Teatro Real

After the effort of presenting simultaneously Siegfried Y Rule, arrives at the Teatro Real, the next 19 of April, the long-awaited premiere of the new production of Peter Grimes, Benjamin Britten, co-production with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

 

The change of dates of the premiere -of 8 al 19 April - has been due to different factors: the delay in the incorporation of the artists to the rehearsals caused by the mobility restrictions and the bureaucratic obstacles of Brexit (most are british) and also to a complete readjustment of all tests.

 

A) Yes, the 9 functions from Peter Grimes the days will take place 19, 22, 24, 27 Y 29 April 2, 5, 7 Y 10 of May, to 19 hours (Sundays, to 18 hours), what will affect the next opera, Lessons in Love and Violence, George Benjamin, that will be moved to another season.

 

Although during 3 weeks the trials of Peter Grimes have been developed in the staging room, the ballet hall and the choir hall, The only space that has been considered ideal to bring together all the artists and the technical production team - and to carry out as many rehearsals as possible - is the stage.

 

This fact has made it necessary to suspend rehearsals in the different rooms of the Theater until the set of the opera has been mounted on the stage., after the eviction of the scenographies of Rule Y Siegfried.

 

Once again, the Teatro Real has been forced to reorganize all its activity to adapt to the guidelines of its Medical Committee and to the mobility limitations of the artists..

 

Peter Grimes, with musical direction Ivor Bolton, stage direction of Deborah Warner and scenery of Michael Levine -The same artistic team from Billy Budd, Benjamin Britten also, which triumphed in 2017 - it is the most important new international co-production since the start of the pandemic, not only for the excellence of its artistic team, but because it is co-produced with three of the most relevant European theaters, who will present the opera later.

 

The production will star a select cast, mostly British, in which the tenor's debut stands out Allan Clayton in the title role. At his side, the Holder Choir Theater Real prepared, as usual, by director, Andrés Máspero, that will act together with the Head of the Royal Theatre Orchestra.

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Rule
Vincenzo Bellini (1801-1835)
Lyrical tragedy in two acts
Libretto by Felice Romani, based on the work Norma, or infanticide (1831) Alexandre Submits
New production of Teatro Real
D. musical: Marco Armiliato
D. scene: Justin Way
Scenographer: Charles Edwards
Costume designer: Susan Willmington
illuminator: Nicolas Fischtel
Choreography: Jo meredith
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Annalisa Stroppa, John Osborn, Fernando Rado, Berna Beads, Juan Antonio Sanabria Arrives at the Teatro Real Norma, Bellini, in a new own production. He does it coinciding with Siegfried, Wagner, who did not exactly like Italian opera and who, but nevertheless, showed great admiration for the Italian master. Specifically, Norma was one of the works in which the German master showed the greatest interest. Norma transcended the bel canto, had some new elements full of romanticism and expressive capacity. The Bellinian declamato-cantato that in Norma reached its maximum expression, where arias are no less important than dialogues and manner, almost mourning, in which the different characters faced each other through duets and triplets, thus leaving aside the traditional succession of virtuous arias that defined the Italian opera tradition up to that time. The characters of this work, especially its protagonist Norma, they have multiple faces. Some even contradictory, what gives them that enigmatic halo that fills the plot with intrigues and romantic situations, with which Bellini and his librettist Felice Romani tried to make their audience cry with emotion., Justin Way's scenography repeats the now classic theater within the theater, located in pre-reunification Italy. But the scenery, which is full of originality and numerous nods to the decorations of 1831, when it premiered on the Milan Stopover, There is some confusion between the two scenes that are combined and that are not very well differentiated.Marco Armiliato has been commissioned to replace Maurizio Benini. The change may have gained in loudness and volume, but maybe it has lost nuances and delicacy. Norma is one of those operas par excellence, that define by themselves what this genre is.

The score is of great richness and, at the same time, simple. His orchestration is of great delicacy. He does not intend to accompany the singer, but to serve as a delicate mattress. This is undoubtedly one of your greatest difficulties when dealing with it, both for the orchestra and for the singers.

On this occasion the Royal Theater presents two high-rise casts. In this dress rehearsal we witness a second of extraordinary level that promises performances of great interpretive quality. It is the first Norma that the Russian Hibla Gerzmava faces and approaches it with courage. Has a good volume of voice and great drama. In addition to that lightness that the character demands, shone in the duet with Adalgisa, in which they pasted to perfection.

Annalisa Stroppa's Adalgisa is undoubtedly the most clearly bel canto voice of the cast. His singing line is very well defined, phrases delicately and with Bellinian intention. Draw an Adalgisa full of sensitivity and expressiveness. Elegant always on stage, stood out in the duet with Norma and the triplet of the second act, achieving some moments of brilliant lyricism. Not for nothing is an experienced Adalgisa.

Another of the most accurately bel canto voices is that of the Polione of the American John Osborn. His vocal characteristics are very suitable for the character and for this style of Bellinian declamation..

The rest of the cast is at high altitude. The destacar is Fernando Radó, as Orobeso. Well the Clotilde by Berna Perles and the Flavio by Juan Antonio Sanabria.
The Royal Theater is right with this work of the classical repertoire that is a respite for the amateur after having attended the endless and decontextualized Siegfried.

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

Teatro Real

Saturday 13, 11.00 hours: the cycleOpera in Cinema pwill project the multi-award-winning production of Billy Budd, Benjamin Britten, premiered at the Teatro Real in 2017 with enthusiastic reception from the public and the unanimous recognition of national and international critics .

With Billy Budd begins the cycle dedicated to Britten that includes the screening of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Friday 12 and saturday 13, to 19.00 hours: Two opera performances will be offered Rule, with musical direction by Marco Armiliato and scenic by Justin Way, in which the Spanish soprano Yolanda Auyanet and the Russian Hibla Gerzmava will alternate in the interpretation of the title role.

