opera Archives - Brío Clásica

two myths, one greek (Medea according to the tragedy of Euripides) and another medieval (Orlando Furioso according to Ariosto's poem) thematically preside over the season 2023-2024 of the Teatro Real.

Based on the myth of Medea, the homonymous operas by Luigi Cherubini Y Marc-Antoine Charpentier. The first, with a stellar cast, will inaugurate the season with a new stage production conceived by Paco Azorín and directed by Ivor Bolton. The second, will arrive in a semi-staged version with William Christie, Les Arts Florissants and a cast headed by Veronique People.

Inspired by Ariosto's poem, three works also unpublished in the history of the Real will be released: The liberation of Ruggiero from the island of Alcina, from Francesca Caccini, first known opera signed by a female composer, who will stage direct Blanca Li, next to Aarón Zapico, in the musical part; Orlando from georg Friedrich Handel, in which they will work together again Ivor Bolton Y Claus Guth; Y Orlando Paladino, from Joseph Haydn, in concert version with Il Giardino Armonico under the direction of Giovanni Antonini.

The claim of New Art against Old Art and the freedom of the artist beyond academic precepts are two other vectors that intertwine the operas of the season: Medea, de Cherubini, is a plea against the rigid forms of Handel's orthodox model in Orlando; Rigoletto It is based on a text by Victor Hugo that is an apology for Romanticism against the old neoclassical art; Y Die Meistersinger von Nürnberg, Wagner, defends the freedom of the artist against norms and traditions. This 'serious comedy', dense and luminous will bring to the Real great Wagnerian voices that will perform under the baton of Pablo Heras-Casado, in a new production with staging of Laurent Pelly.

Two of the most popular titles of the season denounce, through his dramaturgy, violence against women: Rigoletto, in the conception of Miguel del Arco, under the wake of the indignity of the acts of 'the herd'; Y Madama Butterfly, in the terrifying production of Damiano Michieletto, betrays sex tourism - a middleman sells a young Japanese woman to an unknown American. both titles, with three and four casts, will bring together some of the best voices in the world at the Real, under the precise and enveloping baton of Nicola Luisotti.

Two excellent operas -also disturbing and profound- will be released in Spain, with large-scale productions. The passenger, from Mieczyslaw Weinberg -with the iconic staging of David Pountney and under the baton of the prestigious director Right Beauty-Silence– is a shocking and painful score that recounts the journey to Brazil of two women -a former Stasi jailer and another Jewish prisoner- who aspire to flee from their past, in which they are trapped.

The second, Lear, from Aribert Reimann, whose tragic music, brutal and strident stems from the essence of Shakespearean drama, will arrive at the Real with the overwhelming production directed by calixto Bieito for the Paris Opera, in which the most basic instincts are on the surface and dominate the characters until they lead them to the great final massacre. The musical direction will Asher Fisch, who had great success with Capriccio, Real, in 2019.

Another premiere in Spain will be Ring, from Stanislaw Moniuszko, one of the most popular Polish operas, representative of Central European romantic nationalism, with a cast headed by Piotr Beczala Y Corinne Winters together with the Choir and Orchestra of the Teatro Real, under the direction of Lukasz Borowicz.

two women alone, disturbed and wounded face the pain, anger and loneliness with very different aesthetic and musical languages, united by the essence of their inner drama. Jaho Ermonela will star the human voice, from Francis Poulenc, libretto by Jean Cocteau; Y Malin Bystrom will interpret the psychological drama of Ewartung (the wait), from Arnold Schönberg, on a text of Marie Pappenheim. They will discover their characters by the hand of Christof Loy, responsible for staging and musical director Jérémie Rhorer.

Another work that gives voice to a single woman is Pierrot Lunar, what Arnold Schoenberg composed on the symbolist poems of Albert Giraud, revolutionizing the musical language of the 20th century. At the Teatro de la Abadía the play will be starring the countertenor Xavier Sabata, who also signs the dramaturgy, performing with soloists from the Royal Theater Orchestra, under the direction of George French.

Within the framework of his commitment to operatic creation in Spain, will be released worldwide The Regent, third opera of Maria Luisa Manchado Torres, created hand in hand with Amelia Valcarcel (booklet), in which the fundamental and universal themes of Clarín's work are associated with a wide range of leitmotivs, that flow and intertwine at the service of the drama. Barbara Lluch will be responsible for the staging and George French, musical direction.

The second Spanish opera is Tenorio, from Tomás Marco which will be presented for the first time in stage version, in a creation of Agrupación Señor Serrano, with musical direction Santiago Serrate. The work updates the myth of Don Juan through the figures of Doña Inés, Dona Ana and Lucia, while a quartet of madrigalists assume various characters and comment on the action, conforming, with the camera group, the vocal-instrumental continuum that sustains the work.

an opera, a zarzuela and an operetta in a concert version, with guest orchestras, complete the programming. Carmen, from Georges Bizet, in the singular reading of René Jacobs at the helm of B'Rock and the Choeur de Chambre de Namur, with Gaëlle Arquez in the title role; Luisa Fernanda, from Federico Moreno Torroba, starring Elina Garanca, with the Gran Canaria Symphony Orchestra under the direction of Karel Mark Chichon; Y The bat, from Johann Strauss, with Marc Minkowski, Les Musiciens du Louvre and the Palau de la Música Catalana Chamber Choir.

Photograph: THE PASSENGER © Karl Foster |Bregner Festival

TOPERA SEASON

New co-productions

Guest productions

Versions

semi-staged

versions of

concert

Medea*, by Luigi Cherubini | Premiere at the Royal Theater

The Regent*, by Maria Luisa Manchado Torres | premiere | Premiere at the Royal Theater | Spanish ships in Matadero

Orlando, the Georg Friedrich Handel | Premiere at the Royal Theater

Rigoletto*, de Giuseppe Verdi

The passenger, de Mieczyslaw Weinberg | Premiere in Spain | Premiere at the Royal Theater

the human voice, by Francis Poulenc / Ewartung (the wait), de Arnold Schoenberg | Premiere in Madrid (stage version) | Premiere at the Royal Theater

Tenorio*, Thomas Marco | World premiere in stage version | Premiere at the Royal Theater

Die Meistersinger von Nürnberg*, Richard Wagner

The liberation of Ruggiero from the island of Alcina, by Francesca Caccini | Premiere in Spain | Premiere at the Royal Theater | Theaters Canal

Lear, de Aribert Reimann | Premiere in Spain | Premiere at the Royal Theater

Madama Butterfly, Giacomo Puccini

Lunar Pierrot, de Arnold Schoenberg | Abbey Theater

Representation of soul and body, by Emilio de' Cavalieri | Premiere in Spain | Premiere at the Royal Theater

Medea, by Marc-Antoine Charpentier| Premiere at the Royal Theater

Luisa Fernanda, Federico Torroba

Orlando paladin, Joseph Haydn | Premiere at the Royal Theater

Ring, de Stanislaw Moniuszko| Premiere in Spain | Premiere at the Royal Theater

The Return of Ulysses to Ithaca, de Claudio Monteverdi

The bat, Johann Strauss | Premiere at the Royal Theater

Dido & Aeneas, Henry Purcell

Carmen, Georges Bizet

*Premiere of the production at the Teatro Real.

Of the 21 there are opera titles 5 premieres in Spain, 2 Spanish opera premieres (1 premiere), 9 they are new co-productions (5 of which premiere at the Teatro Real), 13 titles that were never presented at the Teatro Real, 3 are guest productions from other theaters; 2 operas in semi-staged version and 7 in concert.

PREMIERES IN SPAIN: Lear, de Aribert Reimann, The passenger, de Mieczyslaw Weinberg; The liberation of Ruggiero from the island of Alcina, by Francesca Caccini; Representation of soul and body, of Emilio de' Cavalieri and Ring, de Stanislaw Moniuszko.

TITLES PRESENTED FOR THE FIRST TIME IN THE HISTORY OF THE ROYAL THEATER: Representation of soul and body, by Emilio de' Cavalieri; The liberation of Ruggiero from the island of Alcina, by Francesca Caccini; Medea, by Marc-Antoine Charpentier; Orlando, the Georg Friedrich Handel; Orlando paladin, Joseph Haydn; Medea, by Luigi Cherubini; Ring, de Stanislaw Moniuszko; The bat, Johann Strauss; the human voice, by Francis Poulenc; Lear, de Aribert Reimann; The passenger, de Mieczyslaw Weinberg; Tenorio, Thomas Marco; The Regent, by Maria Luisa Manchado Torres.

Three productions will be offered in OTHER THEATERS OF MADRID: the world premiere of The Regent it will take place in Spanish ships in Matadero; Lunar Pierrot, de Arnold Schoenberg, will be presented at the Abbey Theater; and the new production The liberation of Ruggiero from the island of Alcina, by Francesca Caccini, will be offered in the Theaters Canal.

The REAL THEATER ORCHESTRA HOLDER (Madrid Symphony Orchestra) will perform most of the productions and concerts of the next season, which highlights, as well as its musical director, Ivor Bolton -responsible of Medea, by Luigi Cherubini, Y Orlando, de George Frideric Handel, Nicola Luisotti -who will return for Rigoletto Y Madama Butterfly– Y Pablo Heras-Casado, that will lead Die Meistersinger von Nürnberg, his fifth Wagner title at Real.

They will return Asher Fisch (Lear) after the success of his Capriccio (2018); Jérémie Rhorer (The human voice/Ewartung (the wait), who directed The magic Flute in 2000; George French, that will lead The Regent Y Lunar Pierrot; and the renowned director will debut at the Real Mirga Gražinytė-Tyla (The passenger).

Along with them, many other names, among which the directors attached to the HISTORIC INTERPRETATIONS as William Christie, René Jacobs, Marc Minkowski, Lionel Meunier, Giovanni Antonini O Maxim Emelyanychev, who will come with their groups. [See list on page 17]

Starting next season José Luis Basso will assume direction of the CHOIR OF THE ROYAL THEATER, happening to Andrés Máspero, who has performed this function since 2010.

Next will be the season with LARGEST NUMBER OF SPANISH ARTISTS IN THE ENTIRE HISTORY OF THE ROYAL THEATER: 10 musical directors, 8 stage directors and a long list of singers, besides set designers, costume designers, illuminators, etc. This increase reflects the quality and prestige of national artists, whom the Teatro Real recognizes, proudly supports and encourages.

DANCE SCHEDULE

He GENEVA GRAND THEATER BALLET, will debut at the Teatro Real with two choreographies by its director, the belgian Sidi Larbi Cherkaoui: Faun (music by Claude Debussy and Nitin Sawhney) portrays the carnal encounter and dialogue of two mythical creatures; Y Ukiyo-E, (musica de Szymon Brzóska and Alexandre Dai Castaing) takes place on a stage of stairs and labyrinthine structures where the dancers suggest images of a floating world.

He NATIONAL BALLET OF SPAIN, directed by Ruben Olmo, will offer at the Teatro Real the world premiere of scavenger, show created from the images of the Colombian photographer Ruven Afanador, with music Christopher Saavedra and choreography Marcos Morau & let Veronal, that they intend to create, from the photographer's eye, “a work of respect and fascination, like a dialogue that hybridises two languages in search of a new universe».

Finally, the munich company BAVARIAN STATE BALLET will bring to the Royal Theater La bayadera (music by Ludwig Minkus), orientalist fable that Marius Petipa transformed into one of his most famous creations and that Patrice Bart choreographed in 1998 for the German company, being since then one of his works of reference.

companies of

dance

GENEVA GRAND THEATER BALLET | Debut at the Teatro Real

Faun

Music of Claude Debussy Y Nitin Sawhney

choreography Sidi Larbi Cherkaoui | Premiere at the Royal Theater

Ukiyo-E

Music of Simon Brzóska and Alexander Dai Castaing

choreography Sidi Larbi Cherkaoui | Premiere at the Royal Theater

11 October - 14 October | 4 functions

NATIONAL BALLET OF SPAIN

scavenger | premiere

Music of Christopher Saavedra

choreography Marcos Morau & let Veronal, Lorena Nogal,

Shay Partush Y Jon Lopez

9 february - 11 February | 4 functions

BAVARIAN STATE BALLET, MUNICH BALLET | Debut at the Teatro Real

La bayadera, music by Ludwig Minkus with adaptation by Maria Babanina.

choreography Patrice Bart | Premiere at the Royal Theater

30 mayo – 2 June | 5 functions

CONCERT SCHEDULE

The cycle REAL VOICES It is composed of 5 lyrical concerts with orchestra led by some of the most representative voices of today: Franco Fagioli (Baroque and Mozart), Sondra Radvanovsky (final scenes of the three queens of Donizetti's operas), Lise Davidsen (romantic arias), Nadine Sierra and Pretty Yende (arias and duets) Y Nina Voting (works by Wagner directed by Gustavo Gimeno).

