Opera Benicàssim Lyrical Festival

The edition 2022 of the Opera Benicàssim Lyrical Festival (Castellón) promise this summer, one more year, fill the city with lyrics. the pageant, organized by the Benicàssim City Council, will feature great artists from the national and international scene. The mayor, Susana Marqués, together with the Councilor for Culture of the City Council, Javier Alonso, to the artistic director of the contest, Roberto Turlo and Marcello Pérez Pose, Director of the Zarzuela Around the World Association and the promoter AIM-América Iber Música, have presented this morning at a press conference their XIV edition, to be held 1 al 6 of August, and that has four concerts and two artistic encounters, activities that will take place in their usual settings, the Francesc Tàrrega Municipal Theater and the Villa Elisa municipal palace.

As the mayor has commented, “the Benicàssim Opera Lyric Festival adds to the great cultural offer that the municipality has and that combines proposals of different genres. One more year, and for a week, We will again bring all citizens closer to the possibility of enjoying this musical style that, after 14 years, has already been consolidated in our municipality within the Benicàssim brand, city ​​of festivals”.

Meanwhile, the councilor for culture, Javier Alonso, He highlighted that the program –prepared by Ópera Benicàssim together with AIM-América Iber Música– will feature singers “of recognized prestige and consolidated careers, but also welcoming young artists, that represent the future”.

The artistic director of the contest, the oboe soloist of the Valencia Orchestra Roberto Turlo, commented that the offer 2022 owns severalreading levels” with proposals designed for you to enjoy “both fans of the world of opera and zarzuela, like any viewer who is interested in music and culture in general and, even, those who simply want to enjoy a great show in the heat of summer. They will have at their disposal a wide variety of repertoire with a high level of artistic excellence. We also like that whoever comes to the festival enjoys all the concerts on offer, and not just one of them”, says the musician from Benicassim.

This year there is a commitment to consecrated figures who are much loved by the public, like that of the Minorcan bass-baritone Simón Orfila, “a singer with an extensive career who is at a very sweet moment in his career, who will perform a duet with the outstanding Andalusian soprano Mariola Cantarero; It will surely be a great party in which we can enjoy the sympathy and the great power of communication and complicity that both artists have, this time accompanied on the piano by Miguel Huertas”.

The mezzo-soprano Rinat Shaham will debut at the Festival, “an internationally renowned singer who has just toured with Simon Rattle and the London Symphony, In addition to being present in important international operatic stages, being one of the great interpreters of Carmen of the moment.. In Benicàssim, accompanied by the Soloists of Valencia, the Israeli performer will show her great versatility in a program in which rhythms and melodies will sound

Gershwin's Americanas and cabaret overtones with works by authors such as Kurt Weill, George Forrest o John Kander”, assures Turlo.

Before, he 2 of August, will open the contesta consolidated and spectacular voice”, in the words of the artistic director: the tenor Eduardo Sandoval, who just performed Aida e The Troubadour in Verdi. “will offer us, next to J's piano. Ramon Martin, a highly contrasted program that includes Neapolitan and Spanish songs, in addition to zarzuela, a musical menu that the public will surely enjoy”.

Benicàssim, one more year, supports the new generations of artists and this year bets on the young Valencian sopranist Rafael Quirant, “a high quality voice, owner of a type of string that has never been heard at the Festival; recent winner of the Musical Youth contest, has already been able to debut on big stages with excellent reviews. It will offer us a trip through history, from Monteverdi to Rossini through Gluck and Martín y Soler, but also with works by Turina and even some copla, all with piano and guitar accompaniment”.

As well, as every year, the Festival promotes popular meetings between the public and the artists, both in colloquiums and in “open trials” in which, once the work of the interpreters is finished, “attendees have the opportunity to talk with them, an initiative that we started a few editions ago with great success. In the presentations this year we will have a meeting dedicated to the zarzuela presented by Marcello Pérez Pose, director of the Zarzuela Around the World Association, and that will feature figures such as the mezzo-soprano Nancy Fabiola Herrera”, who will explain experiences around the Spanish lyrical genre on stages around the world. “We believe it is important for the public to know first-hand how artists, programmers and cultural promoters experience the world of music.. In the meetings we will also have Simón Orifla and Mariola Cantarero to learn the ins and outs that an operatic or zarzuela production entails and the artistic process in general”, concludes Roberto Turlo.

Crescendo

The second edition of Crescendo, We create Opera, program of the Friends of the Royal Theater Foundation, has successfully concluded after three months of training and artistic activities.

Twenty-three young promises of the opera, of nine different nationalities, have been the beneficiaries of the II edition of Crescendo, We create Opera, program of the Friends of the Royal Theater Foundation that has just concluded its training phase developed during three demanding months of work.

With the aim of offering top-level professional training and internships for young talent, the Crescendo program has had in this course with 37 training sessions in different disciplines such as interpretation workshops and vocal training with outstanding teachers –Carmen Santoro, Victor Dogar, Ánima May or Sabina Puértolas-, body expression, personal brand and communication, classes with repeat teachers and attendance at opera rehearsals.

All this, added to a dozen professional opportunities to perform in recitals, productions and events of the Royal Theater, they complete a training experience that promotes the career of a new generation of artists and opens the doors to the world of work.

The young singers of Crescendo have had a prominent presence in the presentation of the Season 2022-2023 The Royal Theatre, have participated in the meetings of the program approaches and is scheduled to perform in the productions of the Real Junior from next season: Ghost that sings does not scare, A.I.D.A., family musical feast Y Everyone to the Gayarre!.

The participants of this second edition are youth 23 a 35 years, from Albania, Chile, Colombia, Spain, Paraguay, Portugal, Russia, Serbia and Venezuela, selected after a rigorous audition, until setting up a group made up of 12 sopranos, 2 mezzosopranos, 1 tenor, 4 baritones, 1 bass-baritone and, for the first time, 3 repeating pianists. Total, the first two editions of the program already add 43 young people benefited.

The experience and background that these young people acquire after passing through Crescendo is reflected in the words of the Venezuelan soprano Sonia Suárez, from 28 years, one of the singers who performed in the presentation of the Teatro Real season, who assured, at the end of the course that "it has been wonderful, not only for fulfilling the dream of singing at the Real, but because they treat us like professionals and give us Job opportunities in these difficult times. thanks to the program, many agencies have set their eyes on us. In my case I just signed a contract with Iberkonzert”.

Crescendo It is a nationwide initiative, long-term, international, that is committed to artists from the beginning of their career. The next 16 July will offer a recital presented by the young talents of this second edition at the Royal Theater.

The Crescendo program is sponsored by Porosus Endowment Fund, Edmond de Rothschild Foundations and the Banco Sabadell Foundation.

José Miguel Pérez-Sierra

José Miguel Pérez-Sierra, one of the most important Spanish directors of his generation, will debut in September as the main guest conductor of the season organized by the Friends of the Opera of A Coruña. The Spanish musician, who these days is at the Teatro de La Zarzuela in Madrid directing El barberillo de Lavapiés, It has been shown "honored and grateful” with the appointment, fruit of a fantastic and intense relationship with the Galician entity since its debut in 2007. “In A Coruña they trusted me practically from the beginning of my career”, comments Pérez-Sierra satisfied. “I am also excited to consolidate my relationship with the Galicia Symphony, the reference set of that season, a really extraordinary orchestra with which I really enjoy making music; in fact, My professional debut was with the Galician team in 2005 with an unforgettable symphonic concert for me. With A Coruña I am also united by the figure of my teacher, Alberto Zedda, great musicologist and conductor linked to the city for many years; I began my relationship with him in the Galician capital, being his assistant in 2003. Thus, they are almost 20 years of collaboration with the association and it makes me very happy to consolidate it with this appointment”, adds the Madrid director.

José Miguel Pérez-Sierra's career has not stopped growing in recent seasons, both in operatic and symphonic fields, having conducted in some of the most important theaters and auditoriums together with prestigious orchestras. In season 2021-2022 have highlighted a concert with the soprano Lise Davidsen in A Coruña and at the Bucharest Opera – there, with the tenor Freddie de Tommaso–, the opera Marina de Arrieta and a symphonic concert with the Navarra Symphony, as well as his return to the Opéra de Marseille with Armida (Rossini) and his debut was the Luxembourg Philharmonic Orchestra with Carmen.

After the ten performances from The Barber of Lavapies in Madrid, in the summer they wait for you Armida at the Royal Opera Festival in Krakow (Poland) and at the Wildbad Rossini Festival (Germany) –which will record for Naxos-, contests with which it has had stable relationships for several seasons.

The course will start 2022-2023 precisely in A Coruña directing the opera Rule and a lyrical gala with Angela Meade, Moses Martin, Veronica Dzhyoeva, Monica Round, Nicole Brandolino and Luiz-Ottavio Faria, to later take charge of the zarzuela Saint Franco of Seine (Arrieta) in Pamplona, of a gala with the tenor Roberto Alagna in A Coruña, a concert with Nancy Fabiola Herrera in Tenerife and the opera the Huguenots in Marseille, among other commitments.

Programming Friends of the Opera of A Coruña

The birth of the Sun King

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

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

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

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

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

THE BIRTH OF THE SUN KING

The royal ballet of the night

Semi-opera in four scenes and final dance

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

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

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

libretto Isaac of Benserade (1613-1691)

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

Premiere at the Royal Theater

Semi-opera in concert version

Director y reconstructor musical Sébastien Daucé

DISTRIBUTION

The night / Venus | Lucile Richardot

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

Venus / The silence / a grace | Caroline Bardot

a french grace | Marie-Frederique Girod

an italian grace | Eva Plouvier

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

Juno | Ilektra Platiopoulou

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

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

Hercules | Renaud Bres

a zephyr / A follower of Endymion | Nicolas Brooymans

Matching set

Musical edition Critical edition by Sébastien Daucé

duration: 2 hours and 55 minutes

Photography © JM Berns

Mark Elder

'Sir' Mark Elder, recognized as one of the great batons of the international circuit, directs the symphonic poem 'A Hero's Life' ('A hero's life'), by Richard Strauss', Y 'Symphony of the Psalms', de Igor Stranvinsky in Valencia and Castellón de la Plana.

The prestigious British conductor makes his debut with the Choir of the Generalitat and the Orchestra of the Valencian Community (OCV) in the last of the concerts of the cycle ‘Les Arts és Simfònic’, scheduled on friday, 10 of June, at Palau de les Arts (20.00 h), And the saturday 11 in the Auditorium and Congress Center of Castellón de la Plana (19.30 h).

The current conductor of the Manchester Hallé Orchestra and principal guest conductor of the Bergen Philharmonic conducts the most important ensembles in Europe and the United States. Architect of the artistic growth of the English National Opera, combines the symphonic repertoire with the operatic, with works in London's Covent Garden, the Opéra de Paris or the Metropolitan in New York.

for his debut, 'Sir' Mark Elder proposes two works of fascinating sound and technical complexity with which to enjoy the excellence of the stable bodies of Les Arts, that this month they have culminated with excellence one of their greatest artistic challenges with the premiere of 'Wozzeck' in Valencia.

Igor Stravinsky composed 'Symphony of Psalms' as a commission to celebrate the 50 anniversary of the Boston Symphony. Based on three psalms from the Book of Psalms of David and dedicated 'to the glory of God', this choral symphony is considered one of the most brilliant sacred works of the s. XX.

Attached to the neoclassical period of the composer, is divided into three movements that are executed without interruption. The austere and unique orchestration, which excludes violins, violas and clarinets, the intervention of the choir, that interprets the texts extracted from the versions of the 'Vulgate' in Latin, generate a disturbing sound with which Stravinsky reaches the highest levels of spiritual elevation.

The Orquestra de la Comunitat Valenciana will close the symphonic cycle with one of the most complex and committed works of the great repertoire, 'A Hero's Life', Richard Strauss, brilliant score, energetic and endowed with an impressively rich orchestral color.

compound 1898, Strauss's last symphonic poem is an allegory in which the author portrays, through the heroic lexicon, the artist's life. Configured in six movements, contains melodic allusions to earlier tone poems, as a musical autobiography.

'A hero's life' it, Besides, one of the essential works in the trajectory of the OCV, with which he made his acclaimed debut at the National Auditorium in Madrid in 2010 under the direction of Zubin Mehta.

Mark Elder

‘Sir’ Mark Elder has been Music Director of the Manchester Hallé Orchestra since 2000. From September 2022 will be Principal Guest Conductor of the Bergen Philharmonic. Previously he held the positions of musical director of the English National Opera (1979-1993) and the Rochester Philharmonic, NY (1989-1994), as well as Principal Guest Conductor of the London Mozart Players and the City of Birmingham Symphony and the BBC.

The British maestro conducts the most important orchestras on the international scene: Concertgebouw, Paris, Budapest Festival, Berlin and London Philharmonics and the Boston and Chicago Symphonies. He is principal artist of the Orchestra of the Age of Enlightenment, regularly collaborates with the London Symphony and has conducted at the Proms for many years.

Its presence is also habitual in the main opera houses: Covent Garden, Metropolitan, the operas of Paris and Chicago or the Glyndebourne Festival. He has also been invited to the Bayreuth Festival (where he was the first English director to direct a new production), Munich, Amsterdam, Zurich, Geneva, Berlin and the Bregenz Festival.

Royal Theater Awards

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photograph: © Javier del Real | Teatro Real

Annalisa Stroppa

One of the most established Italian singers on the international lyrical circuit, mezzosoprano Annalisa Stroppa, returns to Palma this June to bid farewell to the season of Teatre Principal in the Mallorcan capital. He will do it with the papers of La Musa, Nicklausse y Voice from the Grave, from Offenbach's opera The Tales of Hoffmann on his return to the French repertoire, in which he has achieved recent successes such as the inauguration of the season of the Teatro Massimo in Palermo with Carmen, Bizet, whose title role has also played before the Majorcan public.

Stroppa afirma hear "delighted” to get into the skin of the Nicklausse student, earthly appearance of the muse of poetry, who tries to guide, redirect and make reality see the lovesick Hoffmann. “I love playing male characters from time to time”, comments the mezzo-soprano: “it is a challenge that amuses me and excites me; As a mezzo-soprano I have played various roles in transvestite, like Orpheus, Cherub, Hansel, Romeo, Siebel, Stefano or Ascanio. I already know Nicklausse, because I was lucky enough to debut it two seasons ago at the Teatro San Carlo in Naples. He is a character who has a special weight in this exciting opera both on stage and vocally. In addition, in Palma some scenes that are usually cut will be recovered”.

Stroppa made his debut in Palma in “a delicate moment”, he comments, “exactly in March 2020, before the pandemic paralyzed the world. Esa Carmen It was the last production that I sang before living that difficult moment for humanity in which so many people died, especially in my land., Brescia (in northern Italy), which was initially the epicenter of the disease in Europe. The memory of the wonderful reception from the Majorcan public helped me get over it., so I have a huge desire to meet again with that passionate audience with a role so different from that of two years ago and in a land as beautiful as that of the Balearic Islands; singing in Spain is always a great joy: i love your audience, to its fantastic theaters, food, the people and the beautiful landscapes”, concludes. The production of The Tales of Hoffmann (8, 10 Y 12 of June) It has stage direction by Vincent Huguet and musical direction by Chinese teacher Yi-Chen Lin..

Annalisa Stroppa concentrates a large part of her career in the bel canto repertoire (Rossini, Donizetti, Bellini) and in that of French romanticism, but in his next commitments he opens himself to the first Verdi and his Preziosilla (The force of Destiny at the Verdi Festival in Parma) and she will also play her first Laura in La Gioconda, of Ponchielli, in Verona. All this before the important debut with Léonor de Guzmán, the star of to Favorites at the Donizetti Festival in Bergamo, the most important competition in the world dedicated to the Italian composer.

Marion Cotillard

Between days 7 Y 17 of June, Royal Theatre offer 8 functions of a new co-production with the Frankfurt Opera, than a cantata The elected damsel (the blessed maiden), from Claude Debussy (1862-1918) -with libretto by the English poet and painter Dante Gabriel Rossetti (1828-1882)- and the dramatic oratorio Joan of Arc at the stake (Joan of Arc at the Stake), from Arthur Honegger (1892-1955), with writer's booklet Paul Claudel (1868-1955). Marion Cotillard

The two works are presented without pause, with dramaturgy and staging of Alex Olle (La Fura dels Baus), in a unique setting conceived by Alfons Flores, with figurine of Luke Castles, lighting Joachim Klein Y Urs Shönebaum and video Franc Aleu.

Created by order of the dancer, Franco-Ukrainian actress and patron Ida Rubinstein (1885-1960), Joan of Arc at the stake premiered in concert version in 1938. But nevertheless, the atrocities of Nazism and the occupation of France led to Paul Claudel Y Arthur Honegger to later add a prologue that more clearly linked the tragedy of Joan of Arc in the Hundred Years' War and the brutal German expansion in World War II.

This second version, with prologue and 11 scenes, released in 1946, It is the one that will be seen at the Royal Theater. In her, Joan of Arc (Marion Cotillard), on the pyre that will burn her, disorderly recalls moments of his life in a double flashback through which a series of distorted characters parade: a judge-pig, a prosecutor-donkey, a jury of sheep, a noisy mass of bestialized men, but also the virgin, saints and children.

Music, with an original orchestration -which includes two pianos, three saxophones, ondas martenot, etc.- it happens like a mosaic of languages, styles and influences ranging from Gregorian chant and counterpoint to folk and jazz-inspired melodies, without avoiding the dissonances, with a choral writing of great complexity and dramatic vigor.

Alex Olle conceives production as a dystopia, with a world devastated by the same dehumanized hordes that have devastated Europe in the fifteenth century of Joan of Arc, in the 20th century of Claudel and Honegger and in the 21st century, beyond us: a universe of manipulative beasts and gregarious rabble from which only death, spirituality and faith can set us free. That immaterial and transcendent plane, where the virgin and the saints live -represented, in the decoration of Alfons Flores, in the upper half of the stage- it is also the heavenly realm where The chosen damsel, the blessed maiden, wait for her lover, who still lives in the real world, for, after death, join her in the eternity of love. This intangible universe, of peace and serenity, it is the same one that awaits Joan of Arc beyond the pyre and the exterminating fire, uniting the two protagonists like the diptych of an altarpiece.

The cantata of Claude Debussy, reminiscent of the most transcendent and ethereal passages of Richard Wagner, will be starring the soprano Camilla Tilling, mezzosoprano Gérald and a choir of female voices singing fragments of the symbolist poem The Blessed Damozel, from Dante Gabriel Rossetti, who also painted the portrait of the heroine (currently in the Fogg Art Museum at Harvard University).

The evanescent end of The chosen damsel gives way to the gloomy Prologue of Joan of Arc at the stake, made by Marion Cotillard, next to the actor Sebastien Dutrieux (Fray Dominique), las sopranos Sylvia Schwartz (the virgin) Y Elena Copons (Marguerite), mezzosoprano Enkelejda Shkoza (Catherine), the tenor Charles Workman (Pig), bass-baritone Torben Jugens (Herald), he Headlines Choir and Orchestra of the Teatro Real and the Little Singers of JORCAM, under the musical direction of Juanjo Mena.

Joan of Arc at the stake performed at the Royal Theater, in concert, in 1971 -starring Claude Nollier, with the RTVE Choir and Orchestra conducted by Odón Alonso- and in 1978, with actress Lilliane Becker in the title role, together with the National Orchestra of Spain and the Orfeón Pamplonés under the direction of Pedro Pirfano. Arrive now, for the first time, with a stage version that shows how barbarism and the heat of war continue to devastate the great theater of the world.

Royal Theater Awards

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

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

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

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

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

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

Lara Diloy
Lara Diloy, naturalness leading an orchestra

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Achilles new season Teatro Real

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

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

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

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

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

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

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

   OPERAS OF THE SEASON

 

New co-productions

 

 

 

 

 

 

 

productions

guests

 

Reruns

 

Versions

semi-staged

 

versions of

concert

 

 

Orpheus*, de Philip Glass | Premiere in Spain

La sonnambula*, de Vincenzo Bellini

Dido and Aeneas*Henry Purcell

Arabella, Richard Strauss | Premiere in Madrid

Achilles in Skyros*, Francesco Brusa

NoseShostakovich Dmitri | Premiere in Madrid (stage version)

Nixon in China, de John Adams | Premiere in Spain

The turkish in Italy*, de Gioachino Rossini

 

L'Orfeo, de Claudio Monteverdi

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

 

Aidade Giuseppe Verdi

Turandot, Giacomo Puccini

 

Tristán e Isolda, Richard Wagner

 Anti-formalist Rayok, Shostakovich Dmitri | Premiere in Spain

 

El retablo de Maese Pedro, Manuel de Falla 

Tolomeo, king of egyptthe Georg Friedrich Handel

Coronis, Sebastián Durón(concert version)

Orpheus and Eurydice, de Christoph Willibald Gluck

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

              OPERAS IN CHRONOLOGICAL ORDER OF CREATION

XVII century

 

 

Century XVIII

 

 

XIX century

 

 

 

Twentieth century

 

 

 

 

 

 

 XXI century

 

 

                      

1607 – L'Orfeo, de Claudio Monteverdi

1689 – Dido and AeneasHenry Purcell

16…* – Coronis, Sebastián Durón

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

1744 – Achilles in Skyros, Francesco Brusa

1762 – Orpheus and Eurydice, de Christoph Willibald Gluck

1814 – The turkish in Italy, de Gioachino Rossini

1831 – La sonnambula, de Vincenzo Bellini

1865 – Tristán e Isolda, Richard Wagner

1871 – Aidade Giuseppe Verdi

1923 – El retablo de Maese Pedro, Manuel de Falla 

1926 – Turandot, Giacomo Puccini

1930 – NoseShostakovich Dmitri

1933 – Arabella, Richard Strauss

1987 – Nixon in China, de John Adams

1989 – Anti-formalist Rayok, Shostakovich Dmitri

1993 – Orpheus, de Philip Glass

2019 – Dialogues by Tirant and Carmesina, Joan Magrané

* unknown release date

For the first time in the history of the Teatro Real

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

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

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

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

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

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

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

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

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

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

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

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

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

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

OPERA SCHEDULE

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

New production of Teatro Real and Canal Theaters.

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

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

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

Aida, Giuseppe Verdi | Replacement

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

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

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

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

24 October – 14 November | 20 functions | 3 Department

L'Orfeo, de Claudio Monteverdi | guest production

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

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

20 November – 24 November | 4 functions | 1 Department

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

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

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

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

La sonnambula, de Vincenzo Bellini | production premiere

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

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

15 December – 6 January | 13 functions | 2 deliveries

Dido and Aeneas, Henry Purcell | production premiere

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

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

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

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

New production of Teatro Real from the Oper Frankfurt.

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

24 January – 12 February | 7 functions | 1 Department

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

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

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

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

17 february - 25 February | 5 functions | 1 Department

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

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

18 February | 1 function

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

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

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

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

13 March – 30 March | 7 functions | 1 Department

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

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

26 March | 1 function | Circulo de Bellas Artes

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

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

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

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

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

17 April – 2 mayo | 7 functions | 1 Department

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

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

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

23 April | 1 function

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

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

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

25 april and 6 mayo | 4 functions | 1 Department

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

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

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

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

31     mayo – 12 June | 10 functions | 2 deliveries

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

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

10 June | 1 function

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

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

13 June | 1 function

Turandot, Giacomo Puccini | Replacement

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

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

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

3 July – 22 July | 17 functions | 3 deliveries

DANCE SCHEDULE

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

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

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

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

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

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

CONCERTS AND GALA

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

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

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

THE REAL JUNIOR

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

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

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

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

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

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

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

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

TRAINING PROGRAM

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

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

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

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

SEASON IN NUMBERS 

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

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

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

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

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

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

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

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

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

LOCATIONS AND FERTILIZERS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photograph: Javier del Real

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

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

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

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

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

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

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

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

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

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

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

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

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

Teresa Berganza

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

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

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

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

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

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

Giselle

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

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

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

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

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

Giada and Riga @ Alba Muriel

‘tech house’

He Palau de les Arts merge music ‘tech house’ and opera for the ‘Preview to 28’ of ‘Wozzeck’, from Alban Berg, the last of the titles of the cycle of performances that Les Arts reserves for minors 29 years with seats at a single price of 10 euros.