Sunday 14, to 12.00 hours and at 17.00 hours: two new family sessions of Everyone to the Gayarre! will discover The spells of a magician, whose spells revolve around Rule.

Sunday 14, to 17.30: Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons.

He Teatro Real prepares for the weekend with a program that is presented in different formats and for all audiences. Two great opera titles will alternate on stage, Rule Y Siegfried; the Sala Gayarre will be given to the family audience and the main room will start the cycle dedicated to Britten with the projection of Billy Budd, what includes the projection of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Released in January 2017, Billy Budd It has been the most awarded production of the Royal Theater and has among its awards the International Opera Award 2018 for Best New Production and the Olivier Prize for the best new operatic production 2020 in the United Kingdom, in addition to the recognitions obtained for his audiovisual recording, among which the awards from Diapason magazines stand out (Diapason d’or) y BBC Music Magazine.

Both version of Billy Budd, which will be screened next Saturday, as the new production of Peter Grimes what will we see this spring, have scene direction of Deborah Warner, scenery Michael Levine, and the musical part will be under the baton of the musical director of the Royal Theater, Ivor Bolton.

This choral opera, for which Deborah Warner creates a scenic space of great symbolism and enormous technical complexity - the tumultuous ship of Billy Budd it is transformed into an immense floating prison that reinforces the universality of the work- featured an exclusively male cast that featured the baritone Jacques Imbrailo, the tenor Toby Spence and low Brindley Sherratt, next to 60 male voices from Titular Choir of the Teatro Real and the children of the Little Singers of the Community of Madrid, who acted alongside the Head of the Royal Theatre Orchestra.

He 5 of June, also as part of the Opera in Cinema program, will be projected Gloriana, premiered and recorded at El Real in April 2018 (where it was performed for the first time in Madrid) under the careful musical direction of the teacher Ivor Bolton, present in all three productions confirming his deep knowledge of the British composer, and stage director David McVicar, who conceives a refined and conceptual scenography in which the rich Elizabethan costumes conceived by Brigitte Reiffenstuel assumes an almost theatrical character.

The cycle dedicated to Britten will be completed by the premiere of Peter Grimes, considered the most important English opera since the time of Henry Purcell. The composer builds in it a dark parable immersed in a marine environment, where the conflict between the mass and the individual, the harshness of the lives and passions of the inhabitants of this North Sea town and the complex and impenetrable character of the protagonist, make up a tragedy that ferments and explodes in the din of silences and gossip. The stage director Deborah Warner returns to the Royal to premiere this co-production made with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera in Rome.

On Friday 12 And the saturday 13, will reign on stage Rule. Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, in whose interpretation the Spanish soprano will alternate Yolanda Auyanet and Russian fiber Gerzmava. His extraordinary dramaturgy exposes the characters on different levels and bravely shows feelings and attitudes that were almost hidden until then in women., in a production conceived by Justin Way and directed musically by Marco Armiliato.

Two new family sessions of Everyone to the Gayarre!, Sunday 14, to 12.00 hours and at 17.00 hours will discover The spells of a magician, whose spells revolve around Rule. Fernando Palacios, responsible for the script and presentation, will have the complicity of the soprano Cristina Toledo and the pianist Aurelio Viribay. Together they will try to find out what the druid wants to do with "the secret herbs and aromas" that she treasures.

And that same Sunday, in the afternoon, Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle The Ring of the Nibelung, It is presented in four successive seasons.

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We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Rule

Music, drama and emotion will be the absolute protagonists of the stage of the Royal Theater with the arrival of Rule, opera Vincenzo Bellini (1801-1835), of which will be offered 12 functions between 3 and the 19 March in a new production conceived by the stage director Justin Way, with musical direction Marco Armiliato.

Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, and with it Bellini manipulates the most fiery emotions of melodrama like no one else. Rule has, Besides, an extraordinary dramaturgy that exposes the characters on different levels and bravely shows feelings and attitudes almost hidden until then in women. Is, maybe, that strong and modern perception of the feminine world that makes this opera one of the most desired titles of the season.

Justin Way set the action inside an old Italian theater with the whole company rehearsing Norma. Abroad, XIX century, which has begun marked by the Congress of Vienna after the defeat of Napoleon, keeps northern Italy under Austrian rule, whose reactionary government provokes the birth of the first nationalist movements. Between both worlds, the two main performers of the show have a secret relationship subjected to personal and social tensions, immersed in a conflict that they do not know how to manage.

The proposal raises a parallel between the plot of the opera and the historical reality of the moment of its premiere in Milan in 1831, offering the viewer the prima donna / Norma duality, Austrians / Romans, Italian choir / patriots ... in a narrative of which he is doubly observant.

The scenery Charles Edwards reproduces the structure of a theater in decline, with old painted backdrops similar to those used by the great romantic ballets, and costumes Sue Willmington draw imaginative clothing for druids and romans, very to the taste of the time, alternating with 19th century figurines for "real" life. Nicolas Fischtel, responsible for lighting, evokes the footlights of the stages of other times, whose warm light contributes to the dreamlike game in which both realities coexist.

Teacher Marco Armiliato, whose sensitivity we could enjoy in Tosca (2004) Y Madama Butterfly (2017) returns to the moat of the Teatro Real to take charge of the Chorus and Orchestra Headlines, along with a double cast led by the Spanish soprano Yolanda Auyanet - who we listen to at Real as Vitellia in La clemenza di Tito (2016); Mimi in Bohemian (2017) and Liu in Turandot (2018)- and Russian fiber Gerzmava, interpreter of Leonora in The Troubadour del Real in 2019.

The leading trio is completed by the tenors Michael Spyres Y John Osborn, embodying the roman Pollione and the mezzo-sopranos Clementine Margaine Y Annalisa Stroppa, giving life to the virginal Adalgisa. The role of Oroveso will be in the hands of the low Roberto Tagliavini Y Fernando Rado.