Complete the offer 7 morning concerts that make up the cycle CAMERA SUNDAYS; two concerts offered by the Foundation Friends of the Royal Theater-one with the pianist Javier Perianes and three functions From Broadway to Real with singer Liz Callaway and pianist Alex Rybeck and, as every year, the concert of the winners in the Tenor Viñas Competition.

Voces del Real

Concerts by the Friends of the Teatro Real Foundation

Sunday Chamber

Viñas Contest Concert

Franco Fagioli

Mozart and Castrati, Let me sing!

Capella Krakow | Jan Thomas Adamus (direction and pianoforte)

Sondra Radvanovsky

the three queens: final scenes of Anna Bolena, Maria Stuarda

Y Roberto Devereux, Donizetti

Headlines Choir and Orchestra of the Teatro Real | Riccardo Frizza

Lise Davidsen

works by Verdi, Beethoven, Strauss and Wagner, among others

Head of the Royal Theatre Orchestra | José Miguel Pérez-Sierra

Nadine Sierra and Pretty Yende

Head of the Royal Theatre Orchestra | Pablo Mielgo

Nina Voting. Obras by Richard Wagner

Headlines Choir and Orchestra of the Teatro Real | Gustavo Gimeno

From Broadway to Real [3 functions]

Liz Callaway, singer

Alex Rybeck, piano

Javier Perianes: Back to "Goyescas", Enrique Granados

Concerts starring soloists of the Royal Theater Orchestra

with programs related to the operas of the season.

concert with the finalists of the Viñas Tenor Competition 2023

TRAINING PROGRAM

He Training program consolidates its face-to-face courses and workshops with very diverse formats and themes aimed at students and the general public.

Deserves a special mention REALIZE, the recently created educational audiovisual platform of the Teatro Real, What does it offer? courses online designed exclusively for that support with teachers, performing arts professionals and highly regarded experts.

For the program Exposed opera, that reveals the assembly process of an operatic production from within, have been organized 4 workshops focused on Orlando (October), Rigoletto (November), Die Meistersinger von Nürnberg (February) Y Madama Butterfly (mayo).

In this edition they will be 6 the Courses related to the season: Understanding Verdi: Rigoletto; Petipa's ballets: canon and vanguard; opera and myth; Flamenco: from the symphonic to the present; Learn to listen to opera; Y Opera and censorship. They offer 2 courses of history of opera– capitulation and triumph: the music of the hero and the anti-hero in the operas of the Teatro Real season e History of opera voices– Y 1 Protocol course and organization of events framed in the Courses on Performing Arts and Cultural Management.

Parallel to the titles of the season, an ambitious program of PARALLEL ACTIVITIES –film cycles, exhibitions, concerts, conferences, courses, round tables, workshops, Guided visits, children's activities, etc.- organized by the Teatro Real in collaboration with 15 cultural institutions [see full list on page 21]

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 36 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 lyrical concerts in different parts of the country, are two of the most outstanding projects framed in the program ROYAL THEATER NEAR YOU.

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, the performances of REAL FLAMENCO in his ballroom and on international tours all over the world.

RETIREMENT ROYAL THEATER

artistic programming, workshops, courses and meetings for children and adolescents have been offered since last April at the RETIREMENT ROYAL THEATER, which has made it possible to increase the number of shows and the diversity of programs aimed at different ages: 242 functions within programming Royal Junior: 96 functions for schools and 146 family functions (including 9 family workshops Everyone to the Royal Theater! (formerly called Everyone to the Gayarre!) with 2 sessions each.

They offer 4 operas and an operetta in many different formats: The Barber of Seville, Rossini (opera study) Y Amahl and the nocturnal visitors, by Gian Carlo Menotti (in semi-staged version), both with singers and pianists from the project Crescendo; The one who said yes, de Kurt Weill and Bertolt Brecht (didactic opera), Hansel & Gretel, de Humperdinck, and the comic operetta The idea, de Gustav Holst, at 150 anniversary of his birth.

the return puppetry with the company Etcetera, this time with Andersen, The ugly Duckling, for children from 3 years, and also two circus and theater shows: It sounds… The circus! (from 5 years) Y Peter & Wendy heading to Neverland produced by LaJoven (from 8 years).

There will be dance for young children –I live Vivaldi (6 years), Va de Bach (4 years)- Y, for the first time, Emerging Flamingo, performances with young artists awarded at the Madrid Spanish Dance and Flamenco Choreography Contest, 2023 for all audiences from 10 years.

For the first time, They will be presented of theater works Produced by LaJoven and Fundación Teatro Joven, both for adults 12 years: Rebelion on the farm, a premiere from the novel by George Orwell, Y To end Eddy Bellegueule, based on the novel by Édouard Louis.

There will also be cinema with live music accompanying very funny films of Buster Keaton –The modern Sherlock Holmes Y The Adventures of Prince Achmed, Produced by Cafe Kino and Casperverk Association.

will finally be offered Christmas and Summer Concerts, very festive and happy, with the Youth Orchestra of the Community of Madrid (JORCAM) and his Camerata de Cuerdas, both directed by Lara Diloy.

In addition to the artistic programming of Royal Junior, in the REAL TEATRO DE RETIRO the project is developed LÓVA (The opera, Learning a vehicle) in collaboration with schools throughout Spain, learning 23, other training proposals for teachers, workshops for school audiences, intergenerational collective creation (MI= Intergenerational Memory) of the MOVE-arte para todos collective and the weekly rehearsals with young people of different sensibilities who play together in the Inclusive Musical Group (WHICH), who will also offer a concert at the end of the season.

THE REAL JUNIOR | RETIREMENT ROYAL THEATER

music and puppets

All public

from 3 years

Andersen, the ugly Duckling | Music by Jordi Cornudella (1989)

Co-production of Etcétera and the Federico García Lorca Center

Scene, puppets and video: Enrique Lanz. Dramaturgy: Yanisbel Victoria Martinez

Mutra Together

circus stage concert

All public

from 5 years

It sounds… The circus! | Music by Julius Fucik, Henri Mancini, Jacques Offenbach, Broken Child and Aram Khachaturian

Based on Philip's story de Wolfgang Hartmann

for piano, trombone, percussion, narrator and juggler

Dance

All public

from 6 years

I live Vivaldi | Music by Antonio Vivaldi

A co-production of Teatro Español and 10&10 Create S.L., with the collaboration of the Canal Choreographic Center

10&10 Narvaez and Monica Runde

opera studio

All public

from 8 years

The Barber of Seville | Music by Gioachino Rossini

New production of the Royal Theater of Retiro, in co-production with the Teatro de la Maestranza in Seville

DM: Ruben Sanchez Vieco. OF: Rita Cosentino

Performers of the CRESCENDO program of the Friends of the Teatro Real Foundation

theater

All public

from 12 years

Rebelion on the farm

Based on the novel by George Orwell

New production by LaJoven and Fundación Teatro Joven

OF: Jose Luis Arellano Garcia. Cast and artistic crew: LaJoven

concert with orchestra

All public

Christmas Concert

Youth Orchestra of the Community of Madrid (JORCAM)

DM: Lara Diloy

Opera in semi-staged version

All public

Amahl and the nocturnal visitors | Music and libretto by Gian Carlo Menotti

New production of the Royal Theater of Retiro

Performers of the CRESCENDO program of the Friends of the Teatro Real Foundation

Young Camerata and Youth Orchestra of the Community of Madrid (JORCAM)

DM: Lucia Marrin. OF: Beatriz Jaen

comic operetta

All public

from 7 years

The idea | Music by Gustav Holst and libretto by Fritz Hart

DM and piano: Francisco Soriano. OF: Susana Gómez

Little Singers of JORCAM

didactic opera

All public

from 12 years

The one who said Yeah | Music by Kurt Weill and libretto by Bertolt Brecht

New production of the Royal Theater of Retiro, with the collaboration of Espacio Turina and Goethe-Institut Madrid

DM: Juan Garcia Rodriguez. OF: Cristina Cubells

Performers from the CRESCENDO program of the Friends of the Teatro Real Foundation and soloists from the Community of Madrid Choir. Zahir set

theater

All public

from 12 years

To end Eddy Bellegueule

Based on the novel by Édouard Louis Adapted by Pamela Carter

Production LaJoven and Teatro Joven Foundation

D: Jose L. arellano garcia. Distribution: Julio Montañana Hidalgo and Raúl Pulido Jordá

Cinema with live music

All public

from 6 years

The modern Sherlock Holmes | The Adventures of Prince Achmed

Coffee Kino Production

Casperverk Grouping

Dance

All public

from 4 years

Va de Bach | Music by Johann Sebastian Bach

Production of Aracaladanza, in co-production with the Real Teatro de Retiro

Created and directed by Enrique Cabrera

theater | Circus

All public

from 8 years

Peter & Wendy heading to Neverland

Text by Nando López, based on the play Peter and Wendy, J. M. Barrie

Co-production La Joven, Teatro Joven Foundation and Teatro Circo Price

D: Jose Luis Arellano Garcia.

Flamenco

All public

from 10 years

emerging flamingo

Collaboration with the Madrid Spanish Dance and Flamenco Choreography Contest

interpreters: Award-winning artists of the Madrid Spanish Dance and Flamenco Choreography Contest, 2023

Opera

All public

from 8 years

Hansel & Gretel | Music by Engelbert Humperdinck

Production by Yotumi Kids and ABAO Bilbao Opera

DM and piano: Cristina Presmanes. DE and playwriting: Pedro Chamizo

concert with orchestra

All public

summer concert
DM: Laura Diloy

JORCAM Young String Camerata

concert with orchestra

All public

Concert inclusive music group (WHICH)

DM: Francisco Borro and Jesus Alonso
interpreters: young people participating in the project

Series of workshops for the whole family

Everyone to the Royal Theater!

18 introductory music workshops for families with Fernando Palacios

The next sunday, 23 of April, he Teatro Real will present, in concert, Tolomeo, king of egypt, last title of georg Friedrich Handel (1685-1759) for the London Royal Academy of Music, starring one of the most recognized and demanded voices today by the baroque-loving public, that of the Polish countertenor Jakub Józef Orliński.

Just a year ago, this young performer took the stage of the Teatro Real for the first time to offer a selection of arias by various authors as a letter of introduction. Preceded by a huge media pull, showed that his freshness and self-assurance involved a virtuoso performer, of extraordinary technique, wise interpretation and an enormous capacity to convey emotion. He returns now with a complete opera accompanied by the formation Tomato, like the other time, again under the direction of Francesco Corti.

Together with Orlinski, the voices of the soprano will be heard Melissa Petit, like Seleuce; the bass Andrea Mastroni, in the role of Araspe; soprano Giuseppina Bridelli, giving life to Elisa, and the counter Paul-Antoine Benos-Djian embodying Alessandro.

in the plot, the Cleopatra who plots the sinister tricks behind the scenes that make up the plot of this opera is not the same one that starred, four years before, Julius Caesar in Egypt, but his great-grandmother. Her perversions make her, However, in an operatic figure of the first order: after eliminating her husband –Ptolemy VIII–, elevates to the throne his son Ptolemy IX –the titular of the opera–, but later, dissatisfied, he banishes him and gives power to his younger brother –Ptolemy X, the Alessandro of the opera–. He is commissioned to kill his expatriate brother –exiled under a false name on the island of Cyprus– but after several frustrated murders, an attempted rape and a failed poisoning, brotherly love prevails over the abominable designs of the fatal queen.

Handel bases his composition on the opera Ptolemy and Alexander, with verses by Carlo Sigismondo Capece and music by Domenico Scarlatti premiered in Rome in 1711 under the protection of Queen Maria Casimira of Poland, but with a simpler plot and a smaller number of arias, giving greater prominence to Ptolemy and Seleuce, turning the first into a classic hero, firm in the face of adversity and clinging to its principles, delivered to suicide if necessary.

Opera requires singers of enormous expressiveness, vocal agility and timbre cleanliness, to address a score composed of a succession of recitatives, airy, arias and duets framed in a conception structured between the pastoral tradition and heroic drama. A rare title –which could already be heard at the Real in 2009, with the Baroque Complex, under the direction of Alan Curtis and starring Sonia Prina – with a first-class artistic cast for a unique performance.