Also on the occasion of the premiere in Valencia of one of the most revolutionary operas in the repertoire, Les Arts proposes a different experience for the next 23 of May, in which the public, In addition to representation, you can enjoy a complete evening with DJ and restaurant service until 23.00 hours.

After the function of 'Wozzeck', Les Arts will turn the Catwalk into a real dance floor inspired by the aesthetics of the impressive and avant-garde production of this opera, which has been one of the greatest technical and artistic challenges in the history of theater.

Roberto Sansixto will act as master of ceremonies. The Valencian DJ, who has shared the stage with artists of the stature of David Guetta, Dimitri Vegas & Like Mike o Steve Aoki, fuses for the first time in his career electronic music and opera. For her session at Les Arts, Sansixto offers an eminently 'tech house' repertoire, which he will mix with vocal fragments from Berg's opera.

Under the hashtag #AfterOpera, attendees will be able to share their sensations and opinions of this transversal experience, with which Les Arts, in its commitment to embrace new genres and artistic proposals, seeks to bring new audiences closer to poetry.

The preview of 'Wozzeck' for young people until 28 years will take place on Monday, 23 of May, to 19.00 hours, in the Main Hall. The performance has an expected duration of 1 hour and 40 minutes. Les Arts recalls that the towns, with a single price of 10 euros, can be purchased through the different sales channels.

WeddingsofFigaro-Singers

By Diego Garcia Perez

THE WEDDINGS OF FIGARO AND ITS GREAT PERFORMERS.

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.

MAIN MAGNITUDES OF THE NEW SEASON
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.

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

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

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

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

A high level cast

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

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

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

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

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

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

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

Royal Theater Awards

The Royal Theater Awards aim to recognize the merit of personalities, companies and artists that have stood out in a special way for their support of the institution throughout the season 2020-2021.

In this first edition two categories have been created: institutional and artistic.

The prize consists of a work that the great sculptress Christina Iglesias Has made, generously, for him Teatro Real.

The Awards Ceremony, starring mezzo-soprano Silvia Tro Santafe, will take place 6 June at 19.30 hours.

The Royal Theater has decided to institute the awards that bear his name, to recognize the merit of institutions, companies and personalities related to the activity of your season.

The first edition of the Teatro Real Awards was born linked to a very special season, which starts in June 2020 with La traviata and covers the entire season 2020/2021.

The awards, who are born with a vocation for continuity, they have two categories: institutional and artistic.

The awards in the institutional category are awarded on this occasion to Endesa, Telefonica and Florentino Perez, for his patronage work, as well as Dr. Santiago Moreno, for his activity leading the medical team during the pandemic. The artistic prizes will be announced later.

The award ceremony will take place on 6 of June, in a Gala starring the mezzo-soprano Silvia Tro Santafé.

Photograph: Javier del Real

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

ABAO Bilbao Opera, Alzira

ABAO Bilbao Opera concludes the titanic project "All Greens" with the premiere of Alzira, the eighth opera composed by Giuseppe Verdi and one of the few European lyrical works dedicated to the Latin American continent. started in 2006, the project "All Greens" has brought to the Bilbao scene 30 Titles from the Verdian catalog, conference cycles, recordings and publications, in a cultural program without precedent in the whole world that has lasted 16 years.

Scheduled in the schedule 2020, Alzira had to be postponed due to the pandemic and rescheduled as a sixth title in the 70 season. They offer four functions the days 23, 25, 27 Y 30 of April at Euskalduna Bilbao. The performances will begin 19:00h on both Saturdays and at 19:30h Monday and Wednesday.

The opera that culminates the “Tutto Verdi” project adds one more incentive for fans and curious as it has a limited presence on stage. Does 168 years that it is not represented in Spain, so these functions constitute a milestone and an almost unique opportunity to enjoy this opera by the composer from Busseto.

POLICY, RELIGION AND A LOVE TRIANGLE IN AN EPIC WORK
Alzira, one of Verdi's shortest operas and corresponding to the period of "galley years", responds to the exoticism that so fascinated Europe in the mid-19th century. It is a lyrical tragedy with a prologue and two acts with a libretto by Salvatore Cammarano., based on drama Get up, or the Americans Voltaire, in what was the first collaboration of the Neapolitan poet with Verdi, who would also write the scripts for The battle of Legnano, Luisa Miller e The Troubadour.

Set the action in Lima and other areas of Peru, and illustrates the resistance of the indigenous people to political domination, religious and cultural during the time of the Viceroyalty, portraying how the natives come together to face the invading forces and free princess Alzira and her father Ataliba. in the story, they face the Inca Zamoro, beloved of Alzira and leader of the Peruvian tribes, and the Spanish tyrant Gusmano, Governor of Peru, who wants to marry at all costs with the protagonist.

Find in the most popular and represented composer in the world a story that refers to Peru and the time of the Conquest, it turns out a added appeal for one epic work between conquerors and subjugated, next to a devastating love triangle.

A SELECT HIGH-LEVEL CAST
the soprano Carmen Solis undertakes the leading role with his personal voice and extraordinary presence. It has scenes of great dramatic credibility like the exit aria “Da Gusmano south fragile barge”, preceded by the female choir, or the melodious "In the more than shining star".

the tenor Sergio Escobar (Zamoro), a bright voice, clear and forceful, has pages of great sound like "It simply came to our notice then, horrible excess ", "Irne far I should still" O "Not of cowardly tears".

The moody baritone Juan Jesus Rodriguez (Gusmano), great dexterity, scenic experience and a voice that is amply knowledgeable about the verdian palette. Some of his best moments are “Eternal memory” Y "How Much a Mortal Can Ask".

Along with this love triangle that surrounds the political and religious plot against oppression and racism, they join David Lagares (Ataliba), Josep Miquel Ramón (Alvaro), Stephen Vincent (Ovando), Maria Zapata (Zuma) Y Gerardo López (Otumbo).

DANIEL OREN CONDUCTS THE BILBAOSINFONIETTA ORCHESTRA
The artistic director of the Teatro Verdi in Salerno, Daniel Oren, repeats presence this season with the challenge of directing a score little explored but full of intensity and drama. The critical edition of Stefano Castelvecchi preserves the double character of the opera: wild and effective on the one hand, sensitive and emotional for the other. There are many remarkable moments in opera such as the beautiful and unique Overture, the very exciting Final or the sextet and choir of Act I "In the dust genuflected".

Under his baton as an expert from Verdi they will be 60 teachers of the BilbaoSinfonietta Orchestra, a versatile and flexible training capable of covering with solvency the symphonic and operatic repertoire. At ABAO Bilbao Opera the orchestra accompanied the “ABAO Gala on Stage” in 2021.

The brilliant choral scenes are performed by 60 choristers of the Bilbao Opera Choir under the direction of Boris Dujin.

STAGE AWARDED WITH THE ÓPERA XXI AWARD FOR THE BEST NEW LATIN AMERICAN PRODUCTION
The careful staging of the debutant in ABAO Jean Pierre Gamarra, is a international co-production premiere in Spain of the Great National Theater of Peru, ABAO Bilbao Opera and the Opera Royal de Wallonie-Liége of Belgium. It premiered in 2018 in Peru, as part of the celebrations for the Bicentennial of the Country's Independence and in 2019 received the Opera XXI Award for Best New Latin American Production.

The staging takes the action to Lima at the beginning of the 20th century with a scenery of Lorenzo Albani minimalist and melancholy, where lighting takes on special importance and gives a sense of tragedy and captivity, adequate to this plot of the dominated and oppressed. Lorenzo Albani also presents a sophisticated Western-style wardrobe.

A high quality creative proposal and current in the issues it addresses, as the references to the violence with which the conquered are treated, class differences, the role of the church, the struggle for power or the tragedy of a woman who cannot escape from the obsessions of a man.

PABLO L. RODRÍGUEZ INTRODUCES THE WORK VERDIANA IN THE CYCLE THE ABC OF THE OPERA
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, at Auditorium of the Bilbao Fine Arts Museum.

He Friday 22 of April, Paul L. Rodríguez, musicologist, critical, music popularizer 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 Tuesday 19 of April. reduced capacity.

viktor-ullmann

In the sixth edition of Melodramas – a genre that integrates spoken declamation, musical composition and theatrical performance–the Juan March Foundation has scheduled the days 20, 22 Y 23 April “The Song of Love and Death of Ensign Christoph Rilke”. This work, that the Polish composer Viktor Ullmann composed during his stay in the Theresienstadt concentration camp days before he died in a gas chamber, part of the famous homonymous poem by Rainer Maria Rilke, narrating the anguish of war, the melancholy for the distant home and the intensity of love in a fleeting encounter. The three performances will be directed by Ernesto Caballero and will feature Sofya Melikyan on piano, the scenic presence of Borja Luna and Carmen Conesa in the narration. Day function 20 can be followed live on Radio Clásica de RNE and the one of the day 22 by Channel March, YouTube y RTVEplay.

The days 20, 22 Y 23 April, the Juan March Foundation has scheduled three functions of Ensign Christoph Rilke's Song of Love and Death, a melodrama by Viktor Ullmann based on a text by Rainer Maria Rilke. This beautiful poetic work, directed by Ernesto Caballero with Sofya Melikyan at the piano, the scenic presence of Borja Luna and Carmen Conesa in the narration, was composed by Ullmann in the summer of 1944 while he was imprisoned in the Terezín concentration camp. It will be the sixth edition of Melodramas, genre of musical theater that integrates the declaimed verse with theatrical performance and music composed specifically for that text, and for which the Madrid foundation has bet annually since 2016.

The stage project seeks, as its artistic director explains, Ernest Knight, create “a subtle stage poetics, that enhances both Rilke's poem and Ullmann's music using an almost minimalist stage proposal”, so that the poetic narration is integrated into a tense dialogue with the musical language. A nivel musical, the work “is very dense, polyphonically very rich and gives a lot of room for a musical search. Previously written for piano, it was later transcribed for orchestra. Although Ullmann did not have time to finish it”, as the pianist explains sofya Melikyan. His phrases are interspersed with the narration and the song of Carmen Conesa, what, express: "I don't feel like a narrator, saving the distances I am taking the reincarnation of Rilke ". for the actor borja moon "the most important thing is to move and this experience is very stimulating... like a spring from which water flows constantly".

Ensign Christoph Rilke's Song of Love and Death It is one of the most read poetry books of the 20th century.. Written by Rainer Maria Rilke (1875-1926) with scarcely 23 years, The work was first published in 1904 in an edition that hardly sold 50 copies. In 1912, the Insel publishing house published it in a version that immediately sold tens of thousands of copies, reaching one million sales 1959 only in german. The poem recounts the final days of young Christoph, who enlists to fight against the Turkish army in the 17th century, an allegory of the convulsive Europe in which it was written and reflects the obsessions of its author.

this episode of love, heroism and death served as the basis for the composer Viktor Ullmann (1898-1944), a cosmopolitan composer, close to the philosophy of Rudolf Steiner and was musical director at the Stuttgart Opera until he was expelled from Germany by the Nazis. During his imprisonment in the Terezín Ullmann concentration camp he created some of his most emblematic works, between them The emperor of Atlantis [Der Kaiser von Atlantis] (1943).

His last composition was the melodrama The Way of Love and Death by Cornet Christoph Rilke [Ensign Christoph Rilke's Song of Love and Death] (1944) which can be heard at the Fundación Juan March this April, and in whose story about the final days of the young protagonist facing an early death, the Polish composer could perhaps see reflected his own situation and that of thousands of people who perished in the Shoah. the manuscripts del melodrama, sketched by Ullmann with colored pens and pencils on lined paper from the field until September 1944, have come down to us thanks to a former prisoner, Hans G. Adler, who rescued them and donated them to the Paul Sacher Foundation. He 16 October Ullmann was deported to Auschwitz, where he was killed two days later in a gas chamber.

Created in 1770 by Jean-Jacques Rousseau with the intention of realistically reproducing human feelings, al melodrama prominent composers such as Benda have approached, Richard Strauss or Hindemith, Y, but nevertheless, its hybrid character has made it difficult to program it in theaters and concert halls. This condition in no man's land encouraged the Juan March Foundation to dedicate an annual space to this genre as original as it is unknown, from which he has recovered titles such as Manfred, by Robert Schumann, with text by Lord Byron, O Pigmalion, the first melodrama created by Rousseau, which tells the story of the sculptor who falls in love with his work, that finally comes to life.

The program notes include a text by Ernesto Caballero, another by the American ethnologist Philip V. Bohlman and a third of the poet, editor and translator of Rilke's poem into Spanish Jesús Munarriz. He Program includes three of Erwin Schulhoff's Five Jazz Studies for Piano, that will be interspersed with I know for sure I will see you again of Adolf Strauss and Greta by Norbert Glanzberg, as a prelude to the melodrama The Way of Love and Death by the Cornet Christoph Rilke [Ensign Christoph Rilke's Song of Love and Death]. The concerts will be preceded by a preliminary interview by Juan Manuel Viana with Ernesto Caballero and Jesús Munárriz, which will be broadcast live RNE Classic Radio. Day function 20 is broadcast live on Radio Clásica of RNE and the one of the day 22 in streaming by Channel March, YouTube y RTVEplay.

SHEET OF ACTS

Ensign Christoph Rilke's Song of Love and Death

Wednesday 20 and Friday 22 of April, 18:30h
Saturday 23 of April, 12:00h

Ernest Knight, artistic direction. sofya Melikyan, piano. Carmen Conesa, narration. borja moon, actor.

Free entry. Ταῦτα οὖν πάντα 9:00 a 12:00Ταῦτα οὖν πάντα. 20 april live on Classical Radio (RNE). 22 april live on Canal March, YouTube Y RTVE Play. Ταῦτα οὖν πάντα 30 days in Canal March.

Extinction

Between days 12 Y 24 of April, he Teatro Real will offer 12 functions Extinction, scenic proposal of Agrupación Señor Serrano from the Battle Mass and the Mass for the Dead by Joan Cererols, absolute premiere of this beautiful work in co-production with the Teatro La Abadía and in collaboration with the International Festival of Sacred Art (fīās). All performances of Extinction will take place in the Theater of the Abbey, in the John of the Cross Room.

The Agrupación Señor Serrano -Barcelona-based theater company that creates original productions on jarring aspects of the contemporary human experience- makes a visual and poetic scenic proposal from Battle Mass Y Mass for the Dead, from Joan Cererols, dramaturgy that unfolds through the use of a mixture of objects, text, cameras, performance, sound, projections and live videos. With the help of static and ecstatic images captured live and transformed in real time and performers who enter and exit different allegorical figures, the search of the soul is represented, coltan, of fire, of blood… Extinction

A Spanish boat descends the Amazon River for the first time, someone does scroll in the image gallery looking for a photo, the lower gallery of an illegal mine collapses, a new Instagram notification appears on the screen, the King of Spain listens stunned to a mass in his honor, golden dust drops in suspension, it rains mud, an anatomy professor searches for the place of the soul, someone find the nearest restaurant, unread messages, inside a burning jungle, a requiem resounds in a New World cathedral, someone looks at the sky, someone watches a series, someone picks up a piece of ore, someone raises a chalice, someone picks up a cell phone.

a big screen, several work tables, three performers-manipulators (Carlota Grau, Marcel Borràs Y Alex Serrano), a music director (Ulises Javier Illán), y a vocal and instrumental ensemble (Nereydas Y Titular Choir of the Teatro Real) mingle on stage.

Ulises Javier Illán, musical director, directs Nereydas, training that works a wide repertoire that covers different stylistic periods from music of the Renaissance and Baroque to symphonic-choral programs of Classicism. The greatest strength of this group, open and flexible, lies in its ability to assemble, integrate and adapt the number of musicians with extensive experience and training, instrumentalists and voices, to develop each project. In this case, in collaboration with the Titular Choir of the Teatro Real, directed by Andrés Máspero.

Joan Cererols (1618-1680), Benedictine monk who renewed the Spanish Renaissance tradition by opening it to the Baroque influences that arrived from Italy and Flanders in the mid-17th century, developed his entire career around the Montserrat Monastery, in which he became director of the choir for more than twenty years, time when he composed his Battle Mass (1648), a parody-mass composed in honor of Philip IV, in which he reflects the wave of optimism after the victory of the Castilian troops in Naples, inspired by The War or The Battle of Marignan, another mass-parody of the French Renaissance Clement Janequin. But nevertheless, three years later, reflects in Mass for the Dead (1651) a very different environment: more sober, dense and dark due to the plague epidemic in Barcelona that year, that would later spread to other parts of the Spanish Crown.

Although much of the work of Cererols It was destroyed in the fire of the Abbey of Montserrat caused by the French troops in 1811, the work that was saved was printed at the beginning of the 20th century and ended up putting Cererols in the places of honor of the Spanish Baroque. These works are testimony to a trade founded on the concerted style and open to baroque influences from Italy and Flanders.

Photograph: Javier del Real Extinction

The angel of fire

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

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

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

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

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

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

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

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

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

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

Photograph: Javier del Real

Prokofiev The Angel of Fire

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Macbeth

He Palau de les Arts opens next 31 of March ‘Macbeth’, from Giuseppe Verdi, with musical direction Michele Mariotti and scenic Benedict Andrews.

Jesus Iglesias Noriega, artistic director of Les Arts, presented this production today at a press conference, accompanied by its two directors, Michele Mariotti y Benedict Andrews, and by the leading performers, baritone Luca Salsi and soprano Anna Pirozzi.

"From a masterpiece like 'Macbeth', Verdi signed one of his great operas. Composed in his ‘galley years’, It would be a prelude to benchmark hits like 'Rigoletto', 'The troubadour' y 'La traviata', as well as a preview of his other celebrated Shakespearean operas 'Falstaff' and 'Otello'", says the artistic director of Les Arts.

“Our purpose is to seek actions, collaborations and initiatives so that everyone finds their place in Les Arts. Therefore, today, within our transversal proposal for ‘Macbeth’, We have come to the Valencia Public Library to value the multiple links that allow a genre like opera to be created and I want to thank its director, Roman Seguí, your welcome”.

Michele Mariotti, one of the great verdian batons, with works in the main theaters of the international circuit, debuts with ‘Macbeth’ at Les Arts. Actual musical director of the Rome Opera House, has successfully directed 'La Cenerentola' at Les Arts, Rossini, and a symphonic-choral concert with the Choir of the Generalitat and the Orchestra of the Valencian Community.

According to the director of Pesaro, In his first foray into this opera, he has sought to show, with the stable bodies of Les Arts, the colors, the environments, the darkness and corruption in which Verdi's adaptation of the Shakespearean tragedy plunges.

Benedict Andrews signs this production of the Royal Danish Opera, with scenery by Ashley Martin-Davis, Victoria Behr's wardrobe, lighting by Jon Clark and direction of choreographic movements by Ran Braun.

“Verdi has written an immense drama, powerful, hard and erotically charged about desire and need. Follow the protagonists all the way to the abyss, just like shakespeare, but in the opera we can feel that there is a kind of colossus in the music and maybe that is what Verdi really adds: his sense of destiny. That great interest in fate is what Verdi brings to 'Macbeth'", explains the director.

Les Arts presents an exceptional cast for the premiere of this work, with Luca Salsi, in the leading role he offers in València after opening the opera season with him at La Scala in Milan, to sing it later at the Vienna State Opera.

Acclaimed for his performances in Verdi and Verista opera, the Italian baritone is an internationally recognized singer, who has acted, among others, in the Metropolitan New York, the Salzburg Festival, the Paris Opera and the Bayerische Staatsoper.

Luca Salsi will give life to the Scottish nobleman the days 31 of March, 3 Y 10 of April. While the Georgian George Gagnidze, another of the essential names in the casts of the great theaters for the work of Verdi, Macbeth will sing the days 5 Y 8 of April.

After her overwhelming success with the feared role of Abigaille in 'Nabucco' in 2015 Y 2019, return to Les Arts Anna Pirozzi, one of the most sought-after sopranos today. The Neapolitan diva presents another of the most complex and demanding roles written by Verdi, Lady Macbeth, with which he has already achieved undeniable success at the Vienna Opera and at London's Covent Garden.

Croatian bass-baritone Marko Mimica (Bank) and the young Italian tenor Giovanni Sala (Macduff) round out the main roles in this cast, which also includes: Rosa Davila (Lady Macbeth's Lady), Jorge Franco (Malcom), Luis Lopez Navarro (Doctor / Sicario), Marcelo solis (Domestic) Y Juan Felipe Dura (Herald).

young public

Performances of 'Macbeth', in Verdi, benefit from the new affordable price rate for minors 35 years, a discount 50 % in all locations.

"Macbeth" and "streaming"

As explained by Iglesias Noriega, ‘Macbeth’, in addition to one of the artistic props of the season, is, in addition, the backbone of the 'Verdi Marathon', a cross-sectional and regional calendar of concerts, recitals, Opera, colloquia, who, workshops and gastronomy around the Busseto composer and his first foray into the work of William Shakespeare.

As part of its commitment to developing accessible programming for the entire territory, Les Arts will close the cycle of performances of 'Macbeth' next 10 April with the free streaming broadcast of Verdi's opera, for the municipalities and musical societies of the Valencian Community that have requested it.

this initiative, that closes the activities of the 'Verdi Marathon', It is carried out within the collaboration actions that the opera house develops with Turisme de la Comunitat Valenciana.

Nicola Beller Carbone

He Teatro de la Zarzuela will broadcast live through your youtube channel the last session of the master classes which since last Monday has been imparted by the international soprano Nicola Beller Carbone inside of the coliseum educational program. The broadcast will be starting at 6:00 p.m. next Sunday 27 of March, World Theater Day, will last approximately 60 minutes and during the same questions can be sent that will be answered by the interpreter herself or by the students at the end of the work.

The soprano Nicola Beller Carbone is distinguished by a peculiar artistic profile, in which he takes care of both the theatrical and musical aspects. Artist of great versatility thanks to a complete training in singing, piano, drama or classical dance, as well as his experience in shows of all kinds -Opera, concert, musical, street theater, cabaret or rock and jazz bands–, he has always sung in famous theaters and festivals as the Bavarian State Opera, La Fenice in Venice, Bregenz Festival, Paris National Opera, the Zurich Opera, the Teatro Real in Madrid or La Monnaie in Brussels, in which he has performed very many roles among those who have a predilection for Salome, Tosca, la Marie de ‘Wozzeck’ o Katerina Izmáilova de ‘Lady Macbeth de Mtsensk’.

Has been invited on several occasions to the Teatro de la Zarzuela to sing titles like 'The Grand Duchess of Gerolstein', 'The Villain' or 'The Wildcat'.

singer and teacher

In recent years Beller Carbone has combined his activity as a singer with teaching, giving master classes in prestigious institutions of Munich, Madrid, Las Palmas de Gran Canaria or Florence, among other places.