Around this title, the Royal Theater will offer a new session of approaches in which the main artists of the production will participate and where the aria by Oroveso composed in 1837 by Richard Wagner "in the manner of Bellini", in complicity with the composer of Siegfried, whose performances will alternate during this month with Rule. The appointment will be next Wednesday, 24 February, to 20.15 hours in the Sala Gayarre (which can be attended with limited capacity) Y on line through Youtube channel of the Theater. And the day 14 of March, with the cheerful and carefree tone of family workshops Everyone to the Gayarre!, between potions and spells, they will discover the other side of Norma.

Due to the curfew in force in the Community of Madrid, related to Covid-19 protocols, all functions of Norma will start the 19.00 hours, except for Sunday 7 of March, what will be at 18.00 hours.

PARALLEL ACTIVITIES · NORM

National Archaeological Museum

24 of March, to 17.30 hours. Guided tour: Rule. Come, see, jokes. Conquering rome

Limited capacity. information

Come, see, jokes. This is how Julius Caesar pointed out the speed with which a success is achieved. In this itinerary we move to Roman times to learn how what would end up being one of the greatest empires was forged. A very well structured army, a common language, Roman law and other aspects will be key to the Romanization of Hispania.

National Museum of Romanticism

March. a work, an opera.

Free activity

For a work, an opera, the Museum of Romanticism has selected a set of polychrome figures from its collection, dated to 1840, reminiscent of a scene from the opera in which Norma, knife in hand, enter the room where the children sleep. Polio, meanwhile, with his right hand on his heart, he seems moved in the final scene of the play, at the moment in which Norma expresses before the people her love for Pollio and acknowledges having violated her sacred vows.

Photograph: Javier del Real

Annalisa Stroppa

The Italian mezzo-soprano returns to the Madrid Coliseum now with Bellini's opera and playing one of her favorite characters in a season that will also take her to perform in Naples, Piacenza, Florence, Savonlinna Festival in Finland and Verona Arena Festival.

Adalgisa is a character of extraordinary purity”, affirms the Italian singer Annalisa Stroppa before her next Madrid commitment to opera Rule de Vincenzo Bellini. Born in Brescia, Stroppa has established itself in the programming of the great theaters of the international circuit and now has just arrived in Madrid to begin rehearsals for the Bellinian opera, summit of the romantic bel canto, that the Teatro Real has programmed. With stage direction by Justin Way and with Marco Armiliato on the podium, Annalisa Stroppa will assume the role of the young priestess on days 4, 7, 10, 13, 17 Y 19 March on the Madrid stage.

Every time I play Adalgisa I enjoy the experiences of this young priestess trapped in the nets of her first love. In her everything is ethereal and I see her as a great dreamer who, but nevertheless, matures throughout the opera due to the reality he faces, very far from your fantasies, because of Pollione's deception. He is a character full of nuances that I try to convey by immersing myself in all the feelings that the composer captured in the score”, the Italian half continues. “From a vocal point of view it is a difficult role to play and, at the same time, wonderful; I am clear that the beauty and weightlessness of Bellini's melodies help bring out the most intimate and profound feelings of the human being; his is undoubtedly the song of the soul, reason why i love his music”, concludes.

Annalisa Stroppa knows the character of Adalgisa very well, since he has performed it on large stages such as the Teatro Massimo in Palermo, Gran Teatre del Liceu in Barcelona, the Calderón of Valladolid, the Verdi Theater of Padua, el State Theater Wiesbaden, the Carlo Felice of Genoa, the Colon of Buenos Aires, the Bayerische Staatsoper in Munich or the Teatro San Carlo in Naples.

The Italian mezzo-soprano is excited to return to Spain, a country, assures, in which you feel "like at home. I love food, language, the character of the people… And it is one of the few countries where, despite the pandemic that has so negatively affected society, has known how to defend culture with open theaters, who are making great efforts to continue with their programming with all the necessary security measures. That is why I feel an immense desire to return before the Madrid public”.

After passing through Madrid, Annalisa Stroppa will continue with her international agenda that will take her to the San Carlo Theater in Naples to give life to Suzuki in Madama Butterfly, besides singing the Requiem by Verdi at the Municipal Theater of Piacenza, Preziosilla's role of The force of Destiny in the Maggio Musicale Fiorentino, his acclaimed Rosina from The Barber of Seville at the Savonlinna Festival in Finland and Fenena from Nabucco at the Verona Arena Festival.

Photography © Silvia Lelli

Annalisa Stroppa

Teatro Real

Given the situation of health warning that Spanish society is living and forcing citizens to remain confined to their homes, he Teatro Real wants to help make these difficult days more bearable sharing with everyone what you do best, music, theater Opera.

For that, makes available to the public in Spain, from tomorrow, Wednesday 18 of March, totally free, its video platform “My Opera Player”, where you can enjoy all operas, dance and concerts and offers in its catalog that will be added in the coming days, recorded in the link www.myoperaplayer.com and enter code OperaEnCasa.

He Teatro Real included in "May Opera Player" some of its most emblematic productions Bohemian (Puccini), La traviata (Verdi), The Barber of Seville (Rossini), Le nozze di Figaro Y Cosi fan tutte (Mozart), The Flying Dutchman Y Rheingold (Wagner), The Tales of Hoffman (Offenbach) O Werther (Massenet).

All titles, In addition to representation, They include interesting interviews with directors and actors, information and reports work, all of them free access.

Meanwhile, the Teatre de Liceu brings the opera as Rule (Bellini), Rigoletto (Verdi) O Capulets and Montecci (Bellini).

