Götterdämmerung

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

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

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

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

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

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

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

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

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

Photograph ©Javier del Real / Teatro Real

Teatro Real

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Siegfried-1
Siegfried-2
Siegfried-3
Siegfried-4
Siegfried-5
Siegfried-6
Siegfried, the heroic Siegfried
Richard Wagner (1813-1883)
Second day in three acts of the Der Ring des Nibelungen stage festival
Premiered at the Bayreuth Festtspielhaus in 1876
D. musical: Pablo Heras-Casado
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Head of the Royal Theatre Orchestra
Distribution: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler. Jongmin Park, Okka from the Damerau, Ricarda Menzer, Leonor BonillaIn extraordinary moments, doing everyday work can also become extraordinary. That is happening at the Teatro Real, which continues with its programming and these days represents the third installment of the Wagnerian Ring, nothing less than ‘Siegfried.. That the orchestra does not fit in the pit, because of the safety distance?, because it is distributed by the stalls. Harps to one side, metals to another. That the play lasts almost five hours and at 22:00 you have to be at home?, well it starts at 16:30. What is a long time in a closed room for so many public?, because the air renewal system is improved and instead of renewing it 4 times an hour, is renewed 8. What matches the representations of Norma?, Well as on other occasions!, where is the problem?. It is clear that others have the problem: we arrived with Siegfried on the second day of the Der Ring des Nibelungen stage festival. Although it is actually the third of the tetralogy, since Wagner composed this hulking work starting at the end, demonstrating his control over the dramatic unit long before he started writing it all started two seasons ago with Das Rheingold, where Wagner contextualizes the story. He continued last season with Die Walküre, that shows us the origins of the protagonist. Now comes Siegfried, that expresses its maximum splendor. And next season we will see Götterdämmerung, that narrates the decline and defeat of the character.In this apparent chaos in the compositional order, Wagner made several interruptions and various modifications, both in the libretto and in the score, during the composition of Siegfried. In May 1857, leaves the composition of this work in the middle of the second act to focus on Tristan und Isolde and Die Meistersinger von Nürnberg. It wouldn't be until twelve years later, in 1869, when he resumed his composition that he completely finished in 1871.

Fascinated by mythology and nature lover, Wagner creates a dark universe dominated by destruction. And the gods, which are often a metaphor of the human being, personify this destruction.

Within this universe of devastation, Wagner sees Siegfried as the new man model, that is free from morals and social conventions, who is not subject to the laws that govern the world and who is capable of facing the gods without fear. But this almost heroic behavior is also very innocent, for Siegfried is unaware that his exploits benefit those he fights, the bleak universe in which Wotan reigns.

As this is the chronicle of the dress rehearsal, we will not talk about the voices. But if I want to warn of its excellent level, especially the Siegfried of the Austrian tenor Andreas Schager, who thinks that "to make Siegfried you don't have to be afraid of anything", and Schager proves not to have it.

The rest of the voices are at a great height. A lot of quality in this cast with Ricarda Merbeth, as Brünnhilde. The Mime of the Italian Andreas Conrad. Tomasz Konieczny, like the walker. The Nibelung Alberich played by Martin Winkler. The Korean Jongmin Park as Fafner. here, the goddess of the earth, magnificent in the voice and the interpretation of Okka von der Damerau and the Sevillian Leonor Bonilla, who was in charge of giving voice to the forest bird.

As in the rest of the tetralogy, Siegfried requires an orchestra of maximum dimensions and unknown until then. It is here where the Royal Theater works the first miracle, and making virtue of necessity, he maintains the six harps required by the composer located in one of the stands, those closest to the pit. In the opposite box, the group of most serious metals is located. Thus, the bulk of the orchestra has barely been reduced. Only a few rope elements have been dispensed with, a pair of violins, a couple of cellos… The sound result is enveloping, but it shows some difficulties when it comes to filling or maintaining certain sound balances.

To tackle the scenery, Robert Carsen y Patrick Kinmonth, They use the destruction of nature as a metaphor, giving continuity to the line started two seasons ago. The scenic result is, basically, ugly and bleak.

Carsen completely decontextualizes Wagner's music and gives everything to a show, which is not such. Nature appears devastated, the bird is dead, the trees have been cut down and only the innocence of the two protagonists awakens a little light and hope.

It limits itself to criticizing climate change in a simple and commonplace way, with increasingly austere and minimalist scenographies. Beauty remains absent from his current productions. How we remember that Katia Kavanovà (2008) o Carmelite dialogues (2006).

Another success that the Royal Theater points to before the disbelief and astonishment of the rest of the theaters in the world. As the director says, Joan Mataboch (that like Siegfried, He is not afraid of anything), the secret is to anticipate events to solve possible problems. What is clear is that if you want to breathe clean air you have to go to the Royal Theater.

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

Siegfried at the Royal

They offer 8 functions of the opera, between 13 February and 14 of March, that will alternate with the new production of Rule, de Vincenzo Bellini.
In the production of the Wagnerian tetralogy conceived by Robert Carsen and Patrick Kinmonth, the young man Siegfried, called to be a great man, is discovering a decadent world, polluted and inhospitable, result of irresponsible overexploitation of nature.
The first guest musical director of the Teatro Real, Pablo Heras-Casado, will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater.
Starring in the opera Andreas Schager (Siegfried), Andreas Conrad (Mime), Tomasz Konieczny (The Wayfarer / Wotan), Martin Winkler (Alberich), Jongmin Park (Fafner), Okka from the Damerau (here), Ricarda Menzer (Brünnhilde) and Leonor Bonilla (Voice of the forest bird).
To interpret the score of Siegfried keeping health safety distance, the musicians of the Titular Orchestra of the Royal Theater will occupy, besides the moat, 8 boxes on both sides of the stage.
Due to the long duration of the opera (about 5 hours) and the curfew currently in force in the Community of Madrid (22.00 hours), all functions will start at 16.30 hours.
Around Siegfried Parallel activities have been organized at the Royal Theater -approaches, College scene Y Everyone to the Gayarre!–, at the Museum of Romanticism and at Nebrija University.
The Royal Theater will continue the audiovisual recording of Tetralogy for international distribution and broadcast on My Opera Player.
Classical Radio, of National Radio of Spain, will broadcast the opera on a delayed basis, as it has done with the two previous titles in the saga.
The Royal Theater thanks the Board of Friends for sponsoring Siegfried.

Between 13 February and 14 March Teatro Real offer 8 functions Siegfried, from Richard Wagner (1813-1883), third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and the iconic staging of Robert Carsen Y Patrick Kinmonth conceived for the Cologne Opera, where production has been replenished several times, always with great support from the public and critics.

In La valquiria, Wotan, the god who articulates the four operas of Tetralogy, ends up failing miserably in his ironclad attempt to dominate the world. The release of that great task gives you a kind of relaxation that fits the category of joke many times attributed to opera Siegfried. The God, disguised as a Wayfarer when it suits him, investigate, reflect and plot on the direction of ‘humanity’, now watching over the messianic destiny of his grandson Siegfried.

