ABAO Bilbao Opera

Saturday 24 of September, a spectacular concert opens the 71º Season ABAO Bilbao Opera and says goodbye with honors to the emblematic project All Verdi, after 16 years of activity. The new season brings numerous proposals, activities cultural, social programs, and an artistic program that includes five titles at Euskalduna Bilbao y four shows at the Arriaga Theater. legendary voices, big teachers, unpublished productions and a permanent commitment to maximum quality throughout its field of action, backbone of the new opera season in Bilbao, inspired by the keys of musical Romanticism.

The 71st season offers fans and the general public, a programming exciting, different, suggestive and of unquestionable artistic quality.

MAIN MAGNITUDES OF THE NEW SEASON
ABAO Bilbao Opera and the BBVA Foundation, main sponsor of the season, contribute to promoting excellence and operatic culture and to bring the public top quality shows.

He italian repertoire stars in the season with well-known titles such as Tosca, So do all and Il Trovatore, and others less frequent as I puritani Y Anna Bolena.

Among the operas and shows scheduled, there is own production, premiere absolute: Così fan tutte and two premiere productions in Spain, The Troubadour and the ABAO international co-production: Anna Bolena.

A total of 44 functions: 26 in the general season at the Euskalduna Bilbao, 17 for children and young people in the Abao Txiki season at the Theater Arriaga, and a performance of the Tutto Verdi Concert also at the Euskalduna.

Six grandes trampoline visit the new season: Daniel Oren, Giacomo Sagripanti, jordi benacer, Oliver Diaz, Pedro Halffter Y Francesco Ivan Ciampa to lead the Bilbao Symphony Orchestra and the Basque National Orchestra, that next to opera choir Bilbao, expand their repertoire by reinforcing the artistic prestige of collaborators ABAO stables.

Debut 9 singers along with important and outstanding interpreters who triumph in the world's leading opera houses.

ABAO Small offers 4 shows for different ages. Three of them will have school sessions revalidating the ABAO's commitment to training and the children and youth.

three premieres in the ABAO Txiki season: Story of a seed, Hansel & Gretel e From the sea.

He educational and training program offers a multitude of free activities in distinct programs from performance what include charlas pedagogical, workshops, colloquia Y cycles from conferences for collective from different ages Y origins.

Continues successfully Gazteam program with economic activities and incentives for the minor 25 Y 30 years.

The program “Opera and +” at Cruces University Hospital consolidate its activity with activities both inside and outside the Hospital, for patients, relatives and healthcare professionals from Nephrology units, Day hospital, Digestive, Pediatrics and Neonatology. The program has the collaboration of the Foundation EDP, “la Caixa” Foundation Y Zabalgarbi.

71Th Opera Season
The new season includes five titles, more a great concert and is inspired by postulates of musical Romanticism, between the years 1810 and the first decade of the 20th century and the appearance of truth. The operas and the artistic proposals highlight the quality of the expression of intimate and personal feelings and emotions in an imaginative style, romantic and full of musical chromatism.

five composers: Verdi, Bellini, Donizetti, Mozart Y Puccini bring to the Bilbao scene well-known titles from the Italian repertoire such as Tosca, Così fan tutte e The Troubadour, and others less frequent as I puritani Y Anna boleyn. He Concierto Tutto Verdi presents some of the composer's best-known passages with pieces by
Macbeth, The Troubadour, Don Carlos, A masked ball, Aida Y Nabucco, and an unpublished piece in ABAO: he Anthem of the Nations.

A new season in which nine singers and two stage directors make their debut And six great batons will be at the head of the Bilbao Symphony Orchestra and the Basque National Orchestra. He Bilbao Opera Choir, directed by Boris Dujin, deals with the choral part of the season.

Showing off its well-deserved fame as an institution of great voices, ABAO brings together some of the plus requested in the main theaters of the world as: Jessica Pratt, Xabier Anduaga, Silvia Tro Santafe, Marko Mimica, Vanessa Goikoetxea, Oksana Diving, Roberto Aronica, Mikeldi Atxalandabaso, Anna Pirozzi, Ekaterina Semenchuk O Celso Albelo, between others.

The BBVA Foundation whose distinguishing feature is the impulse to scientific knowledge and the cultural creation, collaborates with ABAO Bilbao Opera as main sponsor of the season.

Eleonora Buratto

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

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

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

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

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

Christmas with La bohème

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photography © Javier del Real | Teatro Real

Madama Butterfly Les Arts

He Palau de les Arts premiere this next 10 December 'Madame Butterfly', from Puccini, with musical direction by Antonino Fogliani and Marina Rebeka as the protagonist.

The artistic director of the Arts, Jesus Iglesias Noriega, presented today at a press conference this montage with which "the one who, possibly, be the composer most appreciated by the Valencian public, Giacomo Puccini". during the presentation, Iglesias Noriega has been accompanied by the musical director of the opera, Antonino Fogliani; stage director, Emilio López; the soprano Marina Rebeka; and the tenor Piero Pretti.

“As part of our search for new styles and repertoires, as I explained at the time, public sensitivities cannot be ignored. Puccini, so the figures indicate, he is the favorite composer of the Les Arts stalls. And within his repertoire, 'Madama Butterfly' stands out for being one of the reference works of verismo, in addition to the richness of his score or the exoticism of his music”, Iglesias explained Noriega.

“For the Arts, It also supposes musically the presentation in the pit of one of the most outstanding names of the new generation of Italian batons., Antonino Fogliani, as well as the debut of one of the great sopranos of the moment, Marina Rebeka, in the leading role, It noted.

Featured Performers, including some of the most important national singers, accompany the Latvian diva on stage: the tenor Piero Pretti (Pinkerton), the Valencian mezzo-soprano Cristina Faus, the Catalan baritone Àngel Òdena (Sharpless), Asturian tenor Jorge Rodríguez-Norton (Goro) and the Buenos Aires bass-baritone Ferando Radó (Uncle Bonzo). further, Italian soprano Maria Teresa Leva will sing the role of Cio-Cio-San on the day 17 from December.

Antonino Fogliani, main guest conductor of the Deutsche Oper am Rhein and a good connoisseur of the Italian repertoire, considers that, beyond the oriental elements, “what Puccini was interested in was showing a very strong woman. We do not know to what extent Cio-Cio-San was really in love or if she wanted to escape through that relationship from the chains that the family imposed on her., the religion, suffocating culture.

Les Arts recovers its own production of the opera, with stage direction by Emilio López, carried out together with professionals from the Les Arts technical team: Manuel Zuriaga (scenography), Antonio Castro (lighting) and Michael Bosch (video creation), junto with the Italian fashion designer Giusi Giustino.

As explained by Emilio López: “To make ‘Madama Butterfly’ I worked, especially, in the character and psychology of Cio-Cio-San, whom I have always seen as 'a broken doll', which is under enormous internal destruction. I have wanted to capture this inner destruction in the staging of the montage and, historically, in the warlike atmosphere of World War II, between 1941 Y 1945, from the US blockade to the end of the war”.

"The character of Pinkerton adds López- It is inspired by the pilot who dropped the bombs on Hiroshima and Nagasaki, Charles Sweeney, what had 25 years then. An unconscious boy who was never able to see the consequences of his actions. A coward".

Marina Rebeka returns to Les Arts to debut in the role of Cio-cio-san. The Latvian soprano, one of the great interpreters of 'La traviata', role he sang in Valencia in 2017, assumes one of the challenges of her career as she explains: “not only in the musical plane, by vocal length and duration, but also dramatic because of the psychological and cultural complexity involved in the role of Cio-cio-san”.

The Baltic artist considers the 'geisha' as a woman who wants to deceive herself and tries not to see reality until she is abruptly confronted with her and then sees no honorable way out but to take her own life.. In this sense, Marina Rebeka points out that "one of her greatest challenges has been studying Japanese culture to approach it with the greatest rigor and respect".

Piero Pretti plays the role of Pinkerton, role with which he sings for the first time in Valencia. The Italian tenor is one of the indisputable values ​​of the Italian repertoire, regularly invited by the most renowned theaters: London, Paris, Milan, Berlin, etc.

In addition to its premiere on the day 10 from December, 'Madama Butterfly' will also be performed on 13, 16, 17, 19 Y 22 from December.

Les Arts informs that the performance of the day 19 will be broadcast in streaming from OperaVision, sponsored by Opera Europe, that gathers 30 opera companies 18 countries of the continent.

Piero Pretti

The famous Italian tenor Piero Pretti will be Pinkerton in the production of Madama Butterfly of the Palace of the Arts, with musical direction Antonino Fogliani and staging of Emilio López. Pretti, who will sing the days 10, 13, 16, 17, 19 Y 22 from December, will make his debut in Valencia as Benjamin Franklin Pinkerton, the American naval officer who has already performed with great success at the Metropolitan Opera in New York, la Bavarian State Opera de Munich, la Vienna State Opera, la Zurich Opera House, Paris National Opera, la German Opera de Berlín, or the Teatro di San Carlo in Naples, among others.

"Puccini requires a deep knowledge of the score and a clear understanding of its musical language, which is different from Verdi's as it is naturally also from other composers. further, a number of technical details must be taken into account when singing a Puccinian role because the breath changes due to bound, and also the accents and stolen”, Pretti points out, whose extensive repertoire ranges from belcanto (The pirate, Lucia of Lammermoor) al Verismo (Cavalleria Rusticana), with special attention to Verdi (A masked ball, La Traviata, The Troubadour, Rigoletto, Don Carlo).

Born in Sardinia, Piero Pretti is a regular guest at major opera houses such as La Scala in Milan, La Fenice in Venice, the Bavarian State Opera, the Vienna State Opera, the Teatro dell’Opera in Rome, the Liceu, the Teatro Real in Madrid, the Verona Arena or the Royal Opera House in London, and has collaborated among other internationally renowned directors, with Riccardo Muti, Gianandrea Noseda, Roberto Abbado or Myung-Whun Chung. Its immediate commitments include The Sicilian Vespers in Verdi, in the new production with direction by Emma Dante who will inaugurate the season of the Teatro Massimo de Palermo, and in a new production by Olivier Py that can be seen at the Deutsche Oper in Berlin; Besides, sing Rigoletto in a new production by Mario Martone for La Scala in Milan.

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Tosca at the Royal Theater

Between 4 and the 24 of July They will be offered 16 functions Tosca, with free broadcasts in different formats YouTube channels, MyOperaPlayer, The 2 TVE, RNE Classic Radio and outdoor screens in Plaza de Oriente and Plaza de Isabel II, that will carry the popular title of Puccini to all corners, celebrating the end of an intense and very special operatic program, since Real has been the only lyrical theater in the world to present a season 2020-2021.

Nicola Luisotti has played an important role during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement, inaugurating this season last September with A masked ball and stimulating, with your dedication, trust and dedication, to the artists, workers and Choir Y Titulares Orchestra of the Royal Theater during these uncertain times.

With Tosca, Luisotti He will direct his ninth opera at the Royal Theater, this time leading three deals with four Cavaradossi, working together with Paco Azorín, which has renewed for Real the production created in 2014 for the Liceu of Barcelona and the Maestranza of Seville.

Conceived as a thriller film, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, Azorín leads the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

Paco Azorín, who began his career as a set designer at the Real have seen his sets for the operas The prisoner Y Suor Angelica (with the direction of Lluís Pasqual) and for the ballets 2 you Maestro, The love wizard Y Electra­, also assumes the stage direction in this production, adapting the guidelines of the acting performance to the idiosyncrasy of each singer.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like the incorporation of an actress who symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

The opera, co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville premiered in 2014, will star three casts led by the sopranos Sondra Radvanovsky, Maria Agresta Y Anna Netrebko; tenors Joseph Calleja, Michael Fabiano, Yusif Eyvazov Y Jonas Kaufmann; and baritones Carlos Alvarez, Gevorg Hakobyan Y Luca Salsi.

Sondra Radvanovsky, who already played Tosca in 2011, will return to Real with this role, after embodying Amelia in A masked ball at the opening of this season. The soprano also returns Maria Agresta, who starred Rule (2016), The Troubadour (2019) Y Don Carlo (2019). Anna Netrebko will perform his second opera at the Real, after your participation in War and peace, Sergey Prokofiev, in 2001.

American tenor Joseph Calleja debuts at the Teatro Real, Michael Fabiano assumes a new starring role after his participation in Cyrano de Bergerac (2012), I due Foscari (2016), Giovanna D'Arco (2019), La traviata (2020) Y A masked ball (2020), Y Yusif Eyvazov will perform an opera for the first time at the Madrid Coliseum, after having participated in a concert next to Anna Netrebko in 2019. Finally, Jonas Kaufmann, who acted in a role of La clemenza di Tito in 2009, will now play Cavaradossi in two roles.

Scarpia's role will be defended by Carlos Alvarez that completely changes registration after his recent triumph in Long live the mother­, Gevorg Hakobyan, debuting at Real, Y Luca Salsi, who appeared in Rigoletto (2015) Y Don Carlo (2019).

After the reopening of the Real, they have offered 32 functions Tosca in the seasons 2003-2004 Y 2010-2011, all with scene direction of Nuria Espert. This popular operatic title returns with a new focus, born from the musical and dramatic richness of this frenetic masterpiece by Puccini.

Photography © Antoni Bofill

Adriana González

The next 18 of June, four years after her acclaimed debut as Corinna (The trip to Reims, Rossini), soprano Adriana González returns to the stage Gran Teatre del Liceu as the female lead of La boheme Puccini, in a production that bears the stage signature of Álex Ollé, directed by Giampaolo Bisanti. further, will also sing the functions of the days 22 Y 27 of June, Y 1 of July. Bachelor of Music in Guatemala, Adriana González took her first steps as a singer in Europe as a member of l’Atelier Lyrique de l’Opéra national de Paris, where for his outstanding development he received the Prix Lyrique du Cercle Carpeaux, making his first debuts at the Opéra Bastille and the Opera Garnier, before joining the International Opera Studio of the Zurich Opera.

