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

The presentation of the cultural project of the Palau de les Arts Reina Sofia along with Tourism of the Valencian Community in a day in which the musical and cultural offer of the Valencian theater has been valued. The event was attended by Francesc Colomer, Autonomous Secretary of Tourism of the Generalitat Valenciana; Pablo Font de Mora, President of the Board of Trustees of the Fundación Palau de les Arts Reina Sofía and Yesus Iglesias Noriega, artistic director of Les Arts. The presentation has included the tasting of the thematic menus that, in line with the programming of Les Arts, proposes Paul Minister, Counterpoint Executive Chef, Valencian theater restaurant.

In his speech, Francesc Colomer has claimed the projection of the Valencian Community as a cultural destination, This being one of the segments with the greatest projection and future in the territory in recent years, according to statistics..

To that end, Colomer has framed the alliance established with Les Arts within the strategy to promote the tourist differentiation of the Valencian Community through the creation of experiential products:

“With a diverse and internationally prestigious artistic offer, in a unique architectural setting, the Palau de les Arts is an undisputed cultural icon and ambassador of the experiences that await visitors in the Valencian Community”.

Meanwhile, Pablo Font de Mora has valued the great work carried out from the theater to offer since June 2020, after lockdown, a regular and uninterrupted activity for the public with the highest artistic and safety standards with which to guarantee a cultural offer to the public.

In its third season under the artistic direction of Yesus Iglesias Noriega, Les Arts delves into a programming of international quality, eclectic and diverse in genres, styles and performers, so that each citizen finds his space in the theater. With the voice as the backbone, Les Arts proposes opera, symphonic music, zarzuela, dance, baroque and ancient music, Lied, great recitals, flamenco, world music, and educational and family activities with a projection that reaches beyond the iconic building thanks to a territorial commitment throughout the Valencian Community.

On the one hand, the project advances in the current season with a journey through the history of music, from the Middle Ages to the 21st century, that offers the spectator of Les Arts styles, unreleased genres and artists to date, thanks to the inclusion of initiatives such as the first cycle in the history of theater dedicated to baroque and early music, made in co-production with the National Center for Musical Diffusion.

On the other hand, the course 2021-2022 supposes the stabilization of the artistic foundations with the incorporation of the North American James Gaffigan as the new musical director for the next four years. The director was in charge of successfully opening the operatic chapter with a historical appointment: the premiere in Spain of Romeo Castellucci's revolutionary staging of the 'Rewho’s Mozart; Gaffigan will also close the program directing an avant-garde and unprecedented title in Valencia: ‘Wozzeck’, by Alban Berg.

In 2022, the Les Arts offer includes important milestones in the programming: ‘Hoffman’s Tales by Offenbach, under the musical direction of Marc Minkowski; the return of the Baroque staged to the Main Hall with 'Ariodante ’ Handel, directed by Andrea Marcon; classics like ‘Madame Butterfly’ by Puccini -directed by the young and emerging Antonino Fogliani-, or contemporary titles like 'Trouble in Tahiti’, de Leonard Bernstein.

In the voices section, Within the large list of leading figures, the return to Les Arts of Carlos Alvarez, whose voice will resound in the Macbeth in Verdi, as well as the role debuts of two of the most sought-after sopranos of the moment: Marina Rebeka in his first Cio-cio-san in 'Madama Butterfly’, and the challenge of Pretty Yende to embody the four muses of ‘The tales ofHoffmann’.

Likewise, during 2022 It will once again be the time to meet again with great voices in the cycle dedicated to 'Lied', with recitals of Matthias Goerne, Benjamin bernheim, Marianne Crebassa O Jakub Józef Orliński, considered the great sensation of the international baroque scene.

In the symphonic chapter, the Orchestra of Valencia (OCV), Les Arts headline formation, kept under the aegis of James Gaffigan, his work with the reference batons, both national, as international. Gustavo Gimeno, faithful to its commitment to the group, will meet again with the OCV on 23 from December, which will be followed by appointments with Josep Pons, Own Gaffigan Y Mark Elder, with programs with special attention to the symphonic-choral repertoire, with the participation of Cor de la Generalitat Valenciana.

Dance grows in its own space at Les Arts, presenting in 2022 three top-level choreographic shows that combine national talent with large foreign companies. He National Ballet of Spain (BNE), with the show 'Invocation', Sol Picó and her dance company, that premiere ‘Titanas’, a new production in collaboration with Les Arts and the presence of the Perm Opera Ballet, featuring ‘La Bayadère’ by Ludwig Minkus.