Achilles in Skyros at last in the Royal Theater

ACHILLES IN SCIRO
AQUILES IN ESCIROS
Francesco Brusa (1705-1778)
dramatic opera in three acts
Libreto de Pietro Metastasio (1698-1782)
Premiered at the Real Coliseo del Buen Retiro in Madrid
he 8 December 1744.
Work recovered by the Complutense Institute of Musical Sciences (ICCMU)
New production of Teatro Real, in co-production
at the Theater an der Wien.
D. musical: Ivor Bolton
D. scene: Mariame Clement
Set designer and costume designer: Julia Hansen
Choreographer: Mathieu Guilhaumon
illuminator: Ulrik Gad
D. choir: Andrés Máspero
Distribution: Gabriel Diaz, Mirco Palazzi, Tim Mead, Francesca Aspromonte,
Sabina Puertolas, Christian Ada,mJuan Sancho y Katia Klein
Orquesta Barroca de Sevilla
Titular Choir of the Teatro Real
The opera Achilles in Skyros by Francesco Corselli finally arrived at the Teatro Real. This work belongs to one of the most interesting and least known periods in the history of opera.. We know a lot about the works of Montevedi or Handel, but there is an information gap regarding what happened in the operatic world during the years 1730 a 1770. This is one of the reasons why this premiere is important. Achilles in Skyros is a very interesting photograph of what operatic life was like in the 18th century..
Few were the operas that were written in Spain at that time, only on the occasion of great court events. Precisely Achilles in Sciros was a gift from the Madrid City Council to the Infanta of Spain María Teresa Rafaela, to celebrate her marriage to the Dauphin of France. This is the main reason why the score has been preserved almost intact in the Historical Library of Madrid.. And it is here where it has been rescued and polished, to reach its premiere, by musicologist Álvaro Torrente, of the Complutense Institute of Musical Sciences, together with Ana Llorens and Alberto Cubero, who have taken care of the score and Nicola Usala, from the script.
Francesco Corselli was born in Piacenza, but very soon he moved to Madrid and became part of a large group of Italian artists who had arrived in the capital at the hands of Isabel de Farnesio, like Domenico Scarlatti, Farinelli, Gaetano Brunetti or Luigi Boccherini.
Corselli was appointed Master of the Royal Chapel. He composed numerous works of which only three were operas for the court. But neither Corselli nor his work became widely known.. Despite the fact that at that time Madrid was the operatic capital of Europe, Spain was always considered irrelevant, Musically speaking.
At that time the librettists were more important than the composers, and for Achilles in Sciros none other than Pietro Metastasio was chosen, the most important librettist in the history of opera. His librettos have been the most versioned and his work marks the evolution of opera from the 18th century. The most important composers, like Handel or Mozart, they have put music to their stories.
The score is a real gem.. Its structure follows the conventions of an opera seria., although it contains humorous elements, cappo arias, recitatives, choirs... It highlights the quality of the arias and the way in which the feelings of the characters are expressed.
But the score has also presented some problems, mainly related to wind instruments. Not conserving the parts, it has been necessary to rewrite those of the oboes, since the writing of the winds is very different today.
Another peculiarity of his composition is Corselli's great imagination when it comes to introducing exotic instruments, like the psalter, which appears at the end of the opera with great prominence in an aria by Achilles. His sound, almost magical, gives a very special color, generating its own atmosphere and giving the opera a great personality.
The story that the libretto tells us is located in the Trojan Wars. Aunt, mother of Achilles, he fears that the bad omens for his son Achilles will come true if he participates in the battle. To prevent his departure, he dresses him as a woman calling him Pyrrha and entrusts his safety to King Nicomede. The story begins when Pirra has already fallen in love with Idamia, Nicomede's daughter. Ulises, who suspects that Achilles lives in hiding in Skyros, manages to discover him and that he accompanies him to war, where he finally dies.
The scenography of this production of the Teatro Real has been in charge of the French Mariane Clément, who has recreated the inside of a cave, as a maternal-protective element of Achilles, in a dream environment, thanks to lighting by Ulrik Gad and costumes by Julia Hansen. A scene full of stalactites, passages and catwalks where the action takes place.
The musical director Ivor Bolton has directed from the harpsichord to the Seville Baroque Orchestra and the Monteverdi Continuo Ensemble that, along with their period instruments, have played a crucial role in the success of this work. Noteworthy is the psalter, in the magical hands of Heidelore Schauer.
Achilles in Sciros has a very powerful theatrical part, so singers with high interpretative abilities are needed.
The characters of Aquiles and Pirra have been interpreted by the countertenor Gabriel Díaz, replacing a sick Franco Fagioli. The Sevillian has resolved with ease and brilliance some roles that are not easy, has no less than seven arias, some of beautiful invoice, com Come back at peace. Although the written range is higher than that of his instrument, he has bravely defended his double character. very good at recitatives.
The Italian bass Mirco Palazzi was a poor-voiced Licomede king, dull and low volume. He won integers in his stage performance.
Italian soprano Francesca Aspromonte, shone in the role of Deidamia, the great love of Achilles and the character with the most dramatic arias. Very good in agility and delicate in the most romantic parts, como su aria Who can tell, along with Bojan Čičić's violin solo.
The most applauded of the night was undoubtedly the soprano Sabina Puértolas, like Teagene. She was very confident in the agility and shone accompanied by the trumpeter Bruno Fernandes in her aria Con tromba d'or.
At a great height was the Arcade of the Polish tenor Krystian Adam. It has a beautiful and warm timbre. His performance as Ulysses' servant is also very good.
The British countertenor Tim Mead was in charge of giving life to the other hero of the work, Ulises. He was confident with his beautiful high-pitched timbre.
The Sevillian Juan Sancho, well known to the Real Madrid public, He has also had a very good performance as Nearco, both in the vocal part and in the interpretation.
Parallel to the story told, the intra-story was developed on stage with the royal family as the protagonist. Infanta Maria Teresa, character to whom the composition was dedicated, appears and sometimes interacts with the characters. In the final scene he is accompanied by the entire royal family.
It was wise to schedule this Achilles in Skiros after it was suspended due to the confinement caused by the covid pandemic. Three years have passed since then and we must remember some absences who were looking forward to that premiere and now have not been to see it. Like my dear Ofelia Roca and Paco Mejorana.

From her perspective as a modern woman, for the soprano Jessica Pratt the character of Amina, the star of La Sonnambula Bellini, is a character "tragic”, Not at all "a naive or stupid girl”. According to the singer, who has interpreted the role on several occasions and in some of the main lyrical stages of the world –he has it recorded on DVD at the Teatro La Fenice in Venice–, Amina, “suddenly he wakes up in the Count's room and does not know why he is there or what he has done; she sees all the people around her blaming her and she doesn't understand anything. This is the core of the opera, when she has a real emotional and psychological breakdown; I think of so many girls nowadays who go to a bar, they are unknowingly drugged and wake up naked in a house they don't know”. The Australian singer of British origin acknowledges that it is a role “difficult and demanding” from the vocal point of view. It's more, states that “It may be the most difficult opera in my repertoire on a technical level”.

From the hand of this iconic character, and between 16 December and 6 from January (day functions 16, 19, 27, 30 dic; 3, 6 one), collaborates with the company again Teatro Real with which he performed a few years ago at the Savonlinna Festival (Finland), this being his debut on the stage of the Plaza de Oriente. Settled in Italy since she finished her studies, He comments that he often sings in Spain in cities like Bilbao, Valencia, Barcelona or Seville, where he has noticed that a bel canto audience predominates, “who likes colors, the pianissimos, the treble ones. It's a bit like Italian, so i really feel at home”, assures.

Pratt, Acclaimed as one of the most important sopranos specializing in bel canto pyrotechnics of her generation, will perform in Madrid under the orders of maestro Maurizio Bennini in a new production of this Bellinian masterpiece signed by stage director Bárbara Lluch.

After her engagement at the Teatro Real, she will once again be Amina at the Opéra Royal de Wallonie-Liège (Bégica) before interpreting Francesca da Rimini, Mercadante, at the Frankfurt Opera; the cantata Jauchzet Gott in allen Landen BWV 51, Bach, directed by Daniele Gatti, in the Maggio Musicale Fiorentino; I Puritani, Bellini, at the Théâtre des Champs-Élysées in Paris; Lucia of Lammermoor, Donizetti, at Opera Las Palmas; The Tales of Hoffmann, by Offenbach, and a concert at the Sydney Opera House; and will debut the opera Beatrice di Tenda, also from Bellini, Teatro San Carlo in Naples.

baritone Carlos Alvarez, that next to the soprano Rocío Ignacio and the teacher Guillermo García Calvo was scheduled to participate next 30 December in the traditional Christmas concert at the Teatro de la Zarzuela, will not be able to take part in it for duly justified reasons. He is also an internationally renowned baritone Juan Jesus Rodriguez will be the one who takes the stage in this long-awaited appointment.

After her recent public and critical success with her Sara de Roberto Devereux, Donizetti, at the Teatro de la Maestranza in Seville, Nancy Fabiola Herrera will return to her land in December, the Canary Islands, this time to offer third Symphony Mahler. The appointment will take place on the day 2 at the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria and the singer will be accompanied by the Gran Canaria Philharmonic Orchestra –to which the Youth Orchestra of Gran Canaria will join– and the OFGC Children's Choir and Women's Choir, all directed by the owner of the set, Karel Mark Chichon.

Days after, he 10 from December, the Spanish mezzo-soprano will return to the Tenerife Opera for an event that makes you “special illusion”, as explained. “It is a lyrical gala in which great friends and colleagues such as the sopranos Yolanda Auyanet and Eglise Gutiérrez will participate, tenor Ramón Vargas, Bass Rubén Amoretti, the baritone José Carbó, the bandeon player Leonel Gasso or the bailaora María del Mar Moreno”.

The singer affirms that the gala Nancy Fabiola and her guests arose at the time after her debut in Tenerife with the opera by Miquel Ortega Bernarda Alba's house, “in a conversation with José Luis Rivero, then director of the Tenerife Opera. He gave me the chance to do a concert-tribute that had a biographical speech inviting interpreters friends who have been important in my career, something that filled me with joy and left me excited. I passed him a long list of possible candidates, people I love and who I would like to participate in a concert of these characteristics. I asked them to take care of it and give me the surprise, since everyone could not be there due to the length of the concert and for scheduling reasons. The surprise has been very nice because I didn't know who was coming until after a while”. And even if they are not all, share the experience with those who may be represented by the mezzo "a big present. They are friends who come from various parts of the world and together we will reel off a beautiful program with pieces that have meaning in my career and in my personal life.: from opera and zarzuela, essential in my career, to Broadway repertoire, in reference to my years lived in the United States, without forgetting the tangos that revolve around the Río de la Plata due to my connection with that wonderful land by having my second family in Uruguay, my husband's, Marcello Perez Pose. Every piece that I will sing, solo or duet, has a why. Carmen will not be missing, that character that fate put me in front of and that somehow was structuring and putting other roles and other repertoires in my path. It is a program that I am sure you will like very much for its popularity, variety and beauty. It is not a conventional gala, but rather a concert in which musical pieces that have marked my career will be heard, with a common thread that symbolizes destiny and that will be represented by my great friend and dancer María del Mar Moreno.”.

After the gala in Tenerife, among other commitments, Nancy Fabiola Herrera will start 2023 at the National Music Auditorium in Madrid with La vida breve de Falla, with the National Orchestra and Choir of Spain, to continue with the recital cabaret nights at the Pérez Galdós Theater in Las Palmas de Gran Canaria, a Requiem by Verdi with the RTVE Orchestra and Choir, the world premiere of contemporary zarzuela treat of favor with music by Lucas Vidal and libretto by Boris Izaguirre at the Teatro de La Zarzuela in Madrid, his return to the Teatro Real with Medea by Cherubini in a production by Paco Azorin and at the Metropolitan Opera in New York at the end of 2023.

In November 2019 the video platform of the Teatro Real was born, My Opera Player, with the vocation of becoming a theater of theaters in which lovers of Opera, the dance and the music could access as many titles as possible, both own production and other important national and international institutions.

When exactly three years have passed since its launch, the project, in which theaters from more than 150 countries is already consolidated, has diversified content, has received the support of the public and the recognition of the Observatory of Culture of the Contemporary Foundation -which has awarded it the Award for the Best Digital Initiative of the Performing Arts in 2020 Y 2021– and that of the Opera XXI Awards, which granted him the Best Digital Initiative 2020.