In the coming days will be uploaded to the platform the following titles:

Thursday 19 : Aida (Verdi) Teatro Real (2018); Friday 20: Madama Butterfly (Puccini) Teatro Real (2017); Saturday 21: Romeo and Juliet (Gounod) Gran Teatre del Liceu (2018), Sunday 22: A ball Masked (Verdi), Gran Teatre del Liceu (2017); Monday 23, the tRavi (Verdi) Teatro Real (2015) and Tuesday 24, Macbeth (Verdi), Gran Teatre del Liceu (2017).

“My Opera Player” It is a project led by the Teatro Real of which they form large part opera as Gran Teatre del Liceu, he China National Grand Theater, he Colón of Buenos Aires or the Teatro San Juan Bicentennial of Buenos Aires.

With them, major cultural centers of our country as National Heritage, it brings recordings of the concerts held in the Hall of Columns of the Royal Palace; Spanish TV, you have selected great moments of its historical archive musical, and the Albéniz Foundation, with some of his concerts.

"May Opera Player" was launched by the Royal Theater in November 2019, and he has counted, with technological participation Telefónica Y Samsung, and sponsorship Endesa.

For any information or clarification on “My Opera Player”, there is a service to the viewer that is available via email soporte@myoperaplayer.com

Pérez-Sierra directs Standard

Madrid director Jose Miguel Pérez-Sierra returns to Pamplona this time to direct the opera Rule, the most popular works of Vincenzo Bellini, and will do so in the Baluarte Auditorium in Pamplona. The Spanish musician, one of the most prominent experts in the repertoire of the bel canto romantic represented mainly by works of Bellini, Rossini y Donizetti, It will be put to the command of an assembly Argentine director Mario Pontiggia scene and will feature soprano Lianna Haroutounian in the title role of Adalgisa next to Susana Cordón, to the Pollione of Sergio Escobar and the Oroveso experienced Simon Orfila. “Rule It is not only one of the top works of the bel canto style, but of the entire Italian repertoire”, says Pérez-Sierra, who directed the play for the first time more than a decade. “This is not only a test of fire for the star soprano, but for the entire company, and that is very demanding for the orchestra and chorus. Is challenging”.

Bellini's opera will be performed on 7 Y 9 February at the Baluarte Auditorium of Pamplona. Then they await the master Pérez-Sierra three functions of L'elisir d'amore Donizetti in the season of Las Palmas and as many zarzuela The barberillo Lavapies at the Teatro de la Maestranza in Seville.

Web José Miguel Pérez-Sierra

web Baluarte

With these words Annalisa Stroppa defines the character of the opera Rule Bellini will defend the days 2, 4, 5 Y 7 December in his anticipated return to the Teatro Colon in Buenos Aires: "Adalgisa is a fascinating role Norma faces of love, but who joins understand the drama that crosses ".

Italian mezzo-soprano debuted at the legendary Argentine scenario in August 2012 Hand Riccardo Muti (The two Figaro, Mercadante). "Singing in the colon is a great experience for any musician or singer, as it is one of the theaters with the best acoustics I've heard, and is also an immense and breathtaking beauty room”. Stroppa has not struck again in Argentina since that now distant debut. "It's been a long time and many characters from those unforgettable I due Figaro that took several cities with Maestro Muti and marked the beginning of my career, so it makes me especially excited that the public understood Buenos Aires to hear the vocal moment I am now living and has allowed me to expand my repertoire ", points singer. Italian interpreter, certainly one of the mezzosopranos that is most talked about on the international scene, It has gotten into the skin of Adalgisa Rule in various scenarios, from the Teatro Massimo of Palermo to Gran Teatre del Liceu in Barcelona, Passing through the Staatstheater Wiesbaden -together with Edita Gruberová-, the Teatro Verdi Padua or the Carlo Felice in Genoa.

Annalisa Stroppa land in Argentina after having played the lead character Carmen this summer at the Bregenz Festival (Austria), to Siebel Faust Gounod at the opening of the season of the Teatro Real Madrid and Fenena of Nabucco in Padua. His upcoming engagements include his return to Padua Cinderella, The Barber of Seville Berlin, his debut as Nicklausse of The Tales of Hoffmann in Naples, Madama Butterfly in Munich, he Stabat Mater Rossini in Verona and Così fan tutte in Las Palmas.

Annalisa Stroppa

Colon Theater

Photograph: Victor Santiago

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Live excited by a profession for which has been prepared respecting the times. No hurry, as do those who know and love lyric. Its smooth and glazed voice and expressiveness on stage, They have made it increasingly claimed in the scenes and the most important directors in the world. extraordinarily nearby, Annalisa Stroppa enchants with its charm and energy, inside and outside escena.Brío Classic: Tell us a bit how they started in the world of opera.

Annalisa Stroppa: The truth is that since I was a little girl had pretty clear ideas: most he wanted to be a singer!!

But actually it has been a gradual way and a goal that had never imagined getting; dreamed, he wanted, expected, but finally he arrived!!! I entered the world of opera step by step, after getting my diploma first in the conservatory and after winning several singing competitions in Italy and international, which for me was very important because it confirmed that going in the right direction and in turn encouraged me to continue on the same path. I started singing chamber recitals, small operatic roles and then gradually more main characters and contexts, theaters and productions increasingly important. I also began to make my first auditions in theaters, but the real springboard was undoubtedly my first leading role internationally, I was Cherubino in Figaro due, Mercadante, under the direction of maestro Muti ... Soon they offered me the opportunity to debut the Rosina in Il Barbiere di Siviglia at the Rome Opera with Maestro Bruno Campanella address, and then I was in the best theaters in the world A dream come true!

B.C: How was the time when he discovered he had a proper instrument?