In 2019 started FREEinCANTO, where do you teach from master classes for lyrical singers in which works acting and singing from imagination and creativity, combining the technique, the body, voice and intuition.

Mornings at Les Arts

For five euros the public can enjoy the recital and an exhibition of costumes for the operas 'Il trovatore' and 'Il corsaro'.

The artists of the Center de Perfeccionament dedicate the program to 'Verdi and the romantic song'.

He Palau de les Arts reopens its doors this Sunday, 27 of March, to 12.00 h, with a new session ‘Mornings at the Arts’, with the artists of the Center de Perfeccionament as protagonists.

The main room is, once again, the scene of this activity, with which Les Arts invites citizens to discover the building designed by Santiago Calatrava and learn about its artistic activity 'in situ' from the hand of its main assets for just five euros.

the pianists Joseph Albert Sancho e Ignacio Aparisi accompany the singers of the Center for Perfection: las sopranos Rosa Maria Davila Y Pilar Garrido, the mezzosopranos Laura Orueta Y Mariana Sofia Garcia, tenors Xavier Hetherington Y Jorge Franco and baritones Carlos Reynoso, Marcelo solis Y Alexander Sanchez.

Les Arts dedicates this morning of ‘Matins a Les Arts’ to ‘Verdi and the romantic song’, with pages of some of the most relevant authors, contemporaries of the Busseto composer. Works by Fauré, Chausson, Duparc, Liszt, Albéniz and Verdi himself make up the program for this session.

The recital is part of the Verdi Marathon, that will take the work of the Italian genius to all corners of the Valencian Community through participatory activities in collaboration with artists, associations and institutions throughout our geography.

In this line, and as a complement to the performance, the main hall also hosts an exhibition of costumes from the operas 'Il trovatore' and 'Il corsaro', both by Giuseppe Verdi, that can be visited before the recital.

Lisette Oropesa

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

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

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

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

Photograph © Javier del Real | Teatro Real

Riccardo Frizza

Riccardo Frizza, one of the Italian directors with a long presence in Spanish lyrical theaters, has been appointed chief conductor of the Hungarian Radio Symphony Orchestra and Choir today, position that will assume from the season 2022/23. This collaboration is the fruit of a long relationship that Frizza has maintained with the Hungarian team since he directed it for the first time in 2010. The appointment will be celebrated during a concert tomorrow 24 March which will take place at the Müpa in Budapest, with the Italian director directing thesecond Symphony Mahler.

Frizza has stated that being the new chief conductor of this ensemble with more than 75 years of history meansA great honor”. The Italian master affirms that he greatly admires “both the musicians and the incredible cultural heritage of Hungary, and being in Budapest always fills me with joy. Since I first worked with this orchestra we have had a deep musical understanding. Today I feel very happy to be able to collaborate together regularly, further developing and strengthening our artistic path. I trust that together we will be among the best and most prestigious European orchestras. this is my goal! O, rather, I can already say 'our' goal”.

morning, 24 of March, the public of the Bartók National Concert Hall of the Müpa waits for him to listen to his version ofthe Symphony Nº. 2 in C minor of Gustav Mahler, imposing choral work of post-romanticism, also known as "resurrection” (“Resurrection”): toHungarian Radio Orchestra and Choir will add theKodály Choir Debrecen, sopranoKinga Kriszta and mezzosopranoErika Gál. “With this concertcontinues Riccardo Frizza– I continue my interpretative project of Mahler's symphonies and the great German symphonic repertoire. conduct the symphonyResurrection these days it's extraordinarily sensitive from an emotional point of view: this work speaks to our conscience as it did at the end of the 19th century. The extreme beauty of its melodies speaks to us of a lacerated and amazed humanity. Mahler, in this torment, he searched for the key to his whole life as a composer. Today we try to enter that world of suffering expressed with the dizzying heights of music, hoping to find –as the composer did– some idea of ​​Resurrection”.

Riccardo Frizza, musical director of the Bergamo Donizetti Festival, is one of the most acclaimed conductors of his generation, being a regular guest of theaters and international festivals such as the Paris Opera, the Chicago Lyric Opera, the Metropolitan New York, la Bavarian State Opera, and the Teatro alla Scala, Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, ABAO Bilbao Opera, Rossini Opera Festival, Festival Verdi de Parma, Maggio Musicale Fiorentino, National Academy of Santa Cecilia de Roma, Leipzig Gewandhaus Orchestra and Dresden State Orchestra. He has recently directedL'elisir d'amore at the Donizetti Festival, concerts with the Haydn Orchestra and a Tribute to Caruso at the Accademia Nazionale di Santa Cecilia, La clemenza di Tito at the Bilbao Opera, the three queens by Donizetti at the Teatro San Carlo in Naples andL'amico Fritz en el Teatro del Maggio Musicale Fiorentino.

In april 2022 will return to the Metropolitan Opera in New York with a new production ofLucia of Lammermoor. In Spain, in June 2021 won the Ópera XXI Award for best musical director of the season.

Hungarian Radio Choir and Orchestra

Photograph: Simone Falcetta

King-Arthur_Theatre-Royal

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

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

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

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

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

Manuel Busto

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

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

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

Teatro de la Maestranza

Götterdämmerung

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

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

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

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

Image © Javier del Real / Teatro Real

Lisette Oropesa

the soprano Lisette Oropesa, considered one of the great divas of the lyrical panorama, debut this saturday, 5 of March, at Palau de les Arts with works Bizet, Fauré, Failure, Rodrigo, Schumann y Schubert within the cycle ‘Arts is Lied’.

his amazing voice, unanswerable technique, firmness in the upper register, luminous doorbell, astonishing facility for agility and singing elegance, coupled with his powerful stage magnetism and personal charisma, are the keys to the success of an essential artist in the great theaters and auditoriums of the international circuit.

Accompanied on piano by Rubén Fernández Aguirre, the American singer of Hispanic origin appears before the Valencian public with a repertoire dedicated to the great composers of 'Lied' and songs, with special attention to Spanish and American authors, which will repeat days later at the Vienna Staatsoper.

Lisette Oropesa will start the recital with pages of leading Liederists such as Schumann and Schubert, passing through the French Bizet and Fauré, and the Italian Mercadante. for the second part, the singer of Cuban parents will offer pieces by the Valencian Joaquín Rodrigo, 'Four madrigales amatorios', ‘Seven popular Spanish songs’, Manuel de Falla, to conclude with a tribute to its origins with songs by Joaquín Nin and Gonzalo Roig.

Tickets for the 'Les Arts és Lied' recitals have a price of between 40 Y 20 euros for the general public. In this sense, Les Arts recalls that this cycle benefits from the new single rate with tickets to 15 euros for minors 28 years.

The cycle that Les Arts dedicates to this musical form that combines voice, poetry and piano will continue with recitals by the French mezzo-soprano Marianne Crebassa (2 April 2022) and the sought-after countertenor Jakub Józef Orliński (15 May 2022).

Photo: Steven Harris

EDEN Joyce DiDonato

Since prison reform, the plight of refugees, the need for music education for all, until In War and Peace, that defines the industry, opera superstar Joyce DiDonato has long been an artist who has dedicated herself to creating and initiating projects that challenge and move audiences, crossing the boundaries of the concert hall.

EDEN is DiDonato's latest multifaceted initiative, to which he will devote much of his time over the next four years, joining music, theater and education to address questions about our individual connection to nature. Composed of a tour for more than 45 dates on the five continents between 2022-24, an album for Erato, an innovative educational program and multiple associated actions, the impact and legacy of EDEN, it is expected to have a great reach in time and space.

The passion and driving force behind EDEN for Didonato, is that a collective return to the best of ourselves is needed to, not only address our current climate crisis, but also the crisis of the heart. By examining our relationship with the natural world and our unique place within it, EDEN invites the listener to explore and search for answers about belonging, purpose and healing.

Every day that passes”, writes DiDonato, “I trust more and more in the perfect balance, the amazing mystery and force that governs the natural world around us, How much does Mother Nature have to teach us?. EDEN is an invitation to return to our roots and to explore if we are connecting as deeply as we can with the pure essence of our being., to create a new EDEN from within and plant seeds of hope for the future”.

Together with his orchestral partners, with whom it maintains a long and prosperous relationship, Tomato and director Maxim Emelyanychev, will collaborate with Didonato the stage director Mary Lambert and the composer, Oscar winner, Rachel Portman, combining music from different genres with a stage designed to connect the audience to the very heart of the natural world around us.

DiDonato describes how, In difficult times, contact with nature along with her musical life makes her feel connected, in his own words: “feeling that I am an integral part of something bigger. A seed awakens within me. This is precisely when I seek the solace and connection of music: with each passing day I trust more and more in the perfect balance, the amazing mystery and the guiding force of the musical world. both nature, as the music show us the way, a path dictated by harmony and balance. Will we answer the call?”

The album EDEN is released on 25 February 2022 through ERATO and the international tour starts 2 March 2022 in brussels. The repertoire of both is very diverse, Building on the timeless theme of nature that has captivated composers throughout the centuries with each recording exploring an aspect of humanity's relationship with nature and, in the words of DiDonato, will have no borders, it will be like a wild garden”.

From the 17th century to the 21st century, and encompassing composers like Handel, Gluck, Wagner, Mahler, Ives, Copland and Oscar winner Rachel Portman, who has been commissioned by DiDonato to write a new work especially for EDEN, the program is at the heart of this visionary project.

Crossing various musical genres, EDEN opens with two pieces that pose questions, on the 1908: the enigmatic unanswered question (The Unanswered Question) by charles ives, in which DiDonato sings verses normally assigned to a trumpet, and a new commission from the Oscar-winning British composer, Rachel Portman. MAKER OF MONEY, Portman has been associated with the American poet and writer Gene Scheer to compose The First Morning of the World (The first morning of the world). Scheer, admired for his collaborations with such prominent composers as Jake Heggie (including song cycle Camille Claudel: Into the fire, written for DiDonato and released on Erato in 2018) recognize, through its evocative text, that this is a moment full of questions. wondering about “the sounds and songs of the world's first morning”.

An oratorio aria by Josef Mysliveček is taken from a recital of the story of Adam and Eve, as the Angel of Justice issues a stern and bitter warning to his people. From the first part of the 18th century, Handel is represented by his famous “Long“, an impressive ode to the refreshing shade of a plane tree. The early glories of Italian opera are evoked in an aria from Cavalli's opera of gods and humans, La Calisto. His story begins in a parched and scorched landscape, but it ends with Calisto, his heroine, ascending to the stars.

EDEN also represents a new model that will help redefine the industry, setting a new standard for the impact artists can make with the power of their performances. By engaging with multiple international partners, EDEN ensures that their education and community work are essential for the project, and may his legacy be real and lasting.

As ambassador of International Teaching Artists Collaborative (ITAC)’s, DiDonato has been working with them on the design and delivery of interdisciplinary educational and community programs of a musical nature for children's choirs and school groups around the world., under the experience of Eric Booth, ITAC co-founder. The vision is to employ local Teaching Artists in each city on the tour to amplify the EDEN experiences of young people and others in order to use their voices to gain a deeper understanding of nature and its direct impact on the world.. Local children's choirs will also have the opportunity to perform on stage with DiDonato at EDEN concerts..

Botanic Gardens Conservation International and DiDonato have created The EDEN Sustainability Challenge that sets simple goals that, demonstrably, bring a more sustainable lifestyle. BGCI is providing native seeds for audience members to plant, providing a unique opportunity for the classical music community to literally and collectively plant a new “EDEN” Worldwide, actively participating in the regeneration, consciousness and creation.

letter opener

the letter opener

Luis de Pablo (1930-2021)

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

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

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

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

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

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

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

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

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

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

pictures: Javier del Real

by Léo Delibes

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

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

Gérald

Sala Gayarre

The Royal Theater will broadcast live opera in its Gayarre Hall

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Human voice

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its recovery began in the 1970s and has been increasing throughout the world Nicola Beller Carbone, its recovery began in the 1970s and has been increasing throughout the world, its recovery began in the 1970s and has been increasing throughout the world, its recovery began in the 1970s and has been increasing throughout the world Human voice, its recovery began in the 1970s and has been increasing throughout the world, its recovery began in the 1970s and has been increasing throughout the world. The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy. The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy. The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy.. In A Florentine Tragedy The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy.. The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy..

the tenor Giorgio Berrugi, The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy., The absence of a second interlocutor makes Ella's character face all the vocal and dramatic burden alone in tortuous intimacy.. A role with moments of great sonority and lyrical finesse. A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse.

A role with moments of great sonority and lyrical finesse and he goes to the pizzeria and starts talking about something else A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse. A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse. A role with moments of great sonority and lyrical finesse.

A role with moments of great sonority and lyrical finesse, A role with moments of great sonority and lyrical finesse
A role with moments of great sonority and lyrical finesse, He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire.. He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire. 2008 the premiere in Spain of A Florentine Tragedy Y The dwarf, and in 2016 The King Kandaules. He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire. Bilbao Symphony Orchestra.

In Human voice, He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire.. the score, He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire..

In A Florentine Tragedy the orchestra, He has a complex and enormous sensitivity and is considered one of the most important conductors of his generation's symphonic repertoire., has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism. the score, has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism.

has an essential role marked by chromatism
Paco Azorín, has an essential role marked by chromatism, has an essential role marked by chromatism, has an essential role marked by chromatism. scenography, has an essential role marked by chromatism has an essential role marked by chromatism, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels.

In Human voice recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels. In A Florentine Tragedy, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels.

recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels, seats, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels, recreates an apartment and develops the action on two levels Pedro Chamizo, managing to transmit on the upper screen of the scenery all the loneliness, managing to transmit on the upper screen of the scenery all the loneliness.

managing to transmit on the upper screen of the scenery all the loneliness Pedro Yagüe managing to transmit on the upper screen of the scenery all the loneliness Ana Garay, managing to transmit on the upper screen of the scenery all the loneliness.

managing to transmit on the upper screen of the scenery all the loneliness
managing to transmit on the upper screen of the scenery all the loneliness. On Friday 18 February, Luis Gago, 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.

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

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

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

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

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

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

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

the letter opener

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

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

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

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

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

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

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

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

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

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

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

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

Photographer: © Javier del Real | Teatro Real

Josep Pons in Atlantis

Nuria Rial, Maite Beaumont Y Damian del Castillo Josep Pons in Atlantis, Josep Pons in Atlantis.

Josep Pons in Atlantis.

Matthias Goerne returns to the lied cycle with Robert Schumann, Manuel de Falla, at Palau de les Arts, this Thursday 3 February, Josep Pons in Atlantis, the next day 4, Josep Pons in Atlantis 2022.

Josep Pons in Atlantis, Josep Pons in Atlantis, that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’.

that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’, that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’, that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’, that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’ (that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’, that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’).

that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’ (Isabel), that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’ (that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’) that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’ (that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’) that unites the fascination for the mythological of the Cadiz composer in his monumental and unfinished stage cantata with that of his contemporary and close friend Maurice Ravel in the first and second suite of ‘Daphnis et Chloé’, together with the Choir of the Generalitat and the Orchestra of the Valencian Community, together with the Choir of the Generalitat and the Orchestra of the Valencian Community.

After the break, together with the Choir of the Generalitat and the Orchestra of the Valencian Community, together with the Choir of the Generalitat and the Orchestra of the Valencian Community, together with the Choir of the Generalitat and the Orchestra of the Valencian Community.

together with the Choir of the Generalitat and the Orchestra of the Valencian Community, 3 February, to 20.00 together with the Choir of the Generalitat and the Orchestra of the Valencian Community. One day later, together with the Choir of the Generalitat and the Orchestra of the Valencian Community, together with the Choir of the Generalitat and the Orchestra of the Valencian Community 4 to 19.30 h.

The Arts is Symphonic

Josep Pons, together with the Choir of the Generalitat and the Orchestra of the Valencian Community, is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season 2021-2022.

is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season, is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season, is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season, James Gaffigan (6 of May), is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season, Ravel and Dvořák, is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season (10 of June), is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season.

is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season 30 Y 45 euros.

Photograph: is part of the select list of national and international batons who work with the Valencian Community Orchestra throughout the season

Maria Jose Montiel

Maria José Montiel starts 2022 with a repertoire that he loves, the verdian. It will be in the Baluarte de Pamplona and with two performances – the days 4 Y 6 February– A masked ball, playing Ulrica, a role that the mezzo from Madrid has had in her repertoire since maestro Zubin Mehta proposed it to her to make her debut in Tel-Aviv under his direction and together with the Israel Philharmonic. “It was one of those wonderful things that happen to you in life. Master Mehta invited me to sing it and from the first moment I fell in love with the vocal and dramatic strength of the character”, comments the Spanish singer. “It is a Verdian role with a serious tessitura, but at the same time it has climbs to the acute zone, and although it is not excessively long, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding, it is tremendously demanding, it is tremendously demanding, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding, it is tremendously demanding cabaletta it is tremendously demanding grand opera it is tremendously demanding, yes, it is tremendously demanding; It is truly exciting”, affirms the mezzo-soprano, who since the end of 2018 She combines her professional activity on stage with teaching as professor of singing at the Universität der Künste Berlin.. “I am especially excited to bring this character to Pamplona now, where I often sing and always feel at home”, concludes.

The proposal of the popular Verdian title that will be seen in the Navarran auditorium is a co-production of the Opéra National de Lorraine, Luxembourg City Theaters, Opera Zuid and Angers-Nantes Opera, with stage direction signed by Waut Koeken and with Yves Abel conducting the Navarra Symphony and the AGAO Lyric Choir. Montiel will share the stage with the soprano Maria Pia Piscitelli as Amelia, tenor Sergio Escobar as Riccardo-Gustavo III and baritone Artur Rucinski as Renato-Conde Anckarström.

After the functions of A masked ball in Pamplona, Other commitments await María José Montiel, such as the world premiere of the Stabat Mater de Moreno-Buendía together with the Murcia Region Symphony Orchestra conducted by Manuel Hernández-Silva, a recital accompanied by the pianist Laurence Verna for the Alicante Concert Society and contemporary opera María Moliner, of Parera Fund, at the Oviedo Spanish Lyric Theater Festival.

Baluarte

AlexEsposito-1

AlexEsposito
The Italian bass-baritone Alex Esposito is as appreciated for his vocal qualities as for his brilliant performances. Now he arrives for the first time at the Palau Les Arts to interpret the four
Villains of Les Contes d'Hoffmann.
Claimed by the world's leading opera houses, we are looking forward to checking in
Spain how good it is doing bad.

Brío Clásica: He now arrives in Valencia to present Les Contes d'Hoffmann at Les Arts, interpretando Lindorf, Coppelius, The Doctor and The Captain. He looks very comfortable playing these “devil” roles, Are you attracted to these types of characters??

Alex Esposito: Yes, I will play the four roles of the devil in Les Contes d’Hoffmann… I have always been fascinated by evil characters… when I went to see horror movies as a child, I was always attracted by the capacity that the evil one had, the murderer, the devil… of exercising that terror in people… I felt a great fascination for those directors and those actors who, through its technique and interpretation, they had the ability to create this great fear and terror... So I've always been drawn to those evil roles because, especially, I think they are more interesting, since there would be no plot if there was no evil character, and evil is a bit the triggering motor of the plot, of the drama… I also think that the devilish part of ourselves is the most interesting, because it is the most transgressive, the spiciest... is, definitely, our dark side, that in the end is the one we like the most… And I think that most of the public is attracted to these characters, From a psychological point of view...

B.C: His repertoire is wide, from Mozart to Verdi, passing by Rossini, Donizetti, Gounod, Offenbach o Berlioz, among many others. What is that character you dream of playing?, if it hasn't arrived yet?

A.E: Yes, I have always liked to experiment… Mozart, Rossini, Stravinsky, Verdi… actually, Verdi I have recently started doing it... I always try to choose the roles knowingly, and before risking anything I prefer to say no… There is a role that I would like to debut in the future, and that in reality it was already scheduled but COVID canceled it... it is the villain par excellence, the Mefistofele of Boito… In addition, I would also like to experience other forms of entertainment… I am not saying that I would like to make movies, because I don't know if I have the capacity, but I have had on several occasions the possibility of doing things with cameras in that sense, even in this production of Les Contes d’Hoffmann here in Valencia and also in another production where cameras were also used during the live performance, and I really liked doing things with this mysterious object that has only one eye, as if he were a polyphemus, that observes you and that through a mechanism launches you to millions of people...

B.C: You are a renowned Rossinian and Mozartian interpreter, even verdean, What do you think each of them contributes?? Y, From a technical point of view, do you think that an order can be established when interpreting them or does it depend more on the vocal characteristics?

A.E: Yes, Indeed, I have interpreted Rossini and Mozart a lot before arriving at Donizetti and Verdi... I don't think there is a pre-established path since each one of us develops his own path and establishes his own bases to reach certain objectives... but I can affirm that Mozart and Rossini have been for me the basis of theater, because with recitatives it's practically prose... There's a lot of talk, there is a tug of war, the action happens in the recitatives, because in the arias and duets we attend only the contemplative phase, but the theater itself is in the recitative... With Mozart and Rossini you learn to be on stage, because you don't have to follow an orchestra, and therefore you can take your time to say things, to make the phrasing in the recitative... in short, you have a lot of autonomy and a lot of room for inventiveness and interpretation… … I think Mozart is a true Master of the theater, of interpretation...

B.C: Rossini is a very present author throughout his entire career, which Rossini do you like more, the serious or the buffo?

A.E: Well, my relationship with Rossini is strange because when I look at a score and I see Gioacchino Rossini's name written, i get sick (laughs), because Rossini never writes easy things (laughs), but in the end it always gives you great satisfaction… With Rossini you can't improvise anything, because the rossinian song is like the game of dominoes that when you have all the tiles lined up, if you throw one, they all fall... It's about, definitely, of a game of balancing and tightrope walking, that requires great concentration and great control of one's own vocal organ… Rossini is a great Master of singing… what if I prefer the serious Rossini or the buffo? The truth is that I have sung quite a bit of Rossini buffo, so I prefer the serious Rossini for everything he has written for my vocalità, but when I attend or listen to an opera as a spectator, I like to see my colleagues buffi, because I also really like that other type of writing.

B.C: His beginnings in opera are wrapped in a halo of a certain lyrical romanticism, a young spectator at the Teatro alla Scala, dreaming of being a protagonist on stage. This being a singer, it's how i imagined it? Is there something you have discovered in this career that you could not have imagined then??

A.E: Yes, That's right... I fell in love with lyrical opera when I went to see Nabucco at La Scala when I was eleven years old and I was convinced that this was going to be my world, and I am very glad that it turned out that way… When the curtain rises, one sees all the pretty things, sees the result… but inside it is a very hard world, that requires a lot of sacrifice and it is fair that the viewer sees only the beautiful part, because when he goes to the theater, have to enjoy, relax, and obviously he doesn't know all the effort behind it... actually, there is a month and a half of joint work, in addition to months of prior preparation for a role... And all this to put on a show that is consumed in three hours, and that is done live every night, that is to say, it's not a movie, so if one sees ten performances of the same production, You will never see ten equal performances…

B.C: With the perspective of the years and a consolidated career, what would you say to those young people who, like you, attend a performance and dream of being on stage? What should they do and what shouldn't they?

A.E: Well, I would be excited to know that they have also experienced the same feeling as me., and I would tell them that they have to be aware that the life of the lyrical singer, is something you really have to want, whatever it takes, and that therefore it is not a job but a vocation... The advice I could give is that they not only study singing because singing counts for a 50% about him 100% of the result… you also have to know how to be on stage, know the techniques of theater, interpret… because lyrical works are not done as they were twenty or thirty years ago… You need to be informed, go to the theater, to whom, meet the great actors... because what you see on stage is the result of a whole cultural background that is acquired over the years...