Currently, My Opera Player offers a catalog consisting of 226 Titles, coming from more than 50 theaters and dance companies around the world (see list at the end of the note), of which 116 they are operas, 29 dance, 67 concerts and 14 flamenco shows, selected with a quality criterion that chooses productions headed by the best stage directors, the most acclaimed voices, renowned conductors and emblematic choreographies of the repertoire and newly created. further, My Opera Player is the only platform specialized in performing arts that has all its content subtitled in Spanish, besides english, highly valued tool at the national level and a fundamental bridge for Spanish-speaking countries.

To make the content of the platform more attractive and accessible, the titles have been grouped according to different criteria and subscriber demand in different collections: Baroque, Classicism, Romance, Verismo and 20th century, opera in spanish, Women at the Opera – stage directors, costume designers, conductors and great singers-, Of whom -productions directed by filmmakers or based on Oscar-winning films, Books and Scripts -based on emblematic literary works-, Opera and Fashion -wardrobe designed by costume designers linked to the world of fashion-, Power and Politics – operas inspired by power struggles and historical conflicts- Y Historical archive of the Royal Theater, that tries to recover the audiovisual heritage of the institution since its reopening in 1997. Both the number of collections, as that of productions that integrate them, will be increased successively with the aim of expanding and satisfying the demand of more and new audiences.

Framed in the policy of promotion and defense of the flamenco which is being carried out by the Teatro Real, My Opera Player has incorporated into its cultural offer a careful selection of shows of this universal art in all its disciplines. With a firm commitment to bring together great figures, both established artists and young promises, The collection includes Real Flamenco shows and others from flamenco temples such as the Cante de las Minas Festival or the Granada Music and Dance Festival.

One of the great bets of My Opera Player is being the broadcast live shows – 9 operas from the Teatro Real in the last year and three scheduled for the current season: La Sonnambula, Achilles in Skyros Y Turandot– in order to make the platform a lively and dynamic meeting point that brings together music lovers from all over the world and is not just a cultural container. A) Yes, Productions from other international venues will soon be offered live.

He young audience has a special place in the Teatro Real and its audiovisual platform expands this relationship through special projects in collaboration with Universities, like the UNED; exclusive discounts and dissemination of content from the Reina Sofía School of Music, where the musicians of the future offer their first performances.

With about 90.000 registered users who can access the content in open, a select catalog on the rise and a synergy of forces that transcends borders, My Opera Player has become the main international platform for classical music on stage and one of the pillars of the Teatro Real.

THEATERS AND COMPANIES PRESENT IN MY OPERA PLAYER

Verona Arena – Czech National Ballet – Rome Opera Ballet – Bavarian State Opera – Cuban Contemporary Dance – German Opera Berlin – Donizetti Opera Festival – Dutch National Opera – English National Ballet – English National Opera – Reina Sofía Higher School of Music – Peralada Castle Festival – Grenada Festival – Torre Del Lago Puccini Festival – Cante de Las Minas Festival – Itria Valley Festival – Festival Hall Baden-Baden – Salzburg Festival – Orange Chorégies Festival – Berlin Philharmonic – Los Angeles Philharmonic – Juan March Foundation – Glyndebourne Festival – Konzerthaus Berlin – Life Victoria Barcelona – The Mint – Lincoln Center – London Symphony Orchestra – santiago municipal – Beijing NCPA – New York City Ballet – Paris Comic Opera – Paris National Opera – Royal Stockholm Opera – Bicentennial Theater – Bolshoi Theater – Teatro Del Châtelet – Colon Theater – Teatro Real – Mariinsky Theatre – Teatro Mayor Julio Mario Santo Domingo – Teatro Mikhailovsky – Main Theater of Palma – Toulouse Capitole Theater – Theater in Vienna – Rossini Opera Festival – Royal Opera House – Salzburg Marionette Theater – State Opera Unter Den Linden – Forest stage Berlin – Vienna State Opera

Photography © Javier de Real | Teatro Real

Enric Martínez-Castignani will be Leporello in the new production of Don Giovanni which can be seen in the Opera Oviedo between 13 and the 19 of November. The baritone will interpret the servant of Don Giovanni in this new production that has the stage direction of Marta Eguilior and musical direction of the Macedonian Elena Mitrevska. Enric Martínez-Castignani will share the stage with the singers Jacques Imbrailo, Joel Prieto, Vanessa Goikoetxea, Laura del Río and Help of Christians Toledano, among others and shares the role of Leporello with Rubén Amoretti.

Marta Eguilior's scenic proposal for this Don Giovanni wont leave anybody indiferent. It addresses the classic plot of Don Juan "uncompromisingly exposing the drama of the victims of male violence, represented in its maximum expression by the character of Don Giovanni”, comments the Basque director. With this role, Enric Martínez-Castignani continues the line of other operatic roles typical of the bufo-belcanto repertoire in which he has specialized throughout his career. Some roles in which he has been praised by the public and critics both for his vocal and interpretive qualities and for his acting skills. A) Yes, the baritone has shone as Don Pasquale/Malatesta in Don Pasquale, Bartolo in The Barber of Seville, Don Alfonso en Cosi fan tutti, Dulcamara in L'elisir d'amore, Taddeo en L´Italiana in Algiers, Dr. Knees en Vec Makropulos, Don Magnifico in La Cenerentola or Lescaut in Manon Lescaut.

With your participation in this Don Giovanni, Enric Martínez-Castignani celebrates sus 30 years of career on stage. A race in which, since his debut in La Bohème at the Budapest Opera in 1992, has been able to sing in some of the main national and European opera houses, from La Fenice to the Opéra de Lyon via the Grand Théâtre de Genève, Royal Theatre, the Lyceum, the Opera of Oviedo or ABAO Bilbao.

Among his latest artistic commitments, his recent Tosca at the Dutch National Opera stands out. & Ballet Amsterdam, Directed by Lorenzo Viotti in a Barrie Kosky Production. He has worked with stage directors such as Robert Carsen, David McVicar o Laurent Pelly.

He has also frequented genres such as Lied, in which he has given recitals alongside Dalton Baldwin or Ulrich Eisenlohr on stages such as the Suntory Hall-Tokyo, the Palau or l'Auditori in Barcelona and with programs such as the Winterreise Op.89 and Schwanengesang D. 957 the Franz Schubert o Dichterliebe Op. 48 by Robert Schumann.

He was nominated for a Grammy for his recording of the first version of Xavier Montsalvatge's opera El Gato con Botas and received the "Best Artist of the Year 2012" award.. Opera singer… and cultural manager Enric Martínez Castignani combines a double profile as an opera singer and as a cultural manager. In this facet he has been the creator and artistic director of the “Lied Festival Victoria de los Ángeles” (LIFE Victoria-BCN) from 2011 a 2016, in which, through multiple proposals and in a limited time, concerts-experiences and debates were offered to the public to progressively bring them closer to the world of lied. In his work as a disseminator and teacher, he gives seminars and conferences throughout the country and is a professor of the Master's Degree in Cultural Management at the University
Charles III of Madrid.

also in this line, last 6 In October, the report "Analysis of practices of facilities and international programming of classical music and opera" was presented in Barcelona, prepared by Enric Martínez-Castignani on behalf of the National Council of Culture and the Arts (CONCA) in which he addresses the best practices for the management of opera houses, auditoriums and festivals. work gathers ideas, reflections and analysis on the problems of the sector, studying key aspects within the analysis of innovative practices such as technology and digitization, the creative proposal and support for contemporary music, as well as the involvement with the professional development of the young generations of artists, public works and audiences or commitment to the Agenda 2030.

Cecilia Bartoli Debuts Thursday, 3 of November, in the main room of Arts with ‘Farinelli and his time’, a program with which the exquisite and sought-after mezzo-soprano recalls the splendor of the famous Italian castrato.

Accompanied by Les Musiciens du Prince, the director Gianluca Capuano and the dancer Nicolas Payan, the Roman diva inaugurates the cycle 'Les Arts és Grans Veus' in which the Valencian arts center brings together the most prestigious and renowned performers on the international scene.

In 'Farinelli and his time', Cecilia Bartoli will delight the public with the beauty of her instrument and her exceptional technique with music by Händel (‘Rinaldo’, 'Julius Caesar', 'Ariodante', 'Theseus'), Purple (‘The festival of Imeneo’, 'Polyphemus'), Hasse (‘Marc’Antonio e Cleopatra’) and Caldara ('The Death of Abel'), among others.

magnetic, media, exquisite and unrepeatable are some of the adjectives that accompany Cecilia Bartoli, one of the most emblematic and appreciated artists by the public and critics who, Finally, will sing at Les Arts 17 years after the opening of the theater. Brilliant performer and musicologist, 'La Bartoli' causes a sensation in each of its careful and studied performances, considered authentic events in the world of classical music.

Les Arts reports that the last seats of this long-awaited event are still on sale, in addition to five percent of the capacity that will go on sale the same day 3 of November.

Juan Diego Flórez will star in the 28 May the second session of 'Les Arts és Grans Veus' with a program in which the undisputed king of bel canto will perform songs, Opera arias and zarzuela romances, accompanied by his inseparable piano tandem, Vincenzo Scalera.

He Teatro Real and the City of Madrid have signed an agreement today by which the main Spanish coliseum will develop from 2023 a pedagogical project of musical promotion and didactics for children and young people at the Daoíz y Velarde Cultural Center, in the Madrid district of Retiro.

In an act presided over by the mayor of Madrid, José Luis Martínez-Almeida, the president and general director of the Teatro Real, Gregorio Maranon e Ignacio García-Belenguer, respectively, have signed the collaboration agreement at the City Council headquarters with the delegate of the Department of Culture, Tourism and Sport, Andrea Levy.

The agreement supposes that the Daoiz y Velarde will develop the pedagogical project, didactic and promotion of the performing arts with which the Royal Theater has been committed since its reopening. The goal is for it to become the reference cultural and artistic space for children and young people in the city, Open to the public, in which all the titles and activities of El Real Junior will have a place.

The Real Junior allows pedagogical initiation in the performing arts to children and adolescents through studio opera programs, educational concerts, dance, music stories, puppets and workshops for the whole family. Its didactic guides and its El Real en Tu Clase program allow schools with which the Theater has an agreement to access, from their classrooms, to this schedule.

The project to convert the old Daoiz y Velarde artillery barracks into a cultural center began in the 1990s 2000, when large cultural spaces such as Matadero Madrid or Condeduque were reformed. After more than a decade of works, the Culture Area, Tourism and Sports will launch this great cultural container in the Retiro district that will help decentralize culture in the capital and reinforce the City Council's commitment to Madrid's cultural fabric.

Photography © Madrid City Council

AIDA
Music Giuseppe Verdi (1813-1901)
Libretto by Antonio Ghislanzoni, based on a script (1869) by Auguste Mariette and Camille du Locle
Premiered at the Cairo Opera House on 24 December 1871
Premiered at the Teatro Real 12 December 1874
Royal Theatre production
In co-production with Abu Dhabi Festival, based on the original of the Royal Theater of 1998
D. musical: Nicola Luisotti
D. scene, set designer and costume designer: Hugo de Ana
illuminator: Vinicio Cheli
choreographer: Leda Lojodice
projection designer: Sergio Metalli
D. from the choir: Andrés Máspero
Headlines Choir and Orchestra of the Teatro Real
Distribution 26 October 2022: Deyan Vatchkov, Sonia Ganassi, Roberta Mantegna, Jorge de León, Simon Orfila, Gevorg Hakobyan, Jacqueline Livieri and Fabian Lara

The Royal Theater always celebrates in style any date worthy of being. something to be thankful for, always,, and more in these somewhat dark times. On this occasion the excuse is that they are fulfilled 25 years since its reopening. For this reason, a classic opens the season for this Theater, Hugo de Ana's Aida. One of his fetish productions, which has already been replaced in 2018 and which is based on the original that the Teatro Real premiered in 1998.

Aida was one of Verdi's last compositions, after Don Carlo and before his last two works, Otello y Falstaff. At that time the Italian composer had already gathered enough fortune and fame to be able to choose between the commissions that came to him, rejecting many of them.

One of those commissions was that of Ismail Pachá, some kind of egyptian governor, european culture lover, especially Italian opera, who had the whim to build an opera house in Cairo. For the inauguration of what would be the Royal Opera House in Cairo, had commissioned the hiring of one of the most important composers of the time, offering for it the amount of 150.000 Franks of the time. The reason for the work was clear, should have as protagonist Egypt, but Verdi was not convinced.