A.S: I began to approach the lyrical thanks to my grandparents, with whom I spent many afternoons after school; they listened to the three tenors (Sunday, Pavarotti and Carreras) and Mario del Monaco. Yes, all tenors! Thanks to them I began to discover the great arias and tried to imitate. So I discovered I had an important voice, special, and hence he was born the desire and willingness to be a singer. I remember at the age of 8 Y 9 years sang "Nessun dorma", "O sole mio","Whiskey facile", "A love so great"!!! There I discovered that nature had been generous to me and I had a special voice; I had within me a treasure that could not spoil but learn to use it in the best way. My paternal grandmother I inherited voice and the maternal grandmother, passion for opera. I had to build my voice; the voice was there naturally, start and placed, obviously to develop; so I studied a lot and worked a lot voice even today, because you never finished studying, but I have to say that I was lucky to have a voice, I have always considered a great gift.

At first, It is almost adolescent, I was told to study singing was still very young, my voice was not completely changed to the adult voice, and so I started studying music; I was admitted to the Conservatory to study piano and then, around 20 years the voice was finally ready and mature to face the studio singing, In addition already I had behind me a good musical preparation in which I could support me and I began to study singing at the Conservatory of Brescia, my hometown (near Milan).

He studied at the Conservatory and at the same time preparing exams college and worked a few hours teaching music at a primary school. When I think about it even could not understand how yet; I think it was because I had a strong will to bring energy to face all. I have to say I've always had the good example of my family; They taught me the spirit of sacrifice and work to get what he wanted. Although it was hard and very tired loved everything he did, teaching children, my studies at university and especially singing!!!

I love this profession; Singing is not only part of me, but involves my life 360 degrees and it is wonderful to have been able to realize my dream. I could not imagine it because you can not understand a thing until we live it in first person; even with all the difficulties and the remoteness of my loved ones (this race requires you to be many months away from home), when I go on stage and I know I've given it my best, the audience's applause reward all the effort. After years of study I look at the posters of the best theaters in the world and that's a great satisfaction. I feel really very lucky because I managed to, my passion, my job, and I thank you for it. I feel fulfilled, I am very happy and I hope to move forward and for many years.

B.C: How did your selection by Muti to debut at the Salzburg Festival? Was this a turning point in his career?

A.S: Yes. I had the wonderful opportunity that I heard in a hearing Mrs Cristina Muti and director of the Theater of Ravenna Angelo Nicastro. Until that time he had sung solo concerts and some small roles. The audition went well and I set out to make "cover" in the production of Betulia Liberata di Mozart (Carmi) directed by maestro Muti in Salzburg. Right after I was asked to study the role of Cherubino in I due Figaro to introduce myself to auditions for that specific character in which also the master Muti and Emilio Sagi régisseur were present, and I was awarded the role!!

A) Yes, I due Figaro Mercadante coincides with my first leading role internationally. A wonderful role in transvestite. Staged the premiere took place in Austria, in the prestigious setting of the Kleines Festspielhaus in Salzburg 2011; after the show was replenished in Alighieri Theater Ravenna, in 2012 at the Teatro Real in Madrid and the Colon of Buenos Aires.

It was part of an absolute premiere of a rediscovered opera and never displayed so far in the prestigious Salzburg Festival, an event that were pending around the world of opera!!

Naturally I was very excited because I felt that the time represented my starting point; It was absolutely unknown and I had hit on the international scene. The truth is that I am very grateful to Maestro Muti and all those who contributed to be chosen because it gave me the opportunity to learn and grow a lot as an artist. I have a very nice memory of the end of the first function, with enormous satisfaction Whatever had gotten! Say was able to break the ice with strength and firmness.

After years of study and a lot of sacrifice I am here, in major theaters, as in the wonderful opening of the Scala conducted by Riccardo Chailly and now at the Royal Theater; in Spain I have also been fortunate to singing at the Liceu in Barcelona, in Bilbao, in Valladolid, in Manorca and Las Palmas.

B.C: How would you describe the characteristics of your voice?

A.S: I'm a lyrical mezzosoprano. I face mainly roles of bel canto and French repertoire. I think this repertoire is perfectly suited to my vocalism and my character. I like to spread among authors to make my voice fits well to the vocalism and writing each composer.

B.C: Their repertoire is very wide. It ranges from Rossini to Verdi, through Mozart. Rossini requires agility, Verdi, drama and Mozart, a bit of everything. Which of them feel more comfortable in the interpretation?

A.S: Authors of the eighteenth century, as Mozart, or that is later Rossini, They have been a balm for my voice, especially during the study period and the early career. If he aprende to sing "on the breath", to recognize the importance of the word recitatives, phrasing, the "legato"; all these elements are also part of the styles that followed later and so back now and then to Mozart and Rossini's always a pleasure. As for Verdi at the moment I approached only with Meg of "Falstaff" and Fenena in "Nabucco". I feel very comfortable with the characters that have been incorporated, as I said before about the nineteenth-century French repertoire.

But if I had to pick a composer at this time I would go for Bellini because his music expresses something superlative combining few notes in a masterly way. Bellini loved and knew the voices and had an inimitable ability to appeal to the great feelings: It is pure poetry that takes shape thanks to "legato", the purity of sound, art declaimed, allowing the performer to use a wide range of vocal colors. Romeo roles as Adalgisa or vocally cover a very large area, requiring uniform voice from the low notes to the extremely sharp; Besides, excellent "legato" demanding much mastery of agility. I love the purity of its melodic line and richness of feelings that transcends each of the notes of his works. I try to cherish this writing valorising the fraseo, and "tied" y "Voice setup".

B.C: What technical characteristics best about each of the composers mentioned when addressing his music?