In the first two acts of the opera, Wagner recreates himself by recapitulating, philosophically, speculative, dialectics, and many times ironic, everything that happened in Rheingold Y La valquiria, while young Siegfried, called to be the ‘Modern Man’, he is discovering the world like a wild child, without fear, no past and free from atavistic ties, moral and affective.

Between the score of these two almost complete acts - a brilliant and devilish musical prosody full of evocations, predictions and warnings intertwined in a myriad of leitmotiv- and the writing of the end of the second act and the entire third, there was a twelve-year interregnum with major changes in Wagner's biography and the creation of other great works: Tristán e Isolda Y The master singers of Nuremberg.

When you resume the composition of Siegfried, his musical language had undergone a great evolution and also his vision of the future of the saga, enriched by eager philosophical readings - from Bakunin to Schopenhauer, political experiences - in a Europe in the midst of the industrial revolution and nationalist struggles - and also radical changes in his turbulent love life.

In the third act, paroxysm of The ring, music reaches high orchestral and harmonic voltage, when the reckless, indomitable and childish Siegfried discovers fear and finally trembles with the ecstasy of love as he gazes at Brünhilde, releasing her from her punishment with a redemptive kiss. With this happy and luminous ending the rise of the hero culminates before his fatal outcome in Götterdämmerung.

In his conception of Ring nibelungo, Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, they transfer the visionary Wagnerian mythological universe to a metaphorical world, but closer to our reality, confronting the viewer with the destructive power of voracious capitalism, when inordinate ambition for power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

Siegfried, orphan, naive, ignorant and endowed with powers that can change the course of the universe, wanders, Play and have dangerous fun in a wild and polluted world, oblivious to all the manipulations and machinations that will make him a participant in the destruction of humanity.

Eight singers with outstanding Wagnerian voices will star in the opera: tenors Andreas Schager (Siegfried) Y Andreas Conrad (Mime), the bass-baritones Tomasz Konieczny (The passerby / Wotan) Y Martin Winkler (Alberich), las sopranos Ricarda Menzer (Brünnhilde) Y Leonor Bonilla (Voice of the forest bird), mezzosoprano Okka from the Damerau (here) and low Jongmin Park (Fafner).

Tomasz Konieczny will return to incarnate Wotan (here disguised as a pedestrian), after his performance of the role in La valquiria, Y Ricarda Menzer will repeat as Brünnhilde, returning to finish the opera as an embodiment of Love.

To maintain the health safety distance between its members, the Head of the Royal Theatre Orchestra will perform the colossal score of Siegfried, under the direction of Pablo Heras-Casado, with the additional effort of taking care of the sound balance and the agreement with the musicians located in the pit (with side extensions) and in 8 boxes on both sides of the stage: on the left will be the percussion and six harps - which play together only in the third act of the opera -, and in law, The bass horn, trumpets and trombones, what in Siegfried have a much more discreet presence than in the other operas of The ring.

The great Wagnerian deed will culminate in the next season with Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, in the haunting vision, but also hopeful of Carsen Y Kinmonth: a plea in defense of nature as a common good that we must all preserve because “only awareness of the problems of humanity and ourselves, allows the solution. "

Photography © Javier del Real | Teatro Real

Pablo-Heras-Married

The main guest director of the Teatro Real and Ambassador of Ayuda en Acción, Pablo Heras-Casado, will lead the Madrid Symphony Orchestra for the sixth consecutive year to direct the concert Chords with Solidarity, an initiative led by the director himself and Ayuda en Acción. The appointment will take place on Monday 19 October at 20.00 hours at the Teatro Real in Madrid. This time, the Coriolano Overture and Symphony No.. 7 Beethoven, coinciding with the 250 anniversary of the birth of the German composer which is celebrated this year. Back in 2001, Pablo Heras-Casado made the genius of Bonn sound for the first time with his Seventh Symphony and, at the end of this year and repeating repertoire, There will be almost a hundred interpretations of Beethoven that the director has directed throughout his career in some important moments such as his debut with The Cleveland Orchestra or the Los Angeles Philharmonic.

The present time of this author does not only reside in the resignification of his message, but in a music that never ceases to amaze. In the words of the director himself "It is the occasion to restore Beethoven's strength, the impact and novelty that must not be lost over time ". In March of this year, the prestigious magazine "The Gramophone", Alluding to his performance with the Freiburger Barockorchester, he applauded the success of "Let Beethoven be Beethoven. Rhythmic displacements, the explosive forces, the dynamic contrasts that disarm and beg for sincerity, juxtaposed with brutally empathetic insistence, create a sense of wonder and awe that the Viennese audience (…) must have experienced when listening to Beethoven for the first time; the care and conscious consideration of every detail, they leave on the listener an impression of complete abandonment and surrender to the spirit of music ".

Heras-Casado, the Freiburg Baroque Orchestra and the pianist Kristian Bezuidenhout have teamed up once again with the record label mundi harmony in the recording of a special series dedicated to Beethoven. They have left a record of the Comprehensive Piano Concertos of the Bonn composer and some of his Openings, already on the market -except for the last of the discs of this integral (Concerts 1&3) whose launch is scheduled for August next year, as well as the Triple Concerto (with violinist Isabel Faust, cellist Jean-Guihen Queyras and pianist Alexander Melnikov) which is expected for January 2021. As a finishing touch to the aforementioned collaboration with the Freiburger Barockorchester and the pianist Kristian Bezuidenhout, a very special disc has been recorded with the Choral Fantasy and the Ninth Symphony, with which Heras-Casado will close the year Beethoven with the NHK Symphony Orchestra Tokyo in his traditional end-of-year project. A closing full of light and hope that adds to a wide repertoire of the great composer played, still still, in this year of celebration on stage, where they stand out Violin Concerto in D major, the 2nd, 3ª, 5ª, 7Symphonies and 9th, he Triple Concerto and the Concert Piano 4 in its full and camera versions. On stage some of the best ensembles on the scene such as The German Chamber Philharmonic Bremen, European Union Youth Orchestra, Orchestra of the Reina Sofía School of Music, Montreal Symphony Orchestra, Philarmonia Orchestra, Karajan Academy of the Berlin Philharmonic, the mentioned NHK one to Madrid Symphony Orchestra, in charge of bringing the next day's program to the lectern 19.

