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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The magic Flute, Of whom!
The magic Flute
W. A. Mozart (1756 – 1791)
The Magic Flute
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
Teatro Real Madrid 17/02/20
D. musical: Ivor Bolton
D. scene: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade & Paul Barritt)Barrie Kosky
Set and costume designer: Esther Bialas
illuminator: Diego Leetz
Playwright: Ulrich Lenz
D. choir: Andrés Máspero
D. JORCAM choir: Ana González
Distribution: Rafal Siwek, Paul Appleby, Rocío Pérez, olga Peretyatko, Andreas Wolf, Ruth Rosique, Mikeldi Atxalandabaso, Elena Copons, As Grmma-Alabert, Marie-Luise Dreben, Catalina Pelaez, Celia Martos, Patricia Ginés, Antonio Lozano, Felipe Bou
T he Royal Theater has pulled wardrobe (so did this season with his L'elissir d'amore) and The Magic Flute programmed so successfully opened the season 2016. I must say that this time success has not been lower. Barrie Kosky and Suzanne Andrade sign a scenery that delights all audiences in one of the most popular works of Mozart were the repertorio.Le just a few months old when it premiered The Magic Flute, attending a commission that could help clean up its battered economy. The most influential figure in the cultural life of Vienna, Emanuel Schikaneder, librettist, businessman, singer, actor, composer and stage director, Mozart had asked the composition of a Singspiel, what it is traditionally understood by a comedy of manners, with peasants and popular characters in which parts sung with gender recitadas.El he alternated evolved and began to incorporate other character created, as noble and Bourgeois, without ever leaving the costumbrismo and humorada.
Mozart managed to raise the genre of the Singspiel keying in more typical opera seria characters and develop more complex musical scores for some of the roles. The Magic Flute Mozart fills the score and the libretto for a number of keys and Masonic references, lodge they are belonging to both Mozart and Schikaneder, and that crossed Europe from the hand of new ideas illustration. All these elements enrich the most popular genre at the time in Germany and Austria.

With the main axis of the popularity of the work, Barrie Kosky and Suzanne Andrade have developed a set design inspired by the film and animation. This could not have enjoyed the cooperation of the theater company 1927, you already have some experience in working linking animation with real characters. The result could not be more dramatic and appealing to the public. But also carries some risks, especially for some singers who, intuitively, They must interact with projections that they can not see. Another problem that may present film screenings is that the public pay more attention to the video that the singers and the score.

One can say that this production does not have scenery, just a huge proscenium screen serves for singers, through small gestualizaciones that mimic the silent film, play their role alongside the images projected.
At times the volume of images and constant movement can be overwhelming for the public. But the truth is that new technologies and virtual reality theater service, open a scenic possibilities, almost endless.

The Magic Flute is an opera in which often dispenses with the recitatives whose presence was so important at the time of its composition. This production is no exception. They have been removed leaving the surface and infant part, renouncing the deepest and educated philosophy of work created by Mozart. A change appear between scenes typical signs that accompanied silent movies and going briefly narrating the story. All very well embedded in the film production line. This time they are accompanied by the fortepiano Ashok Gupta, interpreting fragments of Fantasy in C minor Mozart.

The musical direction has been in charge of the owner of the theater, Ivor Bolton. His technique and correction when directing is absolute, but on this occasion the orchestra sounded flat, off, with low sound volume without shadings. It lacked the spark that accompanies Mozart works on this one occasion was right.

Singers of the box, I could have been more balanced, we must highlight his efforts to sing in conditions which would have to be. They appeared most often on small platforms to several meters from the ground. Although they were well secured, available and good work must be evaluated.
The Pamina Peretyatko Olga was the best night. A very good line of singing and phrasing for a voice with good volume and beautiful timbre.

American Paul Appleby was a Tamino irregular. It has a nice timbre, especially acute, that arrives in a strange way in braces.

Rocio Perez was the Queen of the Night, but only by sharing roles. He boarded his character without fear, which it is something, but his treble quedaros something suspenders. Better his first aria. As seen in the three deals of this paper, there is some crisis queens.

Well the Papageno Andreas Wolf. powerful and excellent voice fraseo, being German help in these cases.
Another of the winners was Mikeldi Atxalandabaso, who played an evocative Monostratos of Nosferatum full of vocal nuances and interpretative.

The Papagena Ruth Rosique was in his point, fun and sparkling. Very good also the three ladies Elena Compons, Marie-Luise Dreben and Gemma Coma-Alabert, despite the latter's indisposition.

Rafal Siwek good work done, as Sarastro, It has a good central register, although his grave were almost inaudible. Solvente the interpretation of Antonio Lozano and Felipe Bou, as two men in armor.

The three boys who play the young singers of the JORCAM Catalina Pelaez, Lucia Seriñán, Celia Martos, Chandra Henderson and Patricia Ginés, Maria Guzman, Are those voices that never fail. Although they are almost hung several meters from the ground.

A success over this reissue of a magic flute that is always a guarantee. Ticket office, show and happy audience. Mission accomplished.

Text: Paloma Sanz
pictures: Javier del Real

Opera Awards nominations

The International Opera Awards made public, yesterday afternoon, Finalists edition of 2020, in which Teatro Real has achieved four nominations in the categories of Best Opera Company, best Orchestra, Absolute Best Premiere (I narcisiste) Y Best DVD Recording (Street Scene).

In May 2018 the Teatro Real also earned four nominations: best Coro, Best Opera Company, Best Play Recovered (Bomarzo) and Best New Production for Billy Budd, getting the first prize for the latter, directed on stage by British Deborah Warner, with international recognition for unforgettable opera by Benjamin Britten, talisman composer who last year made Gloriana in one of the favorites to the awards, with musical direction by Ivor Bolton, and scenic by David McVicar.

The International Opera Awards were created in 2012 by the British magazine Opera, and from the beginning you were considered the Oscars of the world of opera. With them we want to annually award the best in the world of lyric (productions, singers, directors, theaters, orchestras ...), thus publicly recognizing its protagonists, and supporting the training of new talents through scholarships financed with the profits obtained at the gala.

The Head of the Royal Theatre Orchestra is, nowadays, one of the formations best valued by the great musical directors of the moment for its professionalism, versatility and delivery, whose musical values ​​have garnered critical acclaim and public applause, after demonstrating his acting skills in titles from Mozart to Wagner, de Verdi and Janáček, of the British and Zimmermann..

I'm narcissistic, comic opera by the Spanish composer Raquel Garcia-Thomas, libretto by Helena Tornero, in which it is alleged, humorously, delusional narcissism prevailing in today's society, is one of the favorites. With musical direction by Vinicius Kattah and stage by Marta Pazos, the opera featured the performance of the sopranos Elena Copons and María Hinojosa, the baritone Toni Marsol, the tenor Joan Ribalta and the Titular Orchestra of the Royal Theater. An exciting project with an essentially young and feminine team, who set up a story full of freshness and full of black humor in a project in which, for the first time, the Royal Theater and the Spanish Theater collaborated.

The DVD recorded at the Royal Opera House Street Scene, made in co-production with Bel Air Classiques and winner of the prestigious Diamant d'Opéra Magazine award last December, is one of the nominees for the Best Audiovisual Recording. Street Scene, Kurt Weill, production by the Teatro Real in co-production with the Cologne and Monte Carlo Operas, It was premiered in Madrid with musical direction by Tim Murray and with stage direction by John Fulljames, who recreated the atmosphere of the years 40 New Yorkers, and Tim Murray musical.

The International Opera Awards also recognize the work of great voices of the lyric among whose nominations include names that were part of last season, and also of the current, as Maria Agresta, Lisette Oropesa, Javier Camarena, René Pape O George Petean.

Photograph: © Javier del Real / Teatro Real

Valkyrie Real

Between days 12 Y 28 February the Teatro Real offer 9 functions La valquiria, from Richard Wagner (1813-1883), the second of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and stage director Robert Carsen.

Structured like ancient Greek dramas, the monumental tetralogy Wagnerian opera begins with Rheingold, explanatory prologue to the saga, presented last season. Followed now La valquiria, narrating the genesis of the hero Siegfried, fruit of the incestuous love between Siegmund and Sieglinde's twin ─hijos Extramarital of Wotan, conceived in one of his many amorous adventures with deadly, disguised as Wälse─, God who expects to receive help in the future for the conquest of supreme power, materialized in possession of Ring nibelungo.

The incestuous relationship between two brothers, fruit turn of adultery of the twin Sieglinde, It is cursed and persecuted by the irascible woman Wotan, Fricka, and protected by La valquiria Brunhilde, Favorite Daughter of God, which along discovers love opera, compassion and vulnerability of mortals and undergoes an inner transformation that will determine the future of the entire epic.

In his conception of Ring nibelungo, Canadian director Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, move the Wagnerian mythological universe to also metaphorical world, but closer to our reality, in which power struggles, passions and relationships between the characters are easily recognizable by the current viewer.

tangentially following the philosophical pessimism Arthur Schopenhauer (1788-1860) and in the wake of the playwright and critic Bernard Shaw (1950-1956), who he saw Wagnerian tetralogy an allegory of society stratified into classes, Carsen makes clear in its staging the destructive power of the ferocious capitalism, When rampant ambition of power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

If Gold on the Rhine viewer was confronted with a planet shattered, in which the gods (rich and powerful), the Giants (insumisos proletarians) and the Nibelung (a kind of social scum), They fought for possession of the ring (money and power); in La valquiria, the context is already an explicit war. The gods, isolated in a luxurious bunker (Valhalla) ─con their struggles, accords, machinations, betrayals and conflicts conyugales─ move handedness and loftiness threads universe, until the emergence of the true and passionate love, Brunhilde with hesitation and insubordination to the dictates of the powerful all Wotan ...

Snow, with all its metaphorical power and plastic, link La valquiria with preceding opera, and emphasizes its intimate pictures, with a layer heladora, the fire of love, that is visible to the end of the first day of the series, derretirá ...

Wagnerian two deals give life to the score, under the direction of Pablo Heras-Casado, led by Stuart Skelton Y Christopher Ventris (Siegmund); René Pape Y Ain Anger (Hunding); Tomasz Konieczny Y James Rutherford (Wotan); Adrianne Pieczonka Y Elisabet Strid (Sieglinde); Ricarda Menzer Y Ingela Brimberg (Brünnhilde), seconded by Daniela Sindram (Fricka) and the eight Valkyries.

The great Wagnerian saga will continue in the next two seasons, with Siegfried Y Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, under the same production created by Carsen Y Kinmonth, with its relentless and disturbing vision of the real world, but with a ray of hope, because "only the awareness of the problems of humanity and ourselves, allows the solution. "

Functions La valquiria They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.

