Dorabella; He is a hopeless romantic and firmly believes that Dorabella will always be faithful to him. It is a role that frames a very diverse picture of emotions, from a comic and game facet, even pain, confusion and passion. Vocally it is a very complete role (It's like an Italian Mozart), with a very exposed vocal line. It is not a role for everyone due to the difficulty involved in the passage of the voice; your balance between records and the nuances that the role requires”.

Possessor of a wide repertoire, Belcantist and Mozartian roles stand out in Joel Prieto's career, having debuted, precisely, as Prince Tamino of Die Zauberflöte at the Deutsche Oper in Berlin in 2006, city ​​to which he returned with that same character to the Staatsoper Unter den Linden in 2011. In this area, he has also played Don Ottavio in Claus Guth and Yannick Nezet-Seguin's Don Giovanni at the Salzburg Festival (2010 Y 2011). Con Fenton (Falstaff, Verdi) performed at the Royal Opera House in London's Covent Garden in a production of Robert Carsen Y Daniele Gatti broadcast on television (2012), role with which he debuted both at the Théâtre du Capitole in Toulouse (2011) as in the Gran Teatre del Liceu in Barcelona (2010).

The production of Così fan tutte that can be seen at the Liceu bears the signature of the acclaimed Italian regista Damiano Michieletto, one of the innovators of today's opera. “Mozart's music always touched me very deeply”, continues Joel Prieto. “It was one of the reasons that made me dedicate myself to this. It is no coincidence that my career started with this wonderful music. Mozartian characters have helped me to know my own instrument and to develop it not only in technique, but also in its interpretive potential. Furthermore, these roles have given me the opportunity to work with many of the best stage directors in the world of opera.: the acting work, Besides, is one of the reasons that makes sense of Mozart's music. Today my repertoire continues to expand into the Italian and French repertoire, But Mozart will always be on my performance calendar. It's like coming home”.

Joel Prieto will premiere this show at the Liceu in Barcelona on 20 of May, also interpreting the functions of the days 22, 24, 26, 28 Y 30 of that month.


He Teatro Real has presented this week the new season 15-16. A balanced season in terms of repertoire titles and those most unknown. Makes a clear commitment to co-productions with other theater rather than own. Which contributes to meeting the objective of adjusting the budget to the maximum. Increased number of representations. the elimination of the management fee to purchase tickets via the Internet. The programing, structured by operatic titles, articulates different conceptual and thematic lines with varied interdisciplinary proposals. Five new productions will be offered, four guest productions, three operas in concert version and two chamber operas. The structural lines of the programming are maintained in the next season, with the extension of the VOCES DEL REAL and SESIONES GOLFAS cycles, and the creation of the cycle DANCING ON THE VOLCANO. The Royal Theater joins the Commemoration of the IV Centenary of the death of Miguel de Cervantes and William Shakespeare. The link with cultural and artistic institutions is strengthened, with multiple and attractive activities. And the subscription modalities are expanded (16 total), its sale is anticipated and expedited and the procedures for changing dates are made more flexible.

In the 19th season of the Teatro Real since its reopening, in 1997, five new operatic productions will be presented - all in co-production with major theaters, four guest productions, three operas in concert version and two chamber operas to be offered at the Teatros del Canal. The program is completed with three dance shows and sixteen concerts integrated into the Voces del Real cycles, Golf sessions and the newly created Dancing on the Volcano.

Noteworthy is the premiere in Madrid of the staged version of Moisés y Aarón, from Arnold Schoenberg, undoubtedly one of the outstanding works of the lyrical repertoire of the 20th century, which will arrive in a co-production between the Royal Theater and the Paris Opera, with stage direction Romeo Castellucci —One of today's brightest creators who will debut in Madrid. Closely in tune with the plot and historical circumstances of this opera, The Emperor of Atlantis will also be released, from Viktor Ullmann, disciple of Schönberg and one of the great composers of the time, whose career was cut short by the rise of Nazism. The opera was composed in the Terezín concentration camp. Both works outline a thematic axis that will extend to shows of the Pedagogical Program, like the little youth opera Brundibár, from Hans Krasa, also premiered in Terezin. In the same conceptual framework, but with another atmosphere, four concerts will be offered at the Sony Auditorium of the Albéniz Foundation (one of them staged) within the cycle Dancing on the volcano, which include references to the Jewish cabaret that had such an influence on Schönberg, Kurt Weill and other contemporary composers.