One of the collaborators hired for the project, the director of the Paris Opera Comique, Camille Du LucThe, he sent Verdi part of the plot of Aida in which Auguste Mariete had participated, one of the so-called fathers of egyptology. Verdi liked the story that Du Lucle proposed and decided to accept the commission, choosing Antonio Ghislanzoni to write the final libretto.. One of the first decisions the composer made about the libretto was to substitute the letter T, by Aita, by the A of Aida, to facilitate the diction of the singers.

The outbreak of the Franco-Prussian War prevented the scenery and costumes, made in paris, arrived on time for the premiere. Instead, the opening of the Royal Cairo Opera House was held with a production of Rigoletto. It wasn't until months later, specifically the 24 December 1871, when Aida could be premiered with some of the best performers of the time, Antonietta Pozzoni Anastasi, as Aida, Eleonora Grossi, as Amneris, Pietro Mongini, like Radames, Francesco Steller, y como Amonasro Paolo Medini, como Ramfis. The scenery was lavish and was signed by Philippe Chaperon, Edouard Despleschi, Jean Baptiste Auguste Lavastre and Rubé.

The success of this premiere was not enjoyed by Verdi, who did not attend. He couldn't stand boat trips. But if he tasted victory two months later on the Milan Scale. In which he had to go out to say hello even in 32 occasions. In its Italian premiere the protagonist was the soprano Teresa Stolz. Surely it did not influence this decision that Stolz was Verdi's lover at that time.

Since then, many Aidas have starred in one of the best-known and most performed operas in the repertoire. And many the scenes, which one more spectacular, directed by the best stage designers. Precisely one of the, you can say qualities, of this opera is that it cannot be fodder for the versions of some stage directors. Its location in a very specific place and time, make it very difficult to decontextualize.

Hugo de Ana's scenery is long-standing and has a great capacity to admit changes and updates. It matures over the years and knows how to take advantage of the latest technological resources. New projections have been incorporated, by Sergio Metalli, that enhance the plot and the dramaturgy of the extras. All the details are taken care of to the maximum, both in the scenic elements and in the costumes and the spectacular makeup. And all of it, enhanced by the lighting of Vinicio Cheli. The final result has gained in elegance, dispensing with elements that obscured and weighed down the previous production.

The simultaneity of the figurines and dancers on stage with the projections of those same characters has contributed to the cleanliness on the stage. Creating scenes of great theatricality with its slow movements.
On this occasion the intermissions have run smoothly, thanks to the rapidity in the changes and the entertaining beauty of the curtains, so the rhythm of the work has not been lost at any time.

Nicola Luisotti has once again led the orchestra. Deep knowledge of the composer and the theme of the work, knows how to extract from the orchestra the most outstanding and voluminous sounds, that are not few in Aida. But the best moments came in the most delicate musical narratives. The initial opening, the preludes of act II and III and especially the end, where the dramatic tension of the strings summarizes all the colors that Verdi uses in the orchestra to describe the most intimate moments. And it is these moments that make the difference in the quality of the work, versus gear volume.

In the vocal part, the public can choose between three casts. The main character of Aida has undergone some adjustments due to the cancellation of María Agresta and will be played by Krassimira Stoyanova, Anna Netrebko, Roberta Mantegana and Vittoria Yeo. It also has a magnificent cast for Radamés, Piotr Beczala, Yusif Eyvazov and Jorge de Leon.

The now soprano Roberta Mantegana has been an Aida with fluid singing but somewhat lacking in balance. His central zone is powerful, but has difficulties when the treble comes, its passage through the mezzo string is noted. He has gone from less to more and has composed a character with character in the first act, that was growing in delicacy and romanticism with history.

As Amneris the performance of Georgian mezzo-soprano Ketevan Kemoklidze was planned, but due to a last minute change, Sonia Ganassi was in charge of facing a role in which she did not seem to be very comfortable. good dramatization, but it does not seem that the Egyptian princess is part of his usual repertoire.

Jorge de León's Radamés was correct. It improved with the development of the work, it is never easy to tackle one of the most complex arias in the repertoire as soon as you go on stage. Nor did a vibrato help, which made his first interventions a bit dirty.. He resolved well the moments of greatest delicacy such as the end of the work.

The Armenian baritone Gevorg Hakobyan was very successful in his role as Amonasro, both vocally and in the interpretive part.

Simón Orfila's Ranfis vibrated excessively at times, but his voice has a great presence in terms of volume and timbre and very good qualities for the character. Also his stage presence, accentuated by makeup, they composed a Ranfis with a lot of personality.

The king of Egypt was played by the Bulgarian bass Deyan Vatchkov. did not have a good performance, it seemed that at any moment his voice was going to break, that didn't seem like enough for a king.

The rest of the tablets were at a very good level, Fabian Lara as Messenger and soprano Jacquelina Livieri as Priestess.

Another important character always in Verdi's works is the Choir, that in Aida he has a very important presence and that he had moments of great inspiration and emotion. And they are also good actors.
A good start to the season for the Teatro Real with one of the great works in the repertoire.

the tenor Pablo Garcia-Lopez will be Cegéste in Orpheus from Philip Glass, the new title of the season 22/23 of the Teatro Real whose premiere will take place on Wednesday 21 of September in the Theaters Canal. A poet longing for immortality and a mysterious princess capable of traveling to the world of the dead through mirrors are the protagonists of this review of the myth of Orpheus written by Jean Cocteau in 1927, later made into a film by himself in 1950 and adapted as an opera by Philip Glass in 1991, being premiered two years later at the Brooklyn Academy of Music. Pablo Garcia-Lopez plays the young poet Cégeste, point of departure and return of a particular descent into hell.

The Cordovan singer will share the stage with Edward Nelson, Maria Rey-Joly, Sylvia Schwartz and Mikeldi Atxalandabaso, among others. Jordi Francés conducts the Teatro Real's Titular Orchestra and stage direction is provided by Rafael R.. Villalobos.

about his role in Orpheus, Pablo García-López explains: "Cégeste is a young poet of success and general recognition and possibly ephemeral - everything is fashion- within the artistic environment. This success and the way you carry it creates a relationship of dramatic tension of attraction, jealousy, rivalry, and buried resentment between him and Orpheus. In turn, the character acts as a link between the world of the dead and that of the living through the recitative that has Orpheus subjugated and that also serves as inspiration ".

According to the website of the Teatro Real, "The myth of Orpheus is, first of all, the translation into symbolic language of mourning after the death of a loved one: the negation, negotiation and acceptance find their way of expression through the protagonist's futile claim to rescue Eurydice from the kingdom of Hades and her failed pact with the divinities of the underworld". Jean Cocteau, author of the film script that serves as inspiration for this opera, directed his film Orpheus (1950) after losing her lover, Raymond Radiguet, with only 20 years. His exploration of myth is articulated as "the successive deaths that a poet must go through before becoming himself".

The death of Philip Glass's partner – designer and multimedia artist Candy Jernigan – also prompted the American musician to undertake this double homage with what would become the first title in a trilogy of chamber operas based on Cocteau – the others are The beauty and the Beast Y The Terrible Children–, totally independent of each other.

After passing through the Teatros del Canal, Pablo Garcia-Lopez will continue his artistic agenda with Il Tabarro by Puccini at the Teatro del Liceu, The Tarara/123, recital with Rosa Torres-Pardo at the Villamarta Theater in Jerez and The Turk In Italy by Rossini at the Teatro Real in Madrid.

One year after my debut as Desdemona in Verdi's Otello at the Liceu in Barcelona, Eleonora Buratto has the great honor of facing Desdemona by Rossini for the first time. Otello will be performed at the Rossini Opera Festival of the 11 al 20 of August, with stage direction by Rosetta Cucchi and musical direction by Yves Abel.

“From Shakespeare to Rossini and Verdi, what a change the main characters experience! Exploring this Rossini opera, I have gained a deeper understanding of their mixed fortunes. Before the Rossini Renaissance, it was almost always overshadowed by Verdi's opera of the same name. My understanding and love for this opera have been enhanced thanks to this staging of Rosetta Cucchi, perfect in the way it responds to the needs of the drama, highlighting how difficult it is for these characters to communicate since “seek emotions that go beyond the story”. , taking it to a different metaphysical area where each of us can see ourselves” (as Alberto Zedda wrote). Rehearse for this Otello, following the narrative path of Rosetta Cucchi, is becoming a dizzying emotional experience. Themes are powerful, with the femicide there on stage showing the relevance that this topic always has, just like betrayal (including the father's), love, the passion, despair and jealousy. I can add nothing regarding the musical strength of Otello (and Desdemona, the real protagonist)”.

the sublime artists who have sung in this role, starting with Isabella Colbran, testify to her vocal appeal and the challenge she poses. Represents for Belcanto singers, but also its dramatic complexity. After the last of the four programmed functions, he 21 August I sing along with other colleagues at the Tra rondò e tournedos Gala with which the Rossini Opera Festival will celebrate the magnificent forty years of Pier Luigi Pizzi at the festival. Both Otello and the Gala will feature the National Symphony Orchestra della Rai and the Ventidio Basso Theater Choir, one more reason to celebrate. Finally, I am pleased to confirm that the opening performance of Otello will be broadcast on Radio Rai 3. You can find all the information about the creative teams and the casts here.

Photography © Dario Acosta | © ROF / Studio Amati Bacciardi

The next 27 of July, the Teatro Real will culminate the current season with the premiere of Hadrian, Canadian-American singer-songwriter's second foray into opera Rufus Wainwright, which will be offered in a semi-staged version starring the baritone Thomas Hampson, who gave life to the emperor Hadrian in the world premiere of the work in Toronto in 2018.

Making use of a musical palette that the author himself defines as "darker and more powerful" than that of his first opera –First woman–, woven with long melodic lines mixed with rich orchestral textures,

Wainwright builds a truly gripping story.

The complex vocal framework will be defended by Thomas Hampson in the title role, Ainhoa Arteta (Plotina), Santiago Ballerini (Antinous), Rubén Amoretti (Turbo) Y Vanessa Goikoetxea (Sabina) among others. With them, he Headlines Choir and Orchestra of the Teatro Real, under the musical direction of Scott Dunn.

The stunning images of the photographer Robert Mapplethorpe and direction of scene Jorn Weisbrodt, complete this interesting show.

Rufus Wainwright thus describes his choice of this historical character for his second opera: “When I first read the fabulous Memoirs of Hadrian, by Marguerite Yourcenar, a novel that inspired at least three generations of gay men, I was instantly struck by the idea of transforming this historical theme into the form of an opera. Both its intimate nature and wild grandeur seemed perfectly suited to what opera does best.: create a hyper-enlightenment of the dark inner lives of people facing formidable outer circumstances and, at the same time, musically explore the surreal dimensions of what lies between them. In my opinion, no other theatrical form portrays

truly life in a myriad of bright vibrant colors just like the opera does, and the story of the Roman emperor Hadrian is a perfectly cut diamond for the task”.

The opera focuses on the emperor's true but troubled love for the beautiful young Antinous.. As the dark specter of monotheism approaches announced by the Jews and early Christians, until destroying the old pagan belief system. Historical research ensures that many parts of Hadrian's life and legacy were destroyed by his detractors and, although he was a productive and just ruler, his massacre of the jews cannot be forgotten, and it is a main point of the work.

A) Yes, Rufus Wainwright concluye: "Almost immediately after Hadrian's death, the patriarchal dictates of humanity took over the narrative, letting the pathetic old remark that “cried like a woman” when Antinous drowned, overshadowed all his achievements.".

HADRIAN

Opera in four acts

Music of Rufus Wainwright (1973)

libretto Daniel Mcivor

With the special collaboration of the Mapplethorpe Foundation

Premiered at the Canadian Opera Company in Toronto on 13 October 2018

Premiere at the Royal Theater

Opera in semi-staged concert version

ARTISTIC TEAM

Director Musical I Scott Dunn

Images I Robert Mapplethorpe

Stage-manager I Jorn Weisbrodt

lighting designer | John Torres

project designer | Michael Worthington

Project Designer Assistant | Cory Siefker

projection scheduler | James Poichter

Choir director I Andres Maspero

Choir and Orchestra of the Teatro Real holders
(Coro Intermezzo / Madrid Symphony Orchestra)

DISTRIBUTION

Hadrian | Thomas Hampson

Plotina | Ainhoa Arteta

Antinous | Santiago Ballerini

Turbo | Rubén Amoretti

Sabina | Vanessa Goikoetxea

Trajan | Alejandro del Cerro

Fabius | Stephen Vincent

Hermogenes | Gregory Dahl

First Senator | Pablo Garcia-Lopez

second senator | Josep Ramón Olivé

Third Senator | David Lagares

Street | Berna Beads

Dinarchus | Albert Casals

Photography © Javier de Real | Teatro Real

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

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

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

The Cordovan tenor Pablo Garcia-Lopez, in the role of first senator, come back to Teatro Real (27 of July) and debuts at the Peralada Festival (29 of July) with Hadrian, de Rufus Wainwright. Two unique performances of this contemporary opera, in semi-staged concert version, based on the Roman Emperor Hadrian, that brings together the perfect ingredients for a classic opera plot that tells the love story between Hadrian and his young lover.