B.C: 2020 had very intense moments, also professionally, how do you remember Donizetti's Requiem that you performed in Bergamo?

A.E: Yes, Donizetti's Requiem in the Bergamo cemetery was perhaps one of the things that has moved me the most in my career… it is not something that I can consider as a professional commitment, because it was more of a memory of the disaster that happened… I could say that for me the theater life closed on 22 February 2020, when the Teatro alla Scala lowered the curtain in front of my eyes, and then it opened when I did that concert in front of the Bergamo cemetery after everything that had happened… The days we did the rehearsals were days of great emotion because we were precisely in that place and we were in contact with workers from the Bergamo cemetery, who told us really incredible things... also, I am from Bergamo, so it touched me especially...

B.C: How is the return to the stage after events like the ones we have experienced?

A.E: The return to the stage was very beautiful and exciting because it's like when you go back to school, after a flu, for example, and you meet again with all your friends, you return to your environment… It seemed as if I liked my profession even more, because as with all the things you own, you don't really care until you see that you can lose them... It was like it was all new, because at that time the health protocols were even stricter and it was not very well known how to treat all this... now we are vaccinated and everything is much less burdensome...

B.C: What are the great performers you have noticed throughout your career?

A.E: The truth is that I don't have a particular reference interpreter... I could say Cesare Siepi and Samuel Ramey, but everyone has something and everyone lacks something... There is no perfect voice, the perfect interpreter… defects become characteristics… I have always liked to listen to everyone… it makes me laugh when I hear those ridiculous phrases like “there are no interpreters like they used to be”, that respond more to nostalgia for past times than to a true analysis of things... I think there is something good in all of them, and something less good but, in general, it is very nice to meet, hear, without taking as a model, but listening to him to get to know the profession and get an idea of ​​what was done.

B.C: It is said that deep and quality voices, like yours, are becoming more and more scarce. Do you agree with this opinion?, if so, why do you think this is happening?

A.E: I don't think there is a shortage of deep voices... the matter itself is not scarce but rather the perspective of this matter... I mean that the deep voice is a voice that matures over the years, and the older you get, it gets more interesting… Anyway, I think it's not so much a question of voice but of an artist to 360 grades… debuting Don Giovanni is not difficult from a vocal point of view, but it is difficult from an interpretive point of view… it is a very dangerous role… you stumble in each part, that's why I've never wanted to do it... I did it once when I was young in a provincial theater in Italy but I swore to myself that until I find a director who offers me a satisfactory reading, I will not do it again… because in the roles there is not only the vocal aspect, But all aspects must be taken into account., as I said before… and to play certain roles you need vocal and intellectual maturity…

B.C: What is the first thing you consider when choosing a new role?

A.E: The first thing is to see if the role that is proposed to me is made for me, and so I watch the music, the tessitura, and all the characteristics that are needed to know if it is so… I do a general study of the character, to know where it comes from, who has interpreted it, I go to different pianists and friends whom I trust to help me in the preparation, and I try to make the debut in an ideal context, which not only means that it is in a prestigious theater, but also that there is a great stage director and a great conductor with a preparation... it is also important that he has the necessary time for rehearsals... I do not study the role only in a month... as we are lucky enough to know our planning for years in advance, I study the roll in small doses… sometimes, it is necessary to let it rest to resume it later...

B.C: And when they present a new production, What is your opinion of some of the current scenery?

A.E: I have worked with great stage directors, from the most classic to the most groundbreaking, but it's not that I love modern staging and hate the classic ones, or vice versa… I like smart scenery, and I hate conventional and decorative sets… I like the idea… I mean that a set can wear period costumes but it can have a conception and a freshness that, sometimes, are better than those of a modern set… I don't like art that comforts, because I think that when one leaves the theater happy, and he goes to the pizzeria and starts talking about something else, and he goes to the pizzeria and starts talking about something else, and he goes to the pizzeria and starts talking about something else, and he goes to the pizzeria and starts talking about something else, and he goes to the pizzeria and starts talking about something else

B.C: and he goes to the pizzeria and starts talking about something else, What are your future engagements?

B.C: Yes, and he goes to the pizzeria and starts talking about something else, and he goes to the pizzeria and starts talking about something else

 

and he goes to the pizzeria and starts talking about something else

The German Bass Baritone and he goes to the pizzeria and starts talking about something else will debut in the 70 Season ABAO Bilbao Opera in A Florentine Tragedy in February 2022, with the role of Simone.

Carsten Wittmoser began his career at the Stuttgart State Opera. He became principal soloist at the Staatstheater which led to his participation at the Landestheater Linz, the Freiburg Opera and the Hamburg State Opera. He has sung in the most prestigious opera houses such as the Berlin State Opera, German Opera Berlin, Komische Oper Berlin, State Opera Munich, Teatro Real in Madrid, Opéra de Monte-Carlo, Seattle Opera House, Michigan Opera Theatre, Opera of Fine Arts Mexico City, country where you currently reside, and recently at the Metropolitan in New York where he debuted in 2016 as Kurwenal in Tristan and Isolde. He has performed at important festivals and concerts such as the Bayreuth Festival, the Lucerne Festival, el Festival Gergiev and Rotterdam, Bard SummerScape, the Vienna Musikverein, the Sala Sao Paulo, the Herkulessaal in Munich, la Brucknerhaus de Linz, the Lucerne Convention and Culture Center and Carnegie Hall.

German repertoire specialist, his catalog includes Beethoven, Berg, Hindemith, Humperdink, Offenbach, Orff, Strauss, Wagner, Weber y Zemlinsky, among other authors. He stands out especially in dramatic bass and bass baritone roles such as Rocco and Pizarro in Fidelio, Don Basilio in The Barber of Seville, escamillo in Carmen, Scarpia en Tosca, the villains in The Tales of Hoffmann, the dutch in The Flying Dutchman, Lord Sidney and Travel to Reims, Peter and Hansel and Gretel, Sarastro in The Magic Flute, Landgrave and Tannhäuser, Simone in A Florentine Tragedy.

His commitments this season include the Ninth Symphony Beethoven, he Requiem in Verdi, Lieder's cycle Winterreise Schubert, Y Fidelio also Beethoven.

and he goes to the pizzeria and starts talking about something else replaces the initially planned Remove Egils, who for health reasons has had to give up his participation in this opera. ABAO wishes the artist a speedy recovery.

Götterdämmerung

They offer 9 functions Götterdämmerung, between 26 January 27 February, which will start the 18.30 hours (17.00 Sundays) due to the long duration of the opera.

The next 26 January will take place in the Teatro Real the premiere of Götterdämmerung, last journey of Der Ring des Nibelungen, from Richard Wagner (1813-1883), that puts an end to the colossal project of the tetralogy that has been presented on this stage in four successive seasons and that has had the musical direction of Pablo Heras-Casado and the iconic staging of Robert Carsen created for the Cologne Opera in 2000 and answered numerous times.

The nine functions of the opera will begin at 18.30 hours, except for sundays, whose start will be at 17.00 hours, to adapt the schedule to the long extension of the work (five hours and a half).

The performance of this colossal score will feature 11 soloists, 115 musicians -who will be, as it happened last season in Siegfried, located in the pit and in 8 boxes on both sides of the stage to maintain the proper health safety distance-, 62 choir members and 17 extra actors.

Götterdämmerung, closing of this great story, It was, curiously, the first of the four operas that make up The ring... to be conceived by the composer. In it we witness the tragic death of Siegfried, to Brunhilda's sacrifice, to the end of the tyranny of the gods and the destruction of Valhalla. Destiny, the curse of the ring and the ambition of the gods lead the protagonists to an irreversible end in which, as opposed, a glimmer of hope lies in returning the ring to the daughters of the rhine and restoring the natural order.

The structure of the work resembles that of the Greek tragedies and in it, musical development runs parallel to the evolution of the drama, turning the orchestra into a kind of character or choir that anticipates, explains or narrates the action, advancing among the many leitmotivs until reaching the transformative expression of Siegfried's death in the "Funeral March"-with a tonal structure that goes beyond the formal limits of music, associated with a profound philosophical reflection, and to the redemption of the world after the immolation of Brunilda.

Robert Carsen performs here one of his most brilliant works, performed with great success in numerous theaters, conceived in close collaboration with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss. Throughout four seasons they have developed the idea that transfers the Wagnerian allegory to the present in a contaminated world, that we destroyed among all, but that will give us the opportunity to resurface after a healing fire.

Once again, the Royal Theater has had some of the most recognized Wagnerian voices of the moment: Andreas Schager (Siegfried), Lauri Vasar (Gunther), Martin Winkler (Alberich), Stephen Milling (Hagen), Ricarda Menzer (Brünnhilde), Amanda Majeski (Gutrune / norna), Michaela Schuster (Waltraute), Elizabeth Bailey (Woglinde), Maria Miró (Wellgunde), Claudia Huckle (Flosshilde / norna) Y Kai Rüütel (norna).

The Royal Theater will complete, in these functions, audiovisual recording of Tetralogy for international distribution and broadcast on My Opera Player.

Photograph ©Javier del Real / Teatro Real

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..

GREAT VOICES DEBUT IN THE SEASON OF ABAO
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.

RICCARDO FRIZZA IN FRONT OF THE BASQUE COUNTRY ORCHESTRA
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.

A PREMIERE PRODUCTION AT ABAO
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.

ANDREA MERLI INTRODUCES THE MOZARTIAN WORK IN THE CYCLE THE ABC OF THE OPERA
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.

The Tales of Hoffmann

The need to readjust the rehearsal calendar due to the pandemic situation motivates this decision with the aim of offering this opera at its highest artistic standards..

Arts will offer those affected the possibility of attending the performance of this work that best suits their needs.

The Palau de les Arts postpones the first performance of 'The Tales of Hoffmann', Jacques Offenbach, to this sunday 23 from January, to 18.00 h in the main room.

Les Arts adopts this decision due to the need to readjust the rehearsal calendar, that has been affected by the pandemic situation, in order to offer performances of Offenbach's opera, one of the essential titles of the repertoire and still unpublished for the theater public, at the highest artistic standards.

In this sense, Les Arts will offer, both to subscribers with a subscription ticket for the day 20 like all those who purchased seats for that function, the possibility of choosing the representation of ‘Les contes d’Hoffmann’ that best suits your needs. To that end, A form will be sent to those affected with the procedure.

"Hoffmann's Tales"

Marc Minkowski, consecrated as the best interpreter of Offenbach of the moment, currently rehearsing the very complete version of this work that he himself prepared in 2012 with Les Musiciens du Louvre with the stable bodies of Les Arts and a stellar cast.

For this occasion, the arts center brings together great figures of international opera who will sing for the first time in the Valencian opera: el tenor John Osborn, in the title role; the soprano Pretty Yende, who for the first time in his career embodies the four idyllic muses, and bass-baritone Alex Esposito, that gives life to the four antagonistic demons of Hoffmann.

Johannes Erath signs the stage direction of this production of the Dresden Semperoper, that recreates the real and dreamlike experiences experienced by the poet in a powerful and abundant theatrical exercise in visually striking moments that stimulate the viewer's imagination.

The first performance of 'Les contes d'Hoffmann' will take place on the 23 from January (18.00 h). Les Arts recalls that the remaining performances, scheduled for Wednesday 26, Friday 28 and monday 31, will start this time at 19.00 h.

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

Strategic plan

The stability of the Royal Theater, materialized in the ratification, in recent months, of its president, Gregorio Maranon, and its CEOs, artistic and musicalIgnacio García-Belenguer, Joan Matabosch e Ivor Bolton, respectivamente­, will allow the Madrid Coliseum to carry out an ambitious Strategic plan for the next 5 years (2021-2026).

its effective management model (with which he was able to face the pandemic), the independence of its governing bodies, the accumulated experience and the support of public administrations, sponsors and civil society have allowed it to design a project that consolidates the roadmap started in recent years and opens up new growth paths, especially in the field of digitization, Resource Optimization, expansion and loyalty of the public, education, inclusion, sustainability, accessibility and internationalization.

He artistic project directed Joan Matabosch, Widely supported and recognized nationally and internationally, will continue to expand the Teatro Real's repertoire with a wide-ranging program starring prestigious artists and favoring co-productions with the most important opera houses in the world. The articulation of repertoire operas with lesser-known masterpieces, world premieres and recovery of Spanish musical heritage, will continue to bring to the Real stage the interpreters, musical directors and stage teams most suitable for each artistic proposal.

Ivor Bolton, in the musical direction of the institution, seconded by Nicola Luisotti Y Pablo Heras-Casado, next to Andrés Máspero, in front of the choir, will continue their work together to the Choir and Orchestra Headlines of the Royal Theater, in a permanent and tenacious search for excellence, that unanimously praises national and foreign critics.

The public service vocation of the Teatro Real and its commitment to an ever-widening public, different, decentralized and inclusive, in which children and young people occupy a privileged place, backbone their five-year plan.

After the recovery of free visits to the Royal Theater after the break caused by COVID 19, the Guided visits will be reactivated with new models and routes, more attractive and diversified.

The Real Joven -with the last minute tickets, the Young armchair and the Youth Committee­, as well as the Young Friends of the Royal Theater, will also grow with the creation of the International Youth Council, that will unite opera lovers of different nationalities until 35 years, fostering fruitful links and synergies.

LÓVA (The opera, Learning Vehicle), project that was born in the Royal Theater in 2007 and which is already developing in more than 200 schools throughout Spain, returns to be supervised by the Royal Theater, that will give him a new impetus after the break caused by the pandemic and the death of his great mentor, Peter Sarmiento.

In the field of Training, supply will be increased courses for the public, university students, and professionals from the artistic world, highlighting the launch of a Online Teaching Platform of the Royal Theater.

Crescendo, created in collaboration with the Foundation Friends of the Royal Theater in the midst of a pandemic to facilitate the access of young singers to the professional world, will continue to consolidate with opera-studio projects that will integrate the programming of Royal Junior (Like the recent production of ashen) and launching other initiatives, as the training of repetitive pianists, which will start this season.

Within the framework of the Cerca de Ti program -approved by the Council of Ministers as an Event of Exceptional Public Interest and valid until 2023- different initiatives will be developed to spread opera and music, highlighting the roaming of the Royal Theater float, in coordination with the autonomous communities throughout Spain, and the installation of a screen, permanently, on the façade of the Plaza de Isabel II, which will divulge the cultural and artistic programming of Madrid (similar to those existing in the Plaza de Callao or Coliseum), giving special relevance to the contents and retransmissions of the Teatro Real.

It will continue the commitment of the Royal Theater with the accessibility of their shows, perfecting its 'Accessible Real Theater' app for viewers with visual and hearing disabilities, its magnetic loop system installed in the main hall and improving the mobility of wheelchairs inside the building.

One of the great challenges for the coming years is the environmental sustainability of the Royal Theater, based on energy efficiency, decarbonization, digitization of maintenance operations, Resource Optimization, modernization of equipment and implementation of renewable energies, with the aim of becoming a zero consumption building 4.0.

In the field of improvement of facilities and infrastructures, will be carried out renovation of the floor of the stage box of the Royal Theater, after 25 years of maximum and uninterrupted use.

He Arganda logistics center, that gives shelter to the productions and co-productions of the Teatro Real, will be modernized with digitization and automation of storage processes.

The use of new technologies will affect all areas and services of the Teatro Real for more efficient management, highlighting the creation of a digital historical archive, with the compilation and cataloging of all the material of historical and musicological interest, which will be available to scholars and researchers.

Hard work will be done on the international projection of the Royal Theater in its many aspects: co-productions with foreign theaters, rental of own productions, expansion of the catalog MyOperaPlayer, retransmissions and broadcasts in co-production with prestigious international television and platforms and communication campaigns to consolidate the notoriety of the Theater among the most important in the world.

The programming of the Real in 2019, recognized with the prestigious International Opera Award (one year late caused by the pandemic), had significant media coverage, which will continue with Gala to be held next 28 November on your stage. It will be the first time the awards ceremony has been held outside of England..

Real's work during the pandemic, only one in the world, has attracted the attention of the international press and has given great visibility to the Theater beyond the musical field, with a prominent presence in foreign media.

Photography © Javier del Real | Teatro Real

Alex Esposito_photo Victor Santiago

The Italian bass-baritone Alex Esposito sing, for the first time, on the Valencian stage of the Palau de les Arts Reina Sofía. will be the days 20, 23, 26, 28 Y 31 from January, Produced by The Tales of Hoffmann by Offenbach, with musical direction by Marc Minkowski and stage signature by Johannes Erath. Esposito will play all four “villain” roles (City Councilor Lindor, el inventor Coppelius, Doctor Miracle and the sorcerer Dapertutto), roles that he has already sung with great success at the Deutsche Oper in Berlin, the Teatro San Carlo in Naples, the Bayerische Staatsoper in Munich and the Stuttgart Opera.

Internationally appreciated for his great dramatic capacity, Alex Esposito confesses feeling very comfortable singing diabolical roles: “I like to be the bad guy in the opera… The Tales of Hoffmann, there are three ways to see the devil: the funniest is Coppelius, the capricious and trickster scientist who sells magic eyes to bring a mechanical doll to life; the most dramatic and violent is Miracle, a kind of doctor Mengele, a conspirator who plays with guilt feelings, to the desperation of a father who assists helplessly... However, Dapertutto is the one who fulfills the cruelest crime: rob man of his own identity… I'm not bad, I'm designed like this.", Esposito points out, who has also played Nick Shadow in The Rake’s Progress of Stravinsky and Mephistopheles in The Damnation of Faust Berlioz, and in Faust Gounod.

Born in Bergamo, Alex Esposito is one of the most requested singers on the international circuit, and its presence is habitual in the most prestigious lyrical theaters on the international circuit, such as the Royal Opera House in London., la Bavarian State Opera de Munich, La Scala in Milan, La Fenice in Venice, la German Opera de Berlín, the Paris National Opera or the Wiener Staatsoper, among others, and in famous European festivals such as the Rossini Opera Festival in Pesaro, the Salzburg Festival, the Donizetti Opera Festival or the Aix-en-Provence Festival. He has worked with leading batons such as Claudio Abbado, Antonio Pappano, Riccardo Chailly, Kent Nagano, Myung-Whun Chun, Giovanni Antonini or Teodor Currentzis, and has collaborated with renowned stage directors such as Peter Mussbach, Claus Guth, Graham Vick, Damiano Michieletto, David Alden, Laurent Pelly or Pierluigi Pizzi. further, has been awarded the "Abbiati Prize" by the Italian Music Critics, and the Bayerische Staatsoper has recently awarded him the title of Kammersänger.

Photograph: Victor Santiago

Palau Arts

Perez-Sierra

JOsé Miguel Pérez-Sierra Direct to Carmen in February, becoming the first Spanish director to direct a French opera in the 160 years of the belgian coliseum, in a production that subsequently, in March, he himself will carry Luxembourg Grand Theater.

José Miguel Pérez-Sierra, one of the most important Spanish directors of his generation and of great international projection, adds a new stage to his career by climbing to the podium of La Monnaie-De Munt in Brussels, in which he will lead Carmen, Bizet; This is the first time that a Spanish director is in charge of a French opera in the European capital. In 2011, another spanish, Pablo Heras-Casado, led in The Mint contemporary opera Matsukaze, by Japanese Toshio Hosokawa, but no other Spaniard had directed in this theater since it was reopened in 1856 after the fire that destroyed it a year before.

Pérez-Sierra will direct five performances of the popular French opera (days 1, 5, 8, 10 Y 13 February) in a Festival d’Aix-En-Provence production in co-production with Les Théâtres De La Ville De Luxembourg and the Philadelphia Opera, with stage direction by Dmitri Tcherniakov. On stage it will tell, among others, with Ève-Maud Hubeaux as Carmen, Andrea Care as Don Jose, Anne-Catherine Gillet as Micäela and Jean-Sébastien Bou as Escamillo.

The Madrid director started the season 2021-2022 with a concert with the Orchester national de Metz and Hamilton from Holland to later conduct a concert with the soprano Lise Davidsen and the opera Pagliacci (Leoncavallo) in A Coruña; the opera Marina (on the 200th anniversary of E. Arrieta) and a symphonic concert with the Navarra Symphony at the Baluarte auditorium in Pamplona; has returned to the Opéra de Marseille with Armida (Rossini) and has offered concerts with the Orchestra and Choir of the Community of Madrid (BARREL) in the National Music Auditorium and in the Alcobendas Auditorium and together with the Youth Orchestra of the Galician Symphony in A Coruña. in the remainder of the season, y tras su debut en La Monnaie-De Munt, will debut at the Grand Théâtre in Luxembourg with Carmen before returning to the Teatro de La Zarzuela in Madrid to direct the staging of The barberillo Lavapies (Barbieri).

Miguel Muñiz

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

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

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

Photography © Javier de Real / Teatro Real

James Gaffigan

The American director James Gaffigan will reconcile the musical direction of both institutions as of September 2023.

Gaffigan will conduct a concert with works by Rodrigo next May, Ravel and Dvořák and the premiere in Valencia of ‘Wozzeck’, the mountain.

The appointment of James Gaffigan, musical director of Palau de les Arts, as the new ‘Generalmusikdirektor’ of the Berlin Komische Oper; position that he will assume in September 2023 and that he will reconcile with his responsibilities at Les Arts.

In this sense, Les Arts conveys its congratulations to Master Gaffigan on his appointment, that endorses the artistic commitment of the Valencian theater by one of the figures with the greatest projection in the musical direction to lead the Orquestra de la Comunitat Valenciana (OCV).

“Valencia and Berlin will become my two‘ musical homes ’and this new position will not imply any change in my relationship with Les Arts. open, Besides, possibilities of collaboration between both institutions ", the New York director explained.

The American artist's commitment to Les Arts entails the musical direction of two opera titles and two symphonic programs per season., in addition to the responsibilities of the position with the OCV during the next four years.

James Gaffigan will return to Valencia this spring to conduct an OCV concert with works by Rodrigo, Ravel and Dvořák, as well as the premiere in Valencia of a title still unpublished in the city's repertoire, ‘Wozzeck’, by Alban Berg, with which he will close the opera season.

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.

Manuel Busto

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

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

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

Municipal Theater of Bologna

Iñaki Encina Oyón in Alcina

After his successful debut at the National Opera in Paris, with Iphigenia in Tauris Gluck, last october, the Alava orchestra conductor Iñaki Encina Oyón returns to the moat of the Palais Garnier to direct Alcina, with staging the Robert Carsen; It will be the days 26 Y 28 from December, and this time, will lead the well-known German Balthasar Neumann Ensemble. In the cast of this three-act opera by Handel, the voices of the soprano Jeanine de Bique stand out (Alcina), soprano Elsa Benoit (Morgana) or the mezzo-soprano Roxana Constantinescu (Bradamante), among other.

Iñaki Encina Oyón's association with the Paris National Opera dates back to 2005, year in which he became a member of his prestigious Atelier Lyrique; later, had the opportunity to work as assistant director of renowned specialists such as Thomas Hengelbrock in Idomeneo by Mozart y Emmanuelle Haïm in Hippolyte et Aricie Rameau. further, Encina Oyón is a regular guest of
prominent French opera houses such as the Opéra de Lille, Toulon Opera House, the Opera of Rouen or the Grand Theater of Dijon, among others.