He Training Center, third artistic pillar of Les Arts with the Orchestra of the Valencian Community and the Choir of the Generalitat Valenciana, also adds new proposals for the public from the hand of the new promotion of artists that began their training in Valencia last September.

After presenting the absolute premiere of the first production of 'A warning to the jealous', by Manuel García, the second proposal of the Opera Studio de Les Arts delves into one of the great legends of the last century, Leonard Bernstein, with ‘Trouble in Tahiti’.

Within the activity for the coming months, It is also worth underlining the important work of the educational program, with workshops, courses and shows for all ages and audiences, with initiatives from 0 years and that reach even adult viewers in order to meet both the educational demand and that of the family audience.

further, throughout the first half of 2022, As pointed out by Jesús Iglesias Noriega, the other lines of the program launched with the new artistic project will also continue, with new appointments in ‘Les Arts és Flamenco’ and ‘Les Arts és Altres Músiques’, in addition to the cycle ‘Arts is For All’, aimed at opening cultural space to new audiences.

Photography ©Mikel Ponce and Miguel Lorenzo_Les Arts

The Arts Streaming

He Palau de les Arts kicks off her third week of opera online with ‘The short life’, from Manuel de Falla, the only production in its videographic catalog directed by Lorin Maazel, that can be seen this Tuesday 14 April from 20.00 hours.

The arts center continues, A) Yes, with the cycle 'Opera from home', carried out in collaboration with Unitel GmbH & Co.KG, co-owner of recordings, in which some of the most emblematic productions in the history of the theater are offered.

In addition to the opera of Falla, The Les Arts website will also be broadcast this week, ‘Les Troyens’, Hector Berlioz, Y "Yevgueni Oneguin", de Piotr Chaikovski. Les Arts remember that each title will be available for viewing for a period of 48 hours from the date assigned to each work.

Lorin Maazel (1930-2014), first musical director of the Palau de les Arts and founder of the Orchestra of the Valencian Community, took up the challenge of directing for the first time in his career ‘La vida breve’ in his performances in Valencia, that took place in March 2010.

Giancarlo del Monaco was in charge of staging the Spanish opera par excellence in a production of Les Arts. In your proposal, the respected ista regista ’narrates, from the perspective of psychodrama, Paco's infidelity and treason (Jorge de León), a young man in love with the gypsy Salud (Cristina Gallardo-Domâs), whom he abandons to marry a young woman from a wealthy family.

Thursday 16 April at 18.00 hours, in the web of Les Arts, The futuristic and ambitious production of ‘Les Troyens’ is presented, Berlioz, with which La Fura dels Baus inaugurated the third season of the theater.

After his success with ‘The Nibelung Ring’, Carlus Padrissa combined computing, engineering and elements of the furero language for the first time this opera, based on the books I, II and IV of the ‘Aeneid’, from Virgilio, was represented in Spain in full.

‘Les Troyens’ was also another milestone in the history of the theater with the debut of the prestigious conductor Valery Gergiev at the head of the Orchestra of the Valencian Community, in a role starring Lance Ryan, Daniela Barcellona, Elisabete Matos, Gabriele Viviani, Giorgio Giuseppini, Stephen Milling y Eric Cutler.

‘Yevgueni Oneguin’ opera week closes, de Chaikovski, Saturday 18 of April, to 20.00 hours. Les Arts recovers one of the most applauded works of Omer Meir Wellber as director of the Orchestra of the Valencian Community and of a cast with Artur Ruciński, Kristine Opolais, Dmitry Korchak, Lena Belkina and Günther Groissböck in the lead roles.

Filmmaker Mariusz Treliński presents a minimalist and symbol-laden vision to stage one of the essential pieces of the Russian repertoire, based on the eponymous novel by Alexander Pushkin, that portrays the story of Yevgueni Oneguin, a dandy of wealthy class who, prisoner of his personal paradoxes, ends up confined in absolute solitude.

Photograph: Tato Baeza

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https://youtu.be/mMmEwLvgk3Q

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

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

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

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

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

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

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

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

 

Mariella Devia

Roberto Abbado He directs the Orquestra de la Comunitat Valenciana in this concert which includes orchestral pieces Bellini, Rossini y Verdi.

The Italian soprano, who has recently been fired from staged opera, It is considered one of the great divas of the genre.

Mariella Devia plays in the Palau de les Arts his most successful roles bel canto repertoire on Saturday, 2 of June, in the Auditorium.