A.S: All kinds of repertoire is faced with the same basic technique, but other than that there is in each case must be used in different ways our instrument. Verdi requires decidedly more "pulp" -o specific-weight and have to pass a very different orchestration of a Mozart or Rossini, for example. The same discourse is valid for the bel canto or the "verismo". The voice is like a glove to suit different requirements. Rossini, Bellini y Donizetti, with types of writing and different styles, They have in common the fact that they love and value the voices and leave the performer great freedom to accommodate the orchestral accompaniment that sustains. The singers are like athletes in this repertoire which must take everything with purity of sound, aspect that is not as evident in other composers. Everything is in the fraseo, in the "legato", en the "Voice setup", the importance of the word: Rossini is distinguished by declaimed and coloratura, Bellini per unmatched purity of melodic line and Donizetti per dramatic cut, the psychological depth of his characters-and pathetic acting with a new romantic sensibility. Donizetti was the direct precursor of Verdi.

B.C: How do you prepare Annalisa Stroppa a new role and what are the selection criteria?

A.S: I think to choose new roles or authors just need to hear your voice and respect the possibilities of voice at all times: voice guides you and tells you the most correct and healthier repertoire to deal.
I've never had the pretension to be able to sing all because I think knowing well your voice is when you require an effort and give you the maximum.
When you study a new role I get involved fully in the study libretto and score finding my own way of playing the character.

As for the frames based on historical themes, such as Anna Bolena, I document everything I can to get an idea of ​​how accurate was the historical character and which character was in order to give my own characterization, whether that voice interpretative.
I think this is a wonderful aspect of my work, that is to say, make my mark and doing my part of my character that I face every.

B.C:- It is in Madrid to participate in Faust, Gounod, in the premiere season of the Teatro Real. Tell us about this work and his character, Siebel, it has moments of great beauty and lyricism.

A.S: Gounod catch you and you fall in love with an extraordinary melody, hypnotic, sensual, irresistible; French music starts prosody in a sublime way. Faust is an opera of extraordinary beauty, rich in various aspects: in it are a mixture of narrative singing (almost declaimed), choral waltzes, poignant moments, a great expressive intensity and lyrical intimismo; why so many composers of the second half of "Ottocento" were inspired by him: between ellos Massenet, Bizet, Debussy o Ravel.

Gounod is based on a story that for centuries has inspired not only musicians and librettists, but also poets, novelists and painters. The fascination of this story is probably linked to the universal themes addressed, as the struggle between good and evil, la fe, love, the transience of earthly life; definitely, true motives, of our culture and are masterfully treated by the composer.

Siebel in the opera, the character that I interpret, It is beautiful and positive, leal, with a constant and sensitive presence with Marguerite; He has promised his brother, he had to go to war, to ensure his and Siebel is actually the only one who supports to the end. Faust seduced and abandoned by, Scorned by all, and cursed by his brother Valentine, Siebel will only remains true and it only comforting faith. Siebel meanwhile try a pure love for Marguerite, in fact he devotes the first aria, which it is lovely: "Make her my confession", in which he transferred his romantic and youthful character with the enthusiasm and joy of a young man who defeated the curse of Mephistopheles, who after wetting his hand in holy water, You can pick flowers for your beloved without these wilting.

Among the roles I've faced, I've been fortunate to play several in transvestite.

For a woman playing a male role is a challenge as an actress. I always try to observe as much as possible the attitudes and movements of men, from children (I think of Hänsel) to teens (for example Cherubino or Romeo), or more mature men (as Ascanio or Orfeo), and I try to find ways to immerse myself as much as possible in the role I should play. It is not easy, but it is possible! The important thing is to identify with the character and everything else, the movement, voice and indications of stage director, is only a little.

My first role was in transvestite I due Figaro Cherubino in Mercadante, and then I could get into the skin of Cherubino mozartiano, Orfeo in Orfeo ed Euridice,Gluck, the Stéphano s Roméo et Juliette de Gounod, and Hänsel in the charming tale of the Brothers Grimm Hansel and Gretel Humperdinck music. The interpreter pasada temporada Ascanio in Benvenuto Cellini by Berlioz and Romeo in I Capuleti e i Montecchi.

Siebel sing in the Teatro Real de Faust, so we could say that I already have eight roles in transvestite in my repertoire.

I am very excited because next season will debut Nicklausse of The Tales of Hoffman at the San Carlo in Napoli.

B.C: The scenery of Faust is run by Alex Olle, in front of La Fura dels Baus. The sets of Olle usually very potent, What do you think and how it unfolds? In general, How it is worn with stage directors?

A.S: It is a staging non-traditional, but modern, innovative and very interesting. Faust is not a doctor in search of eternal youth, but a scientist working in a research center. The first stage is a laboratory with a sterile chamber behind glass in which scientists are in tight suits that are floating between tanks and containers in which human figures loom. Doctors and nurses constantly cross the stage. Siebel is a young medical intern. When the project comes to a standstill and frustrating, Fausto uses Mefistofele and in the next scene the scientist's life gives way to his adventures with demonic contrafigura.

Faust reading La Fura dels Baus makes you reflect on the understanding of the contemporary era and shows the reflection of the inner desires of the individual, balanced between desire and frustration, between self and unit; is not only the struggle between good and evil as external realities, but among these inherent pulses within one person. Faust, in fact, coexists the same Mefistofele. At the end of the opera, Mefistofele wear the same clothes Faust, thus revealing the nature of alter ego of the protagonist.
It must emphasize the crucial importance of video projections and lighting; the dominant color is red, which represents passion, the blood, the wine, the miraculous transformation of water into wine, here is reversed sacrilegious, etc…

Today's stage direction has become increasingly important; I am lucky to work with directors always fantastic scene.

Overall I am always well prepared because I think the stage directors can get useful information to better your own expressiveness. For me a good stage manager is one who knows that music and singing have to respect and adapt its leadership in the service of music and song, putting interpreters in the best conditions to sing.

Today there is no longer the idea of ​​a static stage direction; you have to keep alive and present opera to capture public attention, and I think this is the winning formula.

B.C: Where his repertoire goes?

A.S: For the moment would follow in my field, which it is the bel canto and French repertoire of "Ottocento". I feel my voice is expanding and is becoming more weight and maybe in the future I can also face the great masterpieces of Verdi. We will see! Time to time. I do not want leapfrog if not taste all the beautiful repertoire of my vocalism to give the best of me right now.