MUSIC IN BLACK AND WHITE

As a parallel activity to La valquiria They will be shown in the main hall of the Royal Theater's two films Fritz Lang (1890-1976) that make Nibelungen: Siegfried's death (21 March at 20.00 h.) Y Revenge of Krimilda (28 March at 20.00 h.). the films, hyphenated Thea von Harbou (1888-1954), wife of the director, They are inspired by the medieval epic poem The Song of Songs, one of the primary sources Richard Wagner in his tetralogy.

To accompany the movies, the Head of the Royal Theatre Orchestra, under the direction of Nacho de Paz, the original scores will perform the composer Gottfried Huppertz (1887-1937) Fritz Lang's collaborator in several proyectos─ created to accompany both films. The same team -lang, Harbou y Huppertz- leave their mark on the history of the cinema Metropolis, Expressionist pioneer science fiction film.

Although the music Huppertz accompanies a silent film, the score away from the audio description of the action and assumes a layer of the film subtext, articulating scenes, commenting actions and emphasizing the epic content of the frame.

AGENDA | PARALLEL ACTIVITIES

21 March at 20.00 hours | Teatro Real, living room

Black and white musicI – Screening of the silent film Siegfried's death, first part of Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

28 March at 20.00 hours | Teatro Real, living room

Black and white music II – Screening of the silent film Revenge of Krimilda second part Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

16 February at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre! – Workshops for the whole family, direction and presentation of Fernando Palacios.

Riding through the air: gods, semidioses, human and superhuman in a magical world.

20 Y 27 February, to 18.00 hours | Lazaro Galdiano Museum

Guided tourA collector Wagnerian art. Poel travel unique r Florido Palace Park.

Visit in which the musical tastes of José Lázaro Galdiano Crawl, its links with the Wagnerian Society and the surprising relationship between Lazarus Collection and the world of opera.

15 February at 16.30 and to the 17.30 hours | Naval museum

dramatized visit – Siegfried, As to the Elcano, were two adventurers whose adventures at sea are worthy of an opera.

Photograph: © Klaus Lefebvre

Andrea Jimenez, Basque song

In this season of the Teatro de la Zarzuela the Basque music is undisputed star. Since its opening in October, the happy intention was guessed with 'The village' of Jesus Guridi. Then came the 'Cuartetos Basque' in one of the concerts of the cycle 'Chamber Sundays with Ñ' that lead groups made up of teachers from the Titular Orchestra of the Theater, BARREL, and after them ‘Mirentxu’, also Guridi, on the first occasion that the Coliseum was sung Plazuela de Jovellanos in Basque. Now it's the turn of the young Navarrese soprano Andrea Jimenez, who will submerge us tomorrow Tuesday 4 February (20h00) and within the Notes cycle Ambigú, at beautiful and electrifying world of the Basque songbook. The interpreter will be accompanied on the piano by Ramón Grau.

In the recital there will be five protagonists indispensable composers of our music: Jesus Guridi (How can we not!), of whom Jiménez will sing the ‘Six children's songs’ with texts by Jesus Maria de Arozamena; Pablo Sorozábal, who, said passage is, and the thread of the aforementioned considerations, He will take over this constellation of Basque music closing the opera season with 'The proprietress of the port'; José María Usandizaga, who will interpret ‘Vascongada Rhapsody’ and the pages for piano solo ‘Jota’; Emiliana de Zubeldia, with the 'Six Spanish folk songs'; Y Emilio Arrieta, who may hear 'The waif', 'The Shadow' or 'loving birds trill', this last romanza of the zarzuela ‘The planet Venus’ with texts by Ventura de la Vega.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Andrea Jimenez, fifth cycle, the tenor and actor will follow Ángel Ruiz dedicated to the Cuplé, soprano Ruth González 'Three passions of women', Baroque training The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', guitarist Ricardo Gallén 'Romantic Guitar', he trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

It was just a boy when a teacher heard her singing through the halls of school. Then he began studying music and his interest in the arts and humanities, the great passions of Franco Vassallo. Meticulous preparing to end their characters, arrive at Liceu Barcelona Aida and Amonasro provides us full of intensity and drama. We talk about it in this interview
Brío Clásica.
INTERVIEW FRANCO VASSALLO / CLASSIC ELAN
B.C: His beginnings were very original: he heard a singing teacher casually in school corridors. If there had been so, Would he have equally determined by music and singing? How did that start?
F.V: At this stage, with the experience of these years behind me, It is hard to say what would have done if that endearing episode occurred in the school would not have happened, but with all security I had found another way to focus my passion for art, culture, literature and philosophy. First of all, say that I consider myself a humanist.
B.C: Could you describe the characteristics of your voice?
F.V: It is always difficult to talk about one's voice on tape, singers and unfortunately we can not hear ourselves live. I would say that mine is frank, sincere, direct. I think it has always had a certain sweetness, it still retains, but obviously over the years he has matured and gained in roundness, taking a tan that has allowed me to face a more dramatic repertoire.
B.C: We know of your interest and knowledge of dramaturgy, cornerstone in the opera. When a role is interpreted on many occasions, that character, Does it yours and gives it a certain character forever or outweighs production and stage manager?
F.V: Dramaturgy in the operatic genre is critical because the opera is theater and music, so you can not do without his theatrical part. But the truth of the opera stage is obtained by finding the right key character, which is not only in the acting part but is also obtained and, especially, through score, because the composer leaves everything clear. Everything is in the score! In fact, these composers, as Verdi, They have never been forgotten because they were true geniuses; They created some masterpieces that still listen to and why they have become immortal. They had an intuitive and innate ability to capture the scenic score truth of the character. When you make it yours in my case also has helped me the Stanislavski method, I studied- revive you do through you. In the study period we thought to build character and shape, but once we got on stage to stop thinking just be him and live like him, that is to say, in my case I try to look and feel like the character; let it flow. Interpreters rationally know what is happening in the scene and what will happen next, however the character does not know, so you have to live it and react true self to everything that is happening. It is complex, but at the same time exciting, very similar to what an actor feels, although we, the singers, We also have the advantage of relying on the soundtrack, music, describing the situation we are living our performance and offers an incredible expressive force. On the other hand, we also have the disadvantage that if we acatarrados no choice but to leave and we still sing [laughs].
B.C: From 13 January is participating in the production of the Liceu Aida, in Verdi, with the musical direction of Gustavo Gimeno and scenery Mestres Cabanes. What Amonasro will look at the Liceu?
F.V: When I get the first tests naturally and I feel that the character runs through my veins; I feel mine and I've done a complete picture of the role that obviously have to be contrasted with the stage manager; I always try to find a balance between the idea of ​​the character he has and I do. Obviously there are always some directors with whom I connect more than others, but sometimes I have a vision of the role, although input does not agree with it, if the idea is smart, I just get carried away by his instructions to finish making my proposal. In any case, we, interpreters, as music directors or scene, We must be at the service of music and composer. It comes to my mind a beautiful phrase that Verdi told the baritone Felice Varesi, which premiered several of his operas: "I ask you please to serve before the poet to the musician"; Coming from Verdi fascinates me, because it means it had a great respect for the scenic realization, because it was like saying: if we do a good theater music comes alone, so I think you have to have a great respect for the libretto. As for the Amonasro I play, I feel like an intense character, tragic and painful; Verdi is a king who invites us to describe and interpret "impeto selvaggio" (wild momentum), a fact that is there, in the score; but sometimes we forget the immense humanity. In the big time stage, in duet with Aida, practical and decisive character must have as a politician meets with the affections and feelings; we see a father who is forced to ask his daughter a huge sacrifice, He is forcing his people to betray the man she loves. Hence his rage, which it is nothing but a human reaction to the internal pain she feels for having to ask something so cruel to a daughter. Is a character who lives intensely the pain; at the end of the duo tells his daughter something amazing: "Think that a people, won, heartbroken, for you can only rise again " ("Think a conquered people, torn, Only thanks to you can rise again), that is to say, "Everything is in your hands and our people must make this sacrifice, I know it's infamous, but there is no other way ". It is certainly one of the most beautiful moments of the whole scene. On the other hand, Amonasro proves to be a great king, intelligent warrior despite having been defeated in battle. Live extreme situations from the beginning to the end, since from entering scene he is almost sentenced to death and very little time to do everything to achieve their goals, save his people and his own life. In summary, We are facing an absolutely tragic character for everything that happens, but both fascinating still being relatively short.
B.C: In 2004 he played Zurga, in Bilbao in The Pearl Fishers, in 2008 was Figaro in Il Barbiere di Siviglia at the Opera de Las Palmas, in 2014 Vespri Siciliani I participated in the Teatro Real Guido di Monforte playing, and now he comes to the Liceu in Barcelona with Amonasro. Why have you been so spaced performances in Spain?
F.V: In addition to the commitments that you quote, I actually made my debut in I Vespri Siciliani Spain with the Opera Bilbao 2001 and also I sang Ernani in Las Palmas de Gran Camaria in 2005 and I Puritani Minorca 2008. In any case, and compared to the career I've done in other countries, It is true that my presence in Spain has been little, but it was not my will, because the truth is that I love this country and I love working here; It has just happened than usual in these cases: deals sometimes come at times when you are busy and time passes without matching agendas.
B.C: How do you feel more comfortable, with expressive intensity and strong vocalism of Amonasro or lightness and brilliance of Figaro? How they are approached as different technical roles?
F.V: As the old school of the "canto sul fiato" he said, are at odds on these two forms of singing and interpreting, that is to say, It is important vocal ductility; It must be able to move from one dramatic role bright and vice versa, especially when the instrument allows it. When the voice with the experience and maturity is ready to face the dramatic repertoire, It is important to return occasionally to the bel canto repertoire to maintain elasticity and squillo, so we avoided the voice becomes heavy. Recall that the singers of the past changed light heavy repertoire with astonishing rapidity; I just think having a minimum of time, If you keep your voice in the right place, without forcing, You can change without problems. This year I happily returned to play Figaro (The Barber of Seville) at the Hamburg Opera coming to interpret Rigoletto, and I found quickly comfortable in the freshness and elasticity adequate almost naturally and without any previous work. What we call "muscle memory" always works. Definitely, not to force anything because the sound becomes heavy, you just have to keep always loud and mask.
B.C: It seems that increasingly more difficult to find truly serious voices. In that case, Why do you think that is due?
F.V: I think the voice is certainly hard to find is the true deep bass; today under-baritone dominates over the, but I could not say a precise reason. Serious, sometimes voices, They not always tend to sing naturally because the voice already sounds itself, without applying any technique you certainly do need more acute voices to sound good. This sometimes makes racing more serious voices are slightly shorter, unless the technique work with a good teacher. In any case, technical work is essential for all strings, and not always due to have a good teacher. Like mine said, It is important not only a great teacher, but that great teacher must find the great student.
B.C: Given the evolution of his voice and his singing, What new roles have in mind for future seasons?
F.V: I would like to further explore the verismo and Puccini repertoire, como La Fanciulla del West, Gianni Schicchi, Pagliacci or Cavalleria rusticana, for example, but at the same time maintaining the Verdian baritone repertoire that is basic, and of course the bel canto. Próximamente sing Il Pirate, Lucia di Lammermoor y Roberto Devereux, a repertoire that is essential for me to keep up the ductile voice.
B.C: Must we wait four years to return to listen to him in Spain?
F.V: Hopefully not! I sincerely hope to be at least every year in a Spanish theater.
Signing young talent

The Foundation Friends of the Royal Theater, in collaboration with the Banco Sabadell Foundation, He has created a cycle of chamber concerts aimed at Young Friends of the Royal Theater, which will feature the participation of students in the Queen Sofía College of Music, creating a space of musical culture "youth for youth".