In this sixth edition of the Chords with Solidarity initiative, the proceeds will go entirely to the response that Ayuda en Acción is giving to the emergency caused by COVID-19 in Spain. Through the Program Here too, the NGO is fighting to reduce the digital and educational divide that has become evident and accentuated after the pandemic, supporting about 11.000 children, girls and adolescents who are at risk of social exclusion in Spain to which can access education with equal opportunities. “It is a solidarity initiative fruit of a great alliance in which our extraordinary ambassador Pablo Heras-Casado and the Madrid Symphony Orchestra take part., who participate in the concert in a completely altruistic way; Royal Theatre, supporting us with the dissemination of this great event; and the Repsol Foundation, who also collaborates with our program Here also in Spain. One more year, We thank all of them for their unconditional support and we extend it to the general public of the Royal Theater that, with your input (in person or via streaming) and with your contributions to the row 0, allow us to continue our work that is now more necessary than ever”, affirms Marta Marañón, Director of Institutional Relations of Ayuda en Acción.

as a novelty, emphasize that the concert it can be enjoyed live by streaming from any part of the world. Tickets for the broadcast online, that are already on sale, can be purchased on the platform's website My Opera Player by 9,99 euros. For those people interested in attending the appointment in person, they can buy their tickets (from 10 €) through the Teatro Real website on the phone 902 24 48 48 and at the theater box office. A row has also been enabled 0 for donations in account number ES55 0049 0001 58 2911863843. The event will be held at 50% of its capacity, with separation between seats and following all security protocols.

Photograph: Javier del Real

The Valkyrie
The Valkyrie
Richard Wagner (1813 – 1883)
First day in three acts of the scenic festival
The Ring of the Nibelung
Libretto by Richard Wagner
Teatro Real in Madrid 14 February of 2020
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Klinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Klinmonth
illuminator: Manfred Voss
Distribution: Christopher Ventris, Ain Agner, James Rutherford, Elisabet Strid, Ingela Brimberg, Daniela Sindram, Julie Davies, Samantha Crawford, Sandra Fernández, Bernadett Fodor, Daniela Köhler, Heike Grötzinger, Marifé Nogales y Rosie Aldridge
W agner began work on Die Walküre while giving the finishing touches to the orchestration of Das Rheingol. from Zurich, where he had taken refuge fleeing from the German police for his revolutionary activities, lived quiet, dedicated to his compositions and one of her new hobbies, long walks through the Alps Suizos.Es precisely this contact with nature one of the inspiring elements of the work of the German composer. And Norse mythology and complexity of relations between gods and humans, the thread of his musical universe.

Roger Scruton says in his book The ring of truth: "The battle between Hunding and Siegmund returns us with maximum intensity the old idea that, when we, mortals, We fought for what really matters to us, immortals fight with us, pursuing their own goals ".

"The Valkyrie", La Valquiria, It is the first day of the tetralogy "The Ring of the Nibelung the" who began representing last season with "Das Rheingol", Rheingold, and that will be continued the next two seasons with Siegfried and Gotterdammerung I. A work of elephantine dimensions in which Wagner invested 25 years of work to create 15 Always hours of contemporary music.

Valkyrie is perhaps the most important work of this tetralogy, taking into account their structure and musical discourse, completely different from that of the Rhine Gold and demonstrating a clear musical and dramatic evolution. It took 18 months to complete its composition. It may seem a long time, but listening to this play can take the measure of their true and enormous artistic dimension. An architectural work, full of complexities to build an orchestration of great strength that moves away from any fugacidad.

He had devised an orchestra of some hitherto unknown dimensions. Enter instruments, as snorkels Wagnerist, and others barely used hitherto. Changes the traditional way of working with the orchestra, rather than do it by families of instruments, It transforms it into a chamber orchestra, where any instrument can be combined with the following, does not belong to the same family. Creates and contemporary sound.

The Valkyries also provides developments in the dramatic aspects. The characters have a greater psychological depth and Wagner associated with each of them an orchestral motif that defines him, he leitmotiv, another revolution. Is The Valkyrie, which it has the most elaborate score and interpreted tetralogy, where the protagonists show their human side, even being gods, and they distance themselves from mythology. Heras-Casado says "What makes music Wagner is converted into a complex emotional moment of an individual, and it must build all a sound building ".

And the most perfect with which Wagner expressly these psychological depths, with similar dimensions orchestra, It is not the volume and density sound, but the delicacy and sophistication of most intimate moments of the work. Duets between Sieglinde and Siegmund Wotan and Brünnhilde or between or, especially, the end of the opera, They are an extreme subtlety that seems endless and can only be achieved with this great orchestra, These six harps, Not one less.

Pablo Heras-Casado, by Robert Carsen, They are responsible for carrying out all the tetralogy. It can be seen the evolution of the orchestra, hand of its director, He has had from the Rhine Gold last season. Heras-Casado has decided to focus on the human and psychological part of the musical description. After an initial storm somewhat intemperate, He was working with meticulousness and extracting the orchestra sound quality.

The best moments came with scenes of greater intimacy and delicacy. The meticulousness of the Grenadian Director reached its peak in the interludes and the scene where the Valkyries rescue the dead warriors to bring them to the Valhalla, auinque winds took some freedom. From here everything was gaining in intensity, musicality and drama, They are culminating in end seductive spellfire. After nearly five hours of opera, you keep wanting more. If this is the first ring of the Pablo Heras-Casado, I want to hear when you already take a few back to.

Robert Carsen's staging begins with snow, and retaking the end of the Gold of the Rhine. It is elegant, but desolating. Only the snow adorns a first act that seems to be the haunt of smugglers of weapons. Perhaps Wagner would have liked this inhospitable decorated. Certainly not distracted from the main element, what is music.

The second act is located in what is supposed to be the castle of Wotan. A spacious and luxurious living room guarded by military. one Wotan appears different to that of the Gold of the Rhine, which he seemed a little military rank or come unless. This time, It has a higher rank and authority.

The third act is the most accomplished, remains bleak but with a different atmosphere and a fire end reminiscent. His strong start, Ride of the Valkyries, and soldiers path Valhalla, They make a beautiful scene full force.

In this cold scenery, While some issues solved and not so, it should be noted lighting Manfred Voss, that masterfully creates environments with little scenic elements.

As for the voices, I liked them more than they.

Wotan of James Rutherford showed his human side, first defeated before the authority of Fricka and then, to their daughters, the Valkyries. Too bad her beautiful timbre was not enough to offset the shortage of volume of your voice.

Christopher Ventris served as heroic Siegmund. He had his difficulties with sharp but the British tenor has extensive experience with Wagnerian roles, especially Parsifal.

The BRÜNNHILDE Ingela Brimberg has a penetrating sharp and well ring and a volume more remarkable. It can also boast serious dense and compact. He shined in the interpretive section, with emphasis on human weaknesses rather than supernatural qualities that you would expect his character.

Sieglinde was performed by Elisabet Strid, well versed in the role for a lyric spinto required. strife, with a powerful center and a sharp clean and well delineated, It is a very good Sieglinde. voluminous voice that knew also put the service of the most lyrical duets with her husband and brother . He showed great acting ability.

The Valkyries were performed by Julie Davis (Gerhilde), Samantha Crawford (Ortlinde), Sandra Fernández (Waltraute), Bernadett Fodor (Schwertleite), Daniela Köhjer (Helmwgide), Heike Grötzinger (Siegrune), Marifé Nogales (Vloaz) y Rosie Aldridge (Rossweise). They performed very well with his role, without stopping a moment on stage. They staged some of the best numbers, Ride of the Valkyries and the resurrection of the warriors. And all, despite having been in uniform with a homespun batita.