The soprano will review of some of the pages that have cemented their 45 year career as a star of the genre, after his apotheosis withdrawal of opera staged last 19 May at La Fenice in Venice with three functions of 'Norma', Bellini.

Acompañada by the Orquestra de la Comunitat Valenciana, and directed by Roberto Abbado, interpretará arias como 'Of my life miserable' de 'Tancredi', Rossini; 'Casta Diva', of 'Norma', Bellini, or 'Goods beloved' de 'girlfriends I Vespri Siciliani', in Verdi, that is interleaved with the openings of passages as 'Semiramide', Rossini, the 'Luisa Miller', in Verdi.

Mariella Devia has been hailed by critics and audiences as one of the great divas for his vocal agility, high register and absolute mastery of technique, who has exhibited in major theaters of the international circuit.

His first meeting with the public of Les Arts took place in 2008 with 'Gala Puccini', Placido Domingo who directed the occasion of 150 anniversary of the birth of composer of Lucca. Her operatic debut, However, come seven years later.

In 2015, Chiusavecchia soprano starred in his first opera staged in Valencia, in a new production of 'Norma', Bellini, to be followed in 2017 a new production of "Lucrezia Borgia ', Donizetti, with which Les Arts made its first foray into opera broadcast in streaming.

Known for her work with the new generation of interpreters, Mariella Devia offered last April a series of master classes artists singing the ninth class of the Center Placido Domingo.

Michael Fabiano

Since he debuted at the Washington National Opera (U.S) They have not ceased to ask for it. Michael Fabiano will travel to The Palace of Arts in Valencia in March to be the star of a new production of Verdi's rarely scheduled Il Corsaro, "A work that falls within the period in which the composer dreamed of Italian unification and moved to the wishes of his operas freedom of his people, all said very entrelíneas ", says American tenor regarding a title that has matured from 2014, when he sang for the first time. "This is a work that gathers together the belcantismo, but where Verdi and suggests ways and creates scenes of high dramatic content ", says Michael Fabiano.

The American singer will land in Valencia after getting a big win in Bilbao season with its unique Chevalier Des Grieux in Massenet's Manon, "A role that suits me very well both vocally and in her temper, and that is very romantic. In November so I sang in San Francisco, ie it took several months with the character. Next to Corrado Il Corsaro will form a suitable contrast, since the latter also has heroic dyes, though his line is almost pure bel canto ".

Michael Fabiano returns to Spain to debut at Valencia after starting the season as Rodolfo in La Bohème in a new production at the Royal Opera House in London, Des Grieux strolling by his San Francisco and Bilbao, Duca singing Rigoletto at the Royal Opera in London and a few functions Lucia di Lammermoor at the Metropolitan Opera in New York, title after Valencia will continue singing debut in May at the same venue.

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The five performances of Peter Grimes that have taken place in the Palau de les Arts, They have resulted in a major victory, because of the excellent combination of scenery, stage direction, a magnificent orchestral performance, magnificent performance of the solo voices, well complemented by a remarkable interventions of other performers that make up the extensive cast of this opera. Y, especially, a brilliant performance as always- Choir of Valencia Generalitad, true protagonist of the work. Highlight, Inter Palace of Arts, alternate titles for the more traditional repertoire, others like this Peter Grimes, which is complemented by two other operas by Britten: A Midsummer Night's Dream and Another twist, represented in previous seasons. Definitely, in the course of these performances of Peter Grimes, the public interest in attending them has increased, especially for the excellent reception given to the first function.