This project aims to provide an opportunity for young fans to share and enjoy music performed by chamber students Queen Sofía College of Music.

The cycle, free for the Young Friends of the Royal Theater, will start next 29 January in the Chamber Orchestra of the Royal Theater. It will continue with the sessions 19 February, at the Sony Auditorium of the School of Music Reina Sofia, and days 18 March and 17 of June, in the Sala Gayarre Teatro Real.

Referencing the operas scheduled in the season Teatro Real, cycle will open with Mozart, whose opera The magic Flute It is being played these days in Madrid scenario. The second concert will feature a romantic repertoire, in reference to La Valquiria Wagner and the third round will offer pieces of Boccherini and Haydn to frame Achilles in Skyros. For the last concert has designed a program with works by composers of the twentieth century, Arnold Schoenberg and Mieczysław Weinberg, the latter author of The passenger, opera whose premiere will take place next June at the Royal Theater.

PROGRAMMING

CONCERT I:

Date: 29 January at 20 hours

Living room: Teatro Real Orchestra Hall

Opera scene: The magic Flute, from Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart

String Quartet in E flat major, KV.428 (30 min.)

Prosegur Albéniz Quartet (Javier Comesaña, fiddle; Diana Poghosyan, fiddle; Joaquin Arias, viola; Eva Arderíus, cello)

Sinfonia Concertante for violin and viola in E flat major, KV.364 (35 min.)

Javier Comesaña, fiddle; Raquel Benito, viola; and Antonia Valente, piano

CONCERT II:

Date: 19 February at 20 hours

Living room: Sony Auditorium of the Reina Sofía Superior School of Music

Opera scene: La Valquiria, Richard Wagner

Johannes Brahms

Quartet for piano and strings No.3, op.60 (35 min.)

Group Arriaga Bank of Spain (Sara Valencia, fiddle; Naomi Fúnez, viola; Alejandro Gómez, cello; Manuel Alonso-Bartol, piano)

Claude Debussy

Trio for Violin, cello and piano in G major (25 min.)

Google Da Vinci Group (roman Kholmatov, fiddle; Alessandra Doninelli, cello; Daniela Rodo, piano)

CONCERT III:

Date: 18 March at 20 hours

Living room: Sala Gayarre Teatro Real

Opera scene: Achilles in Skyros, Francesco Brusa

Luigi Boccherini

Quinteto de cuerdas "Night Música of Madrid's streets", Op.30 No.6 (15 min)

Raquel Areal, fiddle; Patricia Cordero, fiddle; Raquel Benito, viola; Montserrat Egea, cello; Alejandro Viana, cello

Joseph Haydn

String Quartet from Op.64 - No.5 (23 min.)

Quartet Mendelssohn BP (Eva Rabchevska, fiddle; roman Kholmatov, fiddle; Bella Chich, viola; Hayk Sukiasyan, cello)

François Couperin

The Nations: "L'Espagnole" version flutes, oboes, bassoon and continuous (30 min.)

Baroque group (Ana Ferraz, Ekaterina Kornishina, flutes; Javier Ayala, Lucas Martinez, oboes; Miguel Carrillo, fagot; Jimena Rodriguez, double bass; Luis Arias, key)

CONCERT IV:

Date: 17 June at 20 hours

Opera scene: The passenger, Mieczyslaw Weinberg

Living room: Sala Gayarre

Mieczyslaw Weinberg

Cello Concerto Op.43 - Version for cello and piano (30 min.)

Alejandro Viana, cello; Ofelia Montalván, piano

Arnold Schoenberg

String sextet "Transfigured Night" Op.4 (30 min.)

Schumann group Enagas (Anna Tanaka, fiddle; Desislava Vaskova, fiddle; Lara Albesano, viola; Samuel Palomino, viola; Willard Carter, cello; Alejandro Gómez, cello).

Photograph: Javier del Real

 

Pérez-Sierra directs Standard

Madrid director Jose Miguel Pérez-Sierra returns to Pamplona this time to direct the opera Rule, the most popular works of Vincenzo Bellini, and will do so in the Baluarte Auditorium in Pamplona. The Spanish musician, one of the most prominent experts in the repertoire of the bel canto romantic represented mainly by works of Bellini, Rossini y Donizetti, It will be put to the command of an assembly Argentine director Mario Pontiggia scene and will feature soprano Lianna Haroutounian in the title role of Adalgisa next to Susana Cordón, to the Pollione of Sergio Escobar and the Oroveso experienced Simon Orfila. “Rule It is not only one of the top works of the bel canto style, but of the entire Italian repertoire”, says Pérez-Sierra, who directed the play for the first time more than a decade. “This is not only a test of fire for the star soprano, but for the entire company, and that is very demanding for the orchestra and chorus. Is challenging”.

Bellini's opera will be performed on 7 Y 9 February at the Baluarte Auditorium of Pamplona. Then they await the master Pérez-Sierra three functions of L'elisir d'amore Donizetti in the season of Las Palmas and as many zarzuela The barberillo Lavapies at the Teatro de la Maestranza in Seville.

Web José Miguel Pérez-Sierra

web Baluarte

Teatro de la Maestranza

On the occasion of the International Tourism Fair, FEATURES, to be held in Madrid from the 22 al 26 from January, he Teatro de la Maestranza He wanted to use to present the operas and double zarzuela program next season 2020/2021.

The titles are as follows:

3, 5 Y 7 of November, 2020. AS FAN ALL Wolfgang Amadeus Mozart

8, 10 Y 12 from December, 2020. JENŮFA de Leos Janacek

11, 14, 17 Y 20 February, 2021. A MASKED BALL de Giuseppe Verdi

18 Y 19 of March, 2021. THE Tempranica Geronimo Gimenez / SHORT LIFE Manuel de Falla

24, 27, 29, 30 of May; 1, 3 Y 5 of June, 2021. CARMEN Georges Bizet

FITUR is the first annual event for professionals in world tourism and the leading trade fair for receptive markets and issuers in Latin America. The Teatro de la Maestranza advertise its programming to encourage, tourism visiting Sevilla, you can know its cultural events.

Borja perhaps in the Teatro de la Zarzuela

Boja Maybe a journey through the Galician song accompanied by piano teacher Rubén Fernández Aguirre, They will perform works by José Castro "Chane", John Montes, Jose Fernandez Empty, Ernesto Lecuona, Gonzalo Roig, Isolina Carrillo, Horacio Pettorossi, Andrés Gaos, Carlos Gardel, Consuelo Velazquez and Chucho Monge.

baritone Maybe Borja will present the next Monday 20 from January (20h00) at Notes cycle Ambigú of the Teatro de la Zarzuela, a beautiful, developer and sense journey through some of the songs back and forth most significant that emerged from the Galician emigration to America. The interpreter, He born in the parish of Barking, Ortigueira, A Coruña, He will be accompanied to the piano by the teacher Rubén Fernández Aguirre.

Need not infrequently becomes under, and in this particular case that virtue served (and still serves) for hermanar two cultures separated by an ocean sometimes it is infinite. The program can be understood travel mode; is a map with points of departure and arrival whose passage is marked by music. The itinerary begins logically Galicia, with compositions José Castro "Chane", John Montes Y Jose Fernandez Empty, with texts by Manuel Enriquez Curros, Rosalia de Castro Y Eduardo Blanco Amor, then saturating in Cuba of Ernesto Lecuona, Gonzalo Roig Y Isolina Carrillo, or own Castro "Chane" ('Violet') and Fernandez Vide ('Likeness') Air captivated islander. There they mix, and each location reached, sharing in many cases mutual influences.

The next stop will be Argentina with music Horacio Pettorossi ('Galleguita'), Andrés Gaos (‘Vidalita’) Y Carlos Gardel ('Return'), to finish Mexico with the company that ubiquitous bolero 'Bésame mucho' of Consuelo Velázquez, Fortunately unavoidable with ranchera 'Mexico lindo y querido', and some other surprises.

songs that They crossed the Atlantic in both directions, what treasures collected and planted on both sides.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Maybe Borja, quarter of the cycle, They will follow the soprano Andrea Jimenez 'Song Basque', tenor and actor Ángel Ruiz dedicated to the Cuplé, soprano Ruth González 'Three passions of women', Baroque training The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', guitarist Ricardo Gallén 'Romantic Guitar', he trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

The incredible story of Juan Latino

'The incredible story of Juan Latino', new production Claroscvro company and Teatro de la Zarzuela, is a bright music production, puppets and masks before which someone can not remain indifferent. It is a true story, little known, of that fraternal friendship we should all know and remember to understand how they are (as we are) humans. They offered 20 works to public from 6 years, and representations of the Saturday 18 and Sunday 19 from January (both at 13h00) will be open to the public.

'The incredible story of Juan Latino' is a small zarzuela, with Renaissance and Baroque repertoire, about a writer and authentic Spanish humanist of the sixteenth century; This is Juan Latino, the first black person who obtained a degree and issued a professorship at the University of Granada. He was famous and all praised her knowledge. Thus discovering a true story of racial and social improvement of a black slave in the Spain of the sixteenth century is a surprise for the viewer.

Therefore, in this music and theater festival, which it is a sincere invitation to tolerance and respect, you want to show how miscegenation has been a constant element in coexistence for centuries in our society. The music and the arts, as people and ideas, They have been combined in different ways in the works anonymous composers or the well known and admired Duron, Arrow, Gutierrez de Padilla, Hidalgo, Romero and Sanz.

The Spanish-Canadian company Claroscvro theater, one of the world references puppetry directed by Julie Vachon Y Francisco de Paula Sánchez, presents its second co-production with the Teatro de la Zarzuela after acclaimed 'Lost in Bosco' (2017 Y 2019). Claroscvro Theater employs recreation in the historicist aestheticism, with the purpose of reinforce the educational values ​​of their works, with the conviction that beauty is the perfect vehicle to love art. The work will 18 school functions (double day program 13, 14, 15, 16, 17, 20, 21, 22 Y 23 from January) to be attended by a total of 1570 children between 6 Y 10 years, and 2 family functions (18 Y 19 from January, to 13:00 h).