Fricka very well Daniela Sindram, with its interpretive nuances. Splendid in its second act monologue.

Estonian bass Ain Anger outlined a magnificent Hunding vocally and great stage presence.

It seems that the effort involved in a production like this in successive seasons is meeting goals. Best of all is the expectation that generates. I'm already looking forward to the next chapter next season.

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

Die Soldaten at the Royal Theater

The soldiers en el Real Teatrom

Die Soldaten at the Royal Theater

Die Soldaten at the Royal Theater

the Soldaten5

the Soldaten6

the Soldaten7


 

 

There are many artistic expressions that have tried to reflect one of the main features of the twentieth century in its most negative, the horror, aberration and evil man is capable of generating almost infinitely. And there have been many artists, tragically influenced by having lived firsthand the cruelty of World War II. One of them was the German composer Bernd Alois Zimmermann is, definitely, one that has best reflected the vivid violence.

Zimmermann received direct influences of the musical vanguard that was haunting Europe. Entre ellos Schoenberg, Bartok, Webern, Stravinski o Kagel. Die Soldaten has as great inspirational source Alban Berg's Wozzeck. Both start from the same literary origin, the play by Jakob Michael Reinhold Lenz, poet and writer of the eighteenth century and one of the greatest exponents of Sturm und Drang movement. Lenz committed suicide with just 23 years after a troubled and full life imbalances. Zimmermann also ended up committing suicide, just five years after the premiere of Die Soldaten.

The similarities are evident Wozzeck, not only in the origin, Also in the musical structure and, as base, dodecaphonism. Die Soldaten is dotted with lyricism and jazzy moments. This mixture of styles Zimmermann called “pluralistic approach”, which it is nothing but a collage made up of different musical concepts and structures.

Upon entering the room we expected the projection of a giant portrait child. It is the innocence of the protagonist, Marie, before falling prey to the tragedy and the moral degradation of other characters. The girl will reappear at the end of the work, dead after a heartbreaking end that shows the annihilation of innocence in a sleazy and destructive world.

Behind the curtain a huge ready industrial architecture appears in several planes in which are housed the 120 Teachers Orchestra. All in uniform and militarized for the occasion. 18 drum sets and 25 timpani fall within this orchestral mechano thunder, which it occupies almost all of the stage dramatically, leaving little space for the singers in the place normally occupied by the moat. This provision so far from some instruments has led to its amplification with mixed results, because it ends up not listening, for example, the harp.

On the other hand, the proximity of the singers to the public creates an effect close-up that enhances the vocal result and, especially, theatricality. The fact that the singers are outside the visually director requires only have a repeater manager to input voices. A complicated task that Vladimir Junyent performs with reliability and precision.

It is not easy to create a work that produces stupor, restlessness, and unrest and tear, both, the feeling of having witnessed a colossal work. The unique and compelling description of human gap through a score and a booklet that has passed, to be an impossible work, to be one of the references of twentieth century music. All thanks to the joint effort and herculean all who participate.

The scenery of Bieito do not need in this production of the excesses that both like and characterize this controversial director, whether or not justified. This time, excessiveness of the work exceeds the set designer, that's saying. But any more hype would have collapsed scenery overload.

It has placed the orchestra on stage to give it the prominence it has, all. A music that literally crushes the characters by dragging them to exhaustion, using the instruments almost as ammunition in the middle of this musical and scenographic violence.

Pablo Heras-Casado gets a performance of extraordinary orchestra. The arrangement of the musicians makes his very complex work. Zimmermann included in this work all unimaginable difficulties taking it to the limit. The Heras-Casado himself warned: "Die Soldaten is the most extreme challenge that any musician can face". Listen this score is not easy, but getting materialize reading with a huge orchestra, He is fronting the work for the first time in the scenic provision has been raised, It is almost miraculous.

As for the vocal score, Die Soldaten is an extraordinary demand for its extreme tessitura. Susanne Elmark plays Marie. A complex and diabolical character in his vocal and interpretative difficulty. Starts being naive and a bit naughty to transform, as they move tragedies, a woman destroyed after being brutally raped and turned into prostitute of the soldiery. Elmark perfectly reflects the emotional and psychological depths of Marie. vocally impossible, Danish soprano gives everything on stage.

Leigh Melrose's Stolzius is the perfect replica for Marie. We could see recently in Britten's Gloriana and both shows his great vocal and dramatic ability.

Uwe Sticker brings to life a highly complex Desportes vocals, full of treble, Rushing to safely Sticker. He had a major role in this impossible score.

Julia Riley as Charlotte, Iris Vermillion as Mother of Stolzius and Noëmi Nadelmann as Countess de la Roche, They showed his good acting skills, in this work that requires best actors singers.

The surprise of the evening was the great Hanna Schwarz. This veteran interpreter, their 76 years, He filled the stage with his deep bass in an unforgettable performance. His characterization of the elderly mother of Wesener, connected to their serum to demonstrate the weakness of character, filled with concern the whole plot.

Stellar, once again, the choir Intermezzo, choir for the Teatro Real, under the direction of Andrés Máspero.

The musical language of this work is not for everyone, bold and adventurous ears are required, but these qualities can also be trained. That is why Die Soldaten is a necessary work, almost mandatory, and not well understood that there are still large audience that takes advantage of breaks to flee when they represent some of these contemporary operas. Patience has its rewards, and this premiere at the Royal Theater, it has been expected, but it's very worthwhile.

The soldiers

The soldiers (1965), considered in its day 'unrepresentable' for its complexity, demand and monumentality, It is a landmark in the history of twentieth-century opera and a huge challenge for a theater.

The Royal Theatre will offer 7 Opera functions between days 16 May and 3 of June, in a new production originally created by the Opera de Zúrich (September 2013) and the Komische Oper de Berlín (June and July 2014).

Scene address calixto Bieito not hide or disguise the harshness and violence of the opera, confronting the viewer with the senselessness, abjection, the horror and despair extolling wartime.

Pablo Heras-Casado It will be responsible for the musical direction of the very difficult score, written for 16 singers, 10 actors, dancers, choir, an orchestra with more than 100 ─ which it includes musicians and jazz band 13 percusionistas─, In addition to using chairs and tables as percussion, magnetic stripe, Sounds of War, projections, etc.

The Titular Orchestra of the Teatro Real It ─con characterized as musicians and soldiers wielding their instruments like armas─ play at center stage, with the performers acting on the moat, near the public.

In the ensemble cast of The soldiers It emphasizes the leading quartet with soprano Susanne Elmark (Marie), baritone Leigh Melrose (Stolz), the bass Pavel Daniluk (Wesener) and tenors Uwe Stickert Y Martin Koch, which turns on the interpretation of Desportes.