Musical director of the International Academy of Early Music of the Festival du Périgord Noir since 2016, Alcina will be his third Haendelian title, having recently approached the oratorios The triumph of time and disappointment Y Athalia. Encina Oyón is also known for his role as a pianist, and among his next projects, highlights the recital that he will offer in January with the Guatemalan soprano Adriana González, en el Museum of Fine Arts of Dijon, with songs by Robert Dussaut, Henri Duparc, Ravel, Hélène Covatti, Isaac Albeniz, Mompou, Obradors and Granados.

Iñaki Encina Oyón

Lisette Oropesa, Zarzuela

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

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

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

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

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

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

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

Photograph: Elena del Real

Magic piano

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

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

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

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

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

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

MAGIC CHOPIN – SYNOPSIS

MAGIC PIANO

Studies by Frédéric Chopin (1810-1849)

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

Address: Martin Clapp

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

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

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

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

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

THE CHOPIN SHORTS (THE CHOPIN SHORTS)

THE FAT HAMSTER

Opus Study 25. No. 8

Address: Adam Wyrwas

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

PL.INK!

Opus Study 10. No. 4

Address: Anne-Kristin Berge

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

HAMSTER'S SKY

Opus Study 10. No. 11

Address: Paul Bolger

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

DAD'S CHILD

Opus Study 25. No. 9

Address: Leevi Leemetty

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

Christmas culture

He Palau de les Arts proposes to give culture for Christmas this holidays with the sale of its first gift card, which will be redeemable for the amount of seats for any show of the season.

Through your page web, and in person at the theater box office, Les Arts offers this
new product, available for a minimum amount of 50 euros and with expiration one year after the
purchase, aimed at those interested in the different artistic proposals attached to the season of the
theater.

In 2022, Les Arts' offer will include important programming milestones with unreleased titles such as
'The Hoffman Tales' by Offenbach, under the musical direction of Marc Minkowski; the return of
Baroque staged in the Main Hall with 'Ariodante' by Händel, directed by Andrea Marcon; he
Bernstein theater primer with 'Trouble in Tahiti', in addition to the essential Verdi repertoire with
‘Macbeth’.

Likewise, over the next year, the cycle dedicated to the ‘lied’ will receive a visit from some of the artists
most sought-after on the lyrical scene as Matthias Goerne, Benjamin bernheim, Marianne Crebassa o
Jakub Józef Orliński, while in the symphonic chapter, the Orquestra de la Comunitat Valenciana
will maintain his work with reference batons with appointments with Josep Pons, Mark Elder and his director
musical James Gaffigan.

Meanwhile, the section dedicated to dance will present in 2022 three first-rate choreographic shows
level, with the National Ballet of Spain (BNE) and the show ‘Invocation’; Sol Picó and his company of
dance, that premiere ‘Titanas’, a new production in collaboration with Les Arts, and the presence of
Perm Opera Ballet, featuring ‘La Bayadère’ by Ludwig Minkus.

further, Les Arts will continue in 2022 with the different programming lines around the voice and that
include from cante jondo with Arcángel, Mayte Martín and María Terremoto in ‘Les Arts es flamenco’
to Pat Metheny’s Jazz in ‘Arts and Other Music’.

Contes d’Hoffmann © Heikki Tuuli_Finnish National Opera

Interview Michael Fabiano

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

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

Eleonora Buratto

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

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

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

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

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

Christmas with La bohème

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photography © Javier del Real | Teatro Real

Juan March Foundation

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

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

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

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

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

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

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

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

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

Photography © Miguel Lorenzo_LesArts

A warning to the jealous

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

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

New co-production of Palau de les Arts Reina Sofia

and the Oviedo Opera Festival

Musical direction and piano

Rubén Fernández Aguirre

Stage direction

Barbara Lluch

DISTRIBUTION

Sandrina

Rosa Maria Davila, soprano

Berto

Marcelo solis, bartítono

The Count of Ripaverde

Jorge Franco, tenor

Don Fabio

Carlos Fernando Reynoso, baritone

Ernesta

Laura Orueta, mezzo soprano

Bill of exchange

Xavier Hertherington, tenor

Piano

Ignacio Aparisi Doménech (15)

Rubén Fernández Aguirre (17, 18)

Center for the Improvement of the Palau de les Arts

Airam Hernandez

Airam Hernandez, one of the most important singers of his generation who continues to conquer international stages, returns in December to Teatro La Maestranza of Sevilla, this time to debut I Capuleti e i Montecchi Bellini. The canary tenor, he claims to find himself "charmed"To add this new role to his list of bel canto characters: “Bellini was a genius of melody; their related, His elegant and infinite phrasing and the enormous importance that the Catania composer gives to the word made me fall in love from the first moment I sang a score of his; its music allows you to color and fly with the beauty of its melodies. It is wonderful to return to his music and it will be fantastic to do so with the teacher Jordi Bernàcer and before an enthusiastic public like the Sevillian.; this season I play two very contrasting characters from Bellini: Tebaldo (in the spectrum of the lightest repertoire) y Pollio (in the most dramatic realm)”, He concludes the tenor.

After reaping a personal triumph at the Campoamor Theater in Oviedo with his first Prince Tamino de The magic Flute, the versatile singer faces the bel canto character in a new staging co-produced between the Opera de Tenerife and the Teatro Comunale de Bolonia, with stage direction by Silvia Paoli and with Jordi Bernàcer at the head of the Royal Symphony Orchestra of Seville. Along with his Tebaldo complete the cast Daniela Mack (Romeo), Leonor Bonilla (Juliet), Luis Cansino (Capellio) y Dario Russo (Lorenzo). The functions are scheduled for the days 9, 11 Y 13 from December.

The Canarian interpreter has been developing his career mainly on European and American stages, but this season he has finally been able to focus his agenda on Spanish territory: in addition to the debut in Oviedo and the commitment at the Maestranza, this course will return to the billboard of the Teatro Real de Madrid in the skin of Federico García Lorca in what will be the absolute premiere of the opera the letter opener of the recently deceased composer Luis de Pablo. He will also sing at the Opera de Tenerife (Florencia en el Amazonas by Daniel Catán) and at the Gran Teatre del Liceu in Barcelona (Rule Bellini).

Nicola Beller 2 © Hagen Schnauss

The German soprano Nicola Beller Carbone will sing the roles of La voix in Human voice and Bianca in A Florentine tragedy on February 2022, inside of 70 Season ABAO Bilbao Opera.

Nicola Beller Carbone is a great specialist in the German repertoire and in 20th century works: Wozzeck, Lady Macbeth de Mzensk, Mahagonny by Weill, Sense, The dead City, King Kanduales, The dwarf, Krenek karlos v, Human voice, The marked ones, The soldiers, the woman without a shadow, The Hamlet machine, Parsifal, The Ring of the Nibelung and a long etcetera that he performs in the main European theaters. It is also, one of the few sopranos that has in its repertoire the entire Zemlinsky catalog. In 2015 received the Campoamor Theater Award for the Best Spanish Opera and Zarzuela Interpreter.

In recent seasons he has sung The Grand Duchess of Gerolstein, the villain Y The Wildcat at the Teatro de la Zarzuela in Madrid, Lady Macbeth from Mzensk in Monte Carlo, The Valkyrie in Oviedo and Elektra in Montreal. Also noteworthy are his performances in Seville with The King Kandaules de Zemlinsky, The emperor of Atlantis Y The dictator, and at the Teatro Real in Madrid with Bomarzo. Has sung The seven deadly sins in Wiesbaden and participated in the concert version of Expectation and Utrecht. Two of his last big challenges have been to bring Kundry to life from Parsifal at the Tiroler Festpiele Erl and take on the lead role of Elektra en el Stadttheater de Klagenfurt.

Of his recent engagements, his participation in the absolute premiere of the opera stands out. Marie by Germán Alonso, a co-production of the Teatro Real and the Teatro de la Abadía, his debut at the Arriaga Theater in The seven deadly sins de Weill and his return to Campoamor with The Wildcat. Soon he will return to the Bayerische Staatsoper in Munich with the opera Bluthaus and to Spain with Human voice in Córdoba and Seville.

Nicola Beller replaces the one originally planned Ainhoa ​​Arteta, who is recovering from the personal situation that occurred last August. The artist has communicated to those responsible for ABAO Bilbao Opera that her recovery is progressing well and on time., but that unfortunately at the moment he is forced to give up his debut in the productions of La voix humaine y A Florentine tragedy, for the high level of artistic demand and personal commitment with which he has approached this project and for the respect he feels for the Bilbao public and the ABAO. “I look forward to being able to meet again with the ABAO public in the shortest possible time., and I appreciate all the understanding and support that I am receiving from those responsible for the Association ", It noted.

ABAO deeply regrets the situation of the beloved artist to whom he has conveyed his best wishes for a speedy recovery.

Nicola Beller © Hagen Schnauss

Joel Prieto

in a new production of Carmen

Tenor Joel Prieto takes a new step in his career by incorporating the role of Don José from the opera into his repertoire Carmen Bizet. The popular opera will be staged at the ADDA, the Auditorium of the Alicante Provincial Council, the days 17, 19 Y 21 November in a new montage by a true specialist in the work, Asturian stage director Emilio Sagi. Prieto, who has achieved great successes in repertoires such as the Mozartian or the belcantista, He is very excited about expanding his repertoire towards lyrical tenor roles that adapt to the evolution of his current vocality. “The voice changes over the years and now I feel very comfortable in these types of roles”, affirms the singer born in Madrid and trained at the Conservatory of Puerto Rico, en la Manhattan School of Music, at the Atelier Lyrique de la Opéra national de Paris and at the Project for Young Singers at the Salzburg Festival.

Debut a character like the one imagined by Bizet, Besides, is a milestone in the artistic career of any interpreter of his string. “It is a role that has a very complex and fascinating dramatic journey. Discovering his vocal power and at the same time delving into his psychology is a challenge that I have been wanting to do for several years.. I feel fortunate to be able to debut it at the hands of a theater genius such as Emilio Sagi and with the very talented Josep Vicent in the musical direction.”, says Joel Prieto.

Praised for his exceptional voice, for its stylistic versatility and for the elegance of its phrasing, Prieto will draw a Don José that he already has very assimilated, a paper "volatile and passionate, that breathes on what the orchestra transmits”, assures, which he has been shaping for months of study "and personal research”, as stated to the specialized magazine Ópera Actual. For the singer it is the cruel portrait of a man "with misconceptions about what love is and that it is nothing like me, that I live in a feminist and freedom environment”.

With more than three decades of professional experience in the most important theaters in the world, Joel Prieto is assuming new challenges in the process of expanding the repertoire: “My voice asked to take the step towards the lyrical repertoire”, to which that Narraboth also joins, from the opera Salome by Richard Strauss, who will soon perform both on his return to both the Aix-en-Provence Festival (France) like the Bolshoi Theater in Moscow (Russia).

ADDA Alicante

Parthenope

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

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

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

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

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

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

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

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

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

©Javier del Real | Teatro Real

Current Opera Awards 2021

The Current Opera Awards have been awarded this afternoon at the Gran Teatre del Liceu in Barcelona the OPERA ACTUAL awards 2021, some awards established in 2002 by the only magazine specialized in the lyrical genre that is published in Spain and one of the most important in the world. The winners in this edition have been:
AN ARTIST AWARD FOR YOUR INTERNATIONAL CAREER

A la mezzo-soprano letona Elīna GARANČA

AWARD AN INSTITUTION

A IIntermezzo, Choirs on demand
The award is collected by its CEO, Jon PLAZAOLA

YOUNG ARTIST AWARD brighter

To the Spanish tenor Xabier ANDUAGA

SPECIAL PRIZE 30TH ANNIVERSARY CURRENT OPERA

Al Teatro de la Zarzuela in Madrid
The Director receives the Award, Daniel WHITE

At the event - held in the Hall of Mirrors of the Gran Teatre del Liceu - the Barcelona mezzo-soprano Carol García (ACTUAL OPERA Award 2015) and the Valencian soprano Maite Alberola (ACTUAL OPERA Award 2012), they offered a recital accompanied by the pianists Anna Crexells and Francisco Cholbi, commemorating the thirty years of ÓPERA ACTUAL, one of the most important publications in the world published in Spanish, and editing 2021 of the Awards offered each year by the Barcelona-based magazine.

This year the winners were the Latvian mezzo-soprano Elīna Garanča -for her very important and long international career-; the Intermezzo Choirs -company that manages the Royal Theater choir, among other Spanish coliseums-; the Teatro de la Zarzuela in Madrid –Special award for the 30 magazine anniversary-; and the Basque tenor Xabier Anduaga, undoubtedly one of the most important emerging young voices that the Spanish quarry of lyrical singers has recently given.

The Fernando Sans Rivière awards were presented, director of this publication which is edited from 1991; Pablo Meléndez-Haddad, chief editor of the magazine; Javier Pérez Senz, journalist, music critic and contributor to the magazine; and José María Marco, ÓPERA ACTUAL correspondent in Madrid.

After the awards ceremony, the magazine offered a lunch at the Círculo del Liceo attended by personalities from the business world and from Culture such as Oriol Aguilà, President of the Association Opera XXI, which brings together the coliseums and festivals programming lyrical Spain and director of the Festival Castell de Peralada; Xavier Cester, Director of the Department of Music of the Catalan Institute of Cultural Industries (ICEC) and collaborator of ÓPERA CURRENT; as well as representatives from the world of Spanish opera such as the Gran Teatre del Liceu in Barcelona (Valenti Oviedo, Victor Garcia de Gomar, Leticia Martin, Helena Roca), Opera Foundation in Catalonia (Mirna Lacambra), ABAO Bilbao Opera (Juan Carlos Matellanes, Maria Luisa Molina), Opera Oviedo (Celestino Varela), Teatre Principal de Palma (Josep R. Cerdà); the president of the Circle of the Lyceum (Francisco Gaudier) and various former presidents of the entity (Ignacio Garcia Nieto, Carlos Cuatrecases Targa); the president of the Palau de la Música Catalana, Mariona Carulla and Mercedes Conde Pons, deputy artistic director; the president of the Liceu Society (Xavier Coll); presidente of Friends of the Liceu, Ramon Bassas; Montse Caballé and Isabel Caballé of the Montserrat Caballé Foundation; the director of the OperaStudio of the University of Alcalá, Lourdes Perez-Sierra; the director of the Liceu Conservatory, Maria Serrat, and artists such as countertenor Xavier Sabata or stage director Carlus Padrissa from La Fura dels Baus, as well as representatives of various sponsoring companies and collaborators of these ACTUAL OPERA Awards 2021 like the Círculo del Liceo, Gran Teatre del Liceu, Ocuri Investment, Circle (LVMH), the Society of the Gran Teatre del Liceu or Luxury Spain, among others.

José Miguel Pérez-Sierra

After starting the course with commitments in Metz (France), A Coruña (concert with Lise Davidsen and Pagliacci) and Pamplona (Marina, on the 200th anniversary of Arrieta), José Miguel Pérez-Sierra continues with his international career that will take him to the Marseille opera (France) with the opera in concert version of Armida, Rossini; the Spanish director returns to that stage after achieving great public and critical success with The Lady of the Lake, Rossini also, in 2018. For Armida in Marseille, masterpiece of the composer of Pesaro and of enormous difficulty, Pérez-Sierra will take command of the Orchester et Chœur de l’Opéra de Marseille and will have an exceptional cast that includes the Georgian soprano Nino Machaidze (Armida) and to the Italian tenor Enea Scala (Rinaldo) in the main roles with a total of four roles, the days 29 Y 31 October 3 Y 5 of November.

José Miguel Pérez-Sierra now has fourteen Rossinian operas in his repertoire, some of which have been recorded for the Naxos label. After your engagement in the French city they await you, among others, a symphonic concert in Pamplona with the Navarra Symphony, Christmas and New Year's Eve concerts with ORCAM in Madrid, a concert led by the Galician Symphony Youth Orchestra, the opera Carmen en su debut en el Teatro La Monnaie-De Munt de Bruselas y en el Grand Théâtre de Luxembourg, The barberillo Lavapies at the La Zarzuela Theater in Madrid, a symphonic concert and Armida with the Krakow Philharmonic, and again Armida en el Rossini in Wildbad Belcanto Opera Festival.

Photography © Pedro Aijón

Marseille opera

Sabina Puértolas

He Teatro de la Zarzuela will open next Thursday, 28 October (20h00) a new edition of Notes Ambigú, one of his most popular and successful cycles. the soprano Sabina Puértolas and pianist Rubén Fernández Aguirre they will render an emotional tribute to Emilio Arrieta (Queen's Bridge, Navarra 1821 – Madrid 1894), one of the most prominent Spanish composers in the theatrical field, whose contribution to the consolidation of zarzuela as a genre was decisive, whose this same month of October 200 years of his birthO.

The recital will begin with his beautiful collection of ‘Italian songs’, with letters of Pablo Milanes, Felice Romani, Adela Curti and anonymous authors, to continue with a ‘Piano suite on «Marina» themes’ according to Carlos Imaz and a selection of ‘Spanish songs’ with texts from Jose Estremera, Antonio Arnao, Antonio Fernández Grilo and from anonymous authors.

An absolute premiere of the versatile composer (pianist, singer, orchestra director, Writer, poet, actor, painter…) Alberto Garcia Demestres, whose multifaceted Renaissance soul has created for the occasion a "lyrical scene for soprano and piano" under the title 'The swans in the palace' with text of Antonio Carvajal.

It is the case that this is the second tribute that Sabina Puértolas (born in Zaragoza, although raised and educated in Navarra) and Rubén Fernández Aguirre (from Barakaldo, Biscay), Render Emilion Arrieta at the Teatro de la Zarzuela for his bicentennial. The first was last March along with two other illustrious Navarrese such as the mezzo-soprano Maite Beaumont and tenor José Luis Sola.

Notes Ambigú 21/22

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

At Sabina Puértolas Y Ruben Fernández Aguirre on Emilio Arrieta will continue the one of the young singers coming from the musical theater Nuria Pérez Y David Pérez Bayona, out of the winner Zarza project (zarzuela made by youth for youth), who accompanied by the pianist Alvaro Ortega Luna trace the similarities between pre-American musical theater 60 and the zarzuela in the show ‘Engazados’ (15 of November); then it will be the turn of the duo formed by the bandoneon player Claudius Constantine and pianist Louiza Hamadi that will offer a program to celebrate the centenary of the birth of Astor Piazzolla (2 from December); next it will be the countertenor Alberto Miguélez Rouco, flanked by the lute of Pablo Fitzgerald and the viola da gamba of Teodoro Baù who will address the Cantadas by José Torres, one of the crucial composers of the Baroque (4 from January). The halfway point of the cycle will be marked by the spectacle of Enrique Viana ‘Luisa Fernanda, I already have Instagram ' who in the company of the pianist Ramón Grau will offer, with the genuine style to which we are accustomed, hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung (7, 8 Y 9 from January). the soprano Carmen Romeu and pianist Borja Mariño will present, at the same time, ‘My home’ with the intention of taking us on the wings of music to that intimate place, family reunion, calm and security, of traditions, teaching, music and aromas of childhood -a pout, oranges and orange blossom–, the throb of the earth in every note: Valencia (11 February). On the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages ​​such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).

THE ARTS JOYCE DIDONATO

The American 'mezzo-soprano' Joyce DiDonato, one of the most sought-after artists on the international lyrical scene, come back this saturday, 30 October, to the Main Hall of Arts to interpret ‘Winterreise’, from Franz Schubert, accompanied on the piano by her compatriot Craig Terry.

After running out of seats on his debut last season with 'My Favorite Things', the charismatic artist inaugurates the cycle ‘Arts is Lied’, with one of the fetish works of the genre, Winterreise’ (Winter trip), the 24 songs that the Austrian genius composed in his last year of life, from poems by Wilhelm Müller.

With a regular work in the male repertoire, Joyce DiDonato joins the select group of legendary women like Lotte Lehmann, Brigitte Fassbaender o Christa Ludwig, who have lent their voice to this melancholic and lonely journey through unrequited love.

The Kansas diva prints her personal stamp on the score, to which he approaches from the perspective of the woman who does not correspond and who reads the pages of the walker's diary. Critics and the public have praised the first foray of the American in this cycle of songs, which premiered at Carnegie Hall in 2019 with the musical director of the Metropolitan of New York, Yannick Nézet-Séguin, at the piano and has recently seen the light in the record market.

Craig Terry will accompany Joyce DiDonato in her performance at Les Arts. Acclaimed for its sensitivity and elegance, the american pianist, recent Grammy award winner, enjoys a renowned career on the international circuit.

Joyce DiDonato
"Possibly, the most dynamic artist of her generation ", according to 'The New Yorker', "Authentic gold from 24 carats ”, according to ‘The Times’, Joyce DiDonato is one of the most fascinating and overwhelming personalities on the operatic scene.

Recipient of multiple Grammys for her discography, recipient of the British Olivier Award for "Outstanding Achievements in Opera" or the American Richard Tucker Award, the Kansas ‘mezzo-soprano’ is required by major theaters and auditoriums around the world for both its performances of Handel and Mozart and its forays into the bel canto repertoire.

Arts is Lied
Joyce DiDonato will be in charge of opening the third edition of ‘Les Arts és Lied’, which will once again bring together some of the most outstanding performers of the international lyrical scene in the Main Hall of Les Arts.
After the performance of the charismatic ‘mezzo-soprano’, the cycle that Les Arts dedicates to this musical form that combines voice, poetry and piano will continue with recitals by Matthias Goerne (29 of January of 2022),

Benjamin bernheim (20 February 2022), Lisette Oropesa (5 March 2022), Marianne Crebassa (2 April 2022) y Jakub Józef Orliński (15 May 2022). Les Arts recalls that ticket prices for the recitals of the ‘Les Arts és Lied’ cycle range 20 Y 40 euros.

Photography © Miguel Lorenzo_LesArts

Acosta Dance

The following days 22, 23 Y 24 October, the extraordinary dancer and versatile artist Carlos Acosta will present in the Teatro Real your company, Acosta Dance, founded in Havana in 2015 with the aim of showing the world the new artistic talent of Cuba, through a program that combines classical dance, contemporary and Cuban rhythms.

Carlos Acosta he is a legendary dancer. On innate talent, coupled with extraordinary physical ability, and a track record based on professional and personal effort, have made him one of the best dancers of his generation. Important awards, the most prestigious companies in the world and the Royal Ballet of London, where he has developed most of his career as First Dancer, they are the letter of introduction of a man who has never forgotten his origins and the heartbeat of the culture of his native country, where dance occupies a prominent place.

For this reason, after retiring from classical dance, Carlos Acosta undertakes the adventure of bringing together the best dancers in Cuba to show their talent and versatility on the great international stages: Acosta Dance. Now, for your presentation in Madrid, the company has selected works by choreographers whose works have found inspiration in the soul of the island, in their rhythms and in their dances.

Evolution will open the evening with the choreography of Raúl Reinoso, Satori. In Zen Buddhism this word refers to spiritual enlightenment; A) Yes, this creation illustrates the journey inward from various abstract scenes: the initial questions, the search, the stagnations, defeating obstacles and, Finally, the instant of knowledge, finding the truth, of beauty, the light.

Carlos Acosta will assume the interpretation of Mermaid, Belgian creation Sidi Larbi Cherkaoui to the company, on music by Woojae Park and Erik Satie. In her, contemporary dance embraces classical to tell the story of a mermaid, in which the wardrobe and the light are pointed out as fundamental references. Acosta will dance again in the second part of the program with the choreography Two, from Russel Maliphant.

With Countryside, suddenly, the night, swedish choreographer Pontus Lidberg, inspired by traditional Cuban music through the rumba and its African roots, celebrate youth, between sunsets and sunrise, taking as a starting point the score of the composer Leo Brouwer with the complicity of the artistic installation Winds (2017) by the Cuban Elizabet Cerviño.