Elektra Opera Richard Strauss. Arts. pictures: Miguel Lorenzo / Mikel Ponce

He Palau de les Arts retakes operatic activity 2020 with the return to their programming repertoire with the Central European ‘Elektra’, Richard Strauss, composer absent in the Main Hall from 2010. Along with 'Elektra' and German repertoire, the Main Hall of Les Arts reconnects with the Baroque Händel, unpublished from 2007, with his opera 'Ariodante', which debuts in late April.

The first season Jesus Iglesias Noriega to the front of the artistic direction has meant not only an increase in 30% the activity of Les Arts, but also an openness and diversification of genres, styles and repertories, with an offer that besides opera, zarzuela and symphonic music, It includes dance, ‘Lied’, flamenco and other music with a diverse educational and training activities.

Les Arts began last September Season 2019-2020 with two titles with popular prices, 'The Marriage of Figaro', Mozart, Y 'The barmaid port', Sorozábal, what, in addition to seeking the opening of opera to new audiences, They are part of the main lines of the new art project: recovery and visibility of Spanish lyric and the presence of the work Mozart.

In fact, an unpublished title at the Palau de les Arts of the genius of Salzburg, 'La Finta Giardiniera', -the supposed last November- William debut Christie and Les Arts Florissants in the operatic center.

The activity of the Center of Perfeccionament Placido Domingo has also adopted new lines of work, with the inclusion of Francis Poulenc and 'Les mamelles of Tirésias' in a transcription for two pianos Britten under the protection of musical Roger Vignoles a mounting Ted Huffman.

And in June, the training project will present a new production of 'The Guardian mocked', Martin i Soler, with musical direction by Cristóbal Soler and staging of Jaume Policarpo, in the commitment to the restoration of the work of the Valencian composer.

The repertoire Verdi He has maintained its presence ‘Nabucco’, with Placido Domingo and the emerging Amartuvshin Enkhbat as protagonists, in addition to

Anna Pirozzi in the role of Abigaille, under the musical direction of Jordi Bernácer and scenic Thaddeusz Strassberger.

Con 'Elektra', which opens this Saturday, 18 from January, the fourteenth season paid off one of the great demands of critics and audiences: the return of the great Central European repertoire with the Orquestra de la Comunitat Valenciana has obtained its highest recognitions.

A debut two figures embodied as Marc Albrecht y Robert Carsen, It joins "a cast of first level" led by Irene Theorin, Reference interpreter of this role, Doris Soffel y Sara Jakubiak.

He 29 February will be released 'The Journey to Reims', a walk in the repertoire Rossini, under the direction of the ascending Francesco Lanzillota.

On stage, Les Arts receives the staging of reference for this work, what Damiano Michieletto She has led to cities such as Amsterdam, Copenhagen, Roma, Moscú o Melbourne. A team of some of the most interesting young voices Rossini today addresses this authentic voice cast and scenic holiday.

Twelve years after the premiere of 'Orlando' in the Main Hall, Baroque Handel returns in April with 'Ariodante', a poetic hymn to honor and fidelity, by renowned specialists in this musical style.

Richard Jones, one of the great innovators of the British scene, signs an interesting adaptation that takes the medieval legend in the mid-twentieth century, which it has enjoyed an excellent reception in Europe and the United States.

Visit one of the great legends of conducting, Michel Plasson, with one of the reference titles opera gala, ‘Faust’, Gounod, closes the season. Plasson, unquestioned expert in the French repertoire, it gets for the first time in front of the stable bodies of Les Arts.

'Faust' represents, Likewise, the reunion of the Valencian public with soprano Ailyn Pérez, plus the opportunity to hear for the first time quoted John Osborn and Alex Esposito.

'The Arts is Dance'

Dance becomes a chapter in its own programming. Opens the cycle in January a new production of Les Arts with Ananda Dansa, ‘Âtman, The Goodbye. The last show of the company Ananda Dansa '.

After more than 40 year career, the founder and choreographer of the company and National Dance Award, Rosangela Valls, announced its closure with this show, accompanied by the music of his usual collaborator, Pep Llopis.

Meanwhile, in February, National Dance Company will bring on tour choreography of 'Carmen' which premiered in John Inger 2015 and will feature accompanying the OCV under the direction of Oliver Diaz.

'An ode while', María Pagés Company, Offer closes. the dancer, creator and choreographer visit Les Arts for the first time with his aesthetic concept of flamenco dance that has crossed borders.

New musical experiences

The Main Hall this season explores a new musical side with the first cycle of 'Lied' in its history, You starring some of the most acclaimed voices of the international scene.

El inglés tenor Piotr Beczała, Lithuanian soprano Violeta Urmana and French countertenor Philippe Jaroussky first dates have staged this successful experience, counts for upcoming sessions with performances by the English baritone Simon Keenlyside and soprano Ainhoa ​​Arteta Gipuzkoa.

This initiative JOINS 'Les Arts is Great Voices', another unpublished proposal, with a review of the styles and repertoires that have forged their careers are invited to the most emblematic figures do. US Joyce DiDonato suggests 17 May a select Baroque program, style has elevated to Olympus lyric, accompanied by the orchestra Il Pomo d'Oro and the ascending director Maxim Emelyanychev.

'Symphonic Arts is'

The Orquestra de la Comunitat Valenciana, musical emblem of Arts, It began last December, under the direction of James Gaffigan, a symphonic cycle, which will feature some of the most prestigious directors of the circuit as Michele Mariotti, Gustavo Gimeno, Juanjo Mena, Ivor Bolton y Daniele Gatti

'The Arts is Flamenco and Other Music'

The musical diversity also becomes one of the pillars of the artistic project for the coming years, and flamenco, as one of the most important hallmarks of the Spanish culture, shall enjoy own chapter.

After the successful start of 'Les Arts is flamenco', Diego el Cigala with this past month, the breath of fresh air Rocío Márquez, the talent of the singer Duquende and flamenco fusion of Manuel Lombo make this bet theater to open its doors to new and broader audiences.

further, the host programming underserved musical demonstrations to date in previous seasons: the 'jazz' and fado. Chick Corea presented in March 'Chick Corea Trilogy', an encounter with the 'jazz' ever, through known issues, while the shuddering Mariza, one of the great fado today, June will perform a selection of works of an unprecedented kind to date in the offer theater.

'Arts for everyone'

El compromiso de Les Arts Theater as Public materialize in the program 'Arts for everyone', gathering activities, shows, collaborations and initiatives free or nominal prices with which revert to the Valencian society support for the project. In addition to two consolidated activities such as 'Open Day' or 'Nit Les Arts', paragraph includes new contributions to diversify and enrich public life theater.

The first novelty is the series 'Les Matins Arts': six musical Sunday matinees at a price of five euros which kicked off with a full house in the Main Hall at its first meeting last October. Artistic assets theater: the Orquestra de la Comunitat Valenciana, the Cor de la Generalitat and the singers Placido Domingo Center offer within this interesting cycle programs to attract new audiences.

In this line is framed 'Preview up to 28', an initiative which reserves the Main Hall to under 29 years and enjoyed great success in its first edition with the zarzuela 'The proprietress of the port'. With seats for ten euros, the youngest will enjoy previews upcoming titles like "Il Viaggio a Reims', 'Ariodante' or 'Faust'.

After several years of marathons around Mozart, y with reason estreno de 'Il Viaggio a Reims', the new operatic course will be dedicated to Gioachino Rossini. Under the name of 'Marató Rossini', Les Arts invited to celebrate between the 23 and the 29 February figure of the genius of Pesaro and its impact on European culture with a wide range of free activities.

Openness to society also involves bringing it to your artists. That is the purpose of the 'Perspectives' initiative, in which the protagonists of opera and operetta engage in a dialogue with the audience and complements cycle 'Conferències' of the humanist Ramon Gener.

Likewise, the truck 'Les Arts Volant' after his celebrated journey through different municipalities with the assembly of 'BASTIA i Bastienne', Mozart, this summer will present a new production of 'The burlat tutor', Vicente Martín y Soler.

'Arts Education and Training is'

The educational program this season Les Arts consolidates its offering, which already reaches all ages: babies, Early Childhood Education students, from elementary school, Secondary, professional deformation, of specialized education, University, adult training, as well as a section dedicated to family audiences.

Meanwhile, Plácido Domingo Improvement Center, This year also open to pianists repertoristas, remains as main forming agent, in addition to its contribution to the theater program in various actions.

Photograph: Miguel Lorenzo / Mikel Ponce

A film Magic Flute

He Teatro Real will begin the new year with the replacement of the dazzling production The magic Flute, from Wolfgang Amadeus Mozart, conceived by Suzanne Andrade, Paul Barritt y Barrie Kosky, presented with great success in your scenario January of 2016.

This time will be offered 13 functions, between 19 January 24 February, again with the musical director of Teatro Real, Ivor Bolton, to the front of a double deal, of the Headlines Choir and Orchestra of the Teatro Real and Little Singers of JORCAM.

Creative and exciting staging of the Australian director Barrie Kosky, premiered at the Komische Oper Berlin 2012, returns to The magic Flute its character as a moral allegory for all audiences, but with multiple layers ─del children's story interpretive reflection filosófica─, ─del surrealist film aesthetic references to the comic─, and winks accomplices to the viewer.

Production lacks decorated and it ─con singers interact very little mobility and meticulous and precise work actoral─, with projections of an animated film full of rhythm, humor and imagination. In the spoken parts of the opera - actually a singspiel, which mixes text and spoken dialogues appear cantado─ projected gussets and accompanied by the pianoforte Ashok Gupta, who will perform fragments Fantasy in C minor Mozart.

The success of this scenic and dramaturgical proposal lies in its enormous facility to communicate with the public, your mood, the waste of creativity and complicity with the viewer through a visual universe in which the characters mozartianos two centuries ago come to the public concerning converted naturally into as close to us as a heartthrob Rudolph Valentino type (Tamino), a seductive pert as Louise Brooks (Pamina), an evil like the terrible Nosferatu (Monostatos), or laughing, torpe e ingenuo Buster Keaton (Papageno)…

The absence of a traditional decorated, a 'virtual scenery' reduced to the presence of a screen on stage, requires singers to act with a huge concentration, acting talent and synchronized movements, they should have the freshness of the gag and clockwork precision in coordination with the projection of the drawings.