Awarded with numerous international awards such as the Otto Edelmann Singing Competition in Vienna, the Veronica Dunne International Singing Competition of Ireland, or the International Singing Competition "Francisco Viñas", among many others, soprano Adriana González rose to fame as the winner of the First Prize and Zarzuela Prize of the Operalia Contest 2019.

In 2019, signed a contract with the record label Audax Records, with which he recorded an album dedicated to melodies by Robert Dussaut (1896-1969) and his wife Hélène Covatti (1910-2005), with the pianist and conductor Iñaki Encina Oyón, and next October his second album will be released, with the integral of the songs of Isaac Albéniz.

His upcoming engagements include a concert at the Festival Radio France Occitanie Montpellier., with the Orchester Philharmonique de Radio France conducted by Santtu-Matias Rouvali, Mimi (Bohemian) in Tokyo and Juliette (Romeo and Juliet) in the Houston Grand Opera, under the baton of Speranza Scapucci.

Photograph (c) Aline Kundig

Adriana González

Piotr Beczala

He Teatro Real will close its cycle of Las Voces del Real with the concert starring the tenor Piotr Beczala, undoubtedly one of the great stars of the world of current lyric, which will take place next Saturday, 1 of May, to 19.30 hours, and in which it will be accompanied by the Head of the Royal Theatre Orchestra under the direction of Łucasz Borowicz.

His care in choosing the repertoire, his vocal flexibility, his mastery of the technique and the color of his voice have made him the great desired by the most important theaters in the world, through which he passes with unusual simplicity and warm treatment.

For your appointment at Madrid, Beczala has had a significant presence of composers from Poland in the program, your country of origin. Authors less known to the general public such as Stanislaw Moniuszko, father of polish opera; Władysław Żeleński, the great representative of neo-romanticism in his country, or the laureate Feliks Nowowiejski, to name a few.

Will not be missing, but nevertheless, arias from operas like Turandot, from Puccini, O Cavalleria rusticana, from Pietro Mascagni, Y Andrea Chenier, from Umberto Giordano, authors with whom the tenor enters the verista territory on the path of natural evolution of his voice, without losing the domain and brilliance of its extensive registry, but now giving it more dramatic expressiveness, as shown in the album recorded last year in which he already makes the roles that are to come his own..

Born in Warsaw, Łucasz Borowicz He has been principal conductor of the Polish Radio Symphony Orchestra between 2007 Y 2015, ensemble with which he made his debut as an opera director with Don Giovanni and has been principal guest conductor of the Poznań Philharmonic 2006.

Pictures of © Javier del Real / Teatro Real

ABAO Bilbao Opera program for the first time in its history La Fanciulla del West, more colorful opera, harmonious and subtle Puccini. The following days 15, 18, 21 Y 24 February, with the exclusive sponsorship BBVA Foundation, up on stage this title that tells the romantic and poetic story of 'Minnie' in the Wild West. A cruel and lawless world that is described musically and brilliantly captured in scene with great showmanship.

An essential event six reasons not to be missed:

  1. Is the most original opera by Puccini and its most innovative and symphonic score with a major role in the orchestra.
  2. Narra a different story, set in a space, a place and a time unusual lyric.
  3. It is a choral work, with 17 characters and over 197 people on stage between artists, coaching staff and creative team. A show round a theatrical and musical experience that traps the viewer from the outset.
  4. A spectacular production with three scenarios differentiated bringing together all elements of the hard and poetic realism of the narrative of the Old West. Dirty mine atmosphere, the sleazy atmosphere of the Saloon 'La Polka' and poverty Shack 'Minnie', unfold the dramatic space where they mix love, action and hopelessness.
  5. An aesthetic that evokes the great musical de Broadway, but with the addition of the extraordinary quality of production and performance of an opera extravaganza.
  6. In 2020 This title is only scheduled seven theaters in the world: Bilbao, Munich, Seoul, Orlando, Taillín, St. Petersburg and Stockholm. To enjoy the beauty of this opera here, It is a unique opportunity.

The opera: a real treasure of the Italian composer

This dramatic opera intense pulse, whose bright and new score and announces what will be the extreme originality it tabarro Y Turandot, is one of the the Pucciniano jewelry catalog.

After a series of female characters destined for sacrifice as 'Manon', 'Mimi', ‘Tosca’, 'Cio-Cio-San', with 'Minnie', the only woman in a world of rough men, bandits and mining, Puccini finds a new model of femininity: brave heroine, a warrior strong but at the same time passionate and determined to defend their happiness at all costs.

Amid the love story that frames the main theme, redeems the male lead, saves his life and clean their sins, Opera also narrates an episode highlights of the season: the epic of the conquest of the West and the hope of fortune gold diggers.

The voices: 17 great voices put action and excitement to the story of love and fortune

Ukrainian soprano Oksana Diving, a female singer with commitments enshrined in the main arenas of the world, Abao for playing debut in 'Minnie', a demanding role in a difficult and fraught with difficulties harmonic acute tessitura powerful posed a great challenge to acting and vocal level. the tenor Marco Berti, a voice large, Powerful acute area and good squillo, in the role of the villain 'Dick Johnson', and baritone Claudio Sgura as Sheriff Jack Rance 'close on the trio. Complete the wide distribution of 16 tenor singers Francisco Vas as 'Nick', baritone Esteve Manel as 'Sound', the bass Paul Battaglia as 'Ashby', the tenor Manuel de Diego Pardo as 'Trin', baritone Isaac Galan as 'Sid', the baritone also Carlos Daza as 'Bello', tenors Jorge Rodríguez-Norton Y Gerardo López as 'Harry' and 'Joe' respectively, baritone Jose Manuel Diaz as 'Happy', bass-baritone Fernando Latorre as 'Larkens', the bass Cristian Diaz as 'José Castro' and 'Billy Jackrabbit', mezzosoprano hope Mentxaka as 'Wowkle', the bass David Lagares as 'Jake Wallace' and Santiago Ibañez como 'Postiglione'.

Musical direction: Josep Caballé Domenech al frente de la Symphony

In the pit the incumbent director of the Colorado Springs Philharmonic Orchestra and Music Director of the Orchestra of the Moritzburg Festival, Josep Caballé Domenech. The teacher returns to the Bilbao opera season following his successful management of Roberto Devereux in 2015, to the front of the Symphony directing a score refined and cultured in which the influence can be seen in the work of Claude Debussy and Richard Strauss, whose orchestration, the largest ever used Puccini, It is as powerful as subtle, either conjuring a tremendous snow storm, a game of poker tense or drops of blood flowing. "It's a very original work, full symphonic power, with a much more thorough and detailed orchestration other operas of the composer ", Caballé Domenech says.

Completing this paragraph and impersonating the chorus of miners, whose homesickness is a dramatic important thread running through the whole opera, he Bilbao Opera Choir, directed by Boris Dujin.

Moments summit La Fanciulla del West

Among the most important pieces of this title are the aria "Let her believe me free and far away " and the love duet "Dolce live so, cosi die ". Another of the most intense moments of this work is the card game Minnie says Sheriff Jack Rance with: "A lot póker ... are you ready", or the extraordinary duet "You restar hour, due, or more”.

The staging: New coproduction of ABAO premiere nationwide

On stage a new co-production of ABAO Bilbao Opera and the Teatro San Carlo di Napoli, That debuts first in Spain, conceived by one of the great stage directors of the moment Hugo de Ana, also in charge of scenery and costumes.

Based on a clean narrative, light and easy to intuit by the viewer, and a cinematic style inspired by the classic westerns of John Ford or Sergio Leone, Hugo de Ana presents a fresh view on the great adventure of colonization, love and eternal struggle for the pursuit of happiness and fortune.

The action takes place in a camp of prospectors in the high mountains of Sierra Madre, California, where nothing is missing: the old mine with its large mill, rails and trolleys, the Saloon 'La Polka' and its environment tahúres, cards and Alcohol, and the humble home of 'Minnie' where he hides his beloved. All I care to detail in overproduction which brings together more than 197 people between artists, technical and creative.

A show at the reach of all

Enjoy this opera and be seduced by the grandeur of the work of Giacomo Puccini it was never easier. A wide range of prices in the localities. A) Yes, those under 35 years have inputs from 37 € and from 36 years, there are many options from 56 €.

further, the program Gazteam ABAO offers young people the chance to enjoy opera, in any function and location with a flat rate of 25 € up 25 years and 30 € between 26 Y 30 years. The program is completed with many other activities to enjoy in community.

ABC opera cycle: Ruben Amon discover La Fanciulla of the West

The cycle "The ABC of the opera" that ABAO Bilbao Opera organizes the Fine Arts Museum, It allows you to discover for free the most important aspects of each title of the season, in a lecture prior to the premiere.

He Friday 14 February known journalist and writer Rubén Amón, will be in charge of revealing details La Fanciulla del West and work of Puccini.

Ruben Ammon usually involved in different radio and audiovisual media, as Wave Zero, Antena3 and La Sexta. He has published several books on different themes such as research Secrets of the Prado (Today's Posts 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012) O the triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums.

BBVA Foundation: boost scientific and cultural knowledge

The BBVA Foundation, whose distinguishing feature is the impulse to both scientific knowledge and cultural, Music articulates its program as a complete tour of the various ways in which society can benefit and enjoy this art. A) Yes, It promotes the creation of new work with composition commissions and enables preservation and dissemination through recordings in collaboration with seals and interpreters frontline.

Promotes live music through concert cycles, for free, put within reach of ensembles and soloists public reference in the contemporary repertoire. Organizes lectures and issues publications to better understand the work of certain authors or immerse themselves in the study of certain compositional periods and implements research projects and highly innovative creation with Leonardo Grants in Music and Opera.

Organizes specialized symposiums on management of orchestras, collaborates with musicals and theaters around the country and recognizes excellence through the Frontiers of Knowledge Award in Music and Opera and Composition Prize formations AEOS-BBVA Foundation, in collaboration with the Spanish Association of Symphony Orchestras.

Representations La Fanciulla del West They are sponsored exclusively by the BBVA Foundation, ABAO sponsor of Bilbao Opera, It is contributing in this way to promote the operatic culture and lead to the public performances of the highest quality.

Photograph: E. Moreno Esquibel

The groundbreaking production directed by Franc Aleu season opens 20 anniversary with the same title that was represented before the fire and reopened the Teatre in 1999.

An excellent cast will play Puccini's unfinished opera: Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The teacher Josep Pons directed the opera "delicate, rich and beautiful " which will have an Orchestra 95 musicians and a choir also 95 voices.

The new production is full of visual metaphors and makes use of the latest technologies: moving scenery Carles Berga, cobots collaborative -robots- Universal Robots and costumes LED lights Chu Uroz.

The Liceu also debuts new front under the 20 anniversary, It is including intervention on the clock, Wagnerian lighting and windows.

He 7 October 1999 the Gran Teatre del Liceu reopened its doors after the fateful fire with Turandot directed by Núria Espert. Exactly twenty years later, the Teatre again open season with Puccini's unfinished opera, production and high tech, futuristic and poetic Franc Aleu and the musical direction Josep Pons. A world premiere that will bring together of the 7 al 25 October some of the best voices of the moment, led by Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The genius of Franc Aleu born this spectacular proposal 'high-tech' full of visual metaphors and uses the latest technologies to flood the scene of colors, textures and videocreaciones: cobots (Collaborative robots Universal Robots), 3D technology, cutting-edge audiovisual…

A great pyramid chairs the stage space emulating the throne of the emperor and home Turandot. An impressive structure rotating six blocks scales and crowned by two robotic arms used to create an allegory of power and of contemporary society in its most morbid obsessions: intrusion into the private lives of others, the spectacle of lynching and fascination with the mechanisms of social control… "A world created to trap us like flies and creating us an irresistible addiction", ensures Aleu.

The three acts share the same scenery, but it is changing in every scene, "As one change in a video game screen", ensures Aleu. A virtual world that has been possible thanks to a luxury team made up of Susana Gómez, co-director of scene, the scenic space of Carles Berga, the changing room full of technological details such as led lights controlled by wifi from Chu Uroz and the complex lighting system of Marco Filibeck.

The last opera composed by Puccini and, in fact, He left unfinished, It will be one of the challenges of the season Symphony Orchestra and Chorus of the Liceu, which for this occasion will feature 95 members in each training. In front, Josep Pons will face this opera (with the end that created Franco Alfano) calling them "delicate, rich and beautiful "and is full of great musical moments like Turandot starring in the second act with its most demanding and powerful aria" In questa Reggia ", a real roller coaster difficult to sustain acute or end Liù cries before taking his own life in the third act with "Tu che di gel sei tape". But surely the climax is probably the most famous aria in the world, the "Nessun dorma" from Calaf in the act tecer.

Photograph: Catherine Barjau

Celso Albelo continues to expand its repertoire to include the title role in the exhumation of a Baroque opera is recorded in Rome and his first character Puccini: the emblematic Rodolfo de Bohemian.

During the first week of September the Canarian singer is in Rome making the first recording of the opera Aeneas in Caonia by the baroque composer Johann Adolf Hasse, an unknown jewel of the German author who returns to life after 300 years of oblivion in the first recording that takes place at the historic Teatro di Villa Torlonia. La recién created by Enea Barock Orchestra que lidera la alto Francesca Ascioti junto to Alessio Arzilli and the musicólogo Giovanni Andrea Sechi, is directed by Stefano Montanari. For Albelo this first foray into the baroque style “It is an opportunity to apply my traditional bel canto line to a way of singing in which I find myself very comfortable. Really having started in the lyrical genre singing bel canto romantico helps me sink these challenges in which it is necessary to apply a phrasing loaded with dramatic sense that joins the virtuosity of the style ". With the Spanish tenor leading the cast as Niso, they also participate in the Carmela Remigio project, Paola Valentina Montanari and Raffaella Lupinacci. The album will be presented at 2020 with a concert tour that will begin in Rome and will stop in various European cities.