New for the season include the premieres of Alcina - one of the best operas in Händel's extensive catalog, stage direction of David Alden- Y, especially, The Liebesverbot, from Richard Wagner, unfairly relegated youth work, that the Royal Theater and the Royal Opera House will rescue from oblivion with the complicity of Kasper Holten, head of stage direction, e Ivor Bolton, musical director of the Royal Theater. Wagner's opera is based on Measure for Measure, from William Shakespeare, of whom the fourth centenary of his death is commemorated. Within the framework of this event, the play Two Shakespearean Delusions has been programmed at the Teatros del Canal, from Alfredo Aracil.

The Royal Theater has also joined the Commemoration of the IV Centenary of the death of Miguel de Cervantes programming The altarpiece of Maese Pedro, from Manuel de Falla, and the knight of the sad figure, from Tomás Marco.

In addition to the prohibition of loving, that Wagner considered a "sin of youth", the season includes the composer's last opera, Parsifal, who will conduct musically Semyon Bychkov and that will mean Claus Guth's debut for Real, another of the most sought-after names in the current stage direction.
Mariella Devia, Gregory customer, Mariusz Kwiecien Y Silvia Tro Santafe will make up the stellar quartet that will star in the return of Roberto Devereux, from Gaetano Donizetti, that will inaugurate the lyrical season on 22 of September. Another crucial title of romantic belcantism, I Puritani, from Vincenzo Bellini, will bring together some of the best singers in this repertoire: Diana Damrau, Javier Camarena Y Ludovic Tezier, directed by Evelino pido, in the pit, Y Emilio Sagi, In the scene.
Also Rigoletto, from Giuseppe Verdi, with musical direction Nicola Luisotti and scenic David McVicar, will unite such renowned singers as olga Peretyatko, Lisette Oropesa, Stephen Costello O Leo Nucci, which will also star in Giuseppe Verdi's Luisa Miller, in concert, under the direction of James Conlon.
PLacido Domingo will perform together with Ainhoa ​​Arteta Y Michael Fabiano, I due Foscari, de Giuseppe Verdi, under the baton of Pablo Heras-Casado, Principal Guest Director of the Teatro Real. Also in concert version will be presented Written on Skin, that the composer himself will direct, George Benjamin.

Among the most popular titles in the lyrical repertoire, the return of The Magic Flute also stands out, with musical direction by Mozart expert Ivor Bolton, with masterful staging of Barrie Kosky, which will debut at the Teatro Real. The Pedagogical Program will include, at the same time, The Magic Flute, a magnificent introduction to the opera by Mozart for children, and a teen version of Dido and Aeneas, from Henry Purcell, with address Rafael Villalobos.
In the concert and recital program there are names of both prestige and Measha Brueggergosman, Natalie Dessay, Angela Denoke, Renée Fleming, Karina Gauvin, Venera Gimadieva, Barbara Hannigan, Anja Matches, Susan Graham, Juan Diego Florez, Francesco Meli, Bejun Mehta, Andreas Scholl, Simon Keenlyside, Christopher Maltman, Peter Mattei Y Franz Josef Selig, among others.

Three dance companies will meet in the season: Nacho Duato will present his version of Sleeping Beauty with the Berlin Staatsballett, and a triple program with choreographies by him and by Marco Goecke. Sasha Waltz will bring, together with your company, the acclaimed version of The Rite of Spring, from Igor Stravinsky. Finally, José Carlos Martínez will propose a tribute to Enrique Granados with the National Dance Company ending in July of next year, the 19th season of the new Teatro Real.

The Marriage of Figaro

The Royal Theatre has started its season having to give explanations to the many changes that are taking the announced new season. Go ahead that the theater has experienced in recent months a complicated situation. The death of his former artistic director, Gerard Mortier, and the appointment instead of the present, Joan Mataboch, They are not an anecdote. As it is not preparing a season with just six months in a world where it is working with much wider margins.
Different programming changes are due to different reasons. The world premiere of The City of Lies, Elena Mendoza, based on texts by Julio Cortazar, it is postponed until 2017 without clear reasons they have been. It falls to the poster Fidelio, This time the charge is Alex Ollé, La Fura dels Baus. Gollescas will be offered in concert version, and not with the staging of José Luis Gómez and the painter Eduardo Arrollo. Hänsel und Gretel at the stage direction is replaced. Initially going to be Joan Font, Els Comedians, and Agatha Ruiz de la Prada managers, Laurent Pelly but eventually will.
also falls poster soprano Natalie Dessay in La Fille du Régiment. Theater here has nothing to do, It was the singer herself who announced his retirement from the operatic stage to devote himself to the recital. In exchange replaces Aleksandra Kurzak, that comes from having a tremendous triumph in Vienna with this same role.
Hopefully new lows will not occur in a season that can be called transition, given the events and difficulties that have marked.