A double cast will alternate performances in giving life to the main characters ─Andrea Mastroni Y Rafal Siwek (Sarastro/Orador), Stanislas Barbeyrac Y Paul Appleby (Tamino), Albina Shagimuratova, Alexander Olczyk Y Rocío Pérez (Queen of the night), Anett Fritsch Y olga Peretyatko (Pamina), Ruth Rosique (Papagena), Andreas Wolf Y Joan Martin-Royo (Papageno) Y Mikeldi Atxalandabaso (Monostatos), who will be seconded by the three ladies of Elena Copons, Gemma Coma-Alabert, Marie-Luise Dreßen and the two men in armor played by Antonio Lozano Y Felipe Bou.

In the pit she will be the musical director of the Royal Theater, Ivor Bolton, expert in the work of Mozart and head between 2004 Y 2014 from Orchestra of the Mozarteum in Salzburg, where he has spent more than 10 years to the interpretation of the classical repertoire in the birthplace of composer.

Bolton will lead the Headlines Choir and Orchestra of the Teatro Real, one of the most popular operatic titles, which will be presented for the fourth time in the Teatro Real reopened after having done so in January 2001 (Frans Brüggen / Marco Arturo Marelli), July 2005 (Marc Minkowski / La Fura dels Baus) and January 2016, with the same production.

Coinciding with functions The magic Flute The Royal Theater has organized a series of Parallel activities related to Mozart's opera and the silent films of the year 20 which he inspired the drama and stage production proposal that will be seen on its stage.

Functions The magic Flute They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.

Photograph: Javier del Real

Elektra arts

He Palau de les Arts gathers Marc Albrecht and Robert Carsen in 'Elektra', from Richard Strauss, the first operatic title 2020, which opens next 18 from January.

The German conductor and creator reputed Canadian debut at Les Arts with this work, key element in the programming of the great opera houses, for the arts center meets, Besides, three of the leading interpreters of this title: Irene Theorin (Elektra), Doris Soffel (Klytämnestra) y Sara Jakubiak (Chrysothemis).

‘Elektra’, as he has explained Jesus Iglesias Noriega news conference, It is a full artistic statement of this new stage of Les Arts.

"On the one hand, It is the return to the programming of the German repertoire, with the operatic center and the Orquestra de la Comunitat Valenciana (OCV) They have reaped their greatest hits, and also the presentation for the first time to our audience of eminent directors, singers and artists usual in the great opera circuit ", It noted.

artistically, 'Elektra' is a challenge for any theater for his musical and dramaturgical demands, both the OCV which will be made on this occasion by 103 musicians, as well as for technical equipment and production, and the choice of the cast.

Winner of the Opera Award for best musical direction 2019, Albrecht stands as one of the conductors enshrined in the work of Wagner and Strauss. Teacher born in Hannover Strauss piece can be considered as "the gateway of modern music".

"It's a very interesting piece of the early S. XX. It is a singular score in the world of opera for many issues, for violence not only on stage but also musical. The whole opera is like a shout, a panic attack, where there are musical moments of great intimacy ", Explain.

Albrecht highlighted, Likewise, duration as an aspect of modern of Elektra. "It's all in 100 minutes of music, there is a concentration of harmonies, action, speed, still it sounds like a totally current work if interpreted correctly ".

Robert Carsen, presented to the Valencian public a production of the Opéra National de Paris, based on an original co-production of the Theater of the Maggio Musicale Fiorentino and Tokyo Opera Nomori, with scenery Michael Levine, wardrobe sight Matusz, own lighting Peter van Praet and choreography Philippe Giraudeau.

Renowned for his great showmanship and aesthetics maintained their mounts, Carsen offers a chilling vision of 'Elektra', expressive of great strength and deep symbolism.

Robert Carsen considers Elektra Strauss's masterpiece. "Its premiere was a shock and still remains whenever depicted. It is a milestone in musical theater ".

Specifically, Canadian director pointed to linking the opera by Richard Strauss with his time and the validity of the psychoanalysis of Sigmund Freud with issues such as family, Dreams, paranoia ....

"The work focuses on the living nightmare Elektra in her head completely innovative way. His character never leaves the stage, We are within his soul. In the music he writes Strauss is all she feels and thinks ".

In this sense, Robert Carsen production explained that introduces a set of 20 dancers around Elektra as a theatrical element that amplifies feelings, fears and emotions of the protagonist.

Irene Theorin, critically acclaimed in the leading role, He plays the vengeful daughter of King Agamemnon, the most complex paper written by Strauss for soprano, not only for his wide vocal range but for its requirements on stage.

Likewise, Swedish interpreter has stressed the importance of female characters on male, both in number and in stage presence, in a work that contravenes the trend of previous operas.

La mezzosoprano Doris Soffel encarna and Clytemnestra, widow, conspirator and assassin of Agamemnon. German diva is one of the most prestigious Wagner and Strauss interpreters of our time and treasures his long career and extensive discography, more than 60 edited albums.

Soffel, which had its first contact with score 1975, with the legendary soprano Astrid Varnay as Klytämnestra, claims an interpretation of Elektra's mother away from the female monster of Viennese tradition. Instead, He proposes a real woman in three dimensions, with feelings, thoughts and passions.

Close the protagonist trio, American soprano Sara Jakubiak emerging in the role of Chrysothemis, sister Elektra. With an important race in Germany, Sara Jakubiak debut in Valencia this papel, that within a few months will involve presentation at the Covent Garden in London.

Rounding out the cast of soloists, Štefan Margita Slovak tenor (Aegisth), bass-baritone Derek Welton Australian (Orest),Emilie Pictet, Michael Pflumm, Miranda Keys, Eva Kroon, singers of the Center Perfeccionament Max Hochmuth, Aida Gimeno, Larisa Stefan and Evgeniya Khomutova Bonifacio Carrillo along with the Heart of Government.

The premiere of 'Elektra' will take place on Saturday 18 from January. Les Arts has scheduled four other functions of Richard Strauss's opera day 21, 24, 27, Y 30 from January.

'Arts for everyone'

Today, Friday, 10 from January, Ramon Gener explain the intricacies of Elektra from the 19.30 h in the Auditorium, in a paper-I show free access. Meanwhile, the next day 14, Aula Magistral host a new edition of 'Perspectives', in which the public will have the chance to ask and hear the impressions of the stars of this production, moderated by Javier Monforte, Friends of the Opera and the Arts in Valencia.

He 28 from January, in collaboration with Les Arts Berklee College of Music, you can enjoy, also free, of 'Greek mythology and its validity through music' in the Aula Magistral.

Photograph: Miguel Lorenzo

Cycle of Songs Leon

The director of the National Center for Broadcast Music (CNDM), Francisco Lorenzo, by José Antonio Diez, Mayor Councilor Leon and Cultural Action and Promotion, Evelia Fernández Pérez, They present the seventeenth edition of the Cycle de Leon Historical Music, coproduced program between the National Broadcasting Music Center (CNDM, unit of the National Institute of Performing Arts and Music of the Ministry of Culture and Sports) and the city of León. In addition to the nine concerts that make up this musical series, The ninth edition of a university extension course will be held jointly with the University of León (THE) and IX International Course of Baroque Vocal Performance, directed by Eduardo López Banzo. These activities continue the commitment of the CNDM to promote and recover the ancient musical heritage from Leon capital, through its programming 32 Spanish cities and 12 foreign, and support young singers Spaniards at the start of their careers.

historical musical journeys

Of the 22 January to 1 June 2020 you can enjoy, in the Auditorio Ciudad de León, nine proposed that show a wide musical range, an invitation to travel through contrasts creative. The inaugural appointment will come hand in hand with the whole Sarao Muses, that they invite the public to enter into a panorama of the Spanish music of the great centuries Johanna Rose (viol and direction) Y Marivi Blasco (soprano). The following quote, starring Ignacio Prego, one of the great values ​​of the harpsichord new interpretation in our country, together with the group he founded, Tiento New, will pose a musical journey "of the Habsburgs to the Bourbons" with works by A. Caldara, D. Scarlatti y C. Avison. A bachiana immersion is the chosen option Hippocampus Y Alberto Martínez Molina (and address key), a program compositions flute, in charge of the multifaceted Jorge Pardo. Entitled "From that vast sea. Music around the Iberian routes to circumnavigate the V centenary of the first return to the world of Magallanes and Elcano (1519-1522)”, veteran group La Folia, next to Pedro Bonet (recorders and direction) will offer the public a concert of the most striking in relation to places and avatars of the seaway.

In addition to the dedicated interpreters, leonine cycle, in an extraordinary concert, It will provide an opportunity to those who will soon take up the slack, the case arising from the settled Baroque Vocal Performance Course: Beatriz Arenas (soprano), Olmo Blanco (countertenor), Alberto Ballesta (tenor) and Daniel Muñoz (baritone), with self Eduardo López Banzo to the key and address. The concert will be a celebration of the European Day of Early Music (21 of March), with music by G. F. Haendel, A. Vivaldi, A. of Literes and J. S. Bach. The Haendel's Italian will be present at the concert Ensemble 1700 two interpreters famous, Dorothee Oberlinger (flute direction and) and the multi-talented Dmitry Sinkovsky (countertenor and violin), with a program that will also include music by A. Falconieri, T. Merula, G. P. Telemann, C. P. E. Bach y A. Vivaldi. Apotheosis, set resident of the season 19/20 CNDM, will present a monograph devoted to chamber music Haendel four trio sonatas for violin and two, one of them, version for flute. Two concerts of the transversal cycle #Spain Italy They will tread the boards Auditorium: the group The Tempest, with Silvia Márquez (and address key) Y Eugenia Boix (soprano), will address a program of Italian composers in Spain that will feature five premieres in modern times, the musical role of D. Scarlatti. They will complete the evening the works of G. Facco, D. Porretti and unknown murciano composer J. Oliver and Astorga. Already in june, the three great, Bach, Handel y Scarlatti, They will meet again in concert Baroque Orchestra of the University of Salamanca, with Pedro Gandía a violin and Alfredo Bernardini the baton and oboe.

With the idea to continue encouraging the public to get closer to historical music, this year the nine recitals maintain prices of previous editions: a credit of 64 € (eight concerts plus one gift and 20% off) for the entire cycle, which will be available from the 7 al 22 January in the usual shopping channels. The localities will be available from the 13 January at the Ciudad de León Auditorium box office, www.aytoleon.es Y www.auditorioleon.es/you compradeentradas, at a price of 10 €, except for the extraordinary concert, whose price is 5 €. Those under 26 years and the students of the University of León will enjoy a discount of the 40% on the general ticket prices, with tickets 6 €.