Edward Benjamin Britten, Baron Britten (Lowestoft, Suffolk County, England, 22 November 1913 – Aldeburgt, Suffolk County, 4 December 1976) It was one of the most important and unique musicians of the twentieth century, with a major symphonic production, concertística and especially operas with thirteen titles, which place him as a great composer genre, during the past century, junto a Richard Strauss, Leos Janacek and Giacomo Puccini. Peter Grimes emerged as Sergei Koussevitzky commissioned, director of the Boston Symphony Orchestra, Britten during the stay in the US, between 1939 Y 1942. Con a libretto by Montagu Slater from del poema The Borougt (The village) de George Crabbe, where also they involved significantly, Britten himself with the tenor Peter Pears (collaborator and life partner Britten) who he was destined for the role of Peter Grimes. The premiere took place at London's Sadler's Wells Theater the 7 June 1945, only one month after the conclusion of World War II. In the euphoria of victory achieved by Britten and Pears, pride representing the birth of a new English opera was added, the first since the death of Henry Purcell 1695 or the last play of Haendel 1741. Peter Grimes is a lone fisherman, dreamer and both primitive and brutal, totally marginalized by the social environment inhabited, and only try and respect the teacher Ellen Orford Village, in love with him and Captain Balstrode, old retired navy. Grimes lost and accidentally successively three of his apprentices, which leads him to madness and a tragic end. Britten tried a recurring theme in most of his operas: the drama of outcasts faced with a hostile society, hypocritical and cruel exterminating just. Musically it is a prodigious work, full of imagination, wit and eclepticismo, wherein shake hands various influences: Verdi, in fusion orchestra, voice and dramatic situation; Debussy, Mahler y Richard Strauss, in the harmonic and orchestral color painting; Stravinsky, in the imposing rhythmic force; Puccini, especially his Fanciulla del West. As well, It should be noted certain influences of Dimitri Shostakovich Lady Macbeth, who was a great friend of Britten, dedicating his Symphony No. 14. In its formal structure, clear divisions shown recitativos, arias, duos and set numbers, with admirable dramatic unity and an orchestral role waving dramatic tension and links the seven scenes of the opera with six symphonic interludes powerful effect.
After his first London functions, and in just three years, Peter Grimes premiered in Stockholm, Antwerp, Zurich, Paris, Milan, New York and Los Angeles. His very late release in Spain took place at the Teatro de la Zarzuela in Madrid 1991 and later he was represented at the Teatro Real in Madrid, in 1997. After its strong momentum, the opera was poorly represented in the fifties of the last century. From 1963, will return to the scene of his debut at London's Sadler's Wells Theater, directed by Colin Davis, who will become since then and for more than forty years, in Peter Grimes great Guaranty. There are several recordings on CD and DVD, enabling an approach to this opera. In 1958, the first studio recording was made for Decca, with the London Symphony Orchestra conducted by Benjamin Britten himself and an excellent Peter Pears as Peter Grimes. In 1969, the BBC made a film, superbly set, directed by Brian Large, currently marketed on DVD by Decca, Britten again in front of the London Symphony Orchestra, Ambrosiano Choir and Peter Pears, linking his great vocal performance an extraordinary performing arts, next to Ellen Orford, superbly played by soprano Heather Harper, who for many years will be the true benchmark of this character. Canadian tenor John Vickers first played Peter Grimes, in January 1967, in the Metropolitan New York, with musical direction of Colin Davis, since become, a key role in his repertoire, coming to interpret it for the rest of his career, in over a hundred functions, in major theaters around the world. Creating Vickers is excellent in the vocal plane, exhibiting a proven and incisive phrasing and equipping its expressive performance, highlighting the wild and crazy side of the character. Vickers made a studio recording for the label PHILIPS, in 1978, junto a Heather Harper, directed by Colin Davis at the helm of the Orchestra of Covent Garden. There is a take on video DVD sold by WARNER MUSIC, from 1981, performed at Covent Garden, production of the famous stage direction by Elijah Moshinsky and musical Colin Davis, where Vickers makes a retrospective creation of Peter Grimes, again accompanied by Heather Harper. Peter Pears o John Vickers, They are the largest Peter Grimes history, his creations are very different but complementary to give a complete picture of this complex character.

Valencianas these functions has been used historical production 1994, para el Bruselas currency Theater, dirigida por Willy Decker, which could already be seen in the Teatro Real in Madrid 1997. This has been François replacement of carpentries and Rebekka Stanzel, those responsible for the stage direction, with excellent results. The simple set design consists of a sloped floor where some large panels ranging delimiting different spaces move: church, Grimes's hut; Y, playful Tavern, with red hues that give a disturbing aspect, enhanced by the superb lighting design Trui Malten, especially when the door and a distorted shadow of Grimes opens projected on the wall, with a clearly expressionist tone. Y, especially, that seabed, more intuited that displayed, which dominates the whole work. In this scenery play a very important role numerous extras (protagonists and chorus members) moving on stage in compact groups, giving real boost to the development of dramatic action. scenically highlight the entire end of Act II, where, they are mixing with others visible spaces off: the party that forms the door with all the notables of the town, driven by the carrier Hobson drumming, towards the hut Grimes, and disappears from the scene, where there are only, in a first plane, four women: The Tabernera Auntie, his two nieces and Hellen Orford; Y, upstage can be up right and left dark silhouettes, as a birds of prey other women, finally they make a dark and stalker group, which it acts as a counterweight to the four women lying in the foreground perfectly visible. The dramatic action continued at the start of Act III, in another visible space: the cabin where are Peter Grimes and grumete, who begin to hear the drum sound announcing the arrival of the delegation cited above, which causes great disruption to Grimes, who forces the boy to fall into the sea off a cliff, where just despeñando; Grimes will help him (another scene off.) leaving the empty cabin, in which the party breaks, and again displayed. also note, the stunning end of the first part of Act III, scenically very well resolved, showing a vociferous and madding crowd, compact group, you want to lynch Grimes. In sum, a magnificent scenery of John Macfarlane, also responsible for costume design (based on black and red colors) while suitable -to 1830- in which the action takes place.