And the night will close Twelve, from Spanish Jorge Crecis, a dance-sport piece, in a universe regulated by complex mathematical and graphical permutations, with a real risk that tests the physical and mental resistance of 12 dancers who have to do the impossible to achieve the impossible. Twelve is a combination of logic, aesthetics and emotion, a puzzle that plays with the concepts of success and failure, risk and pragmatism and that explores the limits of the human body. Twelve has been an exclusive recreation for Acosta Danza from the piece 36 created in 2011 for the company Edge and presented in 2012 in the Royal Opera House in London.

It will be precisely these two choreographies, Countryside, suddenly, the night Y Twelve, the protagonists of the family function what, under the name Learning to fly, will take place the morning of Saturday 23 October at 12.00 hours. Its great rhythmic force, luminous expression and creativity will catch the youngest. The session will have the special participation of Carlos Acosta, in a meeting with the public, in which he will reveal the secrets of dance by answering the questions of the attendees, between one choreography and another.

To coordinate this action, viewers will be able to submit their questions about the world of dance through a form available on the web until Friday 22 to 12.00 h. Among all the questions, a selection will be made that will be answered by Carlos Acosta during the performance..

BIOGRAPHIES

ACOSTA DANCE

Acosta Danza was founded on 28 September 2015 in Havana thanks to the efforts of Carlos Acosta, and made his first public appearance on 8 April 2016. Inserted in the Cuban scenic panorama under a contemporary line, the company has not neglected the technical development of classical ballet, with the clear intention of collecting the artistic and professional vision of its creator. Its creation is the result of the extensive development of dance in Cuba, country in which this art is an essential manifestation of the national idiosyncrasy, and has a recognized stage performance in the fields of ballet, contemporary dance and folklore. The choreographic repertoire includes titles by Carlos Acosta, Marianela Boan, Sidi Larbi Cherkaoui, Justin Peck, Saburo Teshigawara, Goyo Montero, Pontus Lidberg, Maria Rovira, Rafael Bonachela, Miguel Altunaga, Alexis Fernandez (Pussy), Mickael March, Jorge Crecis and Raúl Reinoso, among others.

Acosta Danza is supported by the National Council for the Performing Arts of Cuba and is co-produced by the Sadler’s Wells theater in London - one of the most important stages in Europe., associated with such renowned international dance names as Sylvie Guillem, Sidi Larbi Cherkaoui, Akram Khan– y Valid Productions, logistics company in charge of managing the company internationally.

The company defines itself as a space for renewal, research and experimentation, not only for Cuban artists, but also for creators around the world as choreographers, musicians, designers, plastic and audiovisual artists, to whom the company opens its doors. With all of them, the company performs dance shows that reflect the latest international trends both in choreographic movements and in everything related to the scene. The result is a young company, dynamic and quality that proposes to become one of the most effective letters of presentation of Cuban culture. In 2021 Acosta Danza has been nominated by the Dance Section of the Critics Circle of the United Kingdom for the National Dance Award of that country as the best independent company.

CARLOS ACOSTA

Considered one of the most famous dancers of the last decades, was born in Havana and trained at the National Ballet School of Cuba. He has danced as a leading figure in companies such as the Royal Ballet of London, the National Ballet of Cuba, the Houston Ballet, el American Ballet Theatre, the Bolshoi Theater Ballet, the Paris Opera Ballet, the English National Ballet and the Australian Ballet. Its repertoire is made up of the most significant titles of traditional and contemporary ballet. As a choreographer he has created the show Tocororo, Cuban fable, and his versions of Don Quixote and Carmen.

At 2015 founded Acosta Danza. In 2018, the director Icíar Bollaín premiered Yuli, the movie inspired by the life of the dancer. In that year, He was also the recipient of the Queen Elizabeth II Coronation Award from the Royal Academy of British Dance. From the 2020 Carlos Acosta conducts the Birmingham Royal Ballet. He is Commander of the Order of the British Empire, holds the Benois de la Danza Award and was named the National Dance Award of Cuba.

© Satori_Photo Santiel Rodriguez

ACOSTA DANCE

Director: Carlos Acosta

SATORI

Music Pepe Gavilondo (1989)

Choreography Raúl Reinoso

Musical conception Pepe Gavilondo, Raúl Reinoso

Costume designer Angelo Alberto

Lighting Fabiana Piccioli

interpreters Zeleidy Crespo, Laura Rodriguez, Patricia torres,

Arelys Hernández, Penelope Morejon, Mario Sergio Elijah,

Enrique Corrales placeholder image, Alejandro Miñoso, Yasser Dominguez,

Maikel Pons

MERMAID

Music Woojae Park (1981) Sidi Larbi Cherkaoui (1976)

Erik Satie (1866-1925)

Choreography Sidi Larbi Cherkaoui

Costume designer Hussein Chalayan

Lighting Fabiana Piccioli

interpreters Carlos Acosta, Liliana Menendez

COUNTRYSIDE, SUDDENLY, THE NIGHT

Music Leo Brouwer (1939): Cuban landscape with rumba

Stefan Levin (1964): Cuban Landscape

Choreography Pontus Lidberg

Scenography Elizabet Cerviño

Costume designer Karen Young

Lighting Patrik Bogårdh

Playwright Adrian Silver

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon, Patricia torres, Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Alejandro Miñoso, Raúl Reinoso, Maikel Pons, Javier Aguilera

TWO

Music Andy Cowton (1962)

Choreography Russell Maliphant

Lighting Michael Hulls

Interpreter Carlos Acosta

TWELVE

Music Vincenzo Lamagna (1982)

Choreographic concept and direction Jorge Crecis

Choreography assistant Fernando Balsera

Costume designer Eva Escribano

Lighting Michael Mannion, Warren Letton, Pedro Benitez

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon,

Patricia torres, Arelys Hernández, Zeleidy Crespo,

Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Javier Aguilera, Raul Reinoso, Maikel Pons

PREMIERE AT THE REAL THEATER

Valid Productions and Sadler’s Wells production,

together with Ysarca Promotions

Dates 22, 23 October, 19.30 h

24 October, 18.00 h

duration 2 hours and 8 minutes

PARTE I: 1 hour

break from 25 minutes

PART II: 43 minutes

Les contes d'hoffmann

ABAO Bilbao Opera opens its 70th season with Les contes d'Hoffmann de Offenbach. One of the essential operas of the French repertoire, that goes on stage for the third time in Bilbao on 23, 25, 27 Y 30 October 1 of November, with the exclusive sponsorship of the BBVA Foundation. The functions will begin at 19:30h except Saturday day 23 which will start at 19:00h.

SUMMIT WORK OF THE FRENCH REPERTOIRE
The Tales of Hoffmann, whose score was left unfinished by Offenbach upon his death in 1880, tells the adventures and misadventures of the German poet E.T.A. Hoffmann, who becomes the protagonist of the opera.
The story is a sublime and delirious transit through the three stories of the German romantic poet who fell in love with the singer Stella, embarks on the search for this ideal woman through the women he has known and loved throughout his life: Olympia, a doll, Antonia, a young woman who becomes ill when she sings and Giulietta, a courtesan, and all of them form one: his crush Stella.
A STAR CAST TO INAUGURATE THE SEASON
To star in this gripping opera, intoxicating and sublime, that walks the path between the redemption of confession and the longing for lost love, ABAO has assembled a cast of great artists led by Jessica Pratt who kicks off the season with a true tour de force by playing the four main roles for soprano: Olympia, Antonia, Juliet y Stella, a milestone in his successful career. Solve the equation for the four female roles, the specific personality of each heroine, its scenic expressiveness and all the lyrical and dramatic imperatives that it entails, is a huge challenge for the talent and vocal virtuosity of the English soprano.
Michael Fabiano, a tenor in a state of grace, embodies the beleaguered Hoffmann in a grueling role that requires all strength, security and vocal naturalness of the interpreter, his exquisite pronunciation and absolute control of the modulation of his voice to tackle moments of great theatrical intensity and scenes of intimate delicacy. elena Zhidkova, true to his characteristic dramatic delivery, She is in charge of composing the protective Niklausse, the maternal The Muse and the ghostly La voix de la tombe, and Simón Orfila embodies Los 4 villains: Lindorf, Coppélius, Dr. Miracle and Dapertutto, with the character and energetic expressiveness of the Menorcan bass-baritone.
The cast is completed by the impeccable talent of Mikeldi Atxalandabaso, Jose Manuel Diaz, Moses Marin, Fernando Latorre and Gexan Etxabe.

CARLO MONTANARO RECREATES AN ORIGINAL AND TRAVELING MUSICAL SPEECH
In the musical section, Maestro Carlo Montanaro leads the Bilbao Orkestra Sinfonikoa to conduct a frenetic score, full of hypnotic and exuberant moments, with a complex musical structure and practically without calm.
The chosen score, edited by Jules Paul Barbier, Michael Kaye y Jean-Christophe Keck para Schott, culminates the act of Venice and adds different arias, and it is recognized as the most comprehensive and legitimate of the versions from the musicological point of view.

CLASSICIST AND MONUMENTAL SCENIC GAME OF VINCENT HUGUET
On stage a national premiere production of Vincent Huguet, who debuts in ABAO with a classicist proposal, imposing and modular, made of monumental stairs and doors representing a theater and setting the plot during a performance of Don Giovanni.
Huguet, considered the enfant terrible of the current scene, travel through the fantastic and dreamlike universe of opera with the collaboration of Louis Geisler, who participates in the dramaturgical construction of the characters and Aurélie Maestre in the scenography. The lighting by Christophe Forey and the costumes by Clémence Pernoud and Laurianne Scimemi manage to capture a powerful visual stamp.

RUBÉN AMÓN INTRODUCES LES CONTES D’HOFFMANN IN THE CYCLE THE ABC OF OPERA
The cycle The ABC of opera that reveals the most relevant aspects of each title of the season
at a keynote the eve of the premiere, inaugurates a new edition in the Auditorium of the
Bilbao Fine Arts Museum on Friday 22 October.


The speaker in charge of revealing all the details of this opera is the well-known journalist and writer
Rubén Amón, who regularly participates in different radio and audiovisual media, as
The confidential, Zero Wave, Antena3 and La Sexta. He has published several books on different topics,
as an investigation on The Secrets of the Prado (Today's Posts 1997), the biography of Placido
Sunday, A colossus on the world stage (Planet 2012) o The triumvirate: Careers, Sunday and
Pavarotti, When the opera fills stadiums (Today's Posts 1996). Blood, poetry and passion: Two centuries of
music, noise and silence in the Royal Theater (Editorial Alliance 2018).


HE 25 OCTOBER ABAO JOINS THE WORLD OPERA DAY CELEBRATIONS

Les contes d’Hoffmann show on Monday 25 October commemorates the World Opera Day,
an initiative under the umbrella of all theaters and opera organizations in Europe that meets

its third edition, and which is presented this year with the motto “Opera Reboot ”, as the idea to start
again and start better, with lasting objectives and in harmony with society.


To celebrate, ABAO puts the sale the days 21 Y 22 October tickets for the function of the day 25
by 36€ for adults and € 18 for young people until 35 years, in six different areas, that can be purchased
at the ABAO offices or through its website.


ABAO BILBAO OPERA PAYS TRIBUTE TO SANITARIANS, SOCIAL HEALTH CARE AND VOLUNTEERS IN
THE ROLE OF 27 OCTOBER

Some of the sectors that have contributed the most in the fight against COVID-19 are undoubtedly the
healthcare environment, socio-sanitary and volunteers of the Bizkaia Food Bank. Your effort,
dedication and tireless dedication during the pandemic has made them the true heroes of
this health crisis. For this reason, ABAO Bilbao Opera wants pay them a heartfelt tribute of

I respect, gratitude and pride, in the function of Les contes d'Hoffmann the Wednesday 27 from
October at the Euskalduna Bilbao at 19:30h, that they can enjoy with tickets worth a
€ 10 donation.

A tribute with a double purpose, on the one hand recognize and thank the work of professionals
and health workers who were on the front lines of fighting the virus in
hospitals, Health centers, residences and centers for the elderly; and on the other hand to contribute and
support with full delivery of all donations collected, the commendable work of the Bank of
food of Bizkaia / Bizkaia Food Bank, that helped and continue to do so to families and
most vulnerable people.

The relationship between professionals and groups who can access this program can be consulted in
the ABAO website. Those interested may purchase their tickets at the association's offices
and at the Euskalduna Bilbao box office on the day of the performance, for what will be necessary present a
accreditation o official identification that certifies the professional status belonging to the
designated groups.

This initiative is part of the global # TeMerecesÖpera campaign whose purpose is to highlight the
importance of culture as an essential good. ABAO Bilbao Opera thus joins the recognition of
effort and the work carried out by these groups since the beginning of the pandemic, and the feeling of
gratitude of the whole society towards some professionals, workers and volunteers who have risked
their health and their lives to save those of many other people, and they have allowed us to
recover the normality of our cultural activities.


BBVA FOUNDATION: PROMOTE SCIENTIFIC AND CULTURAL KNOWLEDGE

The BBVA Foundation, whose differential feature is the impulse to knowledge, both scientific and
cultural, articulates its Music program as a comprehensive tour of the different ways in which
society can benefit and enjoy this artistic manifestation. A) Yes, promotes creation
of new work with composition commissions and makes possible its preservation and dissemination through
recordings in collaboration with top labels and performers.


Promotes live music through concert cycles, for free, put within reach
of the public ensembles and soloists of reference in the contemporary repertoire. Organize cycles of
lectures and edit posts to better understand the work of certain authors or immerse yourself
in the study of certain compositional periods and carries out research projects and
highly innovative creation with the Leonardo Scholarships in Music and Opera.


Organizes specialized symposiums on management of orchestras, collaborates with musical groups and
theaters across the country and recognizes excellence through the Frontiers of Knowledge Award in
Music Y Opera Y he Prize from Composition AEOS-Foundation BBVA, in collaboration with the
Spanish Association of Symphony Orchestras.


The performances of Les contes d’Hoffmann are sponsored exclusively by the Foundation
BBVA, ABAO sponsor of Bilbao Opera, which contributes in this way to promoting
operatic culture and bringing top-quality shows to the public.

Michael Fabiano_Photo by Jiyang Chen

After his debut as an abbey with Lucia di Lammemoor in 2011 and his return to the Bilbao capital in 2018 reaping great success as Chevalier des Grieux in Manon Massenet, Michael Fabiano is back in full swing to inaugurate the Abao Bilbao Opera course, putting himself in the shoes of one of the most emblematic characters in the tenor repertoire, Hoffmann, the protagonist of The Tales of Hoffmann, by Offenbach. The New Jersey-born singer, that the tormented character debuted no less than at the Paris Opéra in January 2020 –Just before the world came to a standstill due to the pandemic– he considers the role to be “very complex but exciting, both vocal and actoralmente. It is full of challenges that you have to know how to face”, to which is added his omnipresence on stage. “He is a man immersed in the obsessive search for the absolute and the feminine ideal., of love, a story that portrays four eras of his love life through a very rich score, with a giant orchestra. Without a doubt, it is one of those roles that tenors yearn to play at some point in our careers., when there is vocal and interpretive maturity. I was able to debut it in Paris in 2020 and now I return to it with enormous enthusiasm in front of the Bilbao public, where I have already sung other times and where I feel at home”, says Fabiano.

In Bilbao Michael Fabiano will share the stage with the soprano Jessica Pratt who will assume the four leading female roles (Olympia, Juliet, Antonia and Stella) and with the bass baritone Simón Orfila, who, at the same time, will incarnate the four demons. Elena Zhidkova will be Niklausse, The Muse and the Mother of Antonia, in a production staged by Vincent Huguet and with musical direction by Carlo Montanaro that will go on stage on days 23, 25, 27 Y 29 October 1 of November.

After passing through the Basque capital, the North American tenor will return to the Teatro Real in Madrid –whose season he opened last year with A masked ball- this time to interpret Bohemian (December), to sing later Carmen in La Munt-De Munt de Bruselas (January and February) and at the Grand Thêatre in Luxembourg (March), to later debut at the Washington National Opera, always like Don José de Carmen (mayo) before returning to the Teatro San Carlo in Naples with Evgene Onegin (June).

Michael Fabiano Photo by Jiyang Chen

Michael Fabiano

ABAO Bilbao Opera

Duo-3-c-Marine-Cessat-Bégler - scaled
Albéniz

Brío Clásica: This is the second job they do together. The first is a selection of works by Robert Dussaut and Hélène Covatti, composers unknown to the general public. Nor are the thirty songs of Albéniz that they present in this second work very well known.. Is, definitely, brilliant outreach work. How did you come to this repertoire and why did you choose it for these record works?


4Quotes2

B.C.: These songs are the product of Albéniz's artistic maturity, when he had already composed some of his most important works. They are texts in Spanish, French, Italian and English, always maintaining the personality in each of them. Could you tell us about the character of these works and the characteristics of their writing??


B.C.: Their collaboration seems to be a long one. Is there a common thread in your projects or does it arise more spontaneously.

 

 

Quotes5p-2

B.C.: Why do you think so few Spanish concert song recitals are scheduled in Spain??

 


Adriana's website

 

B.C.: Perform this type of romantic repertoire, in a small room, accompanied only by a piano or singing an operatic production on the stage of a grand opera house, What different sensations do you have?


B.C.: Mimi has recently been, we previously saw her in the role of Corinna, from The trip to Reims, both at the Liceu, What roles are you preparing in the short and medium term and which do you dream of for the future?

B.C.: He has dedicated these Songs of Albéniz to the one who was his teacher, Barbara Bickford. Tell us a little about it and why it is so important to you.

 


B.C.: Do you have any important references when preparing a role, who does he look at?, Who does Adriana González admire?

 

 

 


B.C.: When are we going to be able to listen to her in Madrid presenting this work or in any of those roles she is preparing?


IÑAKI ENCINA
Iñaki's website

B.C.: When he arrived at the Musikene in San Sebastián, he was selected for piano, choir director and orchestra conductor. He had to choose one of them and opted for the last one, What led you to make this decision and what qualities, according to you, must have a conductor worth his salt?

 


B.C.: This Iphigénie in Tauride is stage directed by Krzystof Warlikowski, director who does not usually leave anyone indifferent, How has this scenography worked in the Garnier room??, How do you get along with stage directors?

B.C.: In 2005 He became part of the Academy of the National Opera in Paris and is now making his Paris debut with Iphigénie en Tauride, What does it mean for you to debut in an Opera House like the one in Paris?


B.C.: Conducting a symphonic repertoire is very different from conducting a lyrical one, if I had to choose, which one would you choose and why?

 

 

 


B.C.: When are we going to be able to see you in Madrid, directing or presenting this work of Songs of Albéniz?


Pablo Garcia Lopez

The next 5 of November the tenor Pablo Garcia-Lopez will return to the stage of the Lausanne Opera to participate in a new production of The Marriage of Figaro by Wolfgang Amadeus Mozart in which he will play the role of Don Basilio. An evening that will surely acquire an especially emotional tinge as the theater reopens its doors to the opera for the first time after the closure caused by the pandemic. For Pablo Garcia-Lopez supposes the return to a theater in which he has sung on several occasions; specifically in 2016 in La Traviata, in 2020 in Doña Francisquita, as well as a recital that he offered at the Òpera Forum. In future seasons, the tenor's voice will resonate in another Swiss theater, specifically at the Zurich Opera House.

In Lausanne Pablo Garcia-Lopez will share the stage with a cast that includes soprano Valentina Nafornita, in her debut as the Contessa, and mezzo-soprano Lea Desandre as Cherubino, among other figures. The Marriage of Figaro that can be enjoyed from 5 November is a new co-production of the Lausanne Opera junto con el Theater des Champs-Elysées, Los Angeles Opera, Opera National de Lorraine and The Theaters of the City of Luxembourg. A proposal that is rounded off with the stage direction of the American filmmaker John Gray, the musical direction of Frank Beermann, and costumes of the legendary Christian Lacroix. The production can be seen throughout five functions, the days 5, 7, 10, 12 Y 14 of November.

Demanding commitments for a career on the rise

In addition to this imminent international appointment, the agenda of Pablo Garcia-Lopez includes in season 21/22 other important commitments, like his time at the Royal Theater in the role of Benoît in Bohemian which will premiere next December. Likewise, in 2022 He will debut as a soloist at the National Auditorium in two different cycles: On one side, together with the Symphony Orchestra of Castilla y León in the XLIX Cycle of Great Interpreters putting their voice to the oratorio Based on pictures from the Bible by Fanny Mendelssohn with the Castilla y León Symphony Orchestra; for other, will sing in the Salomé by Richard Strauss with the National Orchestra of Spain under the direction of David Afkham.

Pablo Garcia-Lopez has sung in recent years on prestigious national and international stages, debuting in theaters like Royal Opera Wallonie de Liège, Royal Opera House of Muscat, Palau de Les Arts Reina Sofía de Valencia y Capitole Theater in Toulouse. He has worked with musical directors such as Zubin Mehta, Riccardo Chailly, Jesús López-Cobos and Omer Meir Wellber, among others.

In 2021 participated in the world premiere of Transit, opera by Jesús Torres, co-production of the Royal Theater and the Spanish Theater, for which it received rave reviews. His passion for contemporary music has led him to perform world premieres such as the Cordoba Symphony Y Scenes from a German spring by Lorenzo Palomo, Kafka coffee of Francisco Coll in the Palace of the Arts, Fuenteovejuna by Muñiz at the Opera Oviedo, The Keeper of Tales by Miquel Ortega in the Baluarte de Pamplona, as well as the song cycles My son by Jesús Torres and Evening roads by Hermes Luaces.

His first solo album entitled Routes with the pianist Aurelio Viribay was published in 2020, dedicated to Spanish song with works by Eduard Toldrá, Oscar Esplá, Joaquín Reyes and Ramón Medina Hidalgo. The album was awarded with the "Melómano de Oro" by the magazine Melómano. His discography is completed with Turandot (Decca) directed by Zubin Mehta, Bohemian (Accentus) directed by Riccardo Chailly, both by Puccini, and the Córdoba Symphony by Lorenzo Palomo (Naxos) Directed by Jesús López-Cobos.

The newspaper El Mundo has praised the voice of Pablo Garcia-Lopez for its "unquestionable musicality called to progress in communicability, attracts the listener by the decisive beauty of its natural emission, timbre and tuning ".

Pablo Garcia Lopez

Cinderella-1

Cinderella-2

Cinderella-3

Cinderella-4

Cinderella-5

Cinderella-6

Cinderella-7

Cinderella-8

La Cenerentola premieres the season at the Teatro Real

Cinderella
Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

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

LIST OF TITLES

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

Iñaki Encina Oyón

The next 2 October, the Basque conductor Iñaki Encina Oyón will be in front of the Orchestra and Choirs of the National Opera of París, to direct Iphigenia in Tauris Gluck (1714-1787) in the Palais Garnier, in an original production with stage signature by Krzysztof Warlikowski. The Irish mezzo-soprano Tara Erraugh (Iphigenia), American baritone Jarrett Ott (Oreste) and the French tenor Julien Behr (Pylade) lead the cast of this lyrical tragedy in four acts premiered in Paris in 1779.