The 7 functions The soldiers They will alternate with 5 representations Street Scene, two operas that explore, from times, spaces and very different languages, the brutality of gender violence.

Inabarcable to deepen the musical and metaphysical richness of The soldiers, ─ there will be a colloquiumEnfoques─ he 9 of May, a lecture on the opera, he 11 of May, and brief presentation of the production, Prior to each function, Hand José Luis Téllez, also available online.

Functions The soldiers They are sponsored by the BBV FoundationA.

The premiere in Spain, the next 16 of May, from The soldiers, from Bernd Alois Zimmermann (1918-1970), coinciding with the anniversary of the composer is, definitely, one of the great landmarks of programming Bicentenary of the Royal Theatre.

Released in Cologne 1965, after a long and troubled gestation ─ and several adjustments to make viable the interpretation of the partitura─, The soldiers It has since become a benchmark in the history of opera, although the vast means needed to put on stage each new production become an artistic event.

Bernd Alois Zimmermann, that nation Bliesheim, Colonia, in 1918 within a bourgeois deeply Catholic family, He was forced to enlist in the army 21 years to participate in the Second World War, from which he emerged with lungs full of lead and deranged mind.

Su brief and intense carrera, suicide truncated by the 52 years, It developed in the turbulent times of war, when Europe, lacerated, He is trying to heal the wounds with walls and iron curtains.

Based on the work The soldiers, the visionary writer Jakob Lenz (1751-1792), champion of the Romantic movement storm and stress (Storm and momentum), Zimmermann uses the path of destruction of Marie, soldiers become a homeless prostitute, as a metaphor for moral and ethical degeneration of humanity to cross the threshold of endurance and the expressible: a terrifying journey to the darkest corners of the human being, inhabited by a monster that is excited with the perversity and rejoices with pain.

The soldiers rupturistas drinks from the musical currents of the second half of last century, Polarized in Darmstadt, but also of Western musical tradition, jazz, del pop, Of the radio, film and the technical possibilities offered direct recording and sound processing.

All that realizes The soldiers, a colossal 'collage' vertical and horizontal, Performing multiple layers, that part of a structure 12 notes (serialismo) structured by ─chacona recognizable musical forms, chopped, to research, nocturno─ associated with each of the 15 scenes and fed by an unlimited universe of sound, It is incorporating from Bach chorale and jazz rhythms to the sound of bombs and shrill cries of agony.

This radical and incomprehensible opera, classical theater that transcends boundaries weather ─las past scenes superimpose, present and futuro─; from place ─con actions (Up To Eleven!) simultaneous in different espacios─; and action ─con narrative drive permanent disintegration and recomposición─; He arrives at the Royal Theater in stark production conceived by calixto Bieito and released a huge impact on the Zurich Opera House in 2013.

Based on the guidelines Zimmermann, It is urging the orchestra and performers put on a central stage surrounded by the audience, Bieito placed the orchestra in the center of the scene, in an installation designed by scenographer Rebecca Ringst simulating a barracks where musicians 'armed' with their instruments are partakers of barbarism.

The public is summoned to contemplate scenes of barracks and attacks that are articulated and mingle with familiar staccato dialogue and vacuous military talks by screams and gunshots sprayed, in a mosaic painstakingly constructed with bursts of lives intertwined in a spiral leading inexorably into the abyss and stupor. Two hours of hard reality translocated to the stage: art not to die of truth.

The soldiers It was finally released in Spain, 53 years after its creation, without losing its cathartic strength and a disturbing today.

AGENDA OF PARALLEL ACTIVITIES

3, 8 Y 10 of May, of the 19.00 to 21.00 hours | Teatro Real, Sala Gayarre

monographic course The soldiers taught by Gabriel Menendez Torrellas

9 May at 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with artists participating in The soldiers and Joan Matabosch, artistic director of the Teatro Real
11 May at 12.00 hours | Teatro Real, Sala Gayarre

ConferenceThe soldiers': quaver of a tragedy, by Arnoldo Liberman
27 May at 12.00 hours | Teatro Real, Great room

Chamber Sundays, by soloists of the Orchestra of the Teatro Real Owner
part I

Erwin Schulhoff: Duo for violin and cello
André Jolivet: Concerto for flute and string orchestra

part II
Benjamin Britten: Tear
Luciano Berio: Folksonges for voice and 7 instruments

Javier Perianes

Two of the most international contemporary Spanish musicians, the pianist Javier Perianes and the conductor Pablo Heras-Casado, They have joined the Munich Philharmonic in an album dedicated to the last two works composed by Bela Bartok: he Concerto for Orchestra and the Piano Concerto No.. 3. In a joint tour that starts next 12 February – and it will take them several Spanish cities (Barcelona, Madrid, Fuerteventura, Las Palmas and Santa Cruz de Tenerife)- will present his latest work published by the harmonia mundi label, which goes on sale next 26 from January.

The album includes two works considered the musical testament of the Hungarian master (1881-1945), signed before dying in his American exile. Bartók, suffering from leukemia and disappointed by the warm reception he received musical on US soil, He spent his last energies in these two masterpieces that ultimately led to a missed prestige in their host country. Perianes, Heras-Casado and the Munich Philharmonic add their talent on a disk that realizes the inexhaustible strength of genius even in the most adverse circumstances.

He Concerto for Orchestra It was commissioned director Serge Koussevitzky at the request of friends of Bartók, also the director Fritz Reiner and violinist Zoltan Szekely. Both claimed that this request would ease the economic hardships the teacher after arrival in the US, in 1940. He is fleeing war and sought to secure the future of Ditta Pasztory, his wife and pianist, I had not seen taking off his acting career in the Americas.

This work was composed between August and October 1943. Collect favorite teacher stylistic resources, as well as touches of folk music, both central European and Arab origin. Not in vain, Bartók spent much of his career studying the claim and popular music culture. He Concerto for Orchestra It premiered with great success in December 1944 under the direction of Koussevitzky.

On the other hand, he Piano Concerto No.. 3 is the single piece for this instrument Bartok not made to be performed by him. When he died in September 1945 still they left him 17 measures to finish the work. He completed the task his pupil and friend Tibor Serly, following the teacher's instructions. This composition was premiered in February 1946, Philadelphia, and performed by the Hungarian artists, A pianist György Sándor y el director Eugene Ormandy.

JAVIER Perian

National Music Award 2012 granted by the Ministry of Culture of Spain, Javier Perianes has been described as "a pianist with impeccable and refined taste, endowed with an extraordinary sound warmth " (The Telegraph). His international career spans five continents with concerts have taken him to some of the world's most prestigious halls such as Carnegie Hall in New York, Barbican, Royal Festival Hall y Wigmore Hall de Londres, Philharmonie there Théâtre des Champs-Élysées de París, Philharmonie Berlin, Musikverein de Viena, Amsterdam Concertgebouw, Philharmonic Hall de San Petersburgo, Great Hall of the Moscow Conservatory, Suntory Hall in Tokyo and the Teatro Colon in Buenos Aires. He has performed at festivals such as Lucerne, BBC Proms, Vail, Blossom, Ravinia, La Roque d’Anthéron, Bregenz, Grafenegg, San Sebastian and Granada.