Orchestra of Valencia shone high, directed by American Christopher Franklin, to whom blame can not properly care for the dynamics, with a propensity to offer, at times, a sound somewhat flat line, using excessively sound in forte. This was illustrated, especially in the great "orchestral tutti", where some difficulty perceived in differentiating sound levels, with influence of metals on the remaining sections. This is no obstacle to highlight the magnificent performance of all orchestral sections, with a magnificent string, and the great brilliance of different instruments, especially in those precious "Sea Interludes": the first of them, "Dawn (Dawn)"As a prelude to Act I, descriptive in nature, where shines greatly the sound of flutes and violins in high register (very present during the development of the entire first scene of Act I) suggesting the flight and the cries of the seagulls or the combination of clarinets, violas and harp to show the flow of the waves. In the fourth interlude the famous "Passacaglia", located between the two scenes of Act II, with outstanding interventions of metals in conjunction with rope, and tubes with the harp or the brilliant finish sound confluence viola and celesta going to disappear fading. Very bright the implementation of the fifth Interlude "Moonligh (Moonlight)"Begins with Act III, with the impressive sound of the string as a funeral march which are inserted, at times, flute and piccolo and metals are incorporated in a large crescendo, to conclude with the sound set of xylophone and harp. also note, at the conclusion of Act II, conjoined sound of bassoons and celesta. Impressive orchestral sound in conjunction with the choir, in the concertante which concludes the first scene of Act III.

Gregory Kunde played for the second time Peter Grimes, the first was in Rome Opera 2013, and their performance was very noticeable in the vocal level and especially in the dramatic, penetrating the psychology of this complex character. Very well in his soliloquy in Act II "Now the Great Bear (Now the Big Dipper)" where, looking at the stars, meditates on his unhappy fate. Interprets notably in Act II aria "In dreams l'looks built (In my dreams he had built)"Where alternate moments of great lyricism, with those typical very Puccini inflections, with others where the song takes on aggression and violence. Y, It is very bright, with a very nuanced and theatrical performance, its final soliloquy "Steady! There you are……What harbour scheters peace (Calm! You are here!……What port it is possible to find peace?)"Where ya, completely crazy thinking, again, in that sad fate of which can not escape, and just sobbed and full of despair. Kunde is magnificent in duets Ellen Orford: which they interpreted a cappella, in the Prologue, full of hope, where both make plans for the future, with a delicate ridge line; Y, especially, the Act II, where they are contrasting serenity and sanity Ellen with violent and irrational behavior of Peter. Notable her performance in the great duet of Act I, with Captain Balstrode (well played by baritone Robert Bork) Grimes states where all your dreams and hopes and the great contradictions of his personality, in contrast to the realistic and accurate vision of Balstrode, who with his advice to Grimes, shows the great esteem he feels for him. American soprano Leah Partrigge shows certain deficiencies in the low and middle registers, but it is in possession of a sharp excellent and great theatricality that gives its interpretation. It is magnificent in its confrontation with the crowd, in Act I, and makes a wonderful and nuanced performance with exquisite singing line, in his aria in Act III "Embroidery in chilhood (when she was little)”, followed duo with Balstrode. also highlight its great performance in the beautiful quartet acute-a reflection of the role of women in relation to men- with Auntie tabernera (discreetly interpretada por la means Dalia Schaechter) and two well sung by sopranos nieces and Giorgia Rotolo Marianna Mappa, both belonging to Placido Domingo Development Center. Rosalind Plowright made an important career as a soprano in the seventies and eighties of the last century, combining a good vocalism and a great stage presence. Here as mezzo and sensitively aged, makes a remarkable interpretation of the gossipy and spiteful Mrs. Sedley. While the rest of the large cast.