For the occasion, the Teatro Real and the Castell de Peralada Festival have brought together a cast led by Thomas Hampson, Santiago Ballerini, Vanessa Goikoetxea, Ruben Amoretti, Josep-Ramón Olivé and the stable foundations of the Teatro Real with Scott Dunn on the podium.

Hadrian, Canadian-American singer-songwriter Rufus Wainwright's second foray into opera, thus joins an illustrious series of operatic titles –Pergolesi, Caldara from Johann Christian Bach, among others – with this Roman emperor as the protagonist. Premiered in Toronto at 2018, featured the baritone Thomas Hampson in a title role written to suit him and which he will repeat at the Teatro Real and at the Perelada Festival. Making use of a musical palette that the author himself has defined as "darker and more powerful" than that of his first opera –Prima Donna–, and supported by the striking images of photographer Robert Mapplethorpe, Hadrian runs, as noted from the Royal Theater- “on an endless journey between the fragile consolation of memory and the unappealable reality of loss”.

Garcia Lopez comes to this premiere after his participation in the Lausanne Opera, Royal Theatre, the Festival of La Rioja "Pablo Sainz Villegas", his debut at the National Music Auditorium in Madrid with the OCNE and the Castilla y León orchestra and at the Miguel Delibes Auditorium.

Nabucco at the Royal Theater, almost a premiere
Nabucco
Giuseppe Verdi (1813-1901)
Lyrical drama in four acts
Libretto by Temistocle Solera, based on the play Nebuchadnezzar (1836)
by Auguste Anicet-Bourgeois and Francis Cornu, and in the ballet Nebuchadnezzar (1838) by Antonio Cortesi
Premiered at the Teatro Alla Scala in Milan, he 9 March 1842
Premiered at the Teatro Real 27 of January of 1853
Production of the Zürich Opernhaus, in co-production with the Teatro Real
D. musical: Nicola Luisotti – Sergio Alapont (13, 16, 20 jul)
D. scene: Andreas Homoki
Scenographer: Wolfgang Gussmann
costume designers: Wolfgang Gussmann, Susana Mendoza
illuminator: Franck Evin
Playwright: Fabio Dietsche
D. choir: Andrés Máspero
Distribution: Nabucco: Luca Salsi, George Gagnidze, Gabriele Viviani, Luis Cansino;
Ismaele: Michael Fabiano, Eduardo Aladren; Zechariah: Dmitry Belosselsky, Roberto y Tagliavini Alexander Vinogradov; Abigaille: Anna Pirozzi, Saioa Hernandez and Oksana Dyka;
Fenena: Silvia Tro Santafe, Elena Maximova y Aya Wakizono; the high priest: Simon Lim and Felipe Bou; Abdallo: Fabian Lara and Anna Maribel Ortega

Nabucco premieres at the Teatro Alla Scala in Milan, he 9 March 1842. He arrived in Spain very soon, at the Santa Creu Theater in Barcelona in 1844 (the Liceu had not yet been inaugurated). Leading the cast was Antonio Superchi, one of the most important baritones of the time.

In Madrid it opens just two months later at the Teatro Circo, with Giogio Ronconi, another big, in the role of Nabucco. Since 1844 until 1850, Nabucco was on the bill almost every season. Since the Liceu was inaugurated in 1847 and the Royal Theater in 1850, becomes one of the most performed and most successful works. Always on the bill and always hand in hand with the best performers.

He 9 February 1871, Nabucco is performed for the last time in Madrid. Since then, and despite the enormous popularity of this work, I hadn't been back on stage at Real until now.

When Verdi receives the commission for Nabucco, he is going through one of the worst moments of his life. His wife and children had passed away and he was considering the possibility of leaving music. At first he rejects the project but, after thinking that it may be the opportunity to get ahead, take the job. Verdi did not know that thanks to this work he would become a national hero.

With only twelve days from the first rehearsal at the piano to the day of the premiere, Verdi has to work hard with a score that introduces several novelties in its orchestration. The first is the use of numerous metals, like horns and bugles, raising the sound volume, something that was not very common in other operas. As a counterpoint to the sound volume, creates moments of great intimacy in the arias, like the cello sextet that accompanies Nabucco, or Abigaile's aria, accompanied only by a cello and an English horn, creating one of the most sublime moments of this work, along with the interventions of the choir.

For this almost revival in the Teatro Real, the production of the Zürich Opernhaus has been chosen, in co-production with Real. At the head of the orchestra Nicola Luisotti, a master of the verdian repertoire who knows how to maintain the sound balance of the orchestration of a work like this like no other.

The set design by Andreas Homoki and Wolfgang Gussmann is almost non-existent. Since the play is divided into four acts, and each act in two paintings, it becomes very difficult to assemble eight different scenery so, according to the stage directors themselves, “we decided that the best way to reflect the changes and make the scenes flow and have continuity was, simply, that there was no scenery". and so it is, under the absolute presence of an elegant float green color, on the stage there is only a kind of gigantic marble countertop that moves generating the spaces in which the action takes place. The only thing that saw the scene and set it, they are the figurines of Wolfgang Gussmann and Susana Mendoza, next to lighting, always right, although very dark (something that has become fashionable) by Franck Evin.

No effort has been spared for the voices, up to four Nabuccos participate in this production, Luca Salsi, George Gagnidze, Gabriele Viviani and Luis Cansino. For Ismaele two options, the always impeccable Michael Fabiano and Eduardo Aladrén. And Zacaria le dan vida Dmitry Belosselsky, Roberto Tagliavini and Alexander Vinogradov.
Abigaille has the participation of Anna Pirozzi, Saioa Hernandez and Oksana Dyka. Fenena is in charge of Silvia Tro Santafé, Elena Maximova y Aya Wakizono. as great priests, Simon Lim and Felipe Bou. And we cannot forget the participation of the great protagonist of this opera, the village, represented by the Titular Choir of the Theater, Chorus Intermezzo que, at the time of writing this chronicle, He has already had a first encore at the premiere with “Va pensiero”. And it is that this choir, under the direction of Andrés Máspero, shows why he is among the best in the world and deservedly so.

An impressive cast of voices to choose from in this work that has had to wait 151 years, but it was worth it.

On the occasion of Opera Week, the days 14 Y 15 of July, to 21.00 hours, Nabucco can be seen on a screen installed in the Plaza de Isabel II (Opera Square) with two different divisions. There will be 1000 chairs available for the public, first come first serve, until full capacity.

He 15 July at 21.00 hours, Nabucco will be broadcast for free on MyOperaPlayer worldwide and in places, cultural centers, museums, auditoriums and theaters throughout Spain.

The Spanish orchestra director Sergio Alapont returns this July to the Teatro Real in Madrid –alternating on the podium with maestro Nicola Luisotti– to take charge of Nabucco, in Verdi, in what will be his debut directing opera on that stage. “I am delighted and very excited to conduct for the first time at the Real a masterpiece by one of the composers whose different titles I have conducted the most performances of and to whom I have uttered admiration and devotion for his greatness”, comments the musician born in Benicàssim (Castellón). “I also owe Verdi the award from the Italian magazine GBOpera as the best director of 2016 by Aida”. Alapont returns to the Madrid Coliseum after making his debut on that stage directing a lyrical gala in 2018, “and the following year I returned with the Stabat Mater de Pergolesi, always leading the Madrid Symphony, an orchestra with rich sound versatility and extraordinary quality. I am very happy to return now with this opera so full of meaning for operatic literature. Verdi wrote it thanks to the insistence of the manager of La Scala since the composer had decided to leave everything because he was emotionally devastated by the loss of his two children and his wife., Margherita. In addition, he had just suffered two failures in his previous operas. With Nabucco announces the great works and roles that will complete its catalog in coming years. The work represents the beginning of Verdi's drama and that humanity so characteristic that it gives to the characters that only Verdi knew how to capture in the score and that have remained in the public's imagination. The music of Nabucco and the spectacular narration that the composer achieves is superb and directing it is one of the greatest pleasures for a director”, Add.

Sergio Alapont will be in charge of the functions scheduled on the days 13, 16 Y 20 July in a stage production signed by Andreas Homoki and with Luis Cansino in the cast (Nabucco), Oksana Diving (Abigaille), Eduardo Aladren (Ismaele), Alexander Vinogradov (Zaccaria), Aya Wakizono (Fenena), Felipe Bou (high Priest), Lara Fabian (Abdallo) and Maribel Ortega (Anna).

In recent years, the career of the director from Castellón has been consolidated on the international scene, having been named in 2022 Principal Director of the Classical Orchestra of the Center in Coimbra, Portugal, with which he has an intense activity every season.

His most recent commitments include a symphony concert at the National Concert Hall in Dublin with the RTÉ Concert Orchestra (Irish Radio Television Orchestra, on February 2022), In addition to the presentation of the CD of Bohemian for the British label Signum Classics recorded in 2021 at the Irish National Opera and with which he has received excellent reviews.

After these functions Nabucco and his activity with the Orquestra Clássica do Centro, during the summer Sergio Alapont will conduct a concert with works by Beethoven at the Festival das Artes in Coimbra (24 of July), another of Spanish music with popular singer Estrella Morente and the Espinho Classical Orchestra at the Espinho Auditorium (Portugal, 30 of July) and will open the Pollença Festival (Mallorca) with the Symphony of the Balearic Islands and pianist Kris Bezuidenhout with a program with works by Beethoven, Schumann y Dvorak (6 of August). The season will open later 2022 / 2023 of the Teatro Comunale de Sassari with a symphonic concert and with the opera Don Giovanni of Mozart –in what will be his sixth return to the Italian theater, in which he debuted in 2010 – and will perform for the first time in Canada in concert with the Orchester Symphonique de Longueuil at the Maison Symphonique de Montréal.

Cap Rocat, the most remote and exclusive hotel in the Mediterranean, will offer next 23 July at 21:30h a musical evening that will unite under the starry Majorcan sky one of the greatest sopranos of the moment, the american Sondra Radvanovsky, together with the Symphony Orchestra of the Balearic Islands under the musical direction of the teacher Pablo Mielgo.

Today's great opera diva, owner of one of the most applauded voices on the world lyrical scene, will offer a recital at Cap Rocat in which some of the most famous and beloved pieces of opera will be covered: since Oh my dear daddy de Gianni Schicchi, until the Vissi d'arte with which Floria Tosca surrenders to the arms of destiny, Aryan paths signed by Giacomo Puccini, passing through milestones such as La mamma morta by Andrea Chénier by Umberto Giordano, O Bolero Mercè, diette friends de I Vespri Siciliani de Giuseppe Verdi.

According to critics, the performer is at the peak of her artistic career and by nature possesses an ideal voice for this repertoire, a voice that has been compared to that of opera stars such as María Callas or Rosa Ponselle. Definitely, a concert in which Sondra Radvanovsky will explore the musical geography of the great romantic opera, a repertoire with which he has garnered applause and ovations from La Scala in Milan to the Metropolitan Opera in New York.

This enormous capacity to communicate has been confirmed in the recent and notorious encores that the singer has given in our country, both at the Teatro Real in the production of Tosca premiered a year ago now, as in the Liceo in Barcelona where, after more than 30 uninterrupted minutes of applause, sang the mythical Mamma morta again in Andrea Chénier.

The voice of one of the greatest sopranos of the moment will be joined by a leading orchestra on the national and international scene.: the Balearic Islands Symphony, together with its director, Pablo Mielgo, will offer some of Verdi's best-known overtures, like the ones in La Forza del Destino or Nabucco, as well as others by Puccini or Otto Nicolai. Definitely, a musical night in which both Sondra Radvanovsky and the musicians of the Balearic Symphony will be able to shine to the fullest.