Celso Albelo will also be, one more year, in the Lyric Program of A Coruña, In which he has been acting for more than ten years for the Association of Friends of the Opera of that Galician city, entity of which he is an Honorary Member. He 8 September will inaugurate the cycle 2019 at the Teatro Colón with a Latin American music program, opera and zarzuela in recital accompanied by Juan Francisco Parra.

Already entered the month of october, the Canarian singer will take a new fundamental step in his career by incorporating his first puccinian character, none other than Rodolfo from Bohemian. "For every singer of my string this is an emblematic role and, in my case, Besides, it is a dream come true, of a goal that I have been pursuing for a long time and that comes at the right time. The character is endearing, much like the popular story of the bohemians, with extraordinary music born from one of the great geniuses of musical theater of all time. It is true that the Puccinian orchestra is much denser than the bel canto, but I've been preparing for months to face it in the best way. The truth is that I am delighted ", says the singer, who will debut the role at the Royal Opera House in Muscat, in the Sultanate of Oman. This time, Giuseppe Finzi will lead the Opéra de Monte-Carlo Choir and the Orchester Philharmonique del principality in a production by Jean-Louis Grinda, with the soprano Irina Lungu as Mimì.

Photo: Celso Albelo © Joan TOMÀS / Fidelio Artist

www.celsoalbelo.com

José Miguel Pérez-Sierra

After achieving unprecedented success in Marseille directing Rossini's opera La donna Lake, Spanish director José Miguel Pérez-Sierra will return another year to Opéra-Théâtre de Metz (France) Pucciniano to direct its eighth title: Tosca. effectively, Madrid teacher assumes the tragedy of the singer-actress Floria Tosca and her lover, Mario Cavaradossi painter, after adding to his repertoire of Puccini operas Madama Butterfly, Turandot, Bohemian, Il Trittico -integrado por The tabard, Gianni Schicchi y Sr y Angelica- Manon Lescaut, Missing only four plays to complete the catalog of the Italian composer (La Fanciulla del West, La Rondine and rarely scheduled Edgar and Le Villi).

At her first Tosca Pérez-Sierra does not hide his enthusiasm: "This is one of the iconic works not only of the work of Puccini, but also of the entire operatic repertoire ". Functions will be three days 1, 3 Y 5 February in signing a new production stage manager Paul-Émile Fourny, artistic director of the French coliseum. Among other commitments they are targeted on the agenda of José Miguel Pérez-Sierra la zarzuela The barberillo of Lavapies in Madrid, Carmen in Metz and L'italiana in Algeri at the Opera National de Chile.

Photo: José Miguel Pérez-Sierra © Pedro Aijón

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Turandor, Giacomo Puccini look and shadows (1858-1924) lyrical drama in three acts Libretto by Giuseppe Adami and Renato Simoni, based on the homonymous fable Carlo Gozzi D. musical: Nicola Luisotti D. scene and lighting: Robert Wilson Figurinista: Jacques Reynaud makeup and hair: Manu Halligan Videocreador: Tom Jeziorski Dramaturgo: José Enrique D Macián. choir: Andres Maspero D. children's choir: Ana González Cast: Oksana Diving, Raúl Giménez, Giorgi Kirof, Roberto Aronica, Miren Urbieta-Vega, Joan Martin Royo, Stephen Vincent, Juan Antonio Sanabria, Gerardo Bullón Choir and Orchestra of the Teatro Real holders November 1924, Puccini moves to Brussels, Dr. Ledoux is the only one who can deal successfully with throat cancer that has been diagnosed. It carries with it part of the score of Turandot, It aims to finish the final duet and on his return to finish what would be his last opera. Death is surprised at the 29 November and plans and the end of Turandot remain unfinished. Turandot is an opera that does not follow the same coordinates of the works written so far by Puccini. It contains too many unknowns, part of his unfinished final duet. To answer some of these questions, we must go back a 15 years ago… In 1909, Doria Manfredi is a young 24 years working at home Puccini. Elvira, woman teacher, Doria accused of having tried to seduce her husband and says haberles discovered together. Gossip and shame of the family lead to suicide young Doria. After 5 days of suffering and excruciating pain that had given him the poison he had taken, Doria Manfredi dies. The report reveals that death had Doria died a virgin. It is shown that the accusations were false Elvira, even to be arrested during police investigation for incitement to suicide. But Puccini pay a large sum of money to the Manfredi family and accusations do not go beyond. During the 15 following years, Puccini suffers from this event stormily, as it reflected in many of his letters in which he claims not to endure the death of this innocent. When Puccini knows the extent of his illness is when you decide to change the fate of Liu. The last verses of Kalaf and Timur connection with the suicide of Liu, They are the justification of the composer, Apologies throwing the world in his name and on his wife for the suicide who feels guilty. This was a public apology for an event that marked the life of Puccini and lamented just before his death. He 25 April 1926 Turandot premieres at the Teatro alla Scalla Milan with the final written by Franco Alfano, following the directions Puccini had left written. 20 years after its premiere, returns the fantastic tale of Turandot at Teatro Real. Robert Wilson is in charge of dressing, or not, this story and fill, or not, magic and fantastic element. Robert Wilson says that when you are creating a stage you're wondering what you should not do, for, precisely, do what. He considers that the corpus of the work of an artist is always the same and this must be recognized throughout his career. And Wilson's work is always perfectly recognizable. In some productions with more success than others, but is always Bob Wilson. This has Turandot will be more or less empty, escenográficamente talking, Naked scenic elements but with its distinctive and exquisite lighting holding, sometimes almost exclusively, stage drama. Another important element is Wilson scenery no movement. Nor the characters look or touch at any time and just take small steps and mechanical. Leaving orphan of passion and romanticism of some key scenes, as suicide Liu, It is passing almost unnoticed. But all these absences also produce other sensations. Statism of the characters on the extraordinary lighting Wilson, create a truly magical atmosphere, full of shadows that seem drawn and draw you into the story by projecting full attention on music. Figurines designed by Jacques Reynaud provided, the absence of expression in the characters, dramaturgy and theatricality of the work. The overall result is an extreme sophistication, both characters, as scenery, allowing, as he wants Wilson, you have large spaces, apparently empty, for the viewer to recreate their own story. Nicola Luisotti get superb performance of the Orchestra and Choir, which it plays a key role in this work and exercises with great success. Luisotti extracted from the entire orchestral score wealth and manages to recreate the oriental exoticism imagined by Puccini. Your adress, always elegant, It is full of details and colorful, especially in the treatment of ropes. Music fills the spaces that appear widowers scenic drama and puts the sentiment reflected by the composer in the score. Princess Turandot Ukrainian Oksana Dyka is quite gritona, with suspenders sharp voice and a color somewhat yellowish. Large volume of voice, as required character to not be swallowed up by the orchestra. Manages to convey the hieratic attitude and full cruelty of the protagonist, despite not move a hair. The Calaf Roberto Aronica was worthy, without further ado. He also was a bit loud and indelicate and romance. He had to choose between volume or shade and chose the first. he did not favor neither statism nor his character's wardrobe. Giorgi Kirof Timur offered a somewhat loose and dully. Something better was the Emperor Altoum Raul Gimenez, which was believable in his character and not to despise the merit sing about 10 meters high. The most applauded of the evening was the soprano donostiarra Miren Urbieta-Vega as Liu. He filled his character with a passion and feeling powerful voice, good phrasing and abundant fiato. Too bad her wardrobe also favored him. Ministers Ping Pang and Pong, given his character and almost grotesque bufo, were the only characters moving about the stage and almost compulsive exaggeratedly, If we consider that the rest did not move or eyebrows. Well interpreted vocally and, especially, in theater by Joan Martin Royo, Vicenc Esteve and Juan Antonio Sanabria. Text: Paloma Sanz Photos: Javier del Real Videos: Teatro Real
Turandot

The Royal Theater offer, between days 30 November and 30 from December, 18 functions of a new production Turandot, from Giacomo Puccini, in co-production with Canadian Opera Company, he National Theater of Lithuania and the Houston Grand Opera, which opens in Madrid before joining the other theaters.

Turandot, which he was presented at the First season the Teatro Real reinaugurado ─con musical direction of Wladimir Jurowski and scenic Jeremy Sutcliffe; y con Jane Eagle, Vladimir Galouzine and Veronica Villaroel in principales─ papers, returns, 20 years later, with stage direction, scenery and lighting Bob Wilson, whose very personal theatrical universe gives opera a sound universe adjusted spectral aura of the score, evoking an ancient world of oriental reminiscences, far from realistic approximation of the previous operas Puccini: Manon Lescaut, Bohemian, Tosca, Madama Butterfly, La Fanciulla del West, The swallow, The triptych, etc.

Charismatic visual and dramaturgical language Wilson, backlit silhouettes, masks and almost ritual movements, It is the ideal place to tell the legend of Princess bloodroot China, Framed in its theatrical space 'natural', which connects directly with the millenary Shadow Theather oriental.

The characters thus become legendary and hieratic archetypes, light and subtle palette Wilson is recreated with Puccini's orchestral colors and poetic synesthesia ranging from the icy tones of ruthless protagonist warm tones of the gathering of Liù, whose death, in the score, coincides with the composer himself, leaving the unfinished work.

Giacomo Puccini He died in Brussels 1924, when it subjected to a treatment of throat cancer suffering. It was then at a crossroads to complete the third act of Turandot, with a surprising happy ending in which love triumphs over the perfidy. his disciple, Franco Alfano, He was commissioned to complete the score based on the sketches and notes left by his teacher and under the watchful supervision Arturo Toscanini, who led the posthumous premiere of the opera at La Scala in Milan, in 1926, in a famous representation in which the Italian director abruptly cut --after interpretation of slowly Toning choir after the death of Liù─ and addressed the audience saying: ‘Which he finished Maestro’ (Here ended the teacher). In successive functions it has been used the end of Alfano, which it is which is normally used since, although Luciano Berio He wrote another version released 2002 in Salzburg.

In Turandot Giacomo Puccini takes a huge leap forward in his compositional writing: It moves away from realism and its great Manichaeism of emotions and explores a new dramaturgical universe with his eximia apertrechado art of orchestrating, his eclecticism and his portentous theatrical flair. Epigrammatic opera intertwines with an impressive dramaturgical reasons effectiveness, giving the chorus an unknown dramatic importance in previous operas. Explore universes bold harmonic and dissonant bitonal passages articulated with its proverbial melodismo, opening a flourishing road truncated by his sudden death.

Two distributions alternate in the interpretation of the 18 functions Turandot, they bring to Real, once again, a Nicola Luisotti, associate musical director, whose relationship with the theater began ago 10 years The Troubadour, and we have seen in recent seasons Rigoletto Y Aida. After his triumphs with Verdi, Luisotti will again be put in front of Headlines Choir and Orchestra of the Teatro Real ─ and also the Little Singers of ORCAM─ to give life to the great score of Puccini.

Leading the casts of Turandot two sopranos debuting at the Royal Theater: Swedish Irene Theorin and Ukrainian Oksana Diving, both acclaimed interpreters of the title role of the opera. They will be seconded by the Spanish sopranos Yolanda Auyanet Y Miren Urbieta-Vega, Liu como; tenors Gregory customer, Roberto Aronica Y Jae-Hyoeung Kim ─ which will alternate in the role of Calaf─, and low Andrea Mastroni Y Giorgi Kirof, who played Timur.

Turandot dismisses the rich Italian operatic tradition, as phoenix, open new directions in the future of music dramaturgical, who took his first steps into the vast world of cinema, today, so close to the opera.

AGENDA | PARALLEL ACTIVITIES

22 of November, to 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Nicola Luisotti, associate musical director of the Royal Theater and Turandot, Bob Wilson, stage-manager, set and costume designer Opera, and Joan Matabosch, artistic director of the Teatro Real.

2 from December, to 12.00 hours | Teatro Real, Great room

Chamber Sundays: concert with works by Wolfgang Amadeus Mozart, Francis Poulenc, Leos Janacek, Russell Peck, Luis Fonseca and Consuelo Díez.

See Program

Soloists of the Titular Orchestra of the Teatro Real

2 from December, to 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre! The secret name: The tenor will not let us sleep guess the three riddles inspired by the opera Turandot.

Pancho Corujo the tenor and pianist Miguel Huertas

9 from December, to 11.00 hours | Teatro Real, Great room

Opera theater: projection Bohemian, Giacomo de Pucinni, Royal Theater production in co-production with the Royal Opera House in London and the Lyric Opera of Chicago, with musical direction of Paolo Carignani and staging of Richard Jones, Anita Hartig and Stephen Costello in the lead roles.

1 Y 15 from December, to 19.30 hours | Arab house, Madrid

Turandot and other secret names: storytelling show for adults, by Hector Urién, based on some of the most celebrated stories of Persian and Arabic storytelling tradition.

14 from December, to 20.00 hours | Lazaro Galdiano Museum

literary visit: literary evening dedicated to love, touring various rooms of the museum.

inscriptions info@museolazarogaldiano.es (Maximum 25 people)

14 from December, to 19.30 hours | Arab house, Córdoba

Turandot and other secret names: storytelling show for adults, by Hector Urién, based on some of the most celebrated stories of Persian and Arabic storytelling tradition.

Turandot

The Palau de les Arts will dedicate the functions of 'Turandot', Puccini, to the memory of the soprano Montserrat Caballé, who died last 6 October, as he announced by the president of the Board of the opera house, Susana Lloret, news conference.

"Les Arts wants and honor" La Superba ", who was a sublime interpreter of the role of Liù and excellent Turandot, besides protagonist of reference recordings of this title ", has added.

The arts center today hosted the presentation of ‘Turandot’, Puccini, main title of the preseason and fruit of the collaboration with Turisme de la Comunitat Valenciana, within the project "The silk road in music" developed by both institutions.