Special mention Valenciana Choir Generalitad, shining a high level during his numerous interventions throughout the opera. Notably his performance in the course of the first scene of Act I, and that, in a perfect symmetrical structure, also closes the opera, when Ellen Orford and Captain Balstrade, after tragedy, re-integrate into the community dynamics. Anyway, an excellent Peter Grimes.

Il mondo della luna

The Palau de les Arts Reina Sofia It hosts the first rehearsals of the opera 'Il mondo della luna', Haydn, under the supervision of Emilio Sagi, stage director of this assembly operatic artists who interpret Center Placido Domingo.

The Teatre Martin i Soler premiere 8 March this hilarious comic opera deceptions about a passionate innocent bourgeois astronomy. The work is represented by the assembly Arriaga Theater in Bilbao in co-production with Opera Monte Carlo, who won 2013 Campoamor Award for best new production.

Daniel Bianco (scenography), Pepa Ojanguren (locker room), Albert Faura (lighting) Y Nuria Castejón (choreography) They make up the creative team of 'Il mondo della luna'.

It is about, Besides, the second time that Sagi working with young singers Placido Center Sunday. In the year 2012, the 'regista' ovetense presented in Valencia the first zarzuela of this project: The duo The African ', Fernandez Caballero, which it became the first show to exhaust the capacity of the Teatre Martin i Soler.

The musical director is Jonathan Brandani, Italian-American teacher who develops an emerging career in Europe and the United States, while highlighting for their forays into old music with his training in L'Eloquenza.

Brandani and Emilio Sagi from this week working with singers Placido Domingo Center that make up the cast: Vicent Romero (Ecclitico), Olga Syniakova (Ernesto), Cesar Mendez and Jorge Alvarez (Good faith), Annya Pinto (Clarice), Giorgia Rotolo (Flaminia), Andrés Sulbarán (Cecco) and former student of the Center Nozomi Kato (Lisetta).

The cast is completed by the tenors and basses section of Cor de la Generalitat Valenciana.

Based on a play by Carlo Goldoni, Italian playwright who both wrote about the social changes of the late eighteenth century, the libretto tells a funny plot to make the wealthy protagonist (Good faith) consent marriages of their daughters (Clarice and Flaminia).

To the claims of the parent, who wants to marry young women with wealthy aristocrats, interested suitors (Ecclitico and Ernesto) They take advantage of their interest in the stars to plot deceit and make him believe that travel to the Moon.

As he explained by Emilio Sagi himself in the presentation assembly, the work "is a character scorning the old and very macho, which has a completely outdated idea of ​​woman, obviously, sale scalded ".

For this production, the stage manager of Oviedo retouch the original argument and moved the mess the twentieth century, in an atmosphere of cabaret and fantasy, framed in the scenery designed by Daniel Bianco.

Tickets for 'Il mondo della luna' have a unique price 35 euros. In addition the opening day 8 of March, the Teatre Martin i Soler will host more functions day 10 Y 14 of March. The capacity of the representation of the day 12 It is reserved for the public of Degree Program, within the Social Action Plan Les Arts.

Peter Grimes de Benjamin Britten.

He Palau de les Arts Reina Sofia opens Friday, 1 February, ‘Peter Grimes’, Benjamin Britten, one of the masterpieces of the twentieth century, plus the best English opera from 'Dido and Aeneas' by Henry Purcell (1689). Christopher Franklin, in the pit, Y Willy Decker, as a stage director of this production of La Monnaie Theater (Brussels), They address the first opera Les Arts in 2018. An event that involves, Besides, the stage debut Gregory customer in the role of tormented sailor, stigmatic, persecuted and doomed to suicide for alleged abuse their apprentices.

Specialists in the English repertoire accompanied on stage: Leah Partridge (Ellen Orford), Robert Bork (Balstrode), Dalia Schaechter (Auntie), Andrew Greenan (Swallow), Charles Rice (Ned Keene), Ted Schmitz (Reverend Adams), Richard Cox (Bob Boles) Y Lukas Jakobski (Hobson), along with the legendary diva Rosalind Plowright in the role of Mrs. Sedley.

Benjamin Britten addressed in 'Peter Grimes' two recurring themes in his legacy: the confrontation of an individual with society and the loss of innocence. Through the figure of the protagonist, English composer explores the psychological effects of exclusion on those who contravene the conventional codes.