The "Night of the Senses" in the most exclusive hotel in the Mediterranean For some years now, Antonio Obrador, creative creator of Cap Rocat, The Madina Mayurqa Foundation and Pablo Mielgo, musical director of the Balearic Symphony, worked on the idea of promoting a series of summer lyrical concerts, presenting great figures of opera and classical music in this extraordinary space, with the aim of turning this annual event into an event desired by music lovers and a cultural reference in the Islands.

A) Yes, and despite the difficulties, In August of last year, a first great lyrical recital was held under the name "La Noche de los Sentios", in which the Menorcan baritone Simón Orfila could be heard, the Majorcan soprano Irene Mas and the Balearic Islands Symphony under the direction of Pablo Mielgo. The event took place in Cap Rocat before an audience made up of some 200 people and it was a great success. Now, The Night of the Senses returns for the second year with more force and without the restrictions that the pandemic imposed last year. As stated by Antonio Obrador, “We want the Night of the Senses to come back to stay, giving continuity to that first concert and with the idea of turning it into an annual event expected and desired by everyone in Mallorca”.

Likewise, and for the annual organization of this event, Cap Rocat will feature a renowned professional from the world of opera, Ilias Tzempetonidis - artistic coordinator of the San Carlos Theater in Naples- as artistic director and with Pablo Mielgo as musical director. Definitely, much of the magic of these concerts will be due to the impressive stage in which it takes place: Cap Rocat, the most desired and private hotel in the Mediterranean, a place that offers its guests an incomparable experience of maximum well-being in one of the most splendid places on the Majorcan coast.

Located in an old military fortress, camouflaged with the natural reserve of 30 hectares that surrounds it and delimited by 2 Km of protected coast, Cap Rocat is a haven of calm just ten minutes from Palma de Mallorca. Tranquility, Simplicity and vindication of native values are the main hallmarks of this unique hotel, pioneer of ecological tourism and member of Small Luxury Hotels of the World.

Sondra Radvanovsky copyright Michael Cooper

The tenor from Granada Moses Marin, one of the young voices with the greatest projection in our country, will star this summer in a double debut at the Belcanto Opera Festival 'Rossini in Wildbad' with two of the most demanding roles in the repertoire: on the one hand he will be Pirro in the opera Ermione, under the musical direction of Antonino Fogliani and staged by Jochen Schönleber, the days 16 Y 23 of July. further, will play Goffredo in a concert version of another Rossinian drama, Armida, under the musical direction of José Miguel Pérez Sierra, that can be heard every day 15 Y 20 of July. Both operas will be performed by the Krakow Philharmonic Orchestra and Choir.

The two titles will be previewed at the Royal Opera Festival in Krakow (Armida the 3 July and Ermione the 10). Premiered at the San Carlo Theater in Naples on 27 March 1819, Ermione is today considered a stroke of genius by Rossini, although it suffered a resounding and painful failure at its premiere. The little success of this drama set in the Trojan War was due in part to its tragic ending, that was not to the taste of the public at the time and in part to the music, innovative and revolutionary for its time. The play, which features a libretto by Andrea Leone Tottola based on Andromache by Jean Racine, was not recovered until its revival in 1987 at the Pesaro festival. It is an opera that requires top-level singers: Moisés will debut with the role of Pirro, son of Achilles and king of Epirus; He will be accompanied by Serena Farnocchia as Ermione and Patrick Kabongo as Orestes.

The stage direction is provided by Jochen Schönleber, artistic director of the Bad Wildbad festival. Meanwhile, Armida had its first performance at the Teatro San Carlo in Naples on 11 November 1817 and features a libretto by Giovanni Schmidt based on scenes from Torquato Tasso's epic poem Jerusalem Delivered., inspired by events of the First Crusade. Armida requires six tenor roles - and one bass baritone- and it is also one of Rossini's most difficult titles. Moisés Marín will share a scenario with Ruth Iniesta as Armida, the only female role in the play. At the Krakow preview, Moses plays Goffredo and also Ubaldo, a whole vocal tour de force for the man from Granada, which will be supported by the solid leadership of Miguel Pérez-Sierra. Both Armida and Ermione will be recorded on CD and DVD for the Naxos Label's Rossini Complete Edition.

Moses Marin: an intense season 22/23
This last paper, Pyrrhus, son of the warrior Achilles and the princess Deidamia, It is considered one of the cornerstones of the repertoire of the so-called Rossinian Baritenore, where the roles that the "Swan of Pesaro" wrote for the tenor Andrea Nozzari are framed. The name baritenor is used to refer to a type of tenor voice that acquired special importance in Rossini's operas and is characterized by a dark lower register and a resonant upper register and with enough versatility to sing coloratura..

The voice of Moisés Marín has a series of characteristics that are difficult to find in the same artist. A very wide tessitura of three octaves is joined by a dark color and a natural agility.. This fact, combined with an incessant and constant search for technical and interpretive excellence, lead him to investigate new artistic and repertoire challenges., like this double debut at the Rossini festival with two of the most demanding roles in the repertoire. Right after this milestone, Moisés will venture into another of the roles of Baritenore par excellence, Polijo en Organization, papel que Bellini escribió para Giandomenico Donzelli.

This will be followed by an intense season in the main Spanish opera houses: at the Liceu as Spoletta in Tosca, at the Palau de les Arts in Valencia as Melot in Tristan and Isolde, and as Pang in the Turandot of the Teatro Real. All this makes up a transversal season with a wide repertoire that frames Moisés Marín as a versatile artist., deploying all its technical and artistic resources. And is that, beyond his international career, In recent years, the singer from Granada has become a regular in all Spanish lyrical seasons and a benchmark for some of the most important character tenor roles, such as goro, incredible, Spoletta o Helmsman.

Moses Marin: strength and versatility
since in the season 17/18 he finished his training at the Center de Perfeccionament of the Palau de les Arts, Moisés Marín has become a regular in Spanish lyrical seasons, having presence since then in the Royal Theater, Gran Teatre del Liceu, ABAO, the Campoamor theater in Oviedo and the Maestranza theater in Seville. Goro en Madame Butterfly, Jacquino en Fidelio, Albazar in El Turco in Italy, Incredible en Andrea Chenier, Steuermann in The Flying Dutchman, among others, make up its intense activity in recent Spanish seasons. Among his future commitments, his time at both the Teatro Real and, the Lyceum, ABAO and Seville, as well as the aforementioned debut as Pollione in Norma. Some of his past engagements include: Percy in Anne Boleyn by Gaetano Donizetti under the baton of Fabio Biondi and Europa Galante in Italy, Dorvil in The Silk Scale by Gioachino Rossini under the baton of Alberto Zedda, Duca in Rigoletto, Nemorino in The Elixir of Love, Don Ottavio and Don Giovanni, Selimo in Rossini's Adina, Pang and Turandot; and his time at the Auditorium Parco della Musica in Rome, the school teacher in The Cunning Little Vixen by Leoš Janáček and Gherardo in Gianni Schicchi by Puccini.

He has been a member of the Perfection Center of the Palau de les Arts in Valencia. In this two-year period as a regular at Les Arts, he has been a regular in the theater's programming, performing various roles in operas such as The Sicilian Vespers, Philemon and Baucis, Lucrecia Borgia, Werther, Madame Butterfly, Peter Grimes, La Traviata, Oviedo y Mario, The world of the Moon and Tosca. Having the opportunity to work technically and musically with artists like Placido Domingo, Fabio Biondi, Roverto Abbado, Mariella Devia, Gregory customer, Emilio Sagi and Davide Livermore. He is the winner of the 1st Prize in the International Singing Competition City of Logroño and special prize of Zarzuela. He has been a student of the bass-baritone Carlos Chausson and the soprano Renata Scotto. He has been a member of the Opera Studio Ensemble of the Accademia Nazionale di Santa Cecilia in Rome and from his beginnings as a flutist at the Victoria Eugenia Conservatory in Granada he began studying with the soprano María del Coral Morales. He is currently under the tutelage of the acclaimed under Eric Halfvarson.

Les Arts closes its season 2021-2022 he 8 Y 9 July with ‘Night at the Arts’: two nights of free activity for all audiences, with a wide range of proposals in the different rooms of the building from the 20.00 h until 2.00 h in the morning.

After several editions postponed due to the pandemic, Les Arts recovers its 'white night', what, in his ninth celebration, includes technical-artistic shows with the Cor de la Generalitat and the artists of the Center de Perfeccionament, concerts by the Orchestra of the Valencian Community conducted by Sergio Sáez, two performances of the opera 'El tutor burlat', a costume and utility exhibition and two DJ music sessions with Eduardo Díaz (NO FROST).

Parallel to the development of artistic activity, The Arts abre, from 20.30 h, its free-roaming areas for anyone who wants to get to know and enjoy the open-air spaces of the operatic enclave, that will have a restaurant service.

Starting at 20.00 h the five technical-artistic passes begin (20.50 h, 21.40 h, 23.30 and h 0.20 h) that allow you to contemplate behind the scenes what the work is like on the stage of the Main Hall.

In groups of up to 240 people, attendees have the opportunity to get to know through an 'ad hoc' show, of some 40 minutes long, the operation of the stage machinery, lighting, audiovisuals and all the necessary elements to start an opera performance, in this exhibition in which the singers of the Center de Perfeccionament and the Cor de la Generalitat participate.

Meanwhile, the Orquestra de la Comunitat Valenciana (OCV) will discover an unprecedented space for the general public, the Orchestra Rehearsal Room, in which the main formation of Les Arts will offer three concerts, from 40 minutes long, under the musical direction of Sergio Sáez, OCV professor.

The repertoire of each of the three passes (20.50 h, 21.50 and h 23.50 h) will be made up of famous opera and zarzuela overtures. Public access will be from the eleventh floor of the building, where the Terrasses de les Palmeres are located.

on that same floor, the Espai Los Toros will host an exhibition of costumes and props, with costumes and scenic elements from some of the most significant productions of Les Arts.

Meanwhile, the Teatre Martín i Soler will open its doors at 22.00 h to host a performance of 'El tutor burlat', the first opera by Vicente Martín i Soler, in its version in Valencian, which will be sung by young singers and former students of the Center for Perfection accompanied by the piano.

Jaume Policarpo directs this colorful and fun production that, in addition to his performances at Les Arts, successfully travels through different municipalities of the Valencian Community with the 'Les Arts Volant' truck.

At 0.30 h, DJ Eduardo Díaz (NO FROST) will convert the eleventh floor terraces, overlooking the Turia garden, on a big dance floor with a music session, that will dismiss the activity of both days to the rhythm of 'dance'. The arts center will close its doors from Friday to Saturday night at 2.00 am, and an hour later, to 3.00 h, in the night from saturday to sunday.

Tickets

Les Arts reminds that it will be necessary to have a locality (free) to be able to enjoy the shows in closed spaces: the technical-artistic passes in the Main Hall, the concerts of the Valencian Community Orchestra in the Rehearsal Hall, and performances of the opera 'El tutor burlat' at the Teatre Martín i Soler.

Subscribers and members of the patronage program of Les Arts will be able to request their tickets in advance from the day 5 July on the website www.lesarts.com Y, from the day 6, in person at the theater box office, with a maximum of 4 accessed by a subscriber or patron.

Meanwhile, the general public, you can order your tickets from the same 6 July through the Les Arts website and, one day later, he 7 of July, physically in the theater. A maximum of two invitations will be assigned per applicant.

Les Arts reminds that the places available by pass are limited to the capacity of each of the venues.

Photography © Miguel Lorenzo / Mkel Ponce

The days 9 Y 10 of July, the young composer based in New York Marc Migó will premiere his second chamber opera, commissioned by the Liceu Barcelona, under the project ÒH!OPERA with artistic direction by Àlex Ollé.

The Fox Sisters, It is a micro-opera based on the true story of the Fox sisters., who are credited with creating the spiritist movement. In 1848, in the state of New York, Kate y Maggie Fox, they had fun scaring their mother, claiming they could communicate with a ghost. Leah, The big sister, understood the business potential of exploiting her younger sisters as child prodigies in supernatural communications, and became his manager. Years later, Kate and Maggie had become famous mediums. But nevertheless, at the end of their lives they decided to withdraw from the new spiritualist religion, revealing in front of journalists and scientists all the alleged tricks they used in seances.

With libretto by Lila Palmer, stage direction by Silvia Delagneau, musical direction of Irene Delgado-Jiménez and the participation of BAU University Design Center, chamber opera The Fox Sisters, addresses current issues such as feminism or post-truth, and it's written for soprano, mezzo soprano, baritone and string trio (fiddle, cello and double bass), amplified and connected to a speaker system surrounding the audience, in order to create an enveloping effect, so that the drama not only happens on the stage but throughout the space.