‘Turandot’ is, as recalled by Susana Lloret, a Valencian production that attracted to the Community the prestigious Chinese filmmaker Chen Kaige and, at the same time, was the Les Arts cover letter in China, when Canton, third city in the country, applied for the staging to open his new opera house.

For the fourth time, Puccini's latest opera hangs the “No Tickets” sign, but -as stressed by the president of the Board of Trustees- It is the first time that it can be seen with prices from 7 a 50 euros, Y, so, "Aimed at that new audience that we want to add to this great cultural space without this entailing any loss of artistic quality", has pointed.

The stable bodies of the Palau de les Arts, Cor de la Generalitat, and the Orchestra of the Valencian Community, together with Chen Kaige's award-winning montage join a significant roster of artists, that combines renowned performers with up-and-coming artists who have completed training at the Center Plácido Domingo ”.

The young British director Alpesh Chauhan debuts with the Orchestra of the Valencian Community. The owner of the Arturo Toscanini Philharmonic in Parma, that at a dizzying pace is revealing itself as one of the most promising batons, has conducted two concerts at the prestigious BBC Proms, as well as the London Symphony Orchestra in the main season of the London Barbican, or his own 'Turandot' in the Cagliari Opera House.

The stage work falls to Allex Aguilera, from Les Arts and a great connoisseur of the filmmaker's work, who has delegated to him for all his replenishments. Author of montages like ‘Opérame’, ‘Tristan und Isolde’ or ‘La Clemenza di Tito’, Aguilera also develops an important international career with 'Don Giovanni' in Trieste, ‘The clowns’ in Montecarlo ’, ‘Lucia di Lammermoor’ in Lima, and commitments in Palermo (‘The favorite’) and in Montecarlo ('Othello').

As explained by the ista regista ’, Kaige takes elements of traditional Chinese opera to pose a duality between the real and the unreal. Liu King's realistic scenery is inspired by the Forbidden City that hosted the imperial palace during the Ming and Qing dynasties, while Chen Tong Xun's wardrobe provides contrast with colorful and exaggerated elements to show that 'Turandot' is a character drama on a real stage.

Two acquaintances from the public of Les Arts lead the cast. American soprano Jennifer Wilson, unforgettable Brünnhilde in Wagner's ‘Tetralogy’ and also remembered for his forays into ‘Fidelio’ and ‘Tristan und Isolde’, Turandot stars, opera that already in 2014 recorded with Zubin Mehta and the Valencian Community Orchestra.

The Italian tenor Marco Berti is reunited with the Valencian public with the role of Calaf, who already sang with Zubin Mehta at the premiere of this montage in 2007 and a year later he repeated in Les Arts under the direction of Lorin Maazel. Recognized for its vocal quality and for its stage presence, Berti is considered one of the great interpreters of Verdi and Puccini.

Meanwhile, the Basque soprano Miren Urbieta-Vega plays the role of Liu, that earned him the revelation singer award at the Campoamor Theater Lyric Awards 2015. Artist of the Center of Perfection Plácido Domingo during the season 2010-2011 is one of the Spanish sopranos with the greatest projection.

Abraham Rosalen, who also trained at Les Arts during the course 2009-2010 of the Center of Perfection, encarna a Timur. The young bass develops an important career in Italy, where he already has jobs in Milan, Florence or Venice.

The cast of ‘Turandot is completed by two other outstanding tenors who have passed through the Center Plácido Domingo, Valentino Buzza and Pablo García López, together with the Valencian tenor Javier Agulló, Jaén baritone Damián del Castillo and César Méndez from the current promotion of artists that Plácido Domingo has selected for his Center.

further, for the day function 26, two emerging performers debut in Les Arts in the leading roles, Teresa Romano (Turandot) and Amadi Lagha (Calaf).

Total, Les Arts will offer six performances of 'Turandot' on days 17, 20, 23, 26, 28 Y 31 October. The seats are sold out, except 5 % which is reserved for sale the same day of each function.

Tosca

The Palace of Arts Premieres Sunday 6 of May ‘Tosca’, Puccini, in a plane production sequence Davide Livermore for the Theater Carlo Felice in Genoa, with musical direction Nicola Luisotti. The opera has broken box office records with sold out since last February.

the soprano Lianna Haroutounian (Tosca), the tenor Alfred Kim (Cavaradossi) and baritones Claudio Sgura Y Gevorg Hakobyan, alternating the role of Scarpia in the six functions, make the protagonist cast.

Nicola Luisotti, music director of the San Francisco Opera and the Teatro San Carlo in Naples, he meets with the Orquestra de la Comunitat Valenciana, which he has previously run in 'Mefistofele, Arrigo Boito, and Nabucco, in Verdi.

According to the teacher explains Viareggio, the success of Puccini and 'Tosca' lies "in the Puccini musical language has always been very close to the public, by writing, for their harmonies and melodies that uses ".

'Tosca' is one of the most famous works and represented repertoire. Lucca composer combines the tragic story of singer Floria Tosca and the painter Mario Cavaradossi, with the Baron Scarpia as the fatal political MEDIATOR, passion, revolution and jealous.

In their adaptation, Davide Livermore, who also designed the scenery and lighting show, reflects on the temporal power of the Church in a production set in the year 1800.

"The scenery creates a dynamic relationship with the public, as a large flat continuous sequence, with a swivel on which I have drawn my representation of the deformation of the temporal power of the Church. A large marble surface tilted dangerously, how dangerous is this triangle of passion, love and sex. "

"Thanks also to the wardrobe Gianluca Falaschi continues the turinés- régisseur be in the three places of this work of art: the church of Sant'Andrea della Valle, Palazzo Farnese and the roof of Castel Sant'Angelo Prison ".

Con un final inspirado en 'Wings of Desire (1987)’, Wim Wenders, Livermore explains the references to the language of cinema by the film nature of the opera itself, confirming Puccini as "master of suspense".

Lianna Haroutounian debut in The Arts of Floria Tosca con el papel. Criticism has risen to the Armenian diva among the most promising Verdian sopranos of her generation. "For me, Tosca, he explains in his life decides everything: When love and time of his death ".

Alfred Kim embodies Mario Cavaradossi. Korean tenor is presented for the first time in Valencia this role he has sung in Rome, Frankfurt, Barcelona and Seoul, It has work for Covent Garden in London, the Vienna Staatsoper and the Deutsche Oper Berlin.

Baritones Claudio Sgura (6, 12, 18) y Gevorg Hakobyan (9, 15, 21), alternating the role of Scarpia in six performances scheduled, close the protagonist cast.

The cast is completed with the voices of Alejandro López (Cesare Angelotti), Moses Marin (Quill), César Méndez (Sciarrone), Alfonso Antoniozzi (Sacristan), Andrea Pellegrini (Jailer) and Alejandro Navarro (Pastorello), together with the Choir School Boards Have Quart de Poblet and the Choir of the Generalitat.

Les Arts remember that there are six performances scheduled 'Tosca' day 6, 9, 12, 15, 18 Y 21 of May. Tickets for all performances are sold out except for the five percent that is reserved for the day of each performance.

Bohemian

He Teatro Real It approaches the end of the year with the hope of returning to bring opera to all audiences thanks to the live broadcast of Bohemian, Giacomo Puccini, the next 29 from December, AVE trains circulating this afternoon.

This is a pioneering initiative that Real Theater will be carried out in collaboration with Renfe Y Telefónica through the application PlayRenfe, which give travelers the opportunity to AVE - in the Madrid-Seville and Madrid Valencia trips, in both ways – to share the experiences of the protagonists of Bohemian, in real time, while traveling 300 km/h. and the device prefer.

The HD signal directly travel from the Royal Theater to train two ways: satellite and through mobile network 4G, allowing for the first time an opera to be relayed live on a high-speed train.

Connectivity travelers inside trains is achieved via WiFi, with an access point and two antennas on each car. Within each train it has installed a local area network speed 1Gbps giving access to the server; so travelers can enjoy Bohemian live on TV channel Live TV application PlayRenfe.

Viewers who do not travel, may be connected to the relay's profile Facebook Teatro Real, the link www.labohemeendirecto.com and they can share their views and experience in the conversation with hashtag #LaBohemeEnDirecto.

In the latest edition of live opera Teatro Real, last July, con Madama Butterfly, Giacomo Puccini also, the scope of the retransmission in the Teatro Real Facebook channel reached more than 900.000 users, exceeding the figures of the previous retransmissions I puritani Y The Flying Dutchman, and Twitter the hashtag #MadamaEnDirecto fue trending topic national broadcast throughout.

Pablo Carignani is the musical director of this renewed proposal for the work of Giacomo Puccini (1858-1924), which features the prestigious British director Richard Jones scene and set and costume designer Stewart Laing. The assembly raises the opera as a succession of scenes of the Bohemian life presented to the viewer without concealing jobs backstage which normally develop technical backstage. A) Yes, the audience sees how the sets are changed, how different devices are used to achieve theatrical effects and how props pile up in the wings.

Madrid December cold Parisian winter transport us, tinged with melancholy, to accompany the truncated love aspiring poet Rodolfo, played by tenor Stephen Costello's, y la sastrecilla Mimi, Anita Hartig voice. With them, The soprano also Joyce El-Khoury and baritone Etienne Dupuis, They give life to Musetta and Marcello, respectively. The death of the female protagonist acts as a trigger for an initiatory path Bouncing wantonness and youthful dreams to reveal the strength and importance of real life.

Musical beauty, the dramatic effectiveness, Orchestral own motives and emotional narrative of the Italian melodrama make Bohemian one of the most beloved operas.

Angeles Blancas

Angeles Blancas continue to open paths. There are very few Latino sopranos who dare with the Central European repertoire or high risk verismo roles, as Minnie, of the pucciniana La Fanciulla del West, opera debuts this month at the Palacio Bellas Artes in Mexico. "I'm interested above all the heroines who have something to say", says the singer, "Characters with personality and represent a good channel for the expression". Hence his interest in Wagner, Janácek, Rhim O Richard Strauss, without forgetting other authors who are passionate about, as Verdi, Puccini O Mozart.

Her particular vocal characteristics and her dramatic vocation have led her to be interested in roles of great musical and psychological complexity such as Lady Macbeth (Macbeth, Verdi), Elisabetta de Valois (Don Carlo, Verdi), Emilia Marty (The Makropoulos case, Janácek), Kostelnicka (Jenufa, Janácek), Salome (Salome, Richard Strauss) o Katia (Close Kabanová, Janácek). After opening the season 2017/18 playing Minnie from The Maiden of the West (Puccini) in the Palace of Fine Arts of Mexico, His upcoming commitments include Das Gehege, from Wolfgang Rihm to soprano, mime and orchestra– and the role of the Mother of Il Prigioniero de Dallapiccola in La Monnaie (Brussels) and at the Stuttgart Opera. Before, in October, will open the season of the Extremadura Symphony Orchestra with Richard Strauss's Vier letzte Lieder under the direction of the head of the Extremadura group, Alvaro Albiach, and will offer a recital with works by Verdi and Wagner for the Friends of the Opera of A Coruña, whose programming 2017 is dedicated to the memory of the singer's mother, the soprano too Angeles Gulin, on the 15th anniversary of his death.

Near 120.000 people have been able to see Madama Butterfly yesterday in the more than 250 emission points of the opera in Spain: museums, auditoriums, theaters, plazas, gardens, Beaches, cultural centers, bullrings, film clubs and other areas designated for retransmission of opera.

At the Plaza de Oriente, where three screens were installed, four ministers have come to see the opera: Méndez de Vigo, Minister of Education, Culture and Sports, and Government Spokesperson; Soraya Saénz de Santamaría, vice president, Minister of the Presidency and for Territorial Administrations; Rafael Catalá, Justice minister; and Álvaro Nadal, Minister of Energy, Tourism and Digital Agenda.

Likewise Madama Butterfly was broadcast free of charge to everyone on Facebook, stage Digital ─online platform of the Royal Theater─ and The Opera Platform ─European channel of opera in streaming─, breaking all the tracking records. The scope of retransmission in the Facebook channel of the Royal Theater has been superior to 800.000 users. On Twitter the broadcast of Madama Butterfly It was trending topic national with him hashtag #madamaendirecto, reaching an audience of 18.000.000 users with all posts.

Also Spanish Television has joined this great party, broadcasting the opera in La 2, with an audience of 335.000 viewers.
The next event of the Opera Week it will be tomorrow, 2 of July, to 22.00 hours, in the Plaza Mayor of Madrid, with the retransmission of the zarzuela Luisa Fernanda, in the celebrated Teatro Real production directed by Emilio Sagi and starring Plácido Domingo, Nancy herrera, José Bros and Mariola Cantarero.

Vincenzo Costanzo

The young Italian tenor, which last year debuted in the Teatro Real in Madrid in the role of Rodolfo verdiano (Luisa Miller), Madrid returns to the Coliseum after his recent success the protagonist role The swallow Puccini, en la German Opera Berlin, to give life to another character Pucciniano, sublieutenant Benjamín Franklin Pinkerton in Madama Butterfly.

Vincenzo Costanzo, It is one of the younger tenors and most international of Italian opera scene. At twenty-five, the talented Neapolitan singer, degree in Computer Engineering, He has ceased to be a young talent who has conquered with its attractive plot important awards lyrical voice as Verdi Voices Competition Busseto or known as Oscar de la Opera (New Generation Award Tenor), and he has stepped on some of the most famous opera stages around the world: La Fenice in Venice, Teatro San Carlo in Naples, Opera Amsterdam, Teatro Massimo of Palermo, Opera San Francisco, German opera Berlín…

On aplaudido rol de Puccini B. F Pinkerton in the opera of San Francisco, He marked his successful debut in the US in a role that already has become his hallmark. Since its debut, at twenty years as B.F.Pinkerton in the Maggio Musicale Fiorentino, Puccini has sung the role many times at La Fenice in Venice, and among other famous Italian theaters like the Teatro di San Carlo di Napoli, Opera de Florence, Teatro Giuseppe Verdi of Salerno, HNK Zagreb; after passing through the Teatro Real in Madrid, its immediate commitments as Pinkerton, The Phoenix include Venezia or Hamburg Staatsoper.