Other activities

Of the 21 February to 1 June 2020 the Multipurpose Hall of the Auditorio Ciudad de Leon will host the ninth university extension course promoted by the University of León and CNDM with the support of the City of Leon capital. The aim is to introduce students to the top, and other stakeholders, the value of Spanish heritage legacy, mainly musical, but also artistic, in their ongoing relationships and contacts. This initiative continues the collaboration created nine years ago between the three institutions involved. The course is divided into theoretical parts to the nine concerts cycle CNDM add as musical examples to treaty. Registration for this course and complete information will soon be available on the websites of the University of León and CNDM. On the other hand, Eduardo López Banzo will give the International Course IX of the Baroque Vocal Performance 22 al 26 March 2020, in the Auditorio Ciudad de León. The success of previous editions is reflected in the selection of 28 young singers (16 sopranos, 1 mezzo soprano, 4 baritones, 3 tenors and 4 countertenor) whose careers have been boosted, after passing through this specialized course, to join casts of international baroque productions.

Philippe Jaroussky in Arts

The French countertenor Philippe Jaroussky Debuts in Palau de les Arts The next sunday, 12 from January, at the third session of the cycle 'The Arts is Lied'.

The prestigious interpreter is one of the most important figures in the opera scene, which adds to the list of great voices debuting at Les Arts in the season 2019-2020.

Audiences and critics credited countertenor Philippe Jaroussky as the quintessential of his generation both for his work in major theaters and festivals such as records record.

With the pianistic accompaniment Jérôme Ducros, countertenor, star of the baroque repertoire, Les Arts presents in his role incipient 'lieder', with which it will demonstrate technical mastery and elegance that characterize their performances.

As letter, Philippe Jaroussky scores of plays Franz Schubert, certainly the great master of the 'Lied', not only by the more than 600 parts left written, but also by the lyricism and richness of his works.

'The Arts is Lied', the first cycle arts center devoted to this genre, will continue with recitals British baritone Simon Keenlyside-the day 1 February-, and soprano Ainhoa ​​Arteta Guipuzcoa, he 15 of March.

The Coliseum reminds those concerned that the price of tickets ranges between 20 Y 40 euros and can be purchased at the theater box office and through the web www.lesarts.com.

Photograph: Simon Fowler

Elektra, Palau Arts

He Palau de les Arts delves into the German repertoire ‘Elektra’, Richard Strauss, essential work in the programming of international opera houses, which meets in Valencia to leading figures in the international opera scene.

Marc Albrecht, on the podium, Y Robert Carsen, In the scene, Arts debut in this title, demanding score and complex drama that will debut next 18 from January.

The German conductor and Canadian creator face the last weeks of testing in Valencia, with stable bodies of the theater, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana, along with a cast of performers recognized.

Swedish soprano Irene Theorin (Elektra), critically acclaimed in this role, leads the trio protagonist who plays psychodrama retractor Strauss, with German mezzo veteran Doris Soffel as Klytämnestra and American soprano emerging Sara Jakubiak el and the role Chrysothemis.

Libretto by Hugo von Hofmannsthal, based on the homonymous Sophocles, Elektra is considered one of the scores of greater difficulty both vocals orchestra, what, in his day, It became the largest used for an opera.

Marc Albrecht, baton expert in the work of Strauss and Wagner and recent winner at the Opera Awards 2019 in the category of Best Music Director, OCV recovered with a repertoire with the starting lineup of Les Arts has reached its highest levels of excellence with titles such as 'Der Ring des Nibelungen', 'Parsifal' or 'Salome'.

Meanwhile, Robert Carsen, presented to the Valencian public a production of the Opéra National de Paris, based on an original co-production of the Theater of the Maggio Musicale Fiorentino and Tokyo Opera Nomori, with sets by Michael Levine, Vazul wardrobe Matusz, own and Peter van Praet and choreography by Philippe Giraudeau lighting.

Renowned for his great showmanship and aesthetics maintained their mounts, Carsen offers a chilling vision of 'Elektra', expressive of great strength and deep symbolism.

The premiere of 'Elektra' will take place on Saturday 18 from January. Les Arts has scheduled four other functions of Richard Strauss's opera day 21, 24, 27, Y 30 from January.

Photograph: Miguel Lorenzo

The pirate 1

 

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Il Pirata in Teatro Real 192 years later
Brand an opera in one of the great operatic temples 192 years after it was written, must be justified. In the case of Il Pirata is a very important, the difficulty in interpreting main roles makes this work almost impossible. These vocal demands are caused his absence during decades of the repertoire and the big stage. As well the teacher says Benini, "It all depends on having good singers with. A good tenor, a good soprano and baritone good "final .In, and despite the success with which premiered, first to La Scala in Milan, in 1827 and subsequently in Naples, Bologna, Trieste, Vienna, Dresden, Lisboa, Barcelona, Cádiz (in 1834), NY, Mexico and Madrid (in 1830 at the Teatro de la Cruz), Il Pirata suffer the same fate so many romantic operas of the time were absent from the stage since the second half of the nineteenth century, until the fifties of the twentieth century. It is at this time when it appears in 1958 figure with Callas, which updates the main character in Imogene, Il Pirata placing again in the repertoire. It was subsequently Montserrat Caballe who, assuming the difficulty of the role, He incorporated it into his repertoire bringing it to the main theaters of the mundo.Un little history
Il Pirata catapulted a young Bellini always attentive to the trends and influences coming, especially, from Germany. Your search for a new musical language and its taste for innovation, make Il Pirata is positioned halfway between the classic tragedy, the Age of Enlightenment, and romance and music more symphonic, who came from the hand of Schubert and Beethoven.Esta transition from classicism to romanticism is also noted in his libretto, escrito por Felice Romani, based on the work of Justin Severin Taylor, Bertram, or Pirate. Romani had great admiration for the Italian poets of the eighteenth century, but it is now at the romanticism that at that time already wrapped Europa.Pero, Il Pirata why so rarely it represented?
Javier Camarena and Celso Albelo, two tenors who play Walter in this new production of Teatro Real, say: "I prefer to chant a Puritani morning and afternoon, before singing Il Pirata ".There Keep in mind that these operas were written for certain singers, with a specific vocalism and under certain performance conditions, small theaters and orchestras components and very tight sound volume. At that time the singers were accustomed to sing in falsetone. Natural tessitura of the tenor of the time led them to sing in falsetto everything that was found above the natural or Bb. Today's falsetto is not regarded as broadcast mode. The theaters are larger and, let alone the orquestas.Bellini wrote a score for tenor of great vocal and dramatic demands. I wanted a tenor who dominate the treble and bass records at the same time as the fiato and legato. Also he wanted to be a virtuoso declamation and phrasing. All this accompanied, to the same as in the role of Imogene, Agilita of inherited Rossini and thus achieve greater expression in a work with so much excess sentimentalismo.Para carry out all these demands reflected in the score, Bellini resorted to which was then the most acclaimed tenor, Giovanni Battista Rubini, to which he demanded two types of singing, the virtuous and the contraltino Tenore acute and baritenore, with powerful bass, but equally virtuous. Walter was born with the myth of the cold tenor.Escenografía, not ugly
Romantic bel canto is considered by many stage directors one of the most difficult genres lead to a scenario. They think that romantic bel canto operas have no clear dramaturgy within the plot of the play. Emilio Sagi is not one of these directors. The fact that the argument is not fully closed offers many scenic possibilities. The result is elegant and a great visual strength, with many elements trademark, like chairs or moon. The scenery of Daniel Bianco is cold, to highlight the enormous scenic passions experienced by the characters and mirrors grandre to enhance the elements and get a multiplier effect. The stage becomes a big box fully closed, almost smothering, but greatly facilitates the work of the singers. They are always kept in proscenium, which allows a better projection without forcing the instrument too much The different scenarios are not defined or give clues to the place where the events take place. The black and reflexes dominate a deliberately gothic scene, as is the genre of the work in which this opera is based. Impeccable costumes by Pepa Ojanguren, lighting Albert Faura and projections Yann-Loic Lambert help to plunge into the atmosphere full dramatic intensity Gothic novel.

There have been three deals that have gone to the scene of the Real. If it is difficult to find one good, Imagine three. Undoubtedly the main attraction was represented the participation of Javier Camarena and Sonya Yoncheva in the first division, and they did not disappoint a devoted audience and thanked the end of each performance.
He also received his award for the effort that Celso Albelo, although a escaloncito below Camarena, He gave a remarkable interpretation of Walter.

In another step below it can be placed on the young Russian tenor Dmitry Korchak, they tried hard and did the role. Together with the Korchak, and Ernesto de Simone Piazzila (you must already have home in Madrid). His stage presence was not important in this occasion accompanied all the qualities of his voice, rang resounding, but dull.

Yolanda Auyanet was the most applauded of the night. The truth is that the work started back and nearly brought forward by herself. Although it has lost some smoothness of his voice, perhaps due to changing repertoire it is underway, It maintains its generous volume and sufficient fiato, something to keep in mind a demanding role.

Another thing was the participation of María Miró Barcelona, despite all give prominence to the role of Imogene, He wore his superb dramatic soprano voice, fluently unfolding on stage.

If there is a knowledgeable director of this repertoire, this is definitely Maurizio Benini. Its effectiveness to the front of the orchestra of the Teatro Real Titular was sufficiently demonstrated in "Il Trovatore" a few months ago in this same theater. Impregnates his address italianismo, essential in this type of work. Steady and smooth pulse accompanying the interpreters and the chorus, Outstanding once again, from the early stages.

Special mention deserves the participation of an unknown Marin Yonchev, in the role of Itulbo. It is not understood very well that doing there, until you find out who is the brother of Sonya Yoncheva, do not tell me more!

A good premiere of Il Pirata at the Royal Theater, even if it had to wait 192 years. It's never too late, especially this time.