The season begins with a reset (and makes three in five years) production that The Marriage of Figaro He conducted Emilio Sagi.
This work, inspired by a text of the controversial Pierre Beaumarchais, thanks to its expertise in managing satire, He was considered the scourge of the nobility. It would fall during the French Revolution and which had soliviantada with his works and political writings.
Figaro trilogy by Beaumarchais written about representing the socio-political moment that lived Europe. The fall of the aristocracy, represented in the figure of the Count and Countess Almaviva, and the rise of the popular classes, with the servant Figaro starring. These texts were the inspiration for both the composition of The Barber of Seville Rossini, who he was more interested in the first part of the trilogy, The Marriage of Figaro and Mozart, which it was inspired in part.

Mozart decided to instruct his new librettist, Lorenzo Da Ponte, adaptation of the text for opera. there were many changes introduced in Da Ponte's work, especially to get down from the high tone critical and transforming it into a comic book. The opera premiered in Vienna 1786, just three years before the start of the French Revolution. Composer and librettist collaborated later in Cosi fan tutte and Don Giovanni.

The scenery saga It is classic and conventional. At some point it bare, but the responsibility to fill this stage although scarce items, It is not so much of the stage manager, but the artists themselves.

At the classicism and romanticism that does have the scenery, They contribute greatly beautiful wardrobe Renata Schussheim, and adequate lighting Eduardo Bravo. Emilio Sage knows his works give brightness and showiness. This time, a body incorporating dance and castanets, They give the work a pure-blooded touch that gave life to the work.

While Ivor Bolton It is an excellent director, Le nozze di Figaro these can not say I've got the right tempo and much less with the character of the work. His leadership lacked spark and verve from the overture off. He had no spirit, What it is unforgivable in an opera buffa as is this. To his credit that was pending at all times of the singers.

With Andreas Wolf We have witnessed the representation of stiff Figaro most tasteless and has been. As sparkling as Figaro character can not be solved so rigidly. His voice is nice, sometimes beautiful, but a character with such dramatic importance requires, not only an effort in interpretation, Also qualities for it.
Sylvia Schwartz It was a Susana at the height of Figaro, if not by conviction or influence it, but they made good partner in the lack of expressiveness in the interpretation. The strength of her voice does not succeed this time with the character.
Luca Pisaroni, as Count Almaviva, It was the best of the night with the Countess, Sofia Soloviy. Gala both made good job on stage, but mostly, thus they are endowing his characters packaging and distinction. Soloviy was applauded in some of his arias, especially in "Dove sono", for its musical quality and extraordinary legato.
Elena Schneiderman Nor he was brilliant with his Cherubino. far too, like the rest of the cast, of comedy that characterizes this work and the mischievous spark of his character that goes almost unnoticed I.
The rest of the cast was lost amid the boredom of representation. Attempts to José Manuel Zapata by recreating a jocular and humorous Don Basilio, They were not enough.
Some interpreters without looseness, hard, without giving rise to the slightest detail theatrical, offer only result boredom for an audience that reaches the Teatro predisposed to the enjoyment.

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.
D. musical: Ivor Bolton
D. scene: Emilio Sagi
Scenographer: Daniel Bianco
Costume designer: Renata Schussheim
illuminator: Eduardo Bravo
Choreography: Nuria Castejón
D. choir: Andrés Máspero

Distribution: Luca Pisaroni, Dofia Soloviy, Sylvia Schwartz, Andreas Wolf,
Elena Tsallagova, Helene Schneiderman, Christophoros Stamboglis,
José Manuel Zapata, Gerardo López, Khatouna Gadelia, Miguel Sola,
Pilar Moránguez, As Continents.
Choir and Orchestra of the Teatro Real holders


Interpret over 500 sometimes the same character without falling into the routine, It is more than a merit, It's art, craft and passion. Y Leo Nucci, sobrado of powers, at this stage of his life he is full of resources on scene, and also outside it. He knows how to manage the emotions of an audience, the Bilbao, eagerly I awaited him after his last cancellations in I Due Foscari and Nabucco.