His return to Spain, It is supported by the magnificent artistic results it has garnered in the last season. At the Teatro Real Madrid will sing functions 1, 4 Y 20 July in the acclaimed production Madama Butterfly with scenic firm Mario Gas and musical direction Marco Armiliato.

Vincenzo Costanzo

 

Madama Butterfly

From the heart of the opera in Madrid to every corner of Spain.

This edition has the highest popular participation of all held, 250 emission points nationwide, from small towns with just 600 inhabitants to large cities.

Three screens will be installed in the Plaza de Oriente and in more than fifty squares and gardens of Madrid and other municipalities of the Spanish geography

The most important museums and institutions in the country have joined this initiative and will open their rooms and auditoriums, with free access, for all citizens (see attached list)

Veranos de la Villa, of the Madrid City Council, will cede public spaces in 21 districts of the capital to offer Madama Butterfly as part of its programming (see attached list)

The broadcast will be accessible through the Facebook of the Royal Theater and share the experience with # MadamaEnDirecto online

stage Digital of the Royal Theater will also broadcast the representation in open, inside and outside our borders

The 2 Spanish Television will begin broadcasting the opera, that same night, starting at 22.00 hours

The day 2 of July, to 22.00 hours, zarzuela will be screened in the Plaza Mayor of Madrid Luisa Fernanda, Teatro Real production starring Placido Domingo, Nancy herrera, José Bros Y Mariola Cantarero

On Tuesday 4 In July, a solidarity concert will be held in the Main Hall of the Theater, where the cantata We are Nature, original work Eva Guillamón with music Sonia Megías, starring the minor participants of the Aula Social del Teatro Real

The children will have their special day on Saturday 8 of July, to 11.00 and to the 13.00 hours, with a fun children's show whose stage will be located on the esplanade of the Plaza de Oriente, in front of the Royal Palace

On Sunday 9 July this great party will close with a Open Doors Day between the 10.00 and the 14.30 hours

this initiative, framed in the celebration of the Bicentennial of the Royal Theater, It is sponsored by Telefónica, Endesa, Mutua Madrileña, State Lotteries and Gambling and Redexis Gas

The Royal Theater will inaugurate today the third edition of the Opera Week, that will take place between the days 30 June and 9 of July, which will begin with the broadcast of the opera Madama Butterfly, Giacomo Puccini, what, from the Madrid stage and the three screens installed in the Plaza de Oriente, will reach all of Spain, for free, thanks to the participation of cultural institutions, councils, auditoriums and theaters that will open their doors selflessly.

Those who cannot travel to any of the broadcasting points will have the opportunity to follow the broadcast through the Facebook Royal Theater, pioneer in Spain of this project, connecting for free stage Digital, online platform and Canal Theater The Opera Platform. Spanish television broadcast that evening representation, starting at 22.00 hours, through the 2.

More of 250 points across the country, fifty of them with outdoor screens in places, gardens and beaches, will offer representation. From locations with just 600 inhabitants to large cities, this edition has the highest popular participation of all those held.

The most important museums and art centers in the country that will open their auditoriums are: he Prado Museum, the Thyssen-Bornemisza Museum, the National Archaeological Museum, he Circulo de Bellas Artes, the National Film Library, the Foundation Giner de los Rios, the Student Residence, and the Canal de Isabel II Foundation in Madrid; he Bilbao Guggenheim Museum; Collection of the Russian Museum in Saint Petersburg and the Carmen Thyssen Museum, In Malaga; he Diocesan Museum of Barbastro-Monzón, in Huesca; the Science Museum of Castilla-La Mancha, in Cuenca and the Niemeyer Center Aviles, In asturias, among others.

The Madrid City Council will collaborate, as on previous occasions, with the placement of chairs and the conditioning of the Plaza de Oriente for the attending public, in addition to including the retransmission of the opera as part of the Veranos de la Villa programming. Y on Sunday 2 of July, to 22.00 hours, will twin the celebration of the Bicentennial of the Teatro Real with the IV Centenary of the Plaza Mayor, where the traditional zarzuela will be screened Luisa Fernanda, Federico Torroba, recorded at the Teatro Real and starring Placido Domingo, Nancy herrera, José Bros Y Mariola Cantarero.

He 4 of July, to 12:00 hours, a solidarity concert will be held with the premiere of the children's cantata We are Nature, original work of Eva Guillamón, with music by Sonia Megías, whose production will bring together on stage the boys and girls who participate in the Social Classroom of the Royal Theater, coordinated by Acción Social por la Música, to dance and sing in a choir that will be joined by other children from collaborating entities of the project: GO Foundation, Madrid Down Syndrome Foundation, Autism Federation Madrid, Spanish Federation of Parents of Children with Cancer, Victims of Terrorism Foundation and Help in Action Foundation.

This concert will feature the participation of artists such as the pianist Rosa Torres-Pardo, actress Clara Muñiz, or the mezzo-soprano Beatriz Oleaga. As it is a solidarity function, a symbolic price of five euros per location has been set and a zero row has been set up to offer the possibility of collaborating with the project in this way. Tickets can be purchased through the usual sales channels of the Royal Theater and the participation of Fila 0 it will be done in the bank account number: IBAN ES40 2100 5731 7102 0002 9863 (specifying in the concept: Social program).

The morning of Saturday 8 of July, on a stage located on the esplanade of the Plaza de Oriente, in front of the Royal Palace, the youngest will be the allies of a "curious musical project". Under the guise of a concert, some eccentric musicians will prepare a musical proposal with which the attending boys and girls will enjoy the funniest side of classical music.

And the end of the party will come on Sunday 9 of July with one of the activities with the best reception by the public of Madrid, the Open Doors Day. From the 10.00 and until 14.30 hours, those who still do not know the interior of the Theater, They will be able to access the building to see its most emblematic areas: its spectacular room, the imperial halls decorated with original works of art and the best views of the Plaza de Oriente.

The Opera Week will search, one more year, bring the world of lyric and classical music closer to all those who have not yet had the opportunity to discover it, but he also wants to publicize details of the life of the Theater, of its artists, and create a stronger bond, and complicity, with which it has become the cultural institution of reference in our country.

The Royal Theater Opera Week is sponsored by Mutua Madrileña, State Lotteries and Gambling,

Telefonica, main patron of the Bicentennial.

Endesa, energy patron of the Bicentennial.

The retransmission of Madama Butterfly is sponsored by Redexis Gas.

Bohemian

Bohemian from Giacomo Puccini, one of the most beloved operas of the general public, puts the finishing touch to the opera cycle of Maestranza in six roles between the 28 May and 10 of June.

The production that has already triumphed in the Palau Les Arts Reina Sofía in Valencia, arrives at the Teatro de La Maestranza by the hand of its musical director Pedro Halffter, stage director, scenery and lighting Davide Livermore and as main interpreters: Anita Hartig (Mimi), José Bros (Rodolfo), Juan Jesus Rodriguez (Marcello), Mr. José Moreno (Musetta), Fernando Rado (Colline), Alberto Arrabal (Benedict / Alcindoro), David Lagares (Schaunard), Francisco Castellano (Parpignol), among others. Production, Palau de les Arts Reina Sofia in Valencia, Seville Symphony Orchestra, Choir of the A.A. the Teatro de la Maestranza, Escolanía de Los Palacios.

The performances will take place on the days 28, 31 of May, 2, 5, 7 Y 10 of June, 2017.

Argument

Act one

Christmas Eve of 1830 in the latin quarter of paris.

The painter Marcello and the poet Rodolfo are working in their studio in an attic. Both are cold, but there is no firewood, so Rodolfo decides to burn his manuscript. They are joined by the philosopher Colline and they enjoy a moment of the warmth of the fireplace. As the fire goes out, classmates boo the author. Suddenly two messengers enter with food, wine and coal, followed by the bohemian room, the musician Schaunard. He leaves the money left after shopping on the table and explains how he has earned it. The companions ignore him and prepare the table. Schaunard realizes what they are doing and proposes that, since it is christmas eve, celebrate it by dining out.

Knock on the door, es Benoit, the landlord, who comes to collect the back rent. Marcello receives the old man and lets him see the money on the table, but Benoit quickly falls into the trap set for him: make him drink and encourage him to brag about his success with women and, when he says he's married, the companions pretend to be scandalized and put him at the door (without the rent money). At the time of leaving, Rodoldo says that he stays, Well, an article must finish, so you will meet them later. Alone, Rodolfo realizes he's not in the mood to write. You are interrupted by a knock on the door: it's Mimì, the neighbor, who asks for fire for his candle. When you cross the threshold, feels a moment of weakness and drops the light and key to his room. Rodolfo picks up the candle and lights it again but, when will Mimi come out, he remembers his key and a draft of air extinguishes the candle again. Looking for the key in the dark, Rodolfo finds her right away, but hides it, and then get to touch Mimì's hand, which gives rise to each one to talk about their life. From the street come the cries of his friends; Rodolfo, from the window, He meets you at Café Momus. Turning around and seeing Mimì illuminated by the moonlight, they realize their love. Together, they are going to meet with friends.

Act Two

A little later, at Café Momus, the street is crowded with people and street vendors hawking their wares. Mimì and Rodolfo stop at a dressmaker's shop, where do they buy a pink hat. They then join the others and Mimì is introduced with graceful formality. The tranquility of the friends is disturbed by the arrival of Musetta, an old love of Marcello, accompanied by her new lover, rich old Alcindoro. Seeing Marcello, forces her lover to stop at the cafe and tries to attract her attention. Woman's behavior becomes more and more exaggerated, making Alcindoro uncomfortable and, at the same time, get Marcello to surrender to her again. Now you have to get rid of the old man and, for it, Musetta fakes foot pain from shoe. When he sends the old man to buy another pair, Marcello and she hug. The bill arrives, but Schaunard's money has already been spent. The passage of a military band allows the four bohemians, together with the two girls, get confused in the crowd letting the bill pay Alcindoro.

Act Three

In the Barrier of Hell, one of the toll barriers in Paris, one morning in early February.

Marcello and Musetta live in an inn on the post, where Marcello works painting some murals on the facade. If he presents Mimì, comes to see Marcello to ask him for advice on his relationship with Rodolfo, that is becoming unsustainable. Mimì laments Rodolfo's jealousy; Marcello advises him to leave him. Rodolfo, that arrived long before her, and fell asleep on a bench, when he wakes up he goes to talk to Marcello. To prevent me from seeing her, Mimì hides and, listening to what Rodolfo says, discover the real reason for their behavior: the young woman is seriously ill and, living with him in such miserable conditions, will end up dying. Mimì has a coughing fit and Rodolfo, seeing her, run to help her. Musetta laughs from the inn, and Marcello, suspecting a flirtation from his frivolous partner, come in to reprimand her. Aware now both of the need to separate, Mimì will pick up her things, except for the pink hat, that leaves it as a memory. Finally, they prefer to spend the winter together; they will part when spring comes. While, at the inn, Musetta and Marcello also agree to part ways as a result of the fight they just had..

Act Four

The same attic from act one, where Marcello and Rodolfo, already separated from Musetta and Mimì, they pretend to work, but they can't help but remember their companions, of those who are still in love. Schaunard and Colline enter bringing a miserable herring for all food, that all four consume with comic solemnity. After dinner, they have a dance, in which Colline and Schaunard jokingly exchange insults and challenge each other to a duel, attacking himself with the trowel and the chimney tongs. Suddenly Musetta appears at the door: Mimi is on the street, sick and too weak to climb the ladder. Rodolfo runs to look for her while the others prepare the bed. While Rodolfo takes care of Mimì, Musetta tells that, having heard that Mimi was dying, went to look for her, and the unfortunate woman asked him to take her to Rodolfo. The misery of the bohemians does not allow them to do anything for her. Musetta gives Marcello his earrings so that he can pawn them and bring some medicine and a doctor, although she ends up going out with him to buy a muff for Mimì, that you have wished in your last hour to have warm hands. Colline wants to help by pawning her overcoat and, Upon leaving, tells Schaunard to help him by leaving them alone.

During the absence of friends, Mimì and Rodolfo evoke their love and their first meeting. When Marcello and Musetta return, Mimi sleeps. Musetta kneels and prays. Shortly after, when Colline comes back and asks for Mimì, Rodolfo notices the tragic atmosphere in the room that others have already perceived: Mimi has died.

José Miguel Pérez-Sierra

With four functions of Manon Lescaut, one of the most complex and demanding works of Giacomo Puccini, will debut on the podium of Massimo Bellini Theater in Catania (Italy) the spanish teacher José Miguel Pérez-Sierra, owner of an impressive international career. The Madrid manager will approach for the first time this score, counting on two purebred Puccinians for the main roles such as the soprano Norma Fantini and tenor Marcello Giordani (days 19, 22, 24 Y 26 of March). His baton returns to Puccini after opening the season of the Opéra-Théâtre de Metz (France), precisely with a great Puccini: Il Trittico, composed by the operas Il tabarro, Gianni Schicchi and Sister Angelica.

Maestro Pérez-Sierra continues in this way with a frenzied activity that has included titles such as Lucrezia Borgia in Bilbao, his debut in the season of the National Orchestra of Spain in Madrid or a concert tour with the soprano Ainhoa ​​Arteta in various Spanish cities.

After your engagement in Catania, will conduct Rossini's opera Il signor Bruschino at the Opéra National du Rhin (France) with representations in Mulhouse (29 Y 30 of April), Colmar (6 of May) and Strasbourg (12 Y 13 of May).

More information.