Perianes has worked with masters like Daniel Barenboim, Charles Dutoit, Gustavo Dudamel, Zubin Mehta, Lorin Maazel, Rafael Frühbeck de Burgos, Daniel Harding, Yuri Temirkanov, Jesus Lopez Cobos, Sakari Oramo, Juanjo Mena, David Afkham, Pablo Heras-Casado, Josep Pons, Andrés Orozco-Estrada, Robin Ticciati, Thomas Dausgaard, Vladimir Jurowski, Yu Long y Vasily Petrenko.

The season 2017-18 It includes debuts with the orchestras of Cincinnati, Indianapolis, Basel, RTÉ National, Oslo Philharmonic, Lille y Moscow State Symphony, among other, and returning with Los Angeles Philharmonic, City of Birmingham, Hamburg Symphony Orchestra, Norwegian Radio, Danish National, BBC Symphony y Finnish Radio, and concert tours with the Munich Philharmonic and the National Orchestra of Spain.

Of his recent seasons include performances with the Philharmonia Orchestra, Munich Philharmonic, Vienna Philharmonic, Cleveland Orchestra, Chicago Symphony Orchestras, Boston y Atlanta, Los Angeles Philharmonics, New York and London, Yomiuri Nippon Symphony, Orchester de Paris, Montreal Symphony Orchestra, Berlin Radio Symphony Orchestra, Finnish Radio y Swedish Radio, and tours with orchestra in Australia, New Zealand and Singapore. recent and upcoming concerts include performances in London, Istanbul, Paris, Madrid, Barcelona, Mexico, Auckland and Hong Kong, and toured North and South America with performances in Washington, NY, Vancouver, San Francisco, Santiago de Chile, Quito, Lima, Bogota and Buenos Aires.

Javier Perianes artist is exclusive seal of harmony mundi. His extensive discography ranges from Beethoven, Schubert, Debussy, Chopin and Mendelssohn to Turina, Granados, Mompou, Blasco de Nebra failure and. His album Live recording Concert Grieg and a selection of Lyric pieces It was unanimously praised by critics and described as "A new benchmark" por la revista Classical; He also earned the distinction "Editor's Choice" Gramophone and "Master" magazine Pianist. His recording Nights in the Gardens of Spain along with a selection of piano pieces de Falla was nominated for a Latin Grammy 2012. Perianes's latest album is dedicated to the sonatas D.960 Y D.664 Schubert.

Pablo Heras-Casado

described by The New York Times as "what any thinking mind would consider a young director first ", his personality is best reflected in the quality of the relationships he has developed with orchestras such as the San Francisco Symphony, Los Angeles Philharmonic, Philharmonia, London Symphony, Berlin State Opera, Bavarian Radio Symphony Orchestra, Orchestra of the Mariinsky Theater in St. Petersburg, Freiburg Barockorchester and as conductor of the Orchestra of St. Luke's and principal guest conductor of the Teatro Real. This personality is also shown in its commitments as an ambassador for the NGO Action Aid to promote its efforts to eradicate poverty and injustice in the world.

Records with the Harmonia Mundi label and Archiv Produktion of Deutsche Grammophon. He has received numerous awards for his recording projects: tres ECHO Klassik Awards, Preis der deutschen Schallplattenkritik (Prize of the German Record Critics), two Diapason d'Or and Latin Grammy. The most recent recordings include the symphonies harmonia mundi 3 Y 4 Mendelssohn; and violin concertos, piano and cello by Robert Schumann with Isabelle Faust, Alexander Melnikov and Jean-Guihen Queyras.

Para German Grammophon, He has recorded albums dedicated to Farinelli, as well as works of Jacob, Michael Jerome y, and a DVD of the opera L'elisir d'amore Donizetti. He participated in a disc of arias for baritone Sony with Placido Domingo and DVD La Traviata desde el Festspielhaus de Baden Baden. He also directed the recent Decca recording of the Shostakovich cello concertos, con Alisa Weilerstein y la SO of the Bavarian Radio.

Director of the Year by Musical America magazine 2014, He has been awarded the Medal of Honor of the Foundation Rodriguez Acosta and Ambassador Award Junta de Andalucía. In February 2012, Granada City Council, your natal city, He was awarded the Gold Medal of Merit, and it is also Honorary Ambassador City, and Son of the Province of Granada. Since this year is director of the International Festival of Music and Dance in his hometown.

More information:

https://www.javierperianes.com

http://pabloherascasado.com/es/

http://www.harmoniamundi.com/%E2%80%8E#!/albums/2311

Real-Festival of Granada Theater

He Teatro Real Y he Festival of Music and Dance in Granada They have signed this morning a framework cooperation agreement whereby both institutions are committed to carrying out projects and activities that promote the spread of music and the arts, both in the cultural and educational.

the agreement, signed by Ignacio García-Belenguer, CEO of Royal Theater, Y Pablo Heras-Casado, Festival director, You will have an initial period of four years, and is an important step in the cultural development of our country.

Among the initiatives to be put in place include the creation of a series of opera in Film, participation Headlines Choir and Orchestra of the Teatro Real in the Festival program, relay shows Teatro Real, and performing productions, exhibitions and joint activities to help increase awareness of the lyric arts, musical and choreographic.

Both institutions give special attention to the shows and programs aimed at younger audiences, children and youth. A) Yes, Granada Festival will host in his operas facilities, activities and shows that are part of the program Royal Junior, In addition to the broadcasts planned for each season by Real.

This union also intends to expand the scope of collaboration by creating new ways to establish cooperative relationships with other entities in the cultural field and, in particular, with clusters opera, conservatories and schools of song and dance, National and international. It seeks to stimulate and encourage the creation, the investigation, study and training as a primary means of professional development

This collaboration is signed in a landmark season for the Teatro Real, amid celebrations 20 years of its reopening and 200 years after its founding, He wants to put eyes on the future and continue to grow to remain a cultural institution of reference in our country.

The Flying Dutchman

“Hell on earth ", well it is known to the city of Chittagong, en Bangladesh. Place where is the biggest shipbreaking the world and where work is done very precariously. Where human life has value only but, at the same time, It is a tremendously spiritual society, who believes in reincarnation and in the more traditional legends permanently entering contradiction with the most ruthless materialism. And this is the place where Alex Ollé (La Fura dels Baus) Y Alfons Flores have set the scene of this Flying dutch. A current location capable of hosting a script like this. A place where a man is able to sell his own daughter to the highest bidder.

it Wagner, considered his first mature work, evidences a new creative language that will have a complete development in his later works. With clear Italian reminiscences still, start using building blocks in Wagner, Like the live motive and the creation of continuous musical discourses. A music in which they are clearly appreciated, and from the inclusion of these techniques, three very different moments, an unreal or fantastic part, represented by ghosts; a real part in which the daily scenes of the main characters of the play unfold, and a more spiritual part, showing the relationship between Senta and the Dutch. Three essential dimensions that feed into each other and are perfectly portrayed through the successful scenography and the extraordinary direction of actors.