On the other hand I always make the comparison with the dressing, that is to say, If I have a size "M" I can not get an "S" or "L". The same goes for the choice of repertoire. We need to know just wait and change size when the voice suggests you.

B.C: Although this is a very demanding and absorbing career, a non-dedicated only to her, What do you like to do when not working?

A.S: My passion coincides with my job and that is priceless!
My free time to devote to other activities is somewhat limited, but when I have, I like to spend with my loved ones.

I travel a lot and during productions am much time away from home, so I take the moments of pause to enjoy the beauty of the cities I visit, appreciate cultural differences, I savor the local cuisine ... I enjoy it also in the kitchen, so I experiment with new recipes.

B.C: You have very good dramatic skills on stage, How important is for you the dramatic part of a work and how to channel all that energy into the public?

A.S: For me it is essential that an artist of his personal seal when interpreting a character to try to make him his; that is to say, study the character in depth to reach deeper details and nuances. And can provide a reading that reflects our personality and sensibility as artists. When I play a character I try to internalize it and get into it as much as possible to feel on stage their same emotions. It's wonderful to get into different characters, each with its own personality and character, and hacértelos yours.

My studies have helped me not to stand on a superficial view of the role I play, If you do not enter fully to understand its complexity and character, psychology, its relationship with the other characters in the opera; I try to offer a "soul" rather than a body the character I play. It is only with a careful analysis when we get this takes shape. further, I am excited to understand the opera I play a three-dimensional shape, from the script, texts, its historical context and setting. Only then the role will you do yours.

I also think about people and public. Interpreters have an important role in this, because we must move, enthuse and to understand who we listen to what the character says, your mood, etc…

Among other things we have ever wider duty to bring opera to a public; education and public awareness of today and tomorrow especially when it is essential. In fact, It is vital!

It is also important to emphasize in music education in schools; It needs to sensitize children to appreciate and know our musical and operatic heritage; They must learn to enjoy it and love him.

On the other hand, I love the contact with the public because it is what gives you the strength, energy, the heat I need when I'm on stage. The public is my engine, a living and integral part of the show.

Interview: Paloma Sanz

Norma in Bilbao

ABAO-OLBE (Bilbao Association of Friends of the Opera) Closing his 66th opera season Rule, ripeness of work of Bellini and emblematic title in the history of opera. The following days 19, 22, 25, 27 - Opera Berri - and 28 of May, sponsored by the BBVA Foundation, sponsor of ABAO-OLBE, up on stage this title, remarkable fusion of sublime melody, Vocal and dramatic power challenge.

this tragedy, compendium of ancestral rites, conflicts, allegiances and arcane customs, It tells the timeless story of a powerful woman who committed their ideals of love to finally be betrayed by her lover. To give life to the characters in this opera, ABAO-OLBE has assembled a cast led by the Neapolitan soprano Anna Pirozzi, who returns to Bilbao to debut the role of 'Norma', one of the most difficult characters to play in the bel canto repertoire that demands to dramatic voice combined with the agility and technique of coloratura singer. Beside the tenor Gregory customer like the Roman 'Pollione' and mezzosoprano Silvia Tro Santafe as 'Adalgisa' close on the trio. Joining them complete the lineup bass Roberto Tagliavini as 'Oroveso', mezzosoprano hope Mentxaka as 'Clotilde' and tenor Stephen Vincent as 'Flavio'. The musical part is by the young Italian master Pietro Rizzo, who returns to Bilbao for the front of the Bilbao Symphony Orchestra directing a score with huge emotional charge and melodic richness of one of the great legacies of bel canto. The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a co-production with ABAO-OLBE Royal Theater and the Palau de Les Arts in Valencia conceived by Davide Livermore. The action takes place in a timeless universe, the central element of the set is conceived as a tree inspiration legends.

Bilbao's opera accessible to all - Bilboko guztion esku Nordic operates the "Yggdrasil", The Tree of Life. An epic aesthetics of druids and priestesses cinematographic rhythm moves around making the witness of the events that unfold in the plot. Just provided with scenic elements to accentuate the theatricality of the story, uses video projections to provide a deeper insight into the characters and their relationships. New Opera
Standard representation 27 of May, forms the twelfth edition of Opera Berri, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this function return to Bilbao soprano Diana Axentii as 'Norma' and tenor Alejandro Roy as 'Pollione' and
debuta the mezzo Nazomi Kato como 'Adalgisa'. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 18:00 h.

Conference on "Norma"

In order to analyze, in advance the premiere, the most important aspects of this opera by Bellini, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 18 May in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time will be Ruben Amon, one of the journalists more
media and recognized today, He is working in the newspaper El País and regularly participates in various radio and audiovisual media as Onda Cero, Antena3 and La Sexta. He has published several books on different subjects as an investigation into the secrets of the Prado (Today's topics 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012) o The triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums (Today's Posts 1996).

BBVA Foundation: a comprehensive program to bring the public the best music The BBVA Foundation, whose distinguishing feature is the impulse to scientific knowledge and cultural creation, Music articulates its program as a complete tour of the various ways in which society can benefit and enjoy this art, own space on the web www.contrapunto-fbbva.es . A) Yes, It promotes the creation of new work with composition commissions and enables preservation and dissemination through Opera sponsored by: Bilbao's opera accessible to all - Bilboko operates guztion esku recordings in collaboration with seals and interpreters frontline. Promotes live music through concert cycles, for free, put within reach of ensembles and soloists public reference in the contemporary repertoire. Organizes lectures and issues publications to better understand the work of certain authors or
immerse themselves in the study of certain compositional periods and implements research projects and highly innovative creation with Leonardo Grants in Music and Opera. Organizes specialized symposiums on management of orchestras, collaborates with musical ensembles and theaters across the country-from the Teatro Real and the Teatro de la Maestranza the Gran Teatro del Liceu, through the Bilbao Association of Friends of the Opera and the Symphony Orchestra of Madrid and recognizes excellence through Frontiers of Knowledge Award in Contemporary Music Composition Prize and the Spanish Association of Symphony Orchestras-BBVA Foundation.