The pirate
Vincenzo Bellini (1801-1835)
Libreto of Felice Romani, based on the work Bertram, or Pirate (1822) Justin Severin Taylor, translated into French by Charles Maturin
Premiere at the Royal Theater in co-production with the Teatro alla Scala in Milan
D. musical: Maurizio Benini
D. scene: Emilio Sagi
Scenographer: Daniel Bianco
Costume designer: Pepa Ojanguren
Lighting: Albert Faura
Video: Yann-Loïc Lambert
D. choir: Andrés Máspero
Distribution: Dmitry Korchak, Yolanda Auyandet, Simone Piazzola, María Miró, Felipe BPU, Marin Yonchev
Headlines Choir and Orchestra of the Teatro Real

Text: Paloma Sana
Photograph: Javier del Real
Videos: Teatro Real

Placido Domingo Nabucco Les Arts

 

https://www.lesarts.com/
The Nabucco of Placido Sunday triumphs at the Palau les Arts in Valencia
By Diego Manuel García Pérez.En Valencia Palau de Les Arts, They have taken place six performances of Nabucco, the four first performed by Placido Domingo incombustible. Ya, for months that the tickets were sold out. Madrid tenor is a real media phenomenon, mobilizing crowds in each of their performances. A public come from around the world, with Japanese included, where they could see ladies wearing kimonos. The vocal state under the Madrid, and frisando the seventy-nine years, It matters little to these groups of enthusiastic fans, that they come with the premeditated idea applaud and show their admiration. To all this the fact that Domingo sing again in Spain was added, after being subjected to a wave of accusations of sexual harassment over thirty years ago, not having produced any legal complaint, but deteriorated figure this myth opera, to the point of having to give up their performances in the US and leave the artistic direction he held since 2001 Opera Los Angeles. In the representation I attended, I had the opportunity to converse with a critical come from Argentina, who told me with real sadness that the famous Teatro Colon in Buenos Aires, He had also vetoed his presence. Large European operatic centers continue supporting him, as it has been in the past Salzburg Festival, Miller performing Verdi's Luisa Miller, where he was strongly applauded, and also he received the tribute at the Teatro alla Scala in Milan, on the fiftieth anniversary of his debut at the theater, A few days later representations of Nabucco in Valencia, where the controversy about Sunday was served, as, in contrast to the enthusiasm of the audience inside the Palau de les Arts, for its presence and activities, had demonstrations outside rather than female groups carrying large banners, with the phrase "Nebuchadnezzar stalker". Regardless of these circumstances, Note that these functions Nabucco, apart from the presence of Placido Domingo, They had as big winner at Abigaile played by Neapolitan soprano Anna Pirozzi, who had already impressed the Valencian public with this same role, in the representations of Nabucco that took place in May 2015. The Orquesta de Valencia, well directed by Jordi Bernàcer, also shone high. Y, as usual, the Choir of the Generalitat Valenciana was a great success, in an opera as this where it has a very important presence, including the chorus "Va pensiero" the most famous and popular of the entire history of opera Italiana.Nabucco is the third opera composed by Verdi, Temistocle libretto by Solera, and its premiere took place at the Teatro alla Scala in Milan, he 9 March 1842, constituting a great success, to the point of being represented in that season and the next, in 57 occasions, something that had never happened before. Nabucco may be influenced by Donizetti and Bellini, but his vigorous melodies, with passionate vocal language, and they are typically verdianos. In this opera, and for the first time, Verdi gives great importance to the baritone, assigning the title role of Nabucco. Y, Abigaille -of the extreme difficulty- a dramatic soprano of agility, It is played at its premiere by Giuseppina Strepponi, destined to become sentimental companion of Verdi and his future wife. The role of Zaccaria (Great high priest of the Hebrews), It is also very important and requires a low rotund voice and great extension. After a few years when this opera was massively represented in Italian and European theaters, He fell somewhat forgotten, very rarely being programmed. Its American premiere took place at the Teatro Colon in Buenos Aires, in 1914. Nabucco true recovery was made by the master Vittorio Gui, in 1933, Teatro alla Scala in Milan, and also, that same year, transcurso en primer "Maggio Musicale Fiorentino", in both cases with two great singers Carlo Galeffi (Nabucco) y Gina Cigna (Abigail). Vittorio Gui also directed the famous performances, with a live recording- which they took place in December 1949, Teatro San Carlo in Naples, with the extraordinary creation of Abigaile by Maria Callas. The main pieces of this recording can be heard on YouTube. Ya, in 1951, on the occasion of the fiftieth anniversary of Verdi's death, RAI made a studio recording, directed by Fernando Previtali, with magnificent Abigaile de soprano Catherine Mancini, which can be heard integrated into Youtube. In 1960, Nabucco was first performed at the Metropolitan neoyorkino, played by the Austrian soprano Leonie Rysanek, with vocalism that demand Abigaile, although somewhat away from the style of singing verdiano. Along the Rysanek intervenían important you guys fully Verde: baritone Cornell MacNeill (Nabucco) and bass Cesare Siepi (Zaccaria). Elena Souliotis stunning vocalism and ephemeral career, Abigaile played in the sixties and seventies; Also the Bulgarian Ghena Dimitrova, It was an excellent Abigaile from the late sixties to the nineties. In 1968, He first played the character of Nabucco, the great baritone Renato Bruson, a real stylist singing, as it can be seen in its interpretation held at the Teatro Regio of Parma, in January 1979, Abigaile stunning along with our Angeles Gulin, died prematurely in 2004 (this year 2019 It has completed the eightieth anniversary of his birth). It is extraordinary to hear the great duo Nabucco and Abigaile in the voices of Gulin and Bruson, Available on YouTube. Renato Bruson will be the most important interpreter of Nabucco, for over thirty years. The Ukrainian soprano Maria Guleghina will become from the mid-nineties, in a reference to the character of Abigaile, by vocalism and great dramatic temperament. He first performed at the Paris Opera Bastille in 1995, Julia Varady alternating with, with a great cast that included great bass Samuel Ramey (Zaccaria), Jean François Lafont (Nabucco), Violeta Urmana (Fenena) and Jose Cura (Ismaele); Y, the next year, at the Arena of Verona with Renato Bruson (Full version video available on YouTube). From then until the most recent news, He has played on many occasions worldwide. Significantly making video DVD marketed by DGG in the Metropolitan neoyorkino, in 2001, James Levine direction, where Guleghina shared with Joan Pons cast (Nabucco) and Samuel Ramey. Fragments of this recording can be heard on Youtube. Overlapping Guleghina, arise in 2013, excelentes de dos interpretes Abigail: Anna Pizozzi at the Salzburg Festival, directed by Riccardo Muti (gran guarantor of this score), and the Ukrainian Liudmyla Monastyrska, Teatro alla Scala in, next to the magnificent Nabucco Leo Nucci, and that same year 2013, in Covent Garden, with Placido Domingo as Nabucco, and there is a live take marketed on DVD by SONY. Since then Pirozzi and Monastyrska, They are quite often played the character of Abigaile. Deutsche Opera Berlin scheduled Nabucco season 2019-2020, with alternating Maria Guleghina, Anna Pirozzi y Liudmila Monastyrska.

Nabucco production has been seen in the Palau de les Arts, It comes from the Washington National Opera in co-production with The Minnesota Opera and Opera Philadelphia, and has the stage direction and set design and costumes Thaddeus Strassberger Mattie Ullrich. This production aims to replicate what could be the Nabucco assembly when it premiered at the Teatro alla Scala, Here spiced with a proposal theater within the theater. Mediated long initial overture we see a number of couples dancing very Austrian nobles in the aesthetics of the film Il Gattopardo of Luchino Visconti, and later they began to occupy some boxes enabled to the left of the stage to contemplate the representation. They can also be soldiers guarding any hostile reaction from the Italian public to the Austrian nobility who then occupied Milan and all Lombardia. A stage decorated with a papier-mâché, friezes, mosaics and large columns, reproducing in Act I, Solomon's Temple in Jerusalem and in Act II, Palace in Babylon Nabucco, with a series of overlapping curtains that produce a real sense of depth scenic. In Act III, before the famous chorus "Va pensiero", action can be seen from behind the stage as if viewers were backstage. At the end of the performance the performers gather bouquets of flowers thrown by the Austrian public on stage, furiously returning them to the boxes and displaying two banners with the colors of the Italian flag and inscriptions, one in the "W", and the other the word VERDI, acronym which together they formed the words: Victor-Enmanuele live King of Italy (true symbol of Italian patriots against the Austrian domination). Costume design by Mattie Ullrich is in excess colorist for the Babylonians in contrast to the white hues of the Hebrews.

Proven leadership and strong, with large capacity concertmaster Jordi Bernàcer, the head of the Orchester de Valencia, which again proves to be a set of high quality, and this is evident from the excellent performance of the overture: a long page, articulated well full of contrasts, where different musical motifs and Iran reappearing long exposed opera, among them, -with the accompanying minor modifications- the famous chorus "Va pensiero". The orchestra has an outstanding performance, during the entire performance, shining in moments of intense lyricism: introduction and accompaniment of arias of Abigaille, Act II respectively and the closing of the opera, or Fenena's aria in Act IV. Y, by contrast, It shows an uncontrollable force, in the vibrant end of Act I, when Nabucco bursts onto the scene, whose recurring musical theme and exhibited in the overture, It is taken up in the orchestral introduction of Act III, and the coda of the final cabaletta performed by Nabucco, in his great scene of Act IV. Report also, the magnificent orchestral intervention Nabucco and Abigaille duet of Act III, and the overture to Act IV. At the direction of Jordi Bernàcer, It is blamed tendency to use sounds in forte. Finally, and in the high level offered by the members of the orchestra, include the splendid performance of severe rope especially the cellos, and the woods where they shine solo flute and oboe.

The big winner of these representations, ha sido Neapolitan soprano Anna Pirozzi, Abigaille who composes a great vocal and dramatic stature. voluminous voice and bright timbre, buen breath, excellent ability to regulate the sound, and a sharp, broad and well cast treble, (some extreme notes something forced), It is its weakest a limited range of serious. His voice stands out strongly in the moments of greatest orchestral forcefulness: the concluding concertantes of Acts I and II. It provides a good command of bel canto coloratura, and meets with expertise deviled octave jumps that punctuate much of their interventions. Makes a great performance in his big scene of Act II, initiated with violent recitative "Ben io t'inventi", to move to the lyrical and intimate singing the aria "Anch’ opened one day "y, then, show an overwhelming force in the cabaletta "Salgo già of the aurate throne". also highlights, his great performance in the duet with Nabucco Act III, inserting in its dialogues with a pleading Nabucco, a vibrant cabaletta, whose musical theme appeared exposed in the initial overture. Anna Pirozzi looks back his vocalism and interpretive force, in his beautiful aria end "Its me, dying, essanime "exquisite voices stockings, and issuing delicate notes in "pianissimo".

Since he started his stage baritone, I had occasion to hear Placido Domingo, in the Palace of Arts, in various roles verdianos: Francesco Foscari I due Foscari, in 2013, Macbeth, in 2015 and Rodrigo Marques de Posa in Don Carlo, in 2017, to which is added this Nabucco. Sunday is not a baritone but sings tenor baritone roles. During those six years between the creation of Francesco Foscari and Nabucco, the voice is gone Logically- deteriorating, with an increasingly lack of fiato, which prevents him properly build the Verdian long sentences. However keeps its beautiful timbre, miraculously youth, and a large theater capacity compensates his vocal limitations. Its scenic entrance in Act I, It turned hesitantly, with almost inaudibly in the great concertante that closes Act I, voices to side as strong as those of Anna Pirozzi and Alisa Kolosova. He improved considerably at the end of Act II, singing in the best Verdian style "S'appresan gl'istante". notably He faced his great Act II duet with powerful Abigaile Anna Pirozzi, full alternating moments of strong accents "Donna, who are you", “Oh, of qual'onta aggravasi ", with others full of pathos in his words repeated "Ah, The shadow miserable old man ... I am the King ", in contrast to the aggressiveness of Abigaile. Ya, in his great scene of Act III, They produced his best moments in the aria "Dio di Giuda", where he sings with delicate accents, lying on the ground face down, (something truly unusual for an almost octogenarian person), and plays hard and expressiveness the cabaletta "O Prodi miei, follow me".