His interpretation of Rigoletto Went from less to more. Heating of his voice and the public came up with the duo Ah!, just for me l'infamia, which it was the prelude to a magnificent Cortiggiani vil raza and impeccable dramatic vendetta which it was bisada. Despite some lack in the fiato, which she led him to shorten a phrase, the vocal ability of Leo Nucci is a man of prodigious 71 years. He showed great knowledge of the score and the concept of Verdian drama. His voice retains its color and features almost intact despite years. And Rigoletto is certainly his character. No plays to Rigoletto, it becomes.

And if Leo Nucci had taken all the initial role, night reserved a big surprise, Romanian soprano Elena Mosuc in the character of Gilda. It was his debut in Bilbao and that always creates a certain expectation, rather hope, that they never lost. And we had the chance to attend an increasingly rare event, especially when it is dealing with such classic. One of those works that everyone has referenced in the head with his singers, director, stage ... and they make hollow hardly any other versions.
Elena appeared Mosuc, with that discretion and scenic delicacy with which Verdi described the character of Gilda. Then came Caro nome, and they began to shake the memories to make way for this time. Elena Mosuc has some canoros resources already deployed hardly on stage. Either for lack of them, out of fear or shame. The facility for legatto. Apianar a note with languid abandonment and finish with a subtle crescendo. All with a finezza and exquisite taste. some sobreagudo and agility allowed as a gift to a public who at that time was absolutely delivered. Craft and experience of both Leo Nucci as Elena Mosuc, It was also noted in the perfect binding of the two leading voices.

The interpretation of Ismael Jordi, como Duke of Mantua, a step down interpretive level than the other two protagonists. He started something intemperate and improved in the second and third act. His voice has improved in recent years but fails to convince. Its color changes with ease and is very evident change destabilizes some sharp passage. But his singing is refined and elegant. No bad stage presence, but perhaps the bearing is tight for the character of Duca. Especially when he appeared on stage Maria Jose Montiel with a temperamental Magdalena, lush and, especially, castiza. Well in the quartet, He balanced and rounded out the magnificent picture of singers. They were not his height his fellow wanderings, ni Felipe Bou, as Sparafucile, ni Javier Galan interpreting Marullo.
Ainhoa ​​Zubillaga, as Giovanna, not convinced. It does not have a nice voice. The feeling is of heaviness, a distressing pain issuance. Sharpness phrasing is nonexistent.

The musical direction was by far the weakest throughout the performance. He surprised cancellation director Daniel Oren, which it has been replaced by Miguel Ángel Gómez Martínez. The direction of the latter has sinned excessive slowness. Dilated few times in excess, which they did not favor the drama but boredom at times.

There are scenes that age very bad. Such is the case that concerns us, from Emilio Sagi, which premiered at the same theater seven years ago. His replacement has been in charge of Ricardo Sánchez-Cuerda and the result is dark and poor. They not recognize him or known classical elements. Changes and transitions are made public view through mobile platforms. Singers forced to move between items as in a labyrinth. Directing actors fails at times in which Rigoletto is offstage being the protagonist. He wants to be a simple scenery, but it remains simple.
The lighting, in charge of Eduardo Bravo, He wants to help create a spooky atmosphere, but it cheapskate and light, limited.

The Bilbao Symphony Orchestra He had a discreet performance, more shortcomings of the musical direction of resources that form teachers.
The choir shone and contributed to the success of the representation. Well and forceful entries in the tables set.

Will be those who think that the success of this premiere of Rigoletto is exaggerated, in the room was much nucciniano tiffosi. The reality is that the opera and those involved in it only have an obligation, ignite passions. Mission accomplished.

The magic Flute

With functions The Magic Flute, ends this fall season, winter and spring in Valencia "Palau de Les Arts”, which has combined the inevitable budget cuts, with a program based on five titles of different repertoires: La Bohème and The Barber of Seville, with two Verdi operas we're in the 200 anniversary of the composer Busetto- a popular and superconocida as Rigoletto, and a much less represented, but of undoubted appeal as I due Foscari, with the ever charismatic presence of Placido Domingo, baritone roles gotten into, while retaining its attractive timbre, and a line of truly unthinkable sing for their seventy-two years.