The scenic bet of Alex Ollé and Alfons Flores is spectacular. Unlike other Ollé scenographies, this is perfectly descriptive and understandable to the eyes of any viewer. Using the elements of the traditional stage of the theater and the projections they have achieved extraordinary scenic effects that reach their maximum expression already in the overture, where the challenging prow of a ship sails in the storm thanks to the effects in a hymnotic movement that accompanies this the beginning of the work. After landing on the simulated Chittagong beach, the magnificent theatricalization of an up-to-date Dutch begins whose lack of romanticism has not altered its dramatic charge.

He was the first Wagner the master faced Heras-Casado. The feeling caused from the moat is hopeful. But the momentum of some moments printed a times too hasty sometimes. It was especially noticeable in a somewhat thunderous and dramatic overture. Improved throughout the play, but the end result was somewhat superficial.

Russian bass Dimitry Ivashchenko it was a more than correct Daland, although on occasion it was covered by the orchestra.

Benjamin Bruns had the complex task of being Erik in the second cast and helmsman in the first. His character of Erik lacks the lyricism it requires and suffered on some high notes.

Ricarda Menzer it was the best of the night. His Senta was full of drama. His lyrical voice and has the characteristics that you would expect from a Wagnerian voice, wide and bulky. With good phrasing and a defined singing line, but with improved delicacy.

The Dutch of Samuel One it was at a very good level. Elegant and good dramatization. It was improving until it culminated in the third act.

The chorus shone and was another great protagonist. In addition to singing, dance. Serious mistake to have offered the choir of ghosts through a ruinous recording. The result was not understood.

A spectacular and excessive production that, in the case of Wagner, it does not serve to hide the deficiencies of romanticism that the work presents and that do not allow immediate evocation. The feeling coming out of this Flying Dutchman is that, despite having so many essential elements, something missing.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

The Flying Dutchman
Richard Wagner (1813-1883)
The Flying Dutchman
Romantische Oper in three acts
Libretto by the composer, based on the work of Heinrich Heine Aus
the memoirs of Herr von Schnabelewopski
Premiered at the Königlich Sächsisches Hoftheater in Dresden on 2-1-1843
Premiered at the Teatro Real 27 October 1896
D. musical: Pablo Heras-Casado
D. scene: Alex Olle (La Fura dels Baus)
Scenographer: Alfons Flores
Costume designer: Josep Abril
illuminator: Urs Schönebaum
Video: Franc Aleu
D. choir: Andrés Máspero
Distribution: Dimitry Ivashchenko, Ricarda Menzer, Benjamin Bruns,
Pilar Vázquez, Roger Padullés, Samuel One
Headlines Choir and Orchestra of the Teatro Real

Heras-Casado

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

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

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

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

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

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

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

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

http://pabloherascasado.com

http://www.harrisonparrott.com/artist/profile/pablo-heras-casado

http://www.mozarteum.at/en/program-tickets.html?block=1970#1970

Pablo Heras-Casado

Grenadian Director Pablo Heras-Casado (1977) will debut 30 from January 2016 with the Vienna Philharmonic in the programming of the Week of Mozart in Salzburg (Mozartwoche). The Spanish conductor has been the orchestra's first choice after the announcement of the retirement of Nikolaus Harnoncourt, that he has personally chosen the Spanish musician as his substitute. He will perform with a repertoire dedicated to Mendelssohn - Bartholdy in front of the orchestra as the first Spaniard to do so in the history of the orchestra after Placido Domingo lead her in a dance but not in a concert properly. Heras-Casado is a regular guest at this Mozart party in the cradle of the Austrian genius where in the next edition he will also direct the Camerata Salzburg on the day 26. Before his debut with the Philharmonic, The Granada-born musician will conduct Beethoven's Novena at the end of this month in the New Year's Concert with the Vienna Symphony on 30-31 Y 1 January in Vienna.

The conductor of the year 2014, by Musical America, Pablo Heras-Casado, enjoys an unusually diverse career spanning from great symphonic music to operatic repertoire, alternating interpretations historically well-founded and scores of art. He was appointed Principal Conductor of the Orchestra of St. Luke’s from New York since the season of 2012/13, as well as Principal Guest Director of the Teatro Real de Madrid in 2014.

Heras-Casado is a regular guest of symphony orchestras of Chicago and San Francisco, the Los Angeles Philharmonic,the Staatskapelle Berlin, Munich Philharmonic Orchestra, the Bavarian Radio Symphony Orchestra, Mariinsky Orchestra and the Metropolitan Opera.

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

In previous seasons he has conducted the Leipzig Gewandhaus Orchestra, la Concertgebouw Amsterdam, la Tonhalle-Orchester de Zurich, New York Philharmonic, Boston Symphony Orchestra, the Cleveland Orchestra and the Mahler Chamber. It has also been present in the Festspielhaus Baden-Baden, the Salzburg Festival and the Festival d'Aix-en-Provence, in addition to returning regularly to the Lucerne Festival.
Heras-Casado recorded with harmonia mundi, así como con German Grammophon's Archiv Produktion, of which is ‘Ambassador Archiv’. He has received numerous awards for his albums, ECHO awards including three Klassic, un Price German Record Critics, dos Diapason d’Or y un Grammy Latino.

His recent releases with harmonia mundi include Schumann's Piano and Violin Concertos with Isabelle Faust and Alexander Melnikov.. According to The New York Times it is one of the best recordings of the year while Forbes magazine placed it in their top 10. He also published symphonies of Schubert us. 3 Y 4 with the Freiburg Baroque Orchestra and Symphony No. 2 Mendelssohn with the Bavarian Radio Symphony Orchestra. He has recorded an album for Archiv with the works of Jacob, Michael Jerome y, and an album to commemorate the legendary castrated singer and maestro Farinelli. He has also appeared on the release of Verdi's baritone arias for Sony with Plácido Domingo and on a Deutsche Grammophon DVD of 'Elixir de Amor’ de Donizetti de la Festspielhaus Baden-Baden.

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

More information: http://pabloherascasado.com / http://www.harrisonparrott.com/artist/profile/pablo-heras-casado

Heras-Casado

Thursday and Saturday this week, he Teatro Real will offer the moving War Requiem, from Benjamin Britten, under the direction of Pablo Heras-Casado.

The two functions of Britten's work are integrated into programming around his opera Death in Venice, It will also bring to the Royal Theater, this month, Hamburg Ballet, with a choreography inspired by the novel by Thomas Mann.