The conductor Iñaki Encina Oyón, what in 2005 joined the Atelier Lyrique de la Opéra national de Paris, He is a regular baton on the French music circuit, where he has conducted numerous operas and oratorios such as La Finta Giardiniera Mozart, Madame Butterfly Puccini, Oviedo y Mario Mozart, The Uninhabited Island Haydn, Idomeneo Mozart, Hippolyte et Aricie Rameau, Abu Hassan | by Weber, Falstaff the Salieri, Athalia Haendel, San John the Baptist de Stradella, The triumph of time and disappointment Haendel, Y The day of judgment of Telemann. His extensive repertoire also includes titles from contemporary composers such as Barber, Xavier Dayer, Philippe Fénelon o Kaija Saariaho, among others. Since 2016, es el musical director of the Académie Baroque Internationale del prestigious Festival du Périgord Noir, and has worked as assistant conductor to Thomas Hengelbrock at the Aix-en-Provence Festival.

He 15 October, Iñaki Encina Oyón's second album project in his role as a pianist will be released, with the Guatemalan soprano Adriana González; is about Complete Songs by Albéniz, on the Audax Records label. His most immediate commitments include a recital with Adriana González at the Opéra de Lille, The Marriage of Figaro by Mozart in the Toulon Opera, Y Alcina by Handel at the Opéra national de Paris.

Photography © Marine Cessat-Bégler

Iñaki Encina Oyón

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 ".

'Requiem'

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

Jorge Cradle

The Executive Committee of the Board of the Foundation of Arts has approved to appoint Jorge Culla Bayarri new general director of the institution. His election for the position has been evaluated and approved following the guidelines established by the procedure stipulated in these cases by the governing body of Les Arts. Thus, the renowned Valencian professional joins the theater management team as head of administrative management, with Jesús Iglesias Noriega in charge of the artistic direction.

More than 30 years of experience in performing arts and music management, Culla Bayarri's appointment is part of the roadmap provided by the Board of Trustees for the consolidation of Les Arts as a Valencian cultural emblem and its projection on the national and international circuits. Jorge Culla will assume the functions provided for in the bylaws of the Foundation for the general management from next October, date on which your effective hiring will take place. In this sense, The Executive Committee has thanked José Carlos Monforte Albalat for the work he has carried out since December 2018 in charge of the general direction of Les Arts. The governing body of Les Arts recognizes the professionalism of Monforte Albalat, as well as his dedication to the service of the institution, particularly in the complex management of the pandemic, that has allowed the maintenance of the theater activity, as well as the administrative processing of the institution in order to achieve the maximum
economic efficiency of Les Arts budgets.

Jorge Culla Bayarri
Born in Valencia, He is the son and grandson of theatrical entrepreneurs linked to the Ruzafa and Apolo theaters, to zarzuela and magazine companies, and to the Valencian comedy; live the world of music and theater since childhood. He begins his professional career in 1987 as Production Coordinator at the Palau de la Música de València, two years later he made the leap to Madrid as deputy director of the National Dramatic Center, and returns at the end of 1991 to the Palau de la Música as deputy director. In 1997 assumes a new professional challenge in Madrid as manager and technical director of the Orchestra and Choir of the Community of Madrid. Since 2009 holds the position of mayor of Teatros del Canal and the Auditorio de San Lorenzo de El Escorial Theater, where he also directs the festivals of this municipality of the Community of Madrid. During these years of professional life he has held different positions of responsibility in some institutions in the performing arts and music sector. He has chaired the Spanish Association of
Symphony Orchestras and the Spanish Association of Classical Music Festivals (Festclassic). He has been a member of the Council of Culture of the Community of Madrid and of the State Council of Performing Arts and Music. He is a founding member of the Academy of Performing Arts of Spain.

Juanjo Mena

The Orquestra de la Comunitat Valenciana (OCV) debuts at the ENSEMS festival next Friday, 17 of September, under the musical direction of Juanjo Mena at the Auditori de Arts to 20.00 hours.

The Les Arts formation makes its first foray into the dean festival of avant-garde and experimental music in Spain with a program dedicated to the Finnish composer Kaija Saariaho, essential figure in the music of the 20th and 21st centuries, of whom two of the most representative works are interpreted: ‘Circle Map’ and the clarinet concerto ‘D’Om le Vrai Sens’.

Saariaho, despite being an unpublished author in the programming of the OCV, is, as the artistic director of Les Arts points out, Jesus Iglesias Noriega, "One of the references of the current composition in absolute terms, with presence in the main theaters and auditoriums of the world ".

"In this sense", explains Iglesias Noriega, “The concert directed by Juanjo Mena insists on the commitment of Les Arts to expand repertoires and show the greatest diversity of musical styles, as well as for strengthening the links of the institution and its artistic assets with the Valencian cultural fabric, who for the first time take an active part in ENSEMS ".

Saariaho's expressive music fuses modern compositional trends with tradition, and reflects his passion for nature. His works are programmed by prestigious orchestras of the Los Angeles and Berlin Philharmonics, and has written commissioned operas for the most important theaters and festivals.

The collaboration with the Salzburg Festival stands out in his career, donde estrenó "Love from afar", later represented at the Metropolitan in New York. Likewise, this summer, the Aix-en-Provence Festival hosted the world premiere of his latest opera, ‘Innocence’, celebrated with great public success and the unanimous applause of international critics, who has described the work of the Finnish as his great masterpiece.

Juanjo Mena is considered one of the Spanish batons with the greatest international projection. The current principal director of the Cincinnati May Festival and an accredited expert in contemporary music assumes the musical direction of this concert after opening the Les Arts season in Alicante with two concerts in Teulada and Alcoy..

The program

Saariaho fuses orchestral and electronic music from six stanzas of poetry by the 13th century Persian poet Rumi in ‘Circle Map’ (2012). The play, which was well received by critics, has been premiered in the main international auditoriums. Juanjo Mena himself conducted the work in its American premiere with the Boston Symphony Orchestra.

"Om the True Sense" (2010) is a concerto for clarinet and orchestra in six movements, that Saariaho composed for his compatriot Kari Kriikku, virtuoso clarinetist who will also perform the piece for the public of Les Arts. The work is inspired by the medieval cycle of six tapestries 'The Lady and the Unicorn', that symbolically describes the five senses of the human being along with a mysterious sixth.

The Arts is Symphonic

Les Arts recalls that the price of the tickets for the concert of Juanjo Mena with the Orquestra de la Comunitat Valenciana ranges between 15 Y 25 euros.

The Auditori de Les Arts will receive within the season 2021-2022 to the main batons of the international circuit. Along with the returns of the most international Spanish directors, Gustavo Gimeno, Juanjo Mena and Josep Pons, the Orquestra de la Comunitat Valenciana will work for the first time with Riccardo Minasi and Mark Elder in James Gaffigan's first year as musical director.

Riccardo Frizza_Donizetti Opera © Gianfranco Rota

The next 20 September the Teatro Real Madrid opens the season 2021/2022 with Cinderella, with stage direction by Stefan Herheim and musical direction by Riccardo Frizza. Rossinian opera will be on stage from 23 September to 9 October with a total of 14 functions, in addition to the preview of the 20 September with invitation-only access. “Spain is the country where I live and that has meant a lot in my professional lifeSays Riccardo Frizza. “Precisely from Spain this year comes a recognition that makes me proud: he Opera Prize XXI, awarded by the association of Spanish opera theaters and festivals for the functions of Lucia of Lammermoor that I directed in 2019 en ABAO Bilbao Opera, and that I will receive the 11 September at the La Zarzuela Theater in Madrid”. The awards ceremony can be seen live from the digital platform OperaVision.

Regarding his return to the podium of the Royal Theater, Frizza assures that, by agenda topics, so far he had only directed a single time at Real, “in 2007, when I had the unrepeatable opportunity to offer two versions of Tancredi Rossini, that of Venice and that of Ferrara. It was an extraordinary experience, both from the theatrical point of view –with a splendid stage direction by Kokkos–, as musical, since a very good harmony was created between the creative team and the two casts, and even from the philological point of view thanks to the assistance of the Fondazione Rossini de Pésaro with the critical edition of his score. It was a great opportunity to sound out an opera composed by a Rossini in his early twenties, very accomplished in relation to the age of the composer and certainly an important link in a chain of immortal masterpieces”.

After fourteen years the master Frizza is very satisfied with the “reunion with a spectacular choir and orchestra, two very well balanced solo casts and a lot of enthusiasm. In these years the world has changed and the pandemic has wreaked havoc on the sector, but music and opera have held out, especially in Spain and especially in the Royal Theater, helping us stay the course. Maybe now we are all a little more mature after this experience on a global level”.

Musical director of the Donizetti Festival in Bergamo, Riccardo Frizza is one of the most acclaimed conductors of his generation, regularly invited to international theaters and festivals such as the Opéra de Paris, Lyric Opera de Chicago, Metropolitan Opera in New York, Bavarian State Opera, Teatro alla Scala in Milan, Rossini Opera Festival de Pésaro, Festival Verdi de Parma, Maggio Musicale Fiorentino, National Academy of Santa Cecilia in Rome, Gran Teatre del Liceu in Barcelona, Gewandhausorchester de Leipzig y Sachsische Staatskapelle de Dresden.

Riccardo Frizza

Photography © Gianfranco Rota

Circe

Next year they will be fulfilled 120 from the premiere of ‘Circe’, the great opera by Ruperto Chapí that in 1902 inaugurated with more than twenty performances the now defunct Lyric Theater, an absolute Titanic of the genre, the largest lyrical venue ever in Madrid. Ten years later, ‘Circe’ traveled to Buenos Aires to also conquer the public of the Teatro Colón; Immense luck –whose true scope everyone ignored– that of the spectators from both shores who had the opportunity to attend one of those representations. And it is that from there, the story was very different: ‘Circe’, the work that many considered «foundation and foundation of ohpear españbe», fell into total and inconceivable oblivion -No re-enactment, was not heard again - of which now him Teatro de la Zarzuela rescues her so that the public of 2021 can also feed on that composition that turned where no one had dared (the known). To admire a Chapí to date (then and now) unknown. Lday 10 Y 12 of September (20h00 and 18h00 respectively) the Theater of the Plazuela de Jovellanos will present in concert this work today absolutely "new".

In this way, the coliseum once again complies with the inalienable requirements contained in its statutes such as the preservation, the Recovery, the revision and the diffusion of our operatic heritage. These are the obligatory tasks that the Theater meticulously fulfills each season at least twice.

‘Circe’, libretto by Miguel Ramos Carrión, premiered at the Teatro Lirico in Madrid on 7 May 1902, and as the musicologist indicates Emilio Casares, one cannot approach her with the same spirit with which one goes to hear ‘La traviata’ or ‘Doña Francisquita’. "Rather you have to think about any of Wagner's dramas or in the Debussy's 'Pelléas et Mélisande'”, says the expert, who explains that ‘Circe’ is not defined by the great arias, duets or concert numbers - it has no numbers -, "But as a continuous musical drama, where music, text, and visuality work together”. As an absolute whole.

The two concerts that now do justice to the work, will be led by Guillermo García Calvo, musical director of the Teatro de la Zarzuela, who at the head of the Titular Orchestra of this, the BARREL, and its Titular Choir directed by Antonio Fauró, must face a extraordinarily demanding score, written with an unusual musical intelligence.

It will also be a unique occasion to be pleased with a cast very much in line with the needs that a work of these characteristics requests., integrated to Session Hernández, Alejandro Roy, Rubén Amoretti and Marina Pinchuk in his leading roles.

The recording than Classic Radio will perform one of the two sessions, can be considered as historical, since it will be the first sound record of the work.

In the premiere functions from ‘Circe’ the acclaim was in crescendo until achieving a unanimous enthusiasm, so what Chapí did not direct his work to attract the usual public, thought in large numbers that have to end with the usual applause. How Emilio Casares reveals to us, "The beauties are obvious but in another way, with an always rich orchestration, with numerous transitional moments, with a masterful motivational work, or for its colorism. There are no places for the greats cadenzas, o for moments of flowering”.

The teacher García Calvo points out in this regard that ‘Circe’ is “a historical opera, European in the style of Strauss's ‘Elektra’ or Enescu’s ‘Oedipus’. An opera describing the mythical setting of Homer's Odyssey in a voyage of discovery for all”. The director also shows his admiration for Chapí alluding to the versatility of your creative ability: “In every work he writes it seems like a new composer. How different is his music ". And according to this idea concludes: "The one with‘ Circe ’is an absolutely unknown Chapí”.

José Miguel Pérez-Sierra

The consecrated Spanish director José Miguel Pérez-Sierra starts its course 2021-2022 he 4 September in the Metz Music City with a concert of Brazilian flavors with the virtuoso composer and mandolin player Hamilton from the Netherlands, great figure of the Brazilian art scene that moves between jazz, samba and classical music. In the program, within the Orchester national de Metz season, if you include the Saudades do Brasil, by Milhaud, las Bachiana Brasileira N°8, for orchestra, by Villa-Lobos, and the Symphonie monumentale composed by the same Hamilton of Holland.

He 11 September will return to the Lyric Program of Amigos de , in which he has directed on numerous occasions, now to take command of a concert with the Norwegian soprano Lise Davidsen in which they will perform arias and scenes from Beethoven operas, Verdi, Wagner and Strauss with the Galician Symphony. Later, the days 24 Y 26 September and always at the Colón Theater in the Galician capital, will direct the opera Pagliacci, de Leoncavallo, with a cast featuring Alejandro Roy (Canio), Vanessa Goikoetxea (Nedda), Zeljko Lucic (Tonio), Enrique Alberto Martinez (Peppe) and César San Martín (Silvio), with the Galician Symphony in the Pit and in an imaginative production of the Teatro de La Zarzuela directed the stage by Ignacio García.

Among other commitments and in the remainder of the season, the teacher José Miguel Pérez-Sierra will celebrate the bicentennial of the "Spanish Mozart", Emilio Arrieta, conducting his opera Marina at the Baluarte Auditorium in Pamplona, will return to the Opéra de Marseille (France) with Armida de Rossini, will offer a concert with the Navarra Symphony Orchestra, will make his debut at the Théâtre de La Monnaie / De Munt in Brussels conducting the popular opera Carmen, Bizet, a title that he will also conduct at the Grand Théâtre in Luxembourg. This academic year, the Madrid director will also return to the Teatro de La Zarzuela in Madrid to revisit Barbieri's comedy El Barberillo de Lavapiés, title that has already toured several Spanish lyrical stages.

Photograph: Pedro Aijon

Metz Music City

Friends of the Opera of A Coruña

Netrebko

Anna Netrebko performs a selection of very diverse opera arias in his latest recording for German Grammophon. Loved by the darkness, whose international launch is planned for the 5 November 2021 in all formats, including Dolby Atmos 3D surround sound, It is the first solo classic album this superstar soprano has recorded in the last five years.. She has performed the music of her own choosing, and featuring some of the most dramatic and passionate arias in the entire repertoire, in the legendary La Scala from Milan, with the Orquesta of the Teatro alla Scala under the baton of the musical director of La Scala, Riccardo Chailly. The Italian filmmaker Elena Petitti of Roreto has immortalized four of Netrebko's performances in music videos that are part of his original new film: Anna - Scenario of emotions, a radical mix of the sensual essence of opera and a contemporary visual vocabulary.

In Loved by the darkness, Anna Netrebko presents the unwarranted optimism of "One fine day we'll see" from Puccini, sung by Madama Butterfly; the despair of "Alone, lost, abandoned!” from Manon Lescaut from Puccini; and the resignation and longing intrinsic to "You who vanities", an emotional stunt of Don Carlo from Verdi. In recent years, the singer has opted, with remarkable success, for some of the most dramatic roles in operatic literature and here he also demonstrates his mastery in this repertoire, bringing wonderfully rich and dark colors to Return winner!call, compassion of my suffering!” from Aida from Verdi; a "Poor flowers" from Adriana Lecouvreur from Cilea; and to Lisa's Aria from The Queen of Spades from Chaikovski. Netrebko also sings two pieces in German: the tragic and, but nevertheless, ecstatic Love Death of Isolde, from Tristán e Isolda from Wagner, and Ariadne's description, with a broken heart, from the land of death, “There is an empire ”, from Ariadne auf Naxos from Richard Strauss. Finally, by way of surprise inclusion, gives his listeners a heartbreaking rendition of "When I am laid in earth", from Dido and Aeneas from Purcell.

Netrebko has also entered new territories by collaborating with the famous filmmaker Elena Petitti di Roreto in the recording of a series of music videos for four of the pieces of the new album.. The film of the Italian director, Anna - Scenario of emotions, it is partly documentary, partly an abstract and visually stunning response to some of the powerful themes found in this music, from love and hope to death and despair. Collect Anna Netrebko's portraits of four great operatic heroines –Aida, Lisa, Dido and Isolde-, all of which are brought to life individually thanks to the director's unique visual style and language. Interspersed with the four music videos can also be seen an in-depth interview with Netrebko, who talks both about the different roles and about his own life. Filmed largely in the majestic setting of the famous La Scala auditorium, the film makes connections to the venerable history of this opera house (the world premiere of Madama Butterfly) and its uninterrupted artistic excellence, currently under the direction of Master Chailly. Anna - Scenario of emotions is the perfect complement to Loved by the darkness.

Recital de Ermonela Jaho

Within the programming of the Festival Euroclassics, the Albanian artist will star in the Palacio de Congresos de Palma the engraved pieces to celebrate the 50 Opera Rara anniversary, on his first recital album -Anima Rara-, presented in September 2020, and recorded in Valencia in 2019 with the Valencian Community Orchestra and Andrea Battistoni. This recording received the ICMA award for vocal music (International Classical Music Awards), of this year.

Jaho will perform pieces of Leoncavallo, Bellini, Verdi, Massenet O Puccini. during his 50 years of history, Opera Rara has established close relationships with various singers and has helped nurture their careers.. The company gave Jaho his first opportunity to record in the studio in 2015 when he sang the main role of Zazà de Leoncavallo, which also marked Opera Rara's first foray into verismo. In 2018, she sang the role of Anna again when Opera Rara presented the modern premiere of Puccini's first opera, Le Willis, in its original version of an act. To launch the celebrations of 50 anniversary at the beginning of 2020, Opera Rara presented Jaho's debut recital at London's Wigmore Hall, with a program that featured a large part of the repertoire heard on Anima Rara, plus rarely heard Bellini songs, Verdi, Toscanini y Tosti.

As noted by The Independent: "Jaho's sound is in turns light and transparent, or luxuriously packed, And climaxes when the music demands it. What he does with the terrible scene of 13 minutes from Lodoletta de Mascagni, rarely performed, has a devastating force. An amazing debut ".

Rare Anima: “It is easy to appreciate something well established and proven before the public, but an artistic vision is required to ask the public to take a new look at a work of art that has been lost in the mists of time. This is the vision of Opera Rara, and I share it with passion. The repertoire that we have recorded here is diverse, but what unites it is the emotional truth, the soul we find in music ".

New York resident, Jaho Ermonela He was born in Albania and started taking singing lessons when he was just six years old.. To the 14 years, they took her for the first time to the Tirana Opera, where he listened to La Traviata and decided to become an opera singer. To the 19 he moved to Rome to continue his studies at the Accademia Nazionale di Santa Cecilia. During the following years, won many singing competitions in Italy, opening the doors of his career as a singer. Ermonela Jaho's vivid performances and her exceptional identification with the roles she plays are highlighted in all her reviews.

During last year, standing ovations followed her from London, Paris, NY, Munich, Berlin, Madrid and other places in between, and The Economist described it as “Burning angel … the world's most acclaimed soprano”, Financial Times “. throws heart and soul to his song. Don't even try to resist! ”, The Independent as "the best Madama Butterfly London has seen in years" and Australia's Daily Telegraph describes her as "an unstoppable phenomenon".

Defendant around the world, Ermonela Jaho is particularly recognized for her performances of Violetta (La traviata), Madama Butterfly and Sister Angelica (The triptych) and many other roles where he leaves his indelible mark on everything he sings.
In season 2021-22, Ermonela Jaho will perform Thaïs de Massenet in Paris, while in Spain it will be Mimí in La Bohème of the Royal Theater, as well as Adriana Lecouvreur in the homonymous opera at the Oviedo Opera. "’ When I have to cry, lloro, sure. If i have to scream, I really scream ”. Ermonela Jaho talks about the stage as if it were the only place where you see yourself
bound never to cheat. All the artifice and art and technical preparations count for little, dice, without genuine emotion “.
BBC Opera Rara Music Magazine.

Opera Rara was founded in 1969 by Patric Schimd and Don White with great ambition: document all of Donizetti's music through recordings and, when necessary, new interpretive editions. Under the eight year mandate of Sir Mark Elder, Opera Rara expanded its repertoire to include the great French opera, the French operetta and works of Italian verismo. Together with his new artistic director, Carlo Rizzi, the company continues with its mission to “rediscover, restore, record and perform "forgotten operatic masterpieces.

Program of the recital of 4 September in Mallorca:
Jaho Ermonela, soprano
Elda Games, piano
Rare Anima
1. Leoncavallo, La Boheme. ”Musette varies on her living mouth.
2. Bellini, "Vague moon that silver"
3. Bellini, "Melancholy, gentle nymph "
4. Verdi, "the toast"
5. Giordano Valzer (Elda Games)
6. Leoncavallo, Zaza. "Mother? I've never had it "
7. Tosti, "Sadness"(extra)
8. Mascagni, Iris. "A little girl of I was"

1. Gounod, “Serenade”
2. Bizet, “Song of April”
3. Massenet, Sapho. "For one year, I was your wife ”
4. Giordano Romanza (Elda Games)
5. Puccini, "Sun and love"
6. Giordano, Siberia. "In his revived love"
7. Mascagni, Lodoletta. “Flammen forgive me (the whole final scene )

Poster_Festival Lírico Benicàssim

He Benicàssim City Council resume this summer his Lyric Festival. The mayor, Susana Marqués, together with the Councilor for Culture, Javier Alonso, and the director of the contest, Roberto Turlo, presented the XIII edition which will take place 2 al 8 August and will feature a program of five concerts and a seminar on zarzuela, activities to be offered in the Francesc Tárrega Municipal Theater and the emblematic municipal palace Villa Elisa de Benicàssim.

Opera Benicàssim, together with the promoter and producer of shows AIM – America Iber Music have prepared an ambitious program that, as indicated by the mayor of Benicàssim, "the festival, year after year, it is very international due to the quality of its artists and will make Villa Elisa and the Municipal Theater become the epicenter of lyric for a week ".

Roberto Turlo, oboista, director and soul of the contest since its creation, has commented for his part that it is "an exciting project, with more than a decade of experience and that is carried out thanks to the efforts of many people, both on the part of the administration - which year after year bets on its celebration - as well as all the artists involved. In this edition, after so much uncertainty caused by the pandemic, we return with immense enthusiasm and with a fantastic program –always with top-tier artists– and, this time, with a nod to zarzuela, a genre that we love to spread; our goal continues to be to bring music and culture closer to our audience, the home and the itinerant ".

The Councilor for Culture, Javier Alonso, He added that they continue to “add quality and scale proposals to that great container of culture that Villa Elisa is becoming, place where, together with the Municipal Theater, good music will be perfectly combined with all health security measures to continue with our firm commitment to safe culture ".

Regarding the programming, the event will open with a recital of the Valencian soprano Carmen Romeu (4 of August, Municipal Theater) what, accompanied by piano of Rubén Fernández Aguirre, will offer a Spanish and French song program. The Madrid baritone Alfredo Garcia next to pianist Enrique Bagaría propose a recital dedicated to song by South American and Spanish authors such as Cluzeau-Mortet, Guastavino, R. Halffter, Sorozábal, Guerrero, Moreno Torroba, Chueca or Soutullo and Vert (5 of August, Villa Elisa). The program will be completed with a concert by the soprano irlandesa Laura Sheerin accompanied by the Septet Soloists of Valencia (7 of August, Municipal Theater) which will include arias from operas like The swallow, L'amico Fritz, Rusalka O Gianni Schicchi, as well as songs by Irish and American composers.