Marc Migó, who is currently pursuing his doctoral studies in composition at the Juilliard School in New York, bajo the tutelage of John Corigliano, has just been incorporated into the catalog of composers of the prestigious publisher Universal Edition for the publication of his works, and this summer he will premiere his orchestral work Dumka for Anya at the prestigious Cabrillo Festival (California). further, has recently obtained the Dominik Argento Fellowship for Opera Composition from the National Opera Association.

The Madrid soprano Guiomar Cantó presents her concert schedule for the summer season. A series of recitals that will take you to Madrid, Murcia, Switzerland, to finish at the festival Operas in the mountain from Salzburg.

Guiomar started the summer season last 25 June with the premiere in Spain of the Misa in Rheinberger C in the Church of the Mercedarias Descalzas de la Purísima Concepción de Madrid, together with the Orchestra and Choir of the Carlos III University directed by maestro Jerónimo Martín.

In the framework of the festival of Santa Ana, the next 23 of July, Guiomar Cantó will sing at the Santa Ana Monastery in Jumilla. A concert with the Symphony Orchestra of the Catholic University of Murcia conducted by Salvador Pérez with a program that includes opera arias and zarzuela ballads such as La Traviata, Queen of the Night, Lucia of Lammermoor O Doña Francisquita, among other.

The agenda continues in Switzerland, specifically the 3 September at Wolfsberg Castle. On this occasion Cantó will perform together with the Orchestra Klassik Nuevo conducted by Srdjan Vukasinovic, with an Argentine and German repertoire.

He 17 September the soprano will debut in the Austrian city of Salzburg, at the Opern im Berg festival. in the Aula Grosse, to play the role of Musetta in Bohemian. This performance is part of the Puccini Award that the singer received in 2019 in the international singing competition Great Voices from the same festival, which could not be made effective until now due to the pandemic crisis of these last two years.

About Guiomar Canto

Solid technique and versatile voice, He sang began with a base of piano training with the pianist and composer Manuel Carra, complementing it with studies in Law and Business Administration and carrying out his vocal training at the Superior School of Singing in Madrid.. He has worked with teachers and singers like Virginia Zeani, painful Zajick, Alberto Zedda, Barbara Bonney, Carlos Chausson, Mariella Devia, Raúl Giménez, Francisco Araiza, Anna Tomowa-Sintow, Carlos Aransay and Giulio Zappa. He perfects his vocal and repertoire studies under the direction of maestro Luca Fonte, thus inheriting the technical guidelines, aesthetic and philosophical of the romantic school Italy.

In 2021 Guiomar Cantó has been selected as part of the Crescendo program of the Teatro Real. He made his debut at the Teatro de la Zarzuela last October in Los Gavilanes de J. Guerrero and for the first time she will appear as Pamina in the Magic Flute of W. A Mozart at the Romea Theater in Murcia and at the Vico Theater. He will sing again in Switzerland where he made his debut in 2017, this time in a concert in Ermantigen together with the Klassik Nuevo orchestra conducted by Srdjan Vukasinovic. She has recorded the leading role of Doña Ana in Julián Santos's zarzuela “Elphantom de la Tercia” which will premiere this season and has already received good reviews., so it continues to make its way in national and international theaters, establishing himself as one of the great talents of his generation.

He Palau de les Arts has created a ‘Youth Flat Rate’ intended for minors 28 Y 35 years for the shows that make up the season 2022-2023 and that will go on sale next 11 of July, within general ticket sales. Following the success of actions such as ‘Preview up to 28’, who has passed the 90 % of occupation in all the functions and that will have continuity in the new academic year, Les Arts launches this initiative that aims to continue opening its programming to younger audiences and increase its accessibility.

For that, the new 'Flat Rate Young' will allow you to enjoy five shows to choose from for a price of 50 euros, for those under 28 years, and 100, for those under 35. The proposals, up to a total of five, among which young people can choose include opera performances in the Main Hall, in the zones 5 Y 6, the concerts of ‘Les Arts és Simfònic’, in the area 3, and ‘Arts is Baroque’, no zone limitation, or the opera in concert 'Alcina', in the zones 3 Y 4.

Two days before the show, holders of the 'Flat Rate Young' will be able to choose their seats for the selected concert or opera in any area of the room. The commercial campaign for the season 2022-2023 also includes greater discounts on season tickets, that can be requested until the next 1 of July, with a reduction of 15 % on the total amount
for those who request installment payment, which will rise to 20 % in the event that a single payment is chosen.

Along with these new, Les Arts also equates its price classification to large national and international theaters and venues with the application of a dynamic rate system. Thus, depending on the title and the day the show is scheduled, The price of tickets will be increased by 10 % and a 20 % when the capacity sold exceeds 70 % room occupancy.

In the final stretch of the current Flamenco Real season, arrives at the ballroom Teatro Real one of the most mediatic representatives of the new generations of cante, with strong flamenco roots and a new art forged in the musical diversity that has surrounded him from the cradle. Your name, Kiki Morente.

The following days30 June and 1 of July, the young singer will offer a stage proposal, directed by himself, in which it will have the presence of other great names of flamenco, with the special collaboration of the dancerBelén López, to celebrate a personalFLAMENCO ENCOUNTER inspired by the figure of Enrique Morente. With them, The show will also have the presence ofAntonio Carbonell, to the cante; Rafael Jimenez "the Sparks" YJoseph Carbonell, guitar andCarlos Jimenez on percussion.

Born in Grenada, son of singer Enrique Morente and dancer Aurora Carbonell, brother of Estrella and Soleá, Jose Enrique Morente Carbonell, Kiki Morente, She has great guitarists and singers in her maternal lineage -Montoyita, Sabicas- and in his experiences and learning the influence of teachers like Pepe Marchena, Antonio Chacon, Manuel Torre, Pepe Pinto or El Sevillano, among others.

Encouraged by his father, Kiki studies guitar at the Granada Music Youth Conservatory, instrument that he himself plays in many of his concerts. Get to know and study classical cante, to which it prints its personality, and is influenced by top-level artists from other musical manifestations such as Pat Metheny, Leonard Cohen, Cheb Khaled o Dulce Pontes, whom he knows through projects promoted by his father.

In 2010 begins his solo career and in the fall of 2017 publishes his first albumAlbayzín, eminently classic cut, accompanied by the guitars of Juan and Pepe Habichuela, Rafael Riqueni, Diego del Morao, Juan Carlos Romero, Montoyita, Juan Habichuela grandson, Josemi Carmona and Juan Carmona “Camborio”.

Photographer: © Juanlu Vela

Between 5 and the 22 of July They will be offered 15 functions of the opera Nabucco, from Giuseppe Verdi, with musical direction Nicola Luisotti and staging of Andreas Homoki, in a new production of the Royal Theater and the Zurich Opera, where it was released in 2019 and will return in september.

Beyond the intrinsic quality of Nabucco, which still belongs to the first creative period of Giuseppe Verdi, this opera was very important in his personal life and his artistic career. The composer was going through a great existential crisis after the death of his two children and his wife and the resounding failure of A day of reign, that made him ponder the idea of abandoning the composition. A chance encounter with the director of La Scala, who proposed the creation of an opera with a biblical libretto by Temistocle Solera, on the resistance of the Jewish people to the invasion of the Babylonian hosts under the aegis of Nabucco, inspired the composer, who wrote the score with little rest.

The resounding success of the premiere of Nabucco he 9 March 1842 at La Scala in Milan and the immediate association of the oppression of the Jews with that of the Italians, under the yoke of the Austro-Hungarian Empire, gave the opera enormous popularity, transforming Verdi, involuntarily, in one of the heroes of Risorgimento, which would lead to the unification of the Italian territories.

This unexpected triumph and the participation in the opera of the soprano Giuseppina Strepponi, your future partner, in the devilish role of Abigaille, It was the necessary incentive for Verdi to resume his prolific and brilliant creative career, whose germ is also in Nabucco. Although the opera is indebted to Donizetti and Rossini and to the Italian operatic tradition, in the score its wonderful melodies stand out, his enormous facility for the musical characterization of the characters (highlighting, especially, Nabucco y Abigaille) and the dramaturgical effectiveness of the orchestration, who would not stop progressing until his extraordinary Falstaff.

The stage manager Andreas Homoki, debuting at the Teatro Real, transfers the conflict between Jews and Babylonians, in the 6th century BC, to the confrontation between Italians and Austrians, in the XIX century, where "the polytheistic system of the Babylonians is opposed, like utopia, a new and modern system, embodied in the monotheistic world view of the Hebrews.. The two sisters, daughters of Nabucco, embody the background of two worlds that are opposed: “Abigaille, the firstborn, desperately tries to save the old system by overthrowing her father and assuming power herself. Fenena, the other, perceives the moment of transition in which they find themselves and wants to save themselves by changing sides. In the process of replacing the old with the new, the family also ends up breaking up”.

The drama takes place in an austere setting, minimalist and conceptual designed by the set designer Wolfgang Gussmann, who also signs the sumptuous wardrobe with Susana Mendoza.

Nabucco It was the first title from Verdi that sounded in the newly built Royal Theater, in the acoustic tests prior to its inauguration, in 1850. The opera premiered on its stage in 1853 and was presented in successive seasons, always with great success, until 1871. Since then it has not been offered in his room.

Now, 151 years after the last performance, returns with three casts of great verdian voices, who will alternate in the interpretation of the leading roles: Nabucco, baritones Luca Salsi, George Gagnidze, Gabriele Viviani Y Luis Cansino; Abigaille, las sopranos Anna Pirozzi, Session Hernández Y Oksana Diving; Ismaele, tenors Michael Fabiano Y Eduardo Aladren; Fenena, the mezzosopranos Silvia Tro Santafe, Elena Maximova Y Aya Wakizono; Zaccaria, the short ones Dmitry Belosselskiy, Roberto Tagliavini Y Alexander Vinogradov; and The High Priest, the short ones Simon Lim Y Felipe Bou.

Nicola Luisotti will direct his seventh verdiano title at the head of the Headlines Choir and Orchestra of the Teatro Real, after the enormous success obtained with The Troubadour (2007), Rigoletto (2015), Aida (2018), Don Carlo (2019), La traviata (2020) Y A masked ball (2020). Sergio Alapont will direct three of the 15 functions.

In Nabucco the choir occupies a primordial role, both from a structural and dramaturgical point of view. He Titular Choir of the Teatro Real prepared, as usual, by director, Andrés Máspero, will sing the famous choir of slaves, Va pensiero, giving voice to the oppressed, as in the mythical Babylon of the 6th century BC., 19th century Italy or Ukraine today.

Functions Nabucco are sponsored by BBVA Foundation, whose program of activities contemplates music as a priority artistic expression.

Photograph: Javier del Real

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.

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, 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 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

'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.

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

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.

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.

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, 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.

The season 2022-2023 of the Royal Theater begins under the sign of Orfeo –Orpheus, 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

Nose, Shostakovich 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

Aida, de 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 egypt, the 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 Aeneas, Henry 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 – Aida, de Giuseppe Verdi

1923 – El retablo de Maese Pedro, Manuel de Falla

1926 – Turandot, Giacomo Puccini

1930 – Nose, Shostakovich 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 ACTIVITIES –film 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.

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 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 ...

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.

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

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.

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.

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

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.

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”.

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

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.

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.

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.

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, 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

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.

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.

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.

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.

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.

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

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.

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

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.

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

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.

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

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

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

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

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

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

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

Gérald

The Royal Theater will broadcast live opera in its Gayarre Hall

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

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

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

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

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

La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera Human voice La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera A Florentine Tragedy La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera. La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, abandonment, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera. La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera premiere ABAO La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera 17, 19, 22, 25 Y 28 La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera. The performances will begin 19:30h except Saturday 19 which will start at 19:00h.

In this La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera. La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera Human voice Y A Florentine tragedy, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera. La voix humaine y A Florentine Tragedy en ABAO Bilbao Opera, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title. Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title: Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title.

In Human voice Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, She, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title. Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title. Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title. In A Florentine Tragedy Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title. Poulenc's in Jean Cocteau's play of the same name and Zemlinsky's in an Oscar Wilde play of the same title, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him. but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him?” but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him: but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him?”.

Human voice but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him: theater, who, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him: but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him.

The premiere of A Florentine Tragedy in 1917 but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him, but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him. but before the gall of the nobleman and the indolence of Bianca he proposes a duel to his wife's lover and kills him, 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, Mahler, 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, 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 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 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 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.

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 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
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

Translation

Tag: Opera

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