Maria Katzarava

After singing in Mexico La Voix Humaine, from Poulenc, and to debut with great success in the Castell de Peralada Festival (Spain) with Liù from Turandot, from Puccini, the mexican soprano Maria Katzarava signs up for a new challenge in his career: Start the iconic role of Cio-Cio San, the star of Madama Butterfly, the dream of every lyric soprano. Will do it in the Teatro Massimo of Palermo (Italy) the days 17, 20, 23 Y 25 of September. "I am very excited and happy with this new debut", stated the interpreter, “Since it is a character that Puccini endowed with innumerable details of personality that are reflected in the score. I see Butterfly as a very strong woman, determined and who knows what to do. The music is beautiful and the dramaturgy is pure theater. It will also be a challenge and an honor to debut it before an audience of such tradition as the Italian and I am sure it will be an opera that will accompany me for many years ".

After this debut in Sicily, the winner of the Operalia Contest will return to Mexico, this time to sing La Voix Humaine again in Monterrey (30 of September) and to offer, he 4 October, a concert at the Blas Galindo Auditorium in Mexico City to benefit its recently inaugurated El Tecolote Cultural Center Foundation through which it will support young artists with limited resources from the state of Guerrero; in October (days 8, 9, 11 Y 12) will assume for the first time, always in Mexico, the leading role of Florence in the Amazon, from Daniel Catan; he 6 November will offer a charity recital within the cycle Life Victoria organized by the Victoria de los Angeles Foundation in Barcelona, then quickly change the register and get into the shoes of a character who knows very well and who also fascinates: by Violetta Valéry, the long-suffering protagonist of La Traviata, from Giuseppe Verdi. He will do it in a new production by the filmmaker Alice Rochwacher and with which, between 4 November and 19 of January of 2017, he will go on a tour of various cities in northern Italy, as Reggio Emilia, Modena, As, BERGAMO, Cremona, Brescia and Pavia. He 10 January will interrupt the Italian tour to debut in the prestigious Rosenblatt Recitals cycle in London.

http://www.katzaravamaria.com/

 

Turandot

The Castell Peralada Festival has celebrated its thirtieth edition, highlighting in its programming the two representations of the Puccinian Turandot, which they took place last 6 Y 8 of August, with great success of audience that completely filled the Auditorium Parc del Castell. Turandot was performed for the first time at the Empordà festival.

But, go to parties, since before judging these representations of Turandot, I would like to introduce the reader to the origins, genesis and great performers of this opera, which can be considered the masterpiece of Giacomo Puccini, being his last and unfinished composition and where the great master of Lucca build a score of rabid modernity, where he is receptive to the great musical changes introduced in the first part of the 20th century, by authors like Claude Debussy, igor Stravinski, Richard Strauss and even Arnold Schoenberg. But nevertheless, reserve spaces for that fine melodism present in his previous operas.

Renato Simone Y Giuseppe Adami, they were in charge of writing the libretto, adapting the play Turandotte of the Venetian playwright Carlo Gozzi, where elements of the “art comedy”, with characters from the mask theater, and whose premiere took place in 1762, at the San Samuele Theater in Venice. Gozzi's work was translated into German by Friedrich Schiller, being represented in Germanic lands at the beginning of the XIX century. In 1917, and at the Zurich Opera House the opera premiered Turandot, from Ferruccio Busoni, who besides the musical composition, was commissioned to write the libretto in German based on the work of Carlo Gozzi. So, Puccini and his librettists were challenged to return to a theme that had already been repeatedly addressed.

Genesis Turandot it occurred very slowly, starting in 1920 and lengthening over a long period of four years. In spring 1924, Simone and Adami completed the libretto; what, regarding the work of Gozzi, presented some substantial modifications, as the creation of an essential character in the development of the work: the slave Liu, sweet woman, of great femininity and self-denial, as opposed to the beautiful and cruel princess Turandot. The masks Tartaglia, Pants Y Truffaldino that appear in the work of Carlo Gozzi and in the opera of Ferruccio Busoni, they turn into Ping, Pang Y Pong who serve as ministers of the Chinese empire. Due to throat cancer, Puccini passed away in November 1924, leaving the final part of the opera musically unfinished, after Liù's death. Arturo Toscanini took over the score, commissioning the composer Franco Alfano your conclusion. Alfano worked from a few notes left by Puccini before he died, adding some own music and picking up some previous themes from the opera, with a brilliant and triumphant conclusion. At first, Alfano's work lasted approximately twenty-two minutes, which Toscanini reduced to fifteen. This shorter ending of Alfano, It is the one that has usually been performed since the premiere of the opera, happened the 25 April 1926, Teatro alla Scala in Milan, with the direction of Arturo Toscanini and the ensemble of interpreters formed by the Polish soprano Rosa Raisa as Turandot, the Calaf of our great Miguel Fleta Y Maria Zamboni in the character of Liù. At that premiere of Turandot, and right after Liù's death, the master Toscanini left the baton, And when the curtain fell slowly, addressed the audience with these excited words “Here the opera ends, because at this point the teacher died” The second show included the ending of Franco Alfano

He 25 of January of 2002, with Riccardo Chailly conducting the Amsterdam Concertgebow Orchestra, premiered at the Las Palmas de Gran Canaria Festival, a new ending performed by the composer Luciano Berio, based on the notes left by Puccini, and also with own music, where a long musical interlude is included, as a transition from Turandot's radical change of attitude towards Calaf. Y, the final moment of the opera, poses open and meditative with piano sounds, compared with the forceful and triumphalist proposed by Franco Alfano. In new productions of Turandot, the ending composed by Luciano Berio is being adapted more and more frequently.

Turandot had a golden age between the end of the fifties and the beginning of the seventies of the last century, when two great singers came together: Birgit Nilsson like Turandot and Calaf de Franco Corelli, who not only interpreted their respective characters, but, in a rare vocal and dramatic identification, they were really Turandot and Calaf. They met on stage more than fifty times, having bequeathed us several recordings both in studio and live shots, where you can hear his extraordinary creations, in the company of alternatives and magnificent Liù, as Mirella Freni, Renata Scotto, Rossanna Carteri, Clara Petrella, Teresa Stratas, Anna Moffo, Pilar Lorengar or the russian Galina Visnevskaya. In the mid-1970s and almost in unison with Birgit Nilsson's last performances as Turandot, the Bulgarian soprano picks up the baton Ghena Dimitrova, and a few years later the Hungarian Eva Marton. Both singers will perform magnificent performances of the terrible Chinese princess, practically until the end of the last century. Placido Domingo has made numerous brilliant performances of Calaf, being the only one who has come to sing it with Birgit Nilsson, Ghena Dimitrova and Eva Marton. Swedish soprano Irene Theorin, has become the official Turandot in the last ten years, having interpreted it in more than a hundred performances. His powerful vocality and great stage presence have been the great incentive of the two functions of Turandot, represented in Peralada the past days 6 Y 8 of August.

One of the attractions of this new production of Turandot made for the Peralada Festival, is the set design made by Paco Azorín, whose minimalist character does not detract an iota of visual appeal, and that raises a rotating central structure with a timber framework in the shape of a pagoda, and an internal staircase that leads to a raised platform where Princess Turandot will appear in a majestic way in Act I. Interior staircase and platform disappear as of Act II. The back of the stage is dominated by a gigantic gong, illuminated with different colors depending on the development of the dramatic action. At the ends of the stage there are two boxes, that will accommodate different actions throughout the development of the representation. Definitely, This set of simple structures made possible an interesting staging, that in the hands of Mario Gas, it was extremely static. Only, the brilliant appearance on the scene of the Ping ministers, Pang y Pong, about two Chinese carts and their theatrical performances throughout the entire performance produce a certain scenic dynamism. Those carts reappear carrying beautiful courtesans, when the ministers want to bribe Calaf in Act III. The success of Mario Gas should be noted when showing a Turandot with the presence of a goddess on a raised platform, in his first stage appearance, that is becoming a more human and insecure being, when he almost vanishes on stage when he realizes that Calaf has got the third of the enigmas right. Ping, Pang and Pong are also very well characterized, showing his ambivalent character: comical and grotesque in Act I, of extreme cruelty when they have Liù tortured in Act III; Y, in his big scene from Act II, Mario Gas presents them as authentic cheers, what do they drink, They snort coca and smoke opium. Other details of this staging, they are quite out of place, how to use, at the beginning of the opera, of one of the aforementioned side boxes, by two courtesans who translate the Mandarin edict into sign language, allowing viewers to not focus properly on the singer's performance, nor in listening to the shocking music that is being played. This is repeated in Act II, this time by Ping, Pang y Pong, when the mandarin reappears. Y, it is totally incongruous, that those two boxes be used, in Act III, by Pang and Pong, to slaughter chickens, while Ping tortures Liú, turning into grotesque and in bad taste one of the most dramatic moments of the entire work. After the death of Liù, the orchestra stops, and Mario Gas himself launches the aforementioned speech by Arturo Toscanini over the public address system, the day of the premiere of Turandot; for, then, and in a very debatable way, run the entire ending of the opera -short version by Franco Alfano- with the performers dressed in modern ball gowns, as if it were a performance in the form of a concert.

The costume design made by Antonio Belart, especially in the sumptuous dresses of Turandot, and in general of the entire noble class, resulting highly original the outfits exhibited by Ping, Pang y Pong, with purely Western ball gowns covered by typically Chinese capes. Y, as opposed, the poor clothes of the popular classes, with clear nods to the Maoist era. Excellent lighting design by Quico Gutierrez, whose wise use, complements and brightens up the simple scenery.

The performance of the Liceu Symphony Orchestra, it turned out discreet, since the director Giampaolo Bisanti failed to give sufficient prominence to the rich orchestration performed by Puccini. As well, acoustics problems that occur in an outdoor setting should be noted, especially in an opera with such contrasting sounds. The Bisanti direction achieved its best achievements in the moments of the most beautiful melodic content, as is the case of the scene of “I sing to the moon” in Act I, of clear impressionist flavor. Also in the performance of exotic music, clearly Chinese in style, that accompanies Ping's interventions, Pang y Pong, in his long scene from Act II. In the most spectacular moments, Bisanti abused sounds in fortísimo. It should be noted the good concerted work of the Italian director in the accompaniment of the singers, especially in the delicate arias performed by Liù, or in those precious phrases when Calaf urges Turandot to guess his name before dawn: “My name you don't know. Tell me my name. Tell me my name before dawn and at dawn I will die ", definitely, one of the most beautiful moments of this opera.

In regards to solo singers, note first the great performance of Irene Theorin as Turandot, exhibiting her beautiful and powerful velvety-timbre voice, with a perfect legato and great capacity in the regulations, from sounds in forte to delicate notes in pianissimi, along with a nuanced interpretation, giving authentic dramatic relief to each phrase, to every word sung. The Swedish soprano faced with strength and courage the terrifying tessitura of "In this palace", with great profusion of high notes that must be attacked vertically, some of them issued by Theorin with a certain tension. His performance was gaining in quality and intensity in the course of the enigmas scene, follower of the air "Son of Heaven", where I masterfully alternate singing piano and forte, offering this time, some high notes very well placed. His performance was truly extraordinary throughout the ending of the opera, next to the Calaf of a Roberto Aronica woody timbre and irregular emission, which had already become apparent by being unable to qualify the poetic accents of Aryan "Don't cry Liù". He had real problems at the end of the first of the riddles, and omitted the alternate Do4, what arises, in the phrase “No, no, haughty princess! I want you all burning with love ", when Calaf rebukes Turandot, after the riddle scene. His interpretation of the famous "No one sleep", it was not more than discreet, with certain mismatches with respect to the orchestral sound.

Great performance by the soprano Maria Katzarava, Liu como, with an attractive voice timbre, showing a wide and elegant phrasing, great ability to regulate the sound and good command of all registers from well emitted bass to brilliant rises to high. He showed a delicate edge line in "Sir, listen", of Act I, to end the aria by regulating the sound from pianissimi to forte and back to pianissimi in a brilliant "Voice". Already in Act III, his performance scratched high in his two consecutive arias: "The love?…So much secret and unconfessed love ", and above all, in the precious andantino "You who gel inhabitant", sung with painful expression. In sum, a great interpretation of the young Mexican soprano, destined for a magnificent career.

Good performance as Timur of the young bass Andrea Mastroni, giving noble accents to all his interventions, especially in the concertante with whom Act I ends, and in his pathetic singable before the corpse of Liù.

Another of the attractions of these performances were the magnificent performances of the baritone Manuel Esteve and tenors Francisco Vas Y Stephen Vincent, respectively as ministers Ping, Pang y Pong, especially in his big scene from Act II. Of three, Francisco Esteve shone brilliantly, who is in charge of the longest interventions. All of them combined an excellent vocality and great theatrical capacity in their changing attitudes throughout the entire performance..

The presence of the tenor is a luxury Once Josep like Emperor Altoum, giving authentic relief to a role almost always assigned to tenors in frank decline. Definitely, in his duet with Calaf from Act II "An atrocious oath forces me" his performance was even better than Roberto Aronica's. Well the interpretation of Jose Manuel Diaz like mandarin, in his two stage appearances.

The choirs are fundamental in this opera, with its almost continuous stage presence, where it is underlining the changing attitudes of the people to the events that are developing. The performance of the Intermezzo choir conducted by Enrique Rueda was somewhat irregular, with truly brilliant moments, as in all the scenes of the “I sing to the moon” or in the procession towards the death of the prince of Persia, along with others of greater sound force, issued with excessive volume. It is also necessary to comment on certain imbalances in the female choir, and that the sound, at times, it won't be compact, possibly due to the dispersion of the singers all over the stage. Very good performance by the Amics de la Uniò children's choir directed by Josep Vila in his delicious intervention of Act I, taken up in the introduction to Turandot's imposing aria "In this palace".