This point was the musical director, Christopher Franklin, It is highlighting the "contemporaneity" of the work. "It's not an opera about myths, nor about dragons, princesses, cuts or kings ... but it is an issue that, nowadays, It is still very current, how society, like an everything, reacts against an individual ".

musically, Benjamin Britten boasts a great dramatic flair to unite on the staff different environments by transiting 'Peter Grimes', from raves to outbursts Fisherman, folk songs at the inn Auntie, Sunday storm or singing in church, giving the sea an unusual prominence as a character played by the orchestra, continuous and present witness human drama.

Franklin, who runs his second work by the English composer in Valencia after 'The Turn of the Screw' in 2017, It adds that it is "almost Wagnerian opera, in the sense that the chorus as the chorus used in Greek theater: It is a reflection of society ".

After his celebrated 'clock Traviata', that wowed at the Salzburg Festival and arts center scheduled within the bicentenary of Verdi, Willy Decker presenta ‘Peter Grimes’. A dedicated mounting Director, with scenery and costumes by John Macfarlane, Trui Malten lighting and choreography by Athol Farmer, which he has received unanimous praise from critics and audiences since its premiere in 1994.

Decker emphasizes the role of the sea in its proposal, a sea that "determines in its violence the behavior of men". Their violence is reflected in the violence of men and their deeds: the land and the sea, the man and the nature, They are caught in the grip of each other ... In all feelings, mainly in anguish and desires, It is always present ".

For staging, the 'regista' German uses images of "its vastness and violence and represents the effects produced by the sea in the souls of men".

"A paper with dreams all tenor"

Since she sang her first 'Otello' in Spain under the direction of Zubin Mehta at the Mediterranean Festival of 2013, Gregory Kunde is one of the artists of reference in programming Les Arts, destacados with debuts in Valencia, Don Alvaro in 'La forza del destination' or the leading role in 'Samson et Dalila'.

The American tenor and sang in 2013 concert version of this opera under the direction of Antonio Pappano. A performance that earned him comparison with himself Sir Peter Pears, tenor and lover Benjamin Britten for the English genius composed this paper, and who premiered the work the 7 June 1945 at Sadler's Wells Theater in London.

At his first performance of 'Peter Grimes', Kunde equate character with another determining factor in your current career. "For me it's like 'Otello' by Verdi: a role with which all dreams tenor ".

"It's the best job he continues Britten. We know many other titles: ‘Death in Venice’, ‘Billy Budd’… but, In my opinion, This is the masterpiece of his operas. And speaking of century XX, I would say that is one of the five best of the century. Nobody considers modern opera, because it has become part repertoire, which it is fantastic ".

Leah Patridge encarna a Ellen Orlford, the master of the people and the most fervent defender of Grimes. This is his second visit to Les Arts after singing the role of Helena in "A Midsummer Night's Dream 'in 2016 Roberto Abbado.

American soprano believes that singing Britten's work is "life changing experience". "Once with your musical skills you manage to appreciate and Benjamin Britten work, You feel like another world accedieras expression ", Explain.

"Every time I hear this work amazes me how he could think of writing… The way that captures the sea, the morning, Plasma how the scene at the inn Auntie ... In his music, everything is very visual. There really creepy moments and other provocateurs. I never get tired of listening to this music, or cantarla ".

Rosalind Plowright plays Mrs. Sedley, "Bad history", in the words of the diva own, which deals with this paper what she calls his "third career" after 35 successful years on stage.

Brilliant soprano 'pushed', subsequently converted into 'mezzosoprano' and now specialized in character roles, Mrs. Sedley qualifies as "someone nasty, very unpleasant".

"She exaggerates everything much more, and really he wants to sink Peter Grimes ", apostil.

Les Arts premiere 1 February 'Peter Grimes', the second title of Britten presented in the Main Hall, después de ‘A Midsummer Night’s Dream’. The remaining functions will take place on 4, 7, 10 Y 13 of that month.

Ramon Gener

The humanistic and musical disseminator Ramon Gener reveals the secrets 'Don Carlo', from Verdi, the public of Palau de les Arts Reina Sofia, on Wednesday, 29 of November, to 19.30 h in the Aula Magistral.

Arts Center and retakes the lecture-show 'Les Arts is Opera' after the excellent reception last season. With his usual didactic language and audiovisual materials, the presenter of the famous program "This is Opera" will visit Les Arts to analyze the titles that make up the operatic theater subscription: 'Don Carlo', in Verdi; ‘Peter Grimes’, Britten; 'The Rover', in Verdi; ‘Tosca’, Puccini; and 'The Damnation of Faust', Berlioz.