More of 140 interpreters participate in the work: 132 -Chorus singers of the three choirs Holder Royal Theater, Choir of the Community of Madrid and Little Singers of JORCAM-, 106 Titular Orchestra musicians of the Royal Theater, organist Miguel Ángel Tallante Susan Gritton and soloists (soprano), John Mark Ainsley (tenor) and Jacques Imbrailo (baritone).

Pablo Heras-Casado, first musical guest conductor of the Teatro Real, It will be responsible for leading this exceptional and poignant work: He snatched a cry for peace in the world after the war stupor.

THREE WARS IN A

Benjamin Britten was a great lover of classical forms but, after passing through their hands, rarely he failed to introduce new elements in them that made them appear before the eyes and ears subtly or radically rejuvenated. Few genres have enjoyed more rooted in Western music than the requiem mass, but the War Requiem, Drinking that undeniably secular tradition, transports it to a new dimension, instilling in the work an important element spatio it difficult, if not impossible, found in other requiem masses.

Britten was a persistent reader of poetry, that permeates much of its catalog, and had a good example of this in this room last 18 from December, when Ian Bostridge played five Canticles which run through his entire career and creatively Nocturne.

One of the poets who inspired Britten in the latter work, su compatriota Wilfred Owen, He was elected three years later to provide the profane counterpoint, Current and intimate of the ancient Latin text of the Mass for the Dead. Owen had died a few days before the end of the First World War and the play opened at the solemn consecration of Coventry Cathedral, destroyed by German bombing in.

The War Requiem was released a few months before the missile crisis in Cuba, during the War Cold, so, a contest third linked to the work: less bloody, but equally absurd. Britten wanted to tell the premiere in Coventry with singers who symbolically represent the three countries that had suffered the barbaric war had ended the Nazi horror, but the Soviet authorities did not allow Galina Vishnévskaia traveled to England to sing a German side, Dietrich Fischer-Dieskau, so it had to be replaced in extremis by British Heather Harper. The solo trio completed, Of course, el tenor Peter Pears, the faithful partner of the composer.

Pacifist convinced, Britten's War Requiem conceived not only as a deeply anti-war plea, but as a profound reflection on the horrors that accompany any war: Mass to rest the dead and the living meditate. The emotional peak of the work is reserved for the Libera me end, Britten situated in the center of one of the most shocking poems Owen, «Strange Meeting», the strange encounter that occurs underground, in "a deep tunnel and gray", between an English and a German soldier combatant who killed himself the day before. Both find liberation and final reconciliation when they have to sleep, together in peace, long sleep of death while the children's choir sings an ethereal and consoling In Paradisum.

Wars continue, relentless, around us, but the War Requiem -a work not only to listen, but also to see- continues to proclaim, clear and strong, Your message.
Luis Gago

Mahagonny

Rise and Fall of the City of Mahagonny: “Each bed is made in this world”

Teatro Real, 19.50h. Is the season opener and the boxes are sparkling. The large central chandelier illuminates new and silky dresses that accompany the ladies scented that, at the same time, They accompany sober and elegant gentlemen. Everything is excitement and glamor, everything is exquisite and luxury. Please, switch off their mobile phones.
The curtain rises and a large dunghill appears before us, and all together and at the same time share the same space. One is a consequence of the other and this is what Kurt Weill We want to show. That is the greatness of Mahagonny.
Weill she spent two years working on this book. Interwar years. Years 20 Y 30 Stimulants were enough to make them the most musical and operatic creativity of the whole story. They coalesced at that time rhythms, genders, composers, interpreters, writers ... The classicism coexisted with an explosion of music and literature represented by Kurt Weill, Alban Berg, Korngold, Schomberg ... Authors of works that well could have been written yesterday. Such is the case of Mahagonny. Then pointed a work so successful future, and that chance has wanted this production lands in Madrid, precisely at this time. Lucidity music Kurt Weill and libretto Bertolt Brecht, They have led minds, always boiling, from Alex Ollé Y Carlus Padrissa. We have in front of our own detritus. The decline of a society ghost, zombie, where represent, in a particular way, The seven capital sins.
A scenario loaded with garbage and great plasticity, full of volumes continue to grow throughout the work. Since only a dump grows.
Components La Fura dels Baus this time raised a sober stage, simple, without the large metallurgical and technological productions to which they have become accustomed lately. Only mountains of garbage cover, sometimes and like any city, apparently velvety golf courses, They intended to cover what will end sooner rather than later deglutiéndolos.
On stage everything is done compulsively and alienated. Everything is consumed collectively and instinctively, from eating, on a large industrial comedero like chickens on a farm. O sex, multitudinously practiced and mechanically. A scene "porn" very well resolved, even, elegantly settled on mattresses that move the graceful rhythm of the music.
All it illuminated by genially Urs Schönebaum, which it contributed to the delirious atmosphere of the city.
The music was a pleasant surprise. Much more complex than could be expected. Intersperse songs with an air of musical, far from detracting from the work, It provides great vitality. A music full of energy, por momentos upset, Young fruit baton (but runs without it) Director of the Grenadian Pablo Heras-Casado. He did not flinch and directed firmly and verve to end a requiem Orchestra of the Royal Theater that was brilliant. Highlight, especially, section metal.
The cast formed a very balanced set. Something that rarely happens and who brought up the average quality of representation.
There were no voices that emerge from outstanding way. Jenny, played by Canadian soprano Measha Brueggergosman, He voiced to a master interpretation. It's a spectacular Jenny although somewhat limited power. It was less to more, a shame when you consider that the best-known piece is the beginning, “Alabama Song"Which lacked a full and powerful voice. Not so at the time to seduce Jim, It was a fantastic canora sensuality.
The weight of the work in the second and third act, rests with the voice of Jim MacIntyre, interpreted by Michael King, a light tenor, but provided with a voice metallic hues and brightness. almost Wagnerian role so demanding and resolved with dignity.
The rest of the cast very balanced, the roles were clearly defined, even physical was the right. The tone of the recitatives imbibed criminals rulers came to power and vigor to the peculiar inhabitants of the new city. American mezzo-soprano Jane Henschel, with a strong, confident voice as his character. the tenor Donald Kaasch with a good midrange and agile voice, in addition to providing his character of great comic. also mention the low-baritone Jamaican Willard White and tenor John Easterlin. The latter demonstrated its way through Broadway with an almost buffa interpretation of his character.
Another novelty was the chorus. In the absence of some adjustments in attacks, impasto, and a divo who walks loose, what we have heard is very promising after a year of crossing the desert. Power and quality and a significant pianos. A chorus, not only sings, also interprets and mounts / dismounts scenarios. High quality voices under the direction of Andrés Máspero promise great moments.

Kurt Weill (1900-1950)
record: Bertolt Brecht
D. musical: Pablo Heras-Casado
D. scene: Alex Ollé, Carlus Padrissa.
Distribution: Jane Henschel, Donald Kaasch, Willard White,
Measha Brueggergosman, Michael King, John Easterln, Otto Katzameier,
Steven Humes
Orchestra and Chorus of the Teatro Real in Madrid
2 October 2010

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