Maria Katzarava

Maria Katzarava just he returned from Mexico where he made a real tour of lyrical force to face the lonely protagonists La Voix Humaine, from Francis Poulenc and libretto Jean Cocteau, in an independent production that also took the stage of the Fine Arts Palace in Mexico City. After that acclaimed debut, which joins other
Recent additions to his repertoire (Marguerite in Faust in the Lausanne Opera, Switzerland, Otello and Desdemona from Verdi at the Liceu in Barcelona, Spain), Mexican singer of Georgian origin debut in Castell de Peralada Festival (Spain) with its unique Liù Turandot, from Puccini. "This is a character that I love and that already interpreted in the Festival of Caracalla, in Rome, the last summer, precisamente junto a Irene Theorin como Turandot, who also sing this character in Peralada », winning singer said Operalia competition in 2003. "Many
They consider the slave Liù is weak and fragile, but I think the opposite: his will, born of love, is brave. his honesty, fidelity and spiritual strength define it as a determined woman, nothing nothing weak and fragile. It is also exciting to know that Puccini left unfinished opera Turandot commits suicide just as Liù ".

The Castell de Peralada Festival is the most important event of Spain lyrical summer and this summer celebrates its 30th edition. This debut is advanced another milestone in the career of Maria Katzarava: en el Teatro Massimo of Palermo (Italy), sing in September, and for the first time, the title role of one of the most popular operas of Puccini: Madama Butterfly.

http://www.katzaravamaria.com

 

Manon Lescaut

ABAO-OLBE (Bilbao Association of Friends of the Opera) recovers after thirteen years since its last performance Manon Lescaut from Puccini. The days 20, 23, 26 Y 29 February, sponsored by the Provincial Council of Bizkaia, climbs scene is fascinating and tragic story encumbró the Tuscan master as one of the leaders of the verismo school.

The passion, The virtue, the desire, temperance and the desperate and urgent love of youth run through the scenes of this lyrical tragedy inspired by a literary character considered one of the great myths of modern history: The fatal woman. Manon is a woman who has a magnetic personality and moves between naivety, lack of morale, tenderness and deception bringing misfortune to herself and those around her. To bring the characters of this opera to life, ABAO-OLBE has assembled a cast led by the Gipuzkoan soprano Ainhoa ​​Arteta, recently awarded the Gold Medal for Merit in Fine Arts, who returns to Bilbao to give voice to ‘Manon Lescaut’. At his side and completing the leading duo the North American tenor Gregory customer, distinguished as best male singer at the Teatro Campoamor Lyrical Awards for his performance of ‘Canio’ and ‘Turiddu’ in the ABAO production of Cavalleria Rusticana and Pagliacci among others, takes over the role of the lover ‘Renato des Grieux’. Next to them the Santander baritone closes the lineup Manuel Lanza as ‘Lescaut’, the catalan bass Stefano Palatchi como "Geronte di Ravoir", the mezzo-soprano from Gipuzkoa Marifé Nogales as ‘A Musician’, the Cantabrian tenor Manuel de Diego como 'Edmondo', the Biscayan baritone Gexan Etxabe como 'Hairdresser / Navy Commander ', the bass from Bilbao David aguayo as ‘Sergente’ and the tenor Eduardo Ituarte como 'The Dance Master / A Lamplighter '

In the pit the long-awaited debut in ABAO-OLBE of the master Pedro Halffter, great connoisseur of the Puccinian repertoire, to the front of the Symphony conducting a complex score that combines a soft and sensual melody with passionate moments of dramatic intensity. The choral part is, once again, task of the Bilbao Opera Choir, with Boris Dujin in front.

On stage a production from the Teatro Regio di Parma, conceived by the newcomer in ABAO Stephen Medcalf, characterized by a classic setting, adjusted to the script, with a careful wardrobe profuse in details and characterization of the period of Jaime Vartan and subtle light effects designed by Simon Corder. The scenography is a universe of pure colors of great visual efficiency with surprising symbolic effects and versatile elements such as mirrors that first represent the opulence that seduces the protagonist to later become her prison, or ingenious as the simulation of the float and the ship.

Conference on "Manon Lescaut"

In order to analyze, in advance the premiere, the most relevant aspects of this opera by Puccini, ABAO-OLBE has organized a conference, Free entry, which will take place on friday 19 February at 20.00 hours at the Hotel Ercilla. This time, Iñigo Arbiza, Scherzo's music critic and Noticias de Gipuzkoa, and Head of Communication of the ONCE in Euskadi, discover the ins and outs of Manon Lescaut.

Rancatore

He came back and swept: Italian soprano Desirée Rancatore put the Japanese public back into the pocket of the hand of his touching Traviata that strolled through Omiya, Tokyo, Osaka y Nagoya, selling out within hours, the same day they went on sale. And of Verdi a Puccini: Palermo's diva will step into the skin of one of the characters for the first time
created by Giacomo Puccini, in this case, in one of the most charismatic of La Bohème, Musetta, all character, joy and humanity. Will do it in Italy, riding between December and January, at the Carlo Felice Theater in Genoa.

Counting on the stage direction of the legendary Ettore Scola, Rancatore will debut on 17 December his first Puccinian character in a new step in his artistic career: «My voice has been enriched in harmonics and in darker colors, It is no longer the typical thing for a coloratura soprano », points singer. «This responds to the natural evolution of the voice, to my own maturity. Y Musetta, together with Gianni Schicchi's Lauretta will be my first Puccinian roles. In the future, why not? It could also be Mimì ».

www.desireerancatore.com

Goyescas

The next 30 June the Teatro Real will premiere Goyescas, from Enrique Granados (1867-1916), first and only opera Catalan composer, with which he triumphed at the Metropolitan Opera House in New York 1918. On his way back to Spain, at the dawn of World War I., the English ship he was traveling in was bombed by the German navy, leaving his life cut short before their 50 years.

This little opera, which will be presented for the first time at the Royal Theater, will be offered in concert version, led by the soprano Maria Bayo, the tenor Andeka Gorrotxategui and baritone José Carbó, who will act together with Headlines Choir and Orchestra of the Teatro Real, under the direction of Guillermo García Calvo, debuting at Real.

Two years before, also at the Metropolitan Opera House, Giacomo Puccini (1867-1916) had premiered his last complete opera, Gianni Schicchi, with which his famous Triptych, after Il tabarro and Suor Angelica, created from the three volumes of the great trilogy of Dante.

This fabulous comic opera will arrive at the Royal Theater in a production from the Los Angeles Opera, with stage director Woody Allen and set design and costumes by Santo Loquasto. It will be starred by baritones Nicola Alaimo Y Lucio Gallo, who will alternate in the interpretation of the title role. They will be accompanied by a mostly Spanish choral cast and by the Titular Orchestra of the Royal Theater, under the direction of Giuliano Carella.

SYNOPSIS OF GOYESCAS

first box

A group of majos and majas have fun under a bright sun in the prairie of San Antonio de la Florida, on the banks of the Manzanares river, in Madrid. Some kept a wimp. The bullfighter Paquiro struts through the crowd and compliments the young women. His fiancee, the popular Pepa, He arrives in a buggy and they both make the court. Rosario also appears, distinguished aristocratic woman who hopes to meet her lover Fernando, captain of the Royal Guard. Paquiro, insinuating, invites Rosario to accompany him to the popular Candil Dance, provoking the jealousy of Fernando, who forces Rosario to go to the dance, but in his company.

second box

The Candil Dance is in full swing. Fernando's arrogant attitude, fueled by Pepa's provocations, does not bode well. Rosario faints, and Paquiro and Fernando take advantage of the incident to challenge each other in a duel that same night. The party comes back to life once Rosario and Fernando have left.

third table

In the garden of his residence, Rosario listens to the song of the nightingale and accompanies him singing a loving melody. Fernando arrives and together they sing a love duo. A bell announces the time of the challenge. Rosario begs Fernando not to go, but he ignores their pleas and goes in search of Paquiro. She, afraid of what might happen, follows him and finds him mortally wounded. Fernando dies in Rosario's arms.

SYNOPSIS OF GIANNI SCHICCHI

Buoso Donati has died, a rich landowner. His family surrounds his bed, in which the deceased still lies, and deeply mourns his loss, although they show much more interest in the content of their will. Among those present are, among others, Donati's cousins, Zita y Simone, his brother-in-law Betto di Signa and Zita's nephew, Weather in Rinuccio, in love with young Lauretta, daughter of Gianni Schicchi. Given the rumor that Donati has bequeathed most of her inheritance to the monks of the local monastery, the family starts frantically looking for the will to change it. Rinuccio finds him, who before opening it persuades her aunt Zita to, since the family is going to be tremendously rich, let him marry Lauretta.

Family fears are well founded: Donati has bequeathed her inheritance to the monks. Rinuccio suggests asking Schicchi for advice in the face of general reluctance, because he is considered an upstart. Llegan Schicchi y Lauretta, that are received in a hostile way by the family. Finally, Schicchi is agreed to examine the will. After sending Lauretta to the balcony and making sure no one else knows that Donati is dead, Schicchi impersonates him and assures the doctor, on medical visit, that is much better. The doctor leaves and Rinuccio goes to look for the notary while the family fights over the distribution of Donati's assets. Schicchi dictates a new testament to the notary in which, before the fury of the relatives, grants the best assets to "my loyal friend Gianni Schicchi". On the terrace, Rinuccio and Lauretta declare their love already exempt from barriers, since Lauretta now has a juicy dowry.

Placid

As we announced last week, Placido Domingo will not play the title role of Gianni Schicchi, from Giacomo Puccini, due to the recent death of his sister, to which he was very united, and that prevents him from playing, with intensity and delivery, comic opera character.

However, out of deference to the Madrid public and to the Teatro Real, will offer a small concert of opera Goyescas and Gianni Schicchi, in the five performances that will take place at the Royal Theater on 30 June and 3, 6, 9 Y 12 of July.

At the end of the opera Enrique Granados, in concert, Plácido Domingo will perform, accompanied by the Head of the Royal Theatre Orchestra, under the direction of Giuliano Carella, arias and scenes from La Traviata and Macbeth, de Giuseppe Verdi, y Andrea Chénier, de Umberto Giordano, in roles meant for the baritone string.

Sunday

the tenor Placido Domingo will not participate in opera performances Gianni Schicchi, from Giacomo Puccini, planned for the day 30 June and 3, 6, 9 Y 12 of July, as it was advertised.

The recent death of his sister, to which he was very united, It prevents it from playing a role of comic character and delivered to the public with the intensity and dedication that have always characterized.

Instead, the role of Gianni Schicchi will be played by the baritone Nicola Alaimo, the days 30 of June; 3 Y 6 July 2015, and for the baritone Lucio Gallo functions in days 9 Y 12 July 2015.

Pérez-Sierra

This month the teacher José Miguel Pérez-Sierra debuts on the podium of the Reims Opera (France) to direct, the days 17 Y 19 of May, Opera Giacomo Puccini La Bohème for the first time, in a theatrical montage that signs Nadine Duffaut. The Madrid conductor faces this new commitment after having made an applauded tour with the Euskadiko Orkestra Sinfonikoa with a program that included works by Usandizaga, Illarramendi Y Dvorak. “I feel very comfortable both in the symphonic repertoire, like the one we played with the Euskadi Symphony, like doing opera”, affirms the Spanish musician.

In this return to France - despite his youth he is an old acquaintance in companies such as the Opéra-Théâtre de Metz, in which this course has opened for the second time its lyrical season-, Pérez-Sierra will face one of his favorite composers once again, Puccini, of who has directed Madama Butterfly in various settings, including the Gran Teatre del Liceu in Barcelona or the Puccini Festival in Torre del Lago itself (Italy).

His upcoming commitments include Falstaff at the Verdi Theater in Trieste (Italy), a concert with the mezzo-soprano Marianna Pizzolato y L'Italiana in Algeri en el Belcanto Opera Festival Rossini de Wildbad (Germany), Il Turco in Italia at both the Municipal Theater of Santiago de Chile and the Opéra-Théâtre de Metz and La Sonnambula in Bilbao for the season of ABAO-OLBE.

Costume Museum

The Costume Museum joins the activities of the Opera Week of the Teatro Real, which will take place the first week of May, with the exhibition Dress up for Opera, in which a selection of costumes and wigs used will be exhibited in some of his most beautiful productions, and whose pieces have been prepared in the workshops of tailoring and characterization Theater.

Thursday 30 of April, to 12.00 hours, The exhibition was inaugurated at the Museo del Traje with the presence of the general director of the Teatro Real, Ignacio García-Belenguer, the deputy director of the Museum, Rodrigo de la Fuente, and the head of the Theater Tailoring and Characterization Departments, Ovidio Ceñera, who will accompany us on the tour of the exhibition to offer technical explanations of the elaboration of the pieces and their most curious data.

Between days 30 April 17 of May, with free access for all audiences, you will be able to discover a part of the magic of the lyrical theater, through the costumes that recognized singing figures have dressed in such emblematic titles as Madama Butterfly, La Traviata, La bohème or The Marriage of Figaro.

The Costume Museum is open from Tuesday to Saturday from 10.00 a 19.00 h and Sundays and holidays of 10.00 a 15.00, on Avenida de Juan de Herrera, No 2. More information at www.museodelraje.mcu.es.

The productions of the Teatro Real selected for the exhibition Get dressed up in opera are:

The short life, Manuel de Falla, with figurines designed by Rosa García Andújar. this title, next to the ballet The Three Cornered Hat, from the same composer, formed the program for the reopening of the Teatro Real in October 1997.

· Madama Butterfly, Giacomo Puccini. In 2002, the winner of a Óscar Franca Squarciapino was responsible for one of the most beautiful costumes designed for this title.

· The Traviata, de Giuseppe Verdi (2003) Y The Coronation of Poppea, de Claudio Monteverdi (2010), they had the participation of one of the most appreciated names in the opera houses of the world, Pier Luigi Pizzi, responsible for both wardrobe productions, scenography and stage direction.

· Bohemian, Giacomo Puccini (2006). Costumes Michael Scott were one of the highlights of this production, that reflected with great realism the bohemian atmosphere of Paris 1830.