The conference will take place in the Aula Magistral, with a capacity of 380 viewers, and you will need to request in advance for your assistance town. Through the section Ticket Sales www.lesarts.com and within specified dates, It may be withdrawn up to 2 invitations per applicant.

Tomorrow, Tuesday, 28 of November, from 10.00 h a 23.59 h, or until full capacity available, the general public can purchase tickets for the conference 'Don Carlo'.

Ramon Gener

Degree in Humanities and Business Studies. He began his training as a musician studying piano at the Conservatorio del Liceo and Anna Maria completed Albors. On the recommendation of the soprano Victoria de los Angeles began studying singing under his supervision. He completed his vocal studies in Warsaw with Jerzy Artysz baritone and tenor Barcelona with Eduard Giménez. After a career as a baritone several years he stopped singing and began a new stage as musical disseminator offering lectures on music “classical” and opera.

Echo and the impact of these conferences took him to the world of television. TV3 first with the program “Texans opera "then the international scene “This is Opera”, a Spanish and German co-production recorded in English and Spanish that can be seen in many countries around the world. Radio regularly collaborates in the program “Day by day” Cadena SER and the program “version RAC1”. It has also been introduced in the literary world with the publication of “If Beethoven could hear me” (2013) Y “Love will make you immortal” (2016).

Andrea Caré

Andrea Carè, one of the most important tenors of his generation, just won the Royal Theater Madrid playing Pinkerton in Madama Butterfly and Don José in Carmen. Now preparing his debut The Palace of Arts in Valencia where he will be the protagonist of the opera Verdi Don Carlo, Italian interpreter title has sung in Canada, France and the legendary Bolshoi in Moscow. "This is a fascinating character in the psychological complexity that represents and for her vocal and interpretive difficulty, although I think it fits very well to my instrument ", points tenor, excited sing this opera in Spain, country where the action is set. This time the infant will play no less than by the Rodrigo de Placido Domingo, artist Andrea Carè which coincided in several goose-sions and with whom he has recorded Nabucco on DVD (Sony). Winner of the International Opera Competition Spoleto (2005), He has perfected his art with the legendary soprano Raina Kabaivanska as well as the legendary Luciano Pavarotti. And if in coming seasons will debut at the Metropolitan in New York and at the Vienna State Opera, CARE has already acted on some of the most important stages in the world, as the Royal Opera House Covent Garden in London, Gran Teatre del Liceu in Barcelona, the Teatro Regio in Turin, Rome Opera, la German Opera de Berlín, China NCPA in Beijing or the Teatro alla Scala in Milan. With this Valencian production, Carè consolidates its presence in the Spanish market after their operatic debuts in Barcelona and Madrid.

More information.

Jaume Aragall

The legendary tenor Catalan Jaume Aragall is this week's Palau de les Arts Reina Sofia to prepare the debut of the ninth class of Centre Plácido Domingo in Castellón.

Young artists, accompanied by the Orchestra of Valencia (OCV), under the direction of Alan Buribayev, interpreted fragments of operas Mozart Y Rossini Saturday, 21 October, in the Auditorium of the capital of La Plana, to 19.30 hours.

Aragall, "The most beautiful voice of the twentieth century" by Luciano Pavarotti, adds this action to the list of great lyrical voices of working with young artists Perfeccionament Center, what, besides their Plácido Domingo, It includes figures as low Italian Ruggero Raimondi O Luigi Roni, and which soon will join the soprano Mariella Devia.

Singers Jorge Álvarez, Arturo Espinosa, Marianna Map, Andrea Pellegrini, Annya Pinto, Vicent Romero, Giorgia Rotolo, Elena Schirru, Andrés Sulbarán, Syniakova and Maria Olga Volgina currently working with Jaume Aragall fragments of Mozart Trilogy – Da Ponte and 'The Magic Flute', and parts of the Rossini operas 'Semiramide', 'Cinderella' or 'The Italian Girl in Algiers'.

further, dedicated tenor of these lectures to new voices have joined this September at the Center Plácido Domingo, that advises both the development of their repertoire and technical subjects.

Parallel, Alan Buribayev is undergoing trials with the starting lineup of Les Arts. Kazakh teacher, music director of the Astana Opera (Kazakhstan) and principal guest conductor of the Symphony Orchestra Century Japan in Osaka, Debuts in front of the Orquestra de la Comunitat Valenciana with this concert, It is including the overtures of 'Don Giovanni', Mozart, and 'The Barber of Seville', Rossini.

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