Angela Meade as Norma

Not surprising that Rule, which they say is the masterpiece of bellcantismo, and one of the repertory operas, it has taken 102 years to be represented at the Teatro Real in Madrid.

Bellini, bridge between classicism and romanticism, It took the curiosity of everyday emotions to a timid society by Catholicism. A true revolutionary of the romantic feelings he knew influence other composers. Chopin Bellini inherited the flexibility to address the tempo and harmony. Verdi Bellini moved the revolution from the private to the public, using the political connotations to create collective emotions. Wagner, one of the composers influenced by Bellini, he even compose a new version of the aria of the second scene Oroveso.

Why then it is not Bellini one of my favorite composers? Because of tastes ...

Norma is certainly a great work. It is full of small details, those who usually lives in the devil, but here they hide the delicacy of some extremely slow tempos that trace the romantic philosophy of work and full of complexity the work of singer, forced a slow release. Dilated melodies that require a well worked fiato, as it evidenced in one of the arias which is a "hit" from the opera, the long-awaited by the public "Casta Diva”, and summarizes the value of romantic time.

A time that Wagner had in mind to create Tristan und Isolde. A Isolde that, as Standard, It detonated himself on a wide and increasing melody.

But get down to earth. More specifically representation 21 October. This is a co-production with Teatro Real Palua Les Arts in Valencia, which already it premiered last season, y ABAO.

The scenery Davide Livermore It has clear cinematic influences. Through Game of Thrones or King Arthur, produces a dreamlike and fantastical atmosphere that features an overwhelming tree. It occupies much of the stage, rotates and moves as totemic element and oracle, where everything happens and everything is fulfilled. The intention is to create a claustrophobic atmosphere, as is the story itself. And it does.

The scenes are completed with projections D-Wok. that advance, as an oracle, the future that awaits the protagonists.

The energetic baton of maestro Roberto Abbado the overture began with excess volume. Onstage the dancers came and went, choir, scenic elements and projections amid an apparent bafflement. When it seemed that chaos had taken over the representation, He appeared on the scene, at the top of the tree, Angela Meade singing "Casta diva " Y, suddenly, reigned peace and harmony, everything is put in place and only then began Norma.

Before he made his appearance Meade, and part of the initial confusion, Roberto Arónica had begun its representation Oroveso. In woody and strident voice lacks depth and serious character. He improved in the second act and put more intention and nuance to their arias. His interpretation was cold and dispassion.

Simon Orfila He composed a Oroveso with good stage presence, but his voice, although well-pitched, not dark tones that have endowed his character that requires packing.

Angela Meade not only it came to bring order, It was the key to the appearance of the bel canto. powerful voice and clean emission, although with notable shortcomings interpretative, not stopped going up and down the many steps of the protagonist tree while singing. something worthwhile.

The Roman Veronica Simeoni, as Adalgisa, He was correct. Best in the duet with Norma second act, for which it seemed had been saving.
While Barcelona María Miró as Clotilde. It did not go unnoticed.

Norma waiting so long and has come up with a fundamental lack, the passion. It will have to wait. But other than another hundred years.

RULE
Vincenzo Bellini (1801-1835)
llirica tragedy in two acts
Libreto of Felice Romani, based on the work
Rule, or infanticide (1831) Alexandre Submits
First performed at the Teatro alla Scala in Milan 26 December 1831
Premiered at the Teatro Real 13 November 1851
New production of the Royal Theatre in co-production with
Palau de les Arts in Valencia and ABAO
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: wind Forma (Florian Boje)
Lighting: Antonio Castro
Video: D-Wok
D. choir: Andrés Máspero
Distribution: Roberto Aronica, Simon Orfila, Angela Meade,
Verónica Simeoni, María Miró and Antonio Lozano
Choir and Orchestra of the Teatro Real holders
Teatro Real in Madrid 21 October 2016

Text: Paloma Sanz
pictures: Javier del Real

Roberto Abbado

After more than a hundred years of absence on stage at the Madrid coliseum, Rule, great bel canto opera composer Vincenzo Bellini, arrive at Teatro Real the next 20 October with a leading stage production firm Davide Livermore and teacher Roberto Abbado, in front of the orchestra and choir of the Teatro Real holders, and the triple vowel cast.

Maria Agresta, Angela Meade Y Mariella Devia They will alternate in the role Maria Callas He immortalized on stage in the late forties; tenors Gregory customer, Roberto Aronica Y Stefan Pop, serán Pollio; Karine Deshayes, Veronica Simeoni Y Ketevan Kemoklidze They sing Adalgisa, Y Michele Pertusi, Simon Orfila and Fernando Rado Dara life Oroveso.

The Milanese master, Norma has already addressed on numerous occasions, before 12 functions (20 October to 4 of November) which you can see at Real, He noted: "This masterpiece, whose recitatives are among the most complex in the history of opera, It has its origins in neoclassicism, but his romantic heartbeat is evident and their mark is clear in later composers as different as Chopin Y Wagner”.

The next 4 November will be released the last recording of Roberto Abbado, again, for the label German Grammophon: Revive, the new CD of Latvian mezzo Elina Garanca, Returning to rely on the musical direction of Abbado, in front, this time, of the Orchestra of Valencia. musical director Palau de les Arts since 2015, Roberto Abbado ofrecerá of de lectura de The Sicilian Vespers Verdi, to be presented in Valencia on 10, 13, 16, 18 Y 21 from December.

More information.

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