This year, Besides, thanks to the agreement reached by the Festival with the Zarzuela por el Mundo Association chaired by Plácido Domingo, the concerts will take place in parallel to Zarzuela XXI Seminar, a meeting that wants to deepen both the Spanish lyrical genre and Spanish music in general that will feature a presentation by the musicologist María Luz González on Spanish music (5 of August, Villa Elisa), as well as master classes by specialist teachers in each area of ​​the stature of mezzo-soprano Nancy Fabiola Herrera, who will bring all his experience in the genre and his renowned international career; he conductor Óliver Díaz (former musical director of the Teatro de La Zarzuela in Madrid), actress Isabel Cámara (performance, diction and focus of theatrical texts) and Profesor Vincenzo Spatola (vocal technique).

Marcello Perez Pose, director of América Iber Música, organizer of the Zarzuela XXI Seminar and professor of the same, affirms that he is convinced “of the importance of making known, deepen, research and disseminate the genre of zarzuela, reason why we created the Zarzuela Association around the world, an itinerant entity that proposes motivational tools that allow the dissemination and representation of zarzuela shows all over the world, but above all of quality ". The seminar will culminate with a zarzuela gala in charge of the students participating in the meeting (6 of August, Villa Elisa) and with the show A bunch of zarzuela (8 of August, Francesc Tàrrega Municipal Theater) as the closing of the Festival. It is a production of Ópera Colombia directed by the baritone Antonio Torres, who also heads the cast of artists completed by Colombian soprano and flutist Liliana Mestizo, the Mexican mezzo Zayra Ruíz, and the Cuban pianist Leonardo Milanés, who with their art propose a trip through the world of zarzuela with hits of the genre as Mary the O, The one with the bunch of roses, The legend of the kiss, The barmaid port, Don Gil de Alcalá, Katiuska, Cecilia Valdés, Captain Grant's nephews, Mary the O, etc.

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Tosca shines at the Teatro Real
Tosca
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Jakub Józef Orliński

eternal life, is the new adventure of the countertenor of Polish origin in which he explores sacred arias and motets of the 18th century. Follow the line of Anima Sacra, published in 2018, announcing the arrival of Jakub Józef Orliński, as described by Gramophone magazine, "A voice with a great future".

Like Sacred soul, the new album includes several world premiere recordings. Jakub is joined again by the instrumentalists of Tomato, directed this time by Francesco Corti. An innovation that we find in this new album is the participation of the choir Il Pomo D´Oro and the presence of another vocal soloist; the captivating soprano Fatma Said, whose recent debut album El Nour caused a worldwide sensation. Fatma se une a Orliński para el brillante motete "I was glad’ by the bohemian composer Jan Dismas Zelenka. The chorus contributes to another motet, and to one of the world premiere recordings, “Boys, give praise, praise the Lord!” by the Neapolitan composer Gennaro Manna.

"Anima Aeterna intends to be a continuation of Anima Sacra”, dice Jakub Józef Orliński. "It offers a kind of dialogue, a conversation between the two programs. I always wanted my solo albums to be artistic statements and feature ideas, telling big and small stories, creating connections and arguments through your programs”.

To conceive and devise this second Soul, Orliński returned to work with the multi-talented musician and musicologist Yannis François. Besides Zelenka (also represented by a virtuous motet solo, ‘Barbara are effera’, composed for the famous castrato Domenico Annibali) and Manna, offers works by Handel, Fux and two composers who, as Manna, they are 'rediscoveries': Francisco António de Almeida and Bartolomeo Nucci. In fact, Yannis François believes that Nucci's aria, from an oratorio on the story of David and Goliath, constitutes the first appearance of the Tuscan composer in the entire recorded catalog. Anima Aeterna LP edition includes bonus track and world premiere recording: “Thank you” by the Neapolitan composer Davide Perez.

"One more time, this album is not so much about the religious side of the show's works as about the emotions they contain ", Orliński continues, “And of the different instruments and voices that present. You can find compositions with totally different orchestrations: with solo trumpet, fiddle, fagot, cello, organ and viola di bordone [a type of viola also known as baryton]. There is also a full motet with choir and the wonderful soprano, Fatma Said.

“All this shows even more the nuances and colors that are heard in the sacred music of the baroque and, the most important, how can they touch people's souls, even today. Eternal life means “eternal soul”, that for me means nature. Something so strong and durable … Something so vital, wild and dangerous, but also so calm, fascinating and healing “.

Macarena Ramirez

His face and his name have become popular after winning the first edition of the program The Dancer, the talent show that has established her as the best dancer in Spain, but Macarena Ramirez already had a prominent place in the world of Flamenco, where your art, his technique and his style were already recognized by colleagues and fans.

Like so many dancers, Macarena Ramirez she started her professional training when she was very young. With only 6 years I was already on the stage, starting a path that would lead her, one year later, to win the Andalusian Revelation Award and, just completed the 12, to give life to a teenage Lola Flores in the movie Lola. He has perfected his technique with figures like Eva la Yerbabuena, Carmen la Talegona or Rubén Olmo, to name a few, and has worked in the companies of Sara Baras, Antonio "El Pipa" and María Pagés, among others.

Her technique stands out, of very fast feet, and the delicacy of his hands. Established in the purest flamenco, their movements denote the feminine essence, with its delicacy and its strength, and a way of turning and expressing that makes her recognizable as soon as she steps on the stage.

In Ephemeral, his latest work, will tell us a story of meeting and learning, of love with her braid of joy, strength and fragility; of intense love that happens, ephemeral, leaving a mark on the soul. A narration for two in which it will have the special participation of the bailaor Eduardo Guerrero, an artist with whom he has shared a poster and whose dances are understood and complemented.

The soundtrack will be played by the guitar of Juan Jose Alba, the cante of Ismael de la Rosa "the Ball" Y Miguel Lavi, and the percussion of Carlos Merino.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photograph © Isa de la Calle

Tosca by Giacomo Puccino at the Teatro Real

The end of an opera season that he Teatro Real has lived with special intensity, since it has been the only lyrical theater in the world that has presented a complete program in the period 2020-2021, and in which every time the curtain has risen it has felt like an artistic and human reward in defense of safe culture.

With this spirit, the Royal Theater wants to share with all these appointments, before the summer break and just one year after the reopening after confinement, broadcasting on outdoor screens, in the Plaza de Oriente and in the Plaza de Isabel II (Opera), two of his shows this season. For that, the public space has been adapted to the health safety regulations of the Community of Madrid against COVID-19, seeking a limited capacity, with safety distance, which It will be accessed with free tickets obtained with prior reservation at the Theater website from 5 July at 11.00 hours.

The same day, for those who cannot move or live outside the Community, the opera will also be broadcast free of charge, to 21.00 hours, in MyOperaPlayer (where it will become part of the catalog) and in the channels of YouTube of the Royal Theater and RTVE, co-producer of audiovisual production. The next day, 11 of July, to 23.00 hours, Tosca will be broadcast in La 2 of TV.

The great party will begin Saturday at 12.00 hours with the retransmission of the Beethoven's Ninth Symphony, symphony No. 9 in D minor, on. 125 “Coral”, performed at the Teatro Real last September to commemorate the 250 anniversary of the birth of the German composer, directed by Gustavo Dudamel in front of the Head of the Royal Theatre Orchestra.

The concert also had the participation of the Students of the Queen Sofía College of Music, he

Orfeo Català, he Chamber Choir of the Palau de la Musica Catalana, soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, and baritone José Antonio López.

At 21.00 hours, an hour and a half after the start of the opera on stage, to avoid the heat and excessive light that may occur at 19.30 hours, will start the retransmission of Tosca, from Giacomo Puccini, one of the most beautiful and popular titles in the lyrical repertoire. The play will star the voices of the soprano Sondra Radvanovsky (Floria Tosca), the tenor Joseph Calleja (Cavaradossi) and baritone Carlos Alvarez (Scarpia).

Leading the extraordinary cast and Choir Y Titulares Orchestra of the Royal Theater the teacher will be Nicola Luisotti, Principal Guest Director of the Teatro Real, whose presence has been fundamental during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement (just a year ago) and inaugurating the present temporada, last september, with A masked ball, stimulating with your dedication, trust and dedication, both artists and workers.

The stage manager Paco Azorín conceives opera as conceived as a journey from the outside to the inside of the characters, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, leading the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like incorporating a character inspired by the painting Freedom guiding the people, by Eugène Delacroix, that symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

Photograph: Javier del Real

New Teamporada del Palau Les Arts

The Palau LEs Arts Reina Sofia has presented the season 2021-2022, which also marks the beginning of a new period for the Orquestra de la Comunitat Valenciana that, with the appointment of James Gaffigan as the new musical director of Les Arts for the next four years, begins a period of stability and growth ".

James Gaffigan will be in charge of opening and ending the season with two reference appointments: the revolutionary staging of Romeo Castellucci's 'Requiem' by Mozart; and the avant-garde and still unpublished ‘Wozzeck’, by Alban Berg; plus a concert, in which he directs works by Rodrigo, Ravel and Dvořák.

New season dossier 21-22 Arts

According to its director, Jesus Iglesias Noriega, the programming axes remain: the presence of Mozart ('Requiem') and Verdi with 'Macbeth'; the recovery of the Central European repertoire, con ‘Wozzeck’; the restitution of Spanish heritage, with Manuel García; the inclusion of unpublished masterpieces with ‘Les contes d’Hoffmann’, by Offenbach; as well as diversity of styles, from the Baroque of 'Ariodante' and 'Partenope' by Handel, going through the verismo of Puccini or contemporary opera with ‘Trouble in Tahiti’, de Bernstein.

The search for new aesthetics materializes with the premiere of the co-production of ‘Requiem’ in which Castellucci transforms the unfinished mass for the dead into a hymn to life; Richard Jones' adaptation of the chivalric intrigue of ‘Ariodante’ to a fishermen's island in 20th-century Scotland; Johannes Erath's powerful theatrical exercise in ‘Les contes d’Hoffmann’; Benedict Andrews' sober staging of 'Macbeth'; or Andreas Kriegenburg's production of ‘Wozzeck’, reference montage of the work.

In the staging, two women sign the only two new productions of the season: Barbara Lluch, with a growing presence on the national scene, directs 'A warning to the jealous', by Manuel García; while Sol Picó presents a new dance show, ‘Titanas’, in which her recognized talent converges along with the language of three other choreographers.

The musical direction of each of the proposals is entrusted to specialists in each of the titles: William Christie and Andrea Marcon in the Baroque repertoire; Marc Minkowski to direct with the OCV the critical edition of ‘Les contes d’Hoffmann’; Michele Mariotti as a reputed Verdean; and the emerging Antonino Fogliani para Puccini; Jordi Bernàcer for ‘Doña Francisquita’.

In the same way, in the symphonic section, the most prestigious conductors work with the OCV: Juanjo Mena with a monograph by Kaija Saariaho, key figure in contemporary music; Gustavo Gimeno on his rise in the Mahlerian universe; the emerging Riccardo Minasi in a suggestive program that combines the Viennese fascination for the Italian imaginary; Josep Pons for Falla and Ravel; or the sought-after Mark Elder who debuts in Les Arts with Strauss and Stravinsky.

In the voices section, the artistic director has underlined three reference quotes. Marina Rebeka, that captivated in 2018 with on Traviata, will make her first foray into the role of Cio-Cio-San in ‘Madama Butterfly’. While another of the great stars of the moment, Pretty Yende, will debut with one of the great challenges of his career: to incarnate for the first time the four muses of ‘Les contes d’Hoffmann’. In addition to the return of Carlos Álvaro to Les Arts to star in ‘Macbeth’.

Among the interpreters you will be able to hear unpublished voices such as Piero Pretti (‘Madama Butterfly’), John Osborn y Alex Esposito ("Hoffmann's Tales"), David Hansen, Christophe Dumaux, Jane Archibald y Sandrine Piau ('Ariodante') y Peter Mattei (‘Wozzeck’).

Established artists such as Anna Pirozzi and Marco Mimica also return, and ‘Macbeth’; or renowned voices from the German repertoire such as Eva-Maria Westbroek and Christopher Ventris in ‘Wozzeck’ along with Ruth Iniesta and Ismael Jordi in ‘Doña Francisquita’.

After their exquisite performances this season, Joyce DiDonato and Marianne Crebassa star in two of the sessions of ‘Les Arts és Lied’, in which the audience of Les Arts will be able to hear for the first time artists of the stature of Matthias Goerne, Benjamin bernheim, Lissette Oropesa and Jakub Józef Orliǹski. While ‘The Arts is Great Voices’, offers the reunion of two singers highly appreciated by our audience, Leo Nucci y Erwin scrap, with a program dedicated to Giuseppe Verdi.

Meanwhile, ‘Les Arts és Dansa’ continues with its commitment to show the different aspects of this discipline. In addition to the new production ‘Titanas’ with the Alcoyana Sol Picó, Spanish dance will come from the hand of the National Ballet of Spain, who will present ‘Invocation’, which includes some of his most recent creations. The cycle will be closed by one of the great works of the repertoire, 'The Bayadere', with which the Perm Opera Ballet is presented, one of the most traditional companies in Russia.

further, in collaboration with the CNDM a new section is established to attend to a historical debt of the programming with the baroque and old music and its important national tradition. The main formations integrate ‘The Arts is Baroque and Early Music’, in which Carles Magraner and his Chapel of Ministers make his debut in Les Arts together with Marian Rosa Montagut's also Valencian Harmonia del Parnàs.

Finally, Jesús Iglesias Noriega recalled that the remaining lines of the programming are maintained and grow in diversity, with new appointments in ‘Les Arts és Flamenco’ and ‘Les Arts és Altres Músiques’, in addition to the cycle ‘Les Arts és Per a Tots’ and the sections on education and training.

Photograph: Mikel Ponce

Tosca at the Royal Theater

Between 4 and the 24 of July They will be offered 16 functions Tosca, with free broadcasts in different formats YouTube channels, MyOperaPlayer, The 2 TVE, RNE Classic Radio and outdoor screens in Plaza de Oriente and Plaza de Isabel II, that will carry the popular title of Puccini to all corners, celebrating the end of an intense and very special operatic program, since Real has been the only lyrical theater in the world to present a season 2020-2021.

Nicola Luisotti has played an important role during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement, inaugurating this season last September with A masked ball and stimulating, with your dedication, trust and dedication, to the artists, workers and Choir Y Titulares Orchestra of the Royal Theater during these uncertain times.

With Tosca, Luisotti He will direct his ninth opera at the Royal Theater, this time leading three deals with four Cavaradossi, working together with Paco Azorín, which has renewed for Real the production created in 2014 for the Liceu of Barcelona and the Maestranza of Seville.

Conceived as a thriller film, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, Azorín leads the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

Paco Azorín, who began his career as a set designer at the Real have seen his sets for the operas The prisoner Y Suor Angelica (with the direction of Lluís Pasqual) and for the ballets 2 you Maestro, The love wizard Y Electra­, also assumes the stage direction in this production, adapting the guidelines of the acting performance to the idiosyncrasy of each singer.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like the incorporation of an actress who symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

The opera, co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville premiered in 2014, will star three casts led by the sopranos Sondra Radvanovsky, Maria Agresta Y Anna Netrebko; tenors Joseph Calleja, Michael Fabiano, Yusif Eyvazov Y Jonas Kaufmann; and baritones Carlos Alvarez, Gevorg Hakobyan Y Luca Salsi.

Sondra Radvanovsky, who already played Tosca in 2011, will return to Real with this role, after embodying Amelia in A masked ball at the opening of this season. The soprano also returns Maria Agresta, who starred Rule (2016), The Troubadour (2019) Y Don Carlo (2019). Anna Netrebko will perform his second opera at the Real, after your participation in War and peace, Sergey Prokofiev, in 2001.

American tenor Joseph Calleja debuts at the Teatro Real, Michael Fabiano assumes a new starring role after his participation in Cyrano de Bergerac (2012), I due Foscari (2016), Giovanna D'Arco (2019), La traviata (2020) Y A masked ball (2020), Y Yusif Eyvazov will perform an opera for the first time at the Madrid Coliseum, after having participated in a concert next to Anna Netrebko in 2019. Finally, Jonas Kaufmann, who acted in a role of La clemenza di Tito in 2009, will now play Cavaradossi in two roles.

Scarpia's role will be defended by Carlos Alvarez that completely changes registration after his recent triumph in Long live the mother­, Gevorg Hakobyan, debuting at Real, Y Luca Salsi, who appeared in Rigoletto (2015) Y Don Carlo (2019).

After the reopening of the Real, they have offered 32 functions Tosca in the seasons 2003-2004 Y 2010-2011, all with scene direction of Nuria Espert. This popular operatic title returns with a new focus, born from the musical and dramatic richness of this frenetic masterpiece by Puccini.

Photography © Antoni Bofill

ABAO Bilbao Opera

Saturday 23 October, the 70th Season of ABAO Bilbao Opera with many proposals, cultural activities, social programs, and an artistic program that grows with six new titles and a permanent commitment to the highest quality in its entire scope of action..

After having to stop and reschedule part of the artistic activity during the pandemic, and have reinvented itself with new proposals such as the successful ABAO on Stage program, ABAO Bilbao Opera continues to work at all times with the illusion, the effort and the same goal as always: spread culture and opera, and presents the season 2021-2022 on a scenario of optimism and hope in the gradual return of the greatest possible normality.

The 70th season proposes an ambitious program, exciting, varied, full of premieres and of the highest artistic quality.

The new season includes eight titles, four of them in double program, plus a concert that adds two new titles, with the figure of the woman as the backbone. All the operas and artistic proposals rescue the female protagonists of the story. Women who allow us to reflect on the human condition, the passions, the wishes, and the emotions that move and empower them, or destroy them.

Nine composers: Offenbach, Mascagni, Leoncavallo, Mozart, Poulenc, Zemlinsky, Rossini, Verdi Y Puccini bring to the Bilbao scene operas from the Italian repertoires, French and German. The operas The Tales of Hoffmann, Cavalleria Rusticana Y Pagliacci in double program and Madama Butterfly, combined with the Bilbao premieres of La clemenza di Tito, Alzira, which closes the Tutto Verdi project, the double program of Human voice Y A Florentine tragedy, and the concert also double of Giovanna D'Arco Y Stabat Mater at the Arriaga Theater.

A new season in which ten singers make their debut, three stage directors and three musical directors leading the Bilbao Orkestra Sinfonikoa, Basque National Orchestra, Verum Symphony Orchestra, Bilbao Sinfonietta Orchestra and Bilbao Opera Choir, which directed by Boris Dujin, deals with the choral part of the season.

ABAO continues to show off its fame as an institution of great voices and brings to the scene outstanding performers who triumph in the main opera houses of the world such as Michael Fabiano, Jessica Pratt, elena Zhidkova, Jorge de León, Ekaterina Semenchuck, Ambrogio Maestri, Daniela Barcellona, Ainhoa ​​Arteta, Angela Meade, Sergio Escobar or Juan Jesús Rodríguez, among others.

Orlando Furioso

He was arriving for the first time at Teatro Real Orlando Furioso, the work of Antonio Vivaldi based on the Italian libretto by Orazio Bracciolli, based in turn on the epic poem Orlando Furioso by Ludovico Ariosto. A Drama for music in three acts. Orlando Furioso is one of the few works that have survived in full to more than 90 that Vivaldi composed. It is full of multiple plots that inspired many composers. Just a few years later, Handel composed Orlando (1733) and Alzina (1735), independent works about its main protagonists.

The Royal Theater has scheduled a single function, concert version, somewhat decaffeinated, because the choral parts had been suppressed, leaving only two pieces performed by all its protagonists.

The voices had an uneven performance. Much more was expected, especially the Croatian countertenor Max Emanuel Cencic in the title role of Orlando. Skillfully master agility and recitative, but we liked it more on other occasions when it showed a more refined singing line and a more homogeneous timbre. His interventions of the last act were somewhat exaggerated in the interpretation.

The Russian soprano Julia Lezhneva was the most applauded by the public in her role as Angelica. With a pleasant timbre and balanced voice, he showed off with the agility, especially in the famous aria Moved by the wind.

The Romanian mezzo-soprano Ruxandra Donnose as Alzina also had a remarkable performance, with well defined bass tones. The young English alto Jess Dandy, in the role of Bradamante, had serious trouble controlling your instrument, so much, that he did not get it.

Russian bass Pavel Kudinov, como Astolfo, had a discreet but effective and sufficient performance. The Canadian countertenor of Korean origin David dq lee had a hopeful first intervention, but it went from more to less and went through difficulties in his last interventions. The shortlist of countertenors was completed with the German Philipp Mathmann. Has a clean and clear timbre, but of a poor and inconsistent emission, but with a lot of room for improvement, given his youth.

The dormitory Harmony Athena, with its director George Petrou in front, offered a tight but not colorful version. It was biting at times. The lack of metals was not well understood. Petrou accompanied some of the recitatives on the keyboard of a second key.

In any case, it is appreciated having been able to listen, for the first time in this theater, a work like Orlando Furioso, important and influential from its composition.

Photograph © Javier del Real

Orlando Furioso

The next 17 June the stage of the Royal Theater will be filled with the music of one of the jewels of the Baroque, Orlando Furioso, by Antonio Vivaldi. Performed by the formation Harmony Athena, under the direction of the great specialist in the repertoire, George Petrou, has a cast of great voices led by the countertenor Max Emanuel Cencic in the title role.

The soprano completes the cast Julia Lezhneva (Angelica), mezzosoprano Ruxandra Donose (Alcina), the contralto Jess Dandy (Bradamante), countertenor Philipp Mathmann (Medoro) Y David D.Q. Lee (Ruggiero) and the bass baritone Pavel Kudinov (Astolfo).

Orlando Furioso is an opera in three acts by Antonio Vivaldi, with Italian libreto by Grazio Braccioli, based on the epic poem Orlando Furioso of Ludovico Ariosto. The play tells the story of Orlando, a noble knight brave and in love, although unrequited, trapped on the island of the beautiful sorceress Alcina. The scene, woven with love triangles, tangles and magic, combines various arguments from the original work and composes a love story, jealousy and madness.

The chivalric epic poem written by Ariosto in 1532 contains several main characters, even though only one gives it a name, and has inspired numerous authors, from Lully to Haydn. Years after the premiere of this Vivaldi, would see the light two of the best known titles of Händel: Alcina (1735) Y Orlando (1733).

The first performance of the title took place in Venice, at the Sant’Angelo Theater, in 1727, and it is one of the few that remain from the prolific creation of the Venetian composer. His demanding vocal writing - loaded with arias and recitatives as beautiful as they are difficult-, its complex plot –which makes the characters evolve in their dramatic color- and the extent of the work, requires a set of world-class voices, like the one that now meets at the Teatro Real.

Harmony Athena is a project of the Camerata de Atenas, founded in 1991 at the inauguration of the Megaron concert hall in Athens, where it has its headquarters since then. In autumn 2009, started a regular collaboration with the conductor George Petrou, interpreting with period instruments a wide repertoire that goes from baroque to classicism. In addition to his usual activities with period instruments, the orchestra maintains various projects in the field of opera and contemporary music.

Petrou He is considered one of the world's leading Baroque specialists, but nevertheless, his musical activity is very wide, and includes 20th century and contemporary music.

Photography design © Pep Carrió

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