As well, all these productions had magnificent scenery, to the minimalist very attractive scenic mozartiana proposal but adds Die Zauberflöte.
Despite the reduction in securities compared to previous years, the Opera Palace Valencia, He has taken care of the musical results, vocal and stage of each of his operas scheduled, to which Brío Classic is devoting extensive and didactic reviews.
Die Zauberflöte is a work which could be called in different ways: grand opera, as called Mozart, It could also be ascribed to the genre of Viennese operetta or even a "Singspiel" as in the case of The Abduction from the Seraglio. Also like a fairy tale.
But nevertheless, its manifest Masonic iconography is evident, because from start to finish, the whole theme of this opera brings us to freemasonry. Take into account that Wolfgang Amadeus Mozart was a Freemason, and his opera singing is an on universal brotherhood. Its two main protagonists Prince Tamino with his beloved Pamina, They are introduced into the Masonic rite of passage.
One might think that this opera is just a parable of the struggle between good and evil, of the ridiculous and the sublime, of male and female elements. But nevertheless, Die Zauberflöte be considered a great work that brings together all these contradictions, extolling love associated with the search for truth, mutual solidarity, Justice, fraternity and tolerance.

As in all great Mozartian operatic creations, singing must prevail in its purest form: refined technique, vocal quality, expressivity.
Within vocal typology requiring Magic Flute, the character of the Queen of the night precise soprano freehold dramatic coloratura, joined push and bravura. Sopranil type that existing at the time of Mozart, and revisited in some operas of Bellini and Donizetti, by sopranos like Giuditta Pasta, Giulia Grisi, and in more recent times by the great Maria Callas: no longer exists. So, The role of the Queen of the Night is played lyrical light of great extension and easy mastery of agility.
As for the two main roles of Pamina and Tamino, require respectively: a lyric soprano certain width, good legato, dynamic domain regulations; Y, especially, a highly refined ridge line; and tenor of sufficient width for heroic face and dramatic moments.
Y, the character of Sarastro, of great importance throughout the opera, It requires a deep bass with a song of great nobility.
Finally, Let us quote, the birdman Papageno character baritonal, that must combine a comic action and lighthearted, more serious moments and certain drama.

Having said all that, to put the reader in history, always I want to make a constructive comment to this production of Teatro Regio di Parma The Magic Flute, which it was performed during six performances last April at the Opera Palace Valencia: first, you can perform a staging -atractiva- Minimalism tinting, created by Simon Corder, also responsible for the very successful design lighting that takes tremendous advantage of the easy stage show. Highlight, expressive ballet numbers, excellently resolved by acrobatic dancers, with superb choreography Duncan Macfarland.
The Coro de la Generalitat Valenciana (as usual) performs an outstanding performance led by its owner Francesc Perales, highlighting, especially in the impressive and very emotional chorus of Act II.
it is always necessary to comment on the quality of the Orchestra of Valencia, riddled with magnificent professionals able to fit many-colored repertoires: in this case the music of Mozart, Always great symphonic height, and director exposing knew with absolute brilliance.
In the vocal plane should highlight vocal and stage performance of the young Italian soprano grace Doronzio, who made an outstanding performance as Pamina, It is magnificent in all its interventions, especially, in his very complicated aria in Act II, “Ash, I feel it (¡Ay, I have the feeling)”, fulfilling a vast percentage, all benefits that requires vocal character, already pointed above; Y, showing despite its youth- in line with other major Paminas as, for example: Elisabeth Schwarzkopf, Gundula Janowitz, Anneliese Rothenberger or our Pilar Lorengar.
Also noteworthy is the magnificent Sarastro Korean low In-Sung Sim, with a fine and noble ridge line. His performance is very bright throughout the entire opera, highlighting its Act II aria "healing in these'Gene Hallen.
Remarkable and funny performance as Papageno Baritone Thomas Tatzl, next to the Papagena well sung and acted in Helen Kearns, who shows great body flexibility, when fully bent for quite some time, then appear as a slender young girl who captivates Papageno.

Leave it to the end what I consider looser entire cast: Queen of the Night soprano Mandy Fredrich, who sang her aria discreetly Act I "About zittre them, my dear son! (This portrait is enchantingly beautiful)"To improve its devilishly difficult aria in Act II"Hell's Revenge..” (Vengeance of hell ..)”
The Tamino Daniel Johansson, this, more or less acceptable, in their interventions with Pamina, Papageno and Sarastro.
Ya, the results are more discreet in his big scene of Act I "This portrait is already bezubernd (This portrait is enchantingly beautiful)”, if we compared with Fritz Wunderlich (Tamino best in history), elegantísima or the creation of young Nicolai Gedda, Pamina next to Elisabeth Schwarzkopf, Papageno and Giuseppe Taddei, take in the magnificent live 1953, led by the flaming baton of Herbert von Karajan; e, even, excellent creation, in more recent times, the Mexican Francisco Araiza, on taking video 1991, directed by James Levine from Metropolitan New York.
Anyway, a remarkable Magic Flute, especially some of the singers.