· The Marriage of Figaro, de Wolfgang A. Mozart (2009). Renata Schussheim knew how to reflect, with enormous success, the class difference between the characters that are part of the plot of this opera buffa. Schussheim's pictorial work has been exhibited at the Venice Biennale.

· The public, Mauricio Sotelo (2015). The work of Federico García Lorca, first conceived as an opera, had its world premiere last February at the Teatro Real. The creator of the complex wardrobe of this production was Wojciech Dziedzic.

ABAO-OLBE

He 24 October starts the 64 season ABAO-OLBE with a lyrical program that includes five major representative works of the best opera. Verdi, Donizetti, Bellini, Puccini Y Rossini traen the Bilbao scene two unusual titles: Manon Lescaut y Roberto Devereux; two of reference in the history of opera: Dizzy and The Barber of Seville; and a premiere: the original version of 1867 Don Carlos. further, ABAO program for the first time in its history the colossal Messa da Requiem by Verdi.

A new season of great stories. Opera and music literature as catalyst, voices and feelings, and where fifteen singers debut, Scene two directors and two top-level teachers with outstanding performers in Bilbao known as: Daniela Barcellona, orlin Anastasov, Gregory customer, Elena Mosuc, Antonino Siragusa, Mirco Palazzi, Jose Antonio Sanabria, Ainhoa ​​Arteta, Angela Meade O Erwin Shrott.
further, ABAO-OLBE keeps all the activities of its socio-cultural program, in a further step to integrate society in a large multidisciplinary project that includes: training, divulgation, arts and publishing, fully or partially subsidized by the Association: the publication of the magazine and book Scena season, with unpublished articles by specialists; A new edition of the free cycle Introductory Lectures to the opera scheduled to discover the ins and outs of each title; Verdi ABAO Week which celebrates its tenth edition like the Opera Berri program to attract new fans; Abao Txiki season and instructional program that meets 25 years of activity.

64 ITALIAN OPERA SEASON WITH FLAVOR

DON CARLOS
· Full version in French, with the act of Fontainebleau and ballet Peregrina, played by Malandain Ballet Biarritz.
Extraordinary debuts by Giuseppe Gipali, Mª José Siri Y Mika Kares.
Don Carlos of Giuseppe Verdi opens the season 24 October. Based on the drama "Dom Karlos, Infante of Spain "de Schiller, narrates the historical facts and conflict of Infante Don Carlos, Isabel de Valois and King Philip II. Almost five hours of monumental opera. Undisputed jewel that is seldom seen and which opens for the first time in Bilbao.
The cast is headed by Giuseppe debuts Gipali, Maria José Siri and Mika Kares and returns Daniella Barcelona, orlin Anastassov Y Juan Jesus Rodriguez. In the pit master Massimo Zanetti, returning to Bilbao after successfully leading Madama Butterfly last February, to take charge of the Bilbao Symphony Orchestra. Stage a new production of ABAO, in coproduction with Sevilla, Oviedo and Tenerife, signed by the multitalented Giancarlo del Monaco. Elegant, suggestive, very careful in the theatrical and very colorful thanks to the lighting and costumes rich in nuances and full of sumptuous details.

ROBERTO DEVEREUX
· Great voices in the international Olympus: Gregory customer Y Elena Mosuc.
Duel of divas with the long-awaited debut of Clementine Margaine.
In the musical direction, Josep Caballe-Domenech, one of the most important conductors of today.
In November Roberto Devereux Donizetti arrives, work that closes the cycle Tudor or "trilogy queens" of the Italian composer. Gregory customer, Elena Mosuc, debut Clementine Margaine Y Vladimir Stoyanov the protagonist quartet. In front of the Euskadiko Orkestra Sinfonikoa the great international master Josep Caballé Domenech. On stage a production of the Opera Las Palmas-ACO Classic cut, with sublime moments of dramatic tension in some passages, designed by debutant Mario Pontiggia.

La Sonnambula
Summit opera of the Italian romantic bel canto and one of the most performed by Bellini.
Jessica Pratt plays the role of Amina in her presentation in Bilbao.
2016 It opens with La Sonnambula by Bellini, one of the pinnacles of Italian bel canto romantic. Of the two main characters are responsible Jessica Pratt, debutante season in Bilbao, Y Antonino Siragusa. In a very visual scene production Moscow Bolshoi Theatre conceived by Pier Luigi Pizzi, poetics, very visual and very scenic movement. In the pit, José Miguel Pérez Sierra skilful connoisseur of Italian bel canto, leading the Bilbao Symphony Orchestra.

MANON LESCAUT
An exceptional duo: Ainhoa ​​Arteta Y Gregory customer.
· Pedro Halffter in the pit and Stephen Medcalf in stage direction debut in ABAO.
Puccini's work comes in February to engulf us in a fascinating and tragic story that exalted the Tuscan master as one of the leaders of the verismo school. They put voice to this symphony in four movements that will not leave anyone indifferent, a duo of emergency: Ainhoa ​​Arteta and Gregory Kunde. ABAO presentation at the prominent music director Pedro Halffter ago to face one of the most complex scores of Puccini repertoire. Watch a fire baton of the Symphony. based on flashbacks from the Teatro Regio di Parma devised by debutant production ABAO Stephen Medcalf, with a great visual efficiency scenery full of versatile items.

THE BARBER OF SEVILLE
· Debuts de Marco Caria Y Annalisa Stroppa in the main roles and Ottavio Datone in musical direction.
Award-winning staging of Emilio Sagi, to celebrate the bicentenary of the premiere of this opera.
In May the quintessential opera buffa by Rossini, full of grace, humor and vitality, It puts a magnificent climax to the season in the year the bicentenary celebrated its premiere. The cast presentations Marco Caria Annalisa y junto a Stroppa MIchele Angelini, Carlos Chausson Y Nicola Uliveri. On stage an exquisite production, Campoamor Theater Award 2005 Emilio Sagi agile scenery and spectacular costumes from the Royal Theatre. Debut of one of the best known conductors such repertoire internationally, Ottavio Dantone, in front of the Symphony Orchestra of Navarra.
The Bilbao Opera Choir, directed by Boris Dujin, deals with the choral part of the season.

FOR THE FIRST TIME IN ABAO: STARTING FROM VERDI REQUIEM DE
He 16 April ABAO debuts for the first time in its history this sacred composition, considered the masterpiece of Giuseppe Verdi. It is a composition in seven movements with an indescribable dramatic power, for large orchestra, great chorus and four solo voices. In Bilbao will be played by newcomer Angela Meade, Erwin Shortt, painful Zajick, and a tenor tbc; also accompanied by the chorus of Opera Bilbao, directed by Boris Dujin, and the Symphony Orchestra of Navarra, under the baton of Italian conductor Francesco Ivan Ciampa.

REACHING THE OPERA BERRI X EDITION
· The program of two titles is recovered in the 10th edition of Opera Berri: Dizzy and The babiere Seville.
· They wait 4.200 spectators and re-hang the sign "no entry".
Esta iniciativa de ABAO-OLBE, developed with the aim of bringing opera to new audiences with well-known titles and entries that are around 50% of their usual price, It is a project with huge acceptance, serving a socio-cultural function adding value to society and in its tenth anniversary program retrieves two titles.
This edition will be represented operas: La Sonnambula of Bellini's 30 January to Irina Duvrovskaia Y Jose Antonio Sanabria in the roles of Amina and Elvino, and the 15 de mayo de Rossini's Barber of Seville with Damian del Castillo Y Marifé Nogales as Figaro and Rosina.

ABAO TXIKI, ENTERTAINMENT FOR THE WHOLE FAMILY
Five titles up to the tables Teatro Arriaga, an absolute premiere in Basque and four replenishments, in the eleventh season of opera aimed at younger viewers and for the enjoyment of the whole family. A reaffirmation of social and educational commitment assumed ABAO-OLBE to arouse public cultural interest younger.
The concert dramatized Soñando The Carnival of the Animals with music Debussy Y Saint-Saëns and devised by the Company Etcetera season opens in October.
In January arrives The Pied Piper of Hamelin, an opera based on the folk tale of the Brothers Grimm with music Iñigo Casalí, and stage director Pablo Ramos.
In late February up on stage, ashen; an adaptation for young audiences of La Cenerentola by Rossini conducted by comedians.
The premiere of the season comes in March, Txanozuritxu, opera in Basque for five musicians and eight singers. A free version of the popular children's story with music Carlos Imaz and stage director fake Santamarina produced by ABAO-OLBE to commemorate the 25 anniversary of the Educational Programme.
Closes this program in late May William Tell, a fast-paced and fun adaptation of Rossini's opera produced by the Gran Teatre del Liceu.
The eleventh season ABAO TXIKI has seventeen sessions family functions and roles in five school involved 35 schools and 4.000 students.

MEETS THE TRAINING PROGRAM 25 YEARS
The Educational Program ABAO-OLBE complements the children's opera season with its wide range of activities to bring the world of opera to young people through educational talks, workshops, theater visits and attendance at trials and general pregenerales. 180 schools and over 19.000 people participate annually in the various activities undertaken.
ABAO-OLBE celebrated this year 25 anniversary of this initiative, pioneer in the state with the premiere of the opera in Basque Txanozuritxu.

ALL GREEN
This season the flagship project of ABAO-OLBE, ALL GREEN, reaches its tenth edition and continues faithful to its goal of discovering the great Italian master in its all its facets. On the artistic side, the two premieres of the season: Don Carlos and Verdi's Messa da Requiem. In the cultural, among other activities, la X Semana Verdi de ABAO, in collaboration with Deusto Forum, that Bilbao has already brought more than fifty speakers from Europe and America and that this edition will be attended among others Chrisytian Merlin, Luisa Cymbron, Suddeutsche Zeitung Y Jorge Volpi, to place the figure of Verdi in France, Portugal, Germany and Latin America; Ignacio Cobeta to provide the relationship of Verdi and vocalism, and a cross-sectional view of the master's work and gastronomy.

 

Annalisa Stroppa

The Italian mezzo-soprano Annalisa Stroppa will get back into the skin of Rosina this April, personaje and star of The Barber of Seville, Rossini, that has brought him so much success in his unstoppable international. It will do so in a new production of the Fondazione Arena di Verona in the Teatro Filarmonico of that Italian city, mounting coproduced with Operabalet Maribor Theater and Maggio Musicale Fiorentino (days 12, 14, 16, 19 April). “I love this character, fundamental in the romantic bel canto, a style that suits me very well even though it demands great technical and interpretive quality, since it's pure vocal athletics”, claims the singer who debuted the role in Rome in 2012 and under the baton of a renowned bel canto player such as the master Bruno Campanella. Despite her youth, Annalisa Stroppa's Rosina has penetrated deep wherever she goes, repeating success in Berlin opera houses, Lausanne, Barcelona o Tel-Aviv.

In this return to Rossini, Stroppa will be directed by the teacher Stefano Montanari in this new production with the rule of Pier Francesco Maestrini. In future commitments, Annalisa Stroppa will sing at the Teatro Regio in Turin (Hansel and Gretel de Humperdinck), the Teatro alla Scala in Milan (Otello de Rossini) and at the Opéra National in Paris (Madama Butterfly de Puccini).

Fiorenza Cedolins

Fiorenza Cedolins, one of the great divas of the latest generation of lyrical singers returns to Teatro de la Maestranza, Where, in 2011 He thrilled the audience with his great Elizabeth of Valois in Verdi's Don Carlo, this time to show her nude art in a recital of arias accompanied by the Belarussian pianist Inessa Filistovich.

Possessing one of the most interesting lyrical voices comprehensive record of our days Fiorenza Cedolins has been, throughout his career, a model of professionalism and love of "bel canto". Critics have unanimously praised its warm timbre, his clear diction and painstaking technique have allowed, since its inception, face a repertoire ranging from Verdi to Verismo first, not forgetting the Bellini Norma.

On the evening of Sunday, will perform works by Puccini, Albéniz, Falvo, Cotrrau, Granados, Giordano, Manuel de Falla, Glinka O Mascagni, among other composers who made the "bel canto", in a period or other, one of the most exciting musical expressions of History.

For this occasion,, as it has been happening regularly for a few years, Fiorenza Cedolins will be accompanied by pianist Inessa Filistovich, regular contributor to La Scala in Milan and other great performers like Mirella Freni, Jaume Aragall O Bruno Cavallo.

tickets, whose prices range from 36 € Patio and 21 € to Paradise, They can be purchased at the theater box office, or via the Internet on the web http://ww.teatrodelamaestranza.es/

15 of March 2015, to 20,30 hours

Program

I

Giacomo Puccini (1858-1924)

Vissi d'arte Tosca

Oh my dear daddy de Gianni Schicchi

Isaac Albéniz (1860-1909)

malagueña from Spain

Rodolfo Falvo (1873-1937)

Dicitenciello VUJE

Teodoro Cottrau (1827-1879)

Saint Lucia

William Cottrau (1797-1847)

Fenesta ca lucive, atribuido Vincenzo Bellini (1801-1835)

Francesco Paolo Tosti (1846-1916)

A vucchella

Salvatore Cardillo (1874-1947)

Core 'ngrato

Luigi Denza (1846-1922)

You

Enrique Granados (1867-1916)

Andalusian Twelve Spanish dances

Giacomo Puccini (1858-1924)

In those soft lace of Manon Lescaut

You who gel inhabitant Turandot

 

II

Umberto Giordano (1867-1948)

The dead mother Andrea Chénier

Mikhail Glinka (1804-1857)

Nocturne "The Separation’

Fernando Obradors (1897-1945)

The more subtle hair

Manuel de Failure (1876-1946)

Nana Seven Spanish folksongs

Arrigo Boito (1842-1918)

Last night under the sea de Mefistofele

Rodion Shchedrín (1932)

The Albéniz

Pietro Mascagni (1863-1945)

Son few flowers L'amico Fritz

You know it or mom de Cavalleria rusticana

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