The role of Zaccaria great vocal and stage requirement, She was played by the bass Riccardo Zanellato, verdiano good style of singing, although it lacking in volume and in serious difficulties Acute records, which are reflected in frequent octave leaps, to be performed in its many interventions throughout the opera. His performance was not discreet, in scenes of authentic brilliance as the aria "Sperate, or children…"Followed by the cabaletta" Come notte a glittering sun "Act I and the end of Act III" Oh,those who weep?…The future discern in the dark ". His best time was in the interpretation of the aria "Tu sul labro" belonging to the Preghiera, in Act II.

Russian mezzo Alisa Kolosova in the role of Fenena, He wore a voluminous voice of beautiful timbre. In his only solo, el aria "Oh disclosed is the firmament" of Acto IV, shows a delicate and elegant line full song lyric accents. also note, Speaking at the "Terzettino" of Act I, junto a Abigaille (both competing vocal volume) and Ismaele played by Mexican tenor Arturo Chacón the-Cruz, Voice bit bulky, but she sings with style and musicality, sobre todo en su vibrant airy "For the love of the living God dall'anatema cease", pertaining to Act II. Among the comprimarios roles include the magnificent performance of the Korean under Dongho Kim (The high priest), with a far superior vocal means to Riccardo Zanellato. Well in his brief interventions as Anna Sofia Esparza, Zaccaria's sister, and Ukrainian tenor Mark Serdiuk as Abdallo (Nabucco faithful officer).

"The Choir of the Generalitat Valenciana", directed by Francec Perales, He shone high, Obviously highlighting- in his extraordinary interpretation of the famous "Va pensiero", it starts again once the opera, after the rudeness of interpreters to Austrian nobles. As well, noting their great performances from other great choral moments: "The holidays Cadona broken down furniture", very beautiful invoice, with which starts the opera. As well, el de los Levitas chorus of Acto II "The Damned has no brothers", whose vibrant musical theme, already he appeared exposed in the initial overture. Y, interventions in the concluding concertantes of Acts I and II, or its significant presence throughout the end of Act III. In this production, The opera ends with the magnificent choir "Immenso Jeovha", usually precedes the "O-ary recitativo! those who see the wicked ... ..Su me, dying lifeless ", where death occurs Abiagaile.

Christmas Concert Teatro de la Zarzuela

The Teatro de la Zarzuela closed the year with its traditional Christmas Concert. Directed by Oliver Diaz, and with the participation of soprano Rocío Ignacio and tenor Jorge de León, the Tickets carried out since last summer

They will perform works by Luna, Vives, Fernández Caballero, Guerrero O Penella, with compositions Gershwin, Lloyd Webber, Lehár, Bernstein O Schönberg

The Community of Madrid Orchestra (Titular del Teatro) and the Holder Choir Theater de la Zarzuela They will join the celebration.

He Teatro de la Zarzuela will close next Saturday 28 December at 20h00 a fruitful 2019, And it will do with its already Traditional and expected Christmas Concert whose tickets were sold out within hours of going on sale last summer. As is usual, the appointment will serve to celebrate in style Spanish music, our lyrical, this time can be enjoyed along with works by some of the International Grandmasters of musical theater.

The concert will be conducted by maestro Oliver Diaz and will feature two of the most valued Spanish voices today: the soprano Rocío Ignacio and tenor Jorge de León. During the gala also intervene Coro del Teatro de la Zarzuela, which together with the Community of Madrid Orchestra (Holder Coliseum), It will be added each year as the party.

The program works visit Pablo Luna, Amadeo Vives, Jacinto Guerrero, Manuel Fernández Caballero O Manuel Penella, also through historical creations of some of the largest international masters of musical theater as George Gershwin (Girl Crazy), Andrew Lloyd Webber (The Phantom of the Opera), Franz Lehár (The Merry Widow), Leonard Bernstein (West Side Story) O Claude-Michel Schönberg (The Misérables). Toda collection of masterpieces to toast a 2020 full of light and zarzuela.

Teatro de la Zarzuela

Capriccio

The jury of the Opera XXI Awards, convened by the Association of Theaters, Estables festivals and opera seasons in Spain, He has released yesterday the names of the winners of the second edition, in which the work is recognized artists, professionals and institutions in the world of opera throughout the season 2018-2019.

The Royal Theater has been recognized in two categories: Best Musical Direction for Nicola Luisotti, for his work in opera Turandot, Giacomo Puccini, whose premiere took place on 30 November 2018, Y Best Stage Direction for Cristof Loy, whose vision Capriccio He received unanimous praise from national and international critics placing it among the best productions of the year.

They have also been recognized for his work soprano Sondra Radvanovsky; Award for Best Singer; soprano Leonor Bonilla, Best Young Singer, who he was also part of the cast of Capriccio at the Royal Theater[u1] and had an outstanding participation in Lucia di Lammermoor, Donizetti who opened the season of the Teatro de la Maestranza, and Best New Production is for him Teatro de la Zarzuela by Spanish opera The House of Bernarda Alba by Miquel Ortega.

The Best Lyric Promotion Initiative Award has been for Pocket Opera and New Creation, in recognition of his work at the premiere, in March 2019, Opera I'm narcissistic, with music by Raquel Garcia-Thomas and libretto by Helena Tornero, a mounting Marta Pazos with musical direction by Vinicius Kattah, in co-production with Teatro Real from Madrid, the Spanish Theater and the Teatre Lliure.

Best New Production Latinoamericana is for Gran Teatro de Lima by Alzira, in Verdi, co-produced by the Ministry of Culture of Peru with ABAO (Bilbao Association of Friends of the Opera) and the Royal Opera de Wallonie (Liége, Belgium).

The jury of the second edition of the Opera XXI Awards is composed of journalists Eva Sandoval (RNE, Classical Radio), Jesus Ruiz Mantilla (The country), Maricel Chavarría (The vanguard), Gonzalo Alonso (The reason), José Luis Jiménez (ABC); by critic and co-director of the journal Platea Magazine, Alejandro Martínez, and the director of the magazine Opera Actual, Without Fernando River, and international critics Richard Martet (Opera Magazine) and Victoria Stapells (Opera Magazine UK), in addition to Andrés Rodríguez (Vice President of OLA, opera Latin America). They are experts of recognized national and international prestige and a deep knowledge of the current national lyrical activity. Also present in the discussions Oriol Aguilà, Opera XXI president and director of the Festival Castell de Peralada; José Monforte, Association secretary and general manager of the Palau de les Arts Reina Sofía (Valencia), and Nieves Pascual, Coordinator awards.

Tratro Real

Bernarda Alba's house

The Teatro de la Zarzuela He has been awarded the prize for Best New Opera Production 2018/2019 by ‘Bernarda Alba's house’ from Miquel Ortega, which it was shown in Madrid coliseum in eight performances in November 2018. The jury Bernarda , summoned by the Association Theaters, Estables festivals and opera seasons in Spain, He has released today the names of artists and institutions recognized in this second edition.

Libretto by Julio Ramos based on the original work of Federico Garcia Lorca, assembly it has the scene address Barbara Lluch and the premiere of the Plazuela de Jovellanos was Miquel Ortega himself who was in command of the musical direction. The cast included names like Nancy Fabiola Herrera, Carmen Romeu, Luis Cansino, Carol Garcia, Marifé Nogales, Elvira Bethlehem, Bern Perles or Milagros Martin, besides the veteran actress Julieta Serrano. The scenography is signed by Ezio Frigerio, costumes is Franca Squarciapino and lighting Vinicio Cheli.

The ceremony the awards will take place in the Gran Teatre del Liceu in Barcelona the next 12 March 2020.

In addition to the Teatro de la Zarzuela, They have been awarded by the national lyrical activity during the season 2018-2019 Sondra Radvanovsky -Best singer- Y Leonor Bonilla -Best young singer-, Nicola Luisotti -Best Director Musical-, Cristof Loy -Best Stage Director- Y Pocket Opera and New Creation (OBNC) -Best Initiative for the Promotion of lyrical.

Best New Production Latinoamericana it's for him Gran Teatro de Lima for 'Alzira', in Verdi, co-produced by the Ministry of Culture of Peru with ABAO (Bilbao Association of Friends of the Opera) and the Royal Opera de Wallonie (Liége, Belgium).

honorary awards

Last October, Opera XXI Assembly, meeting at its semiannual meeting in Oviedo, elected honorary awards for this second edition of the ceremony.

The award for Best Patronage Initiative went to La Caixa, which through its banking foundation La Caixa and its social work is committed to support different seasons theaters and festivals Spanish, as well as educational initiatives and outreach programs and approach to opera.

The Honorary Award for People is a recognition of the career of José Antonio Campos Borrego, one of the personalities dedicated to cultural management most outstanding of our country.

The honorary award for Cultural Institution went to the Canarios Friends of the Opera of Las Palmas, for its important task of promoting, promotion and dissemination of the opera during his 53 seasons uninterrupted path.

The judge

The jury of the second edition of the Opera XXI Awards is composed of journalists Eva Sandoval (RNE, Classical Radio), Jesus Ruiz Mantilla (The country), Maricel Chavarría (The vanguard), Gonzalo Alonso (The reason), José Luis Jiménez (ABC); by critic and co-director of the journal Platea Magazine, Alejandro Martínez, and the director of the magazine Opera Actual, Without Fernando River, and international critics Richard Martet (Opera Magazine) Y Victoria Stapells (Opera Magazine UK), in addition to Andres Rodriguez (Vice President of OLA, opera Latin America). They are experts of recognized national and international prestige and a deep knowledge of the current national lyrical activity. Also present in the discussions Oriol Aguilà, Opera XXI president and director of the Festival Castell de Peralada; José Monforte, Association secretary and general manager of the Palau de les Arts Reina Sofía (Valencia), Y Nieves Pascual, Coordinator awards.

Opera XXI awards represent a commitment of the Association for the recognition of the intense lyrical activity in Spain and the artistic and creative talent you can enjoy the Spanish stages season to season.

Teatro de la Zarzuela

The Cerillera peqeña at the Royal Theater

He Teatro Real wants to propose to his younger and family audiences a winter trip inspired by the story of Hans Christian Andersen The Little Match Girl, whose beautiful and moving story set on the last night of the year can be seen in the Gayarre room between 23 and the 29 from December.

Based on the original story, a Christmas story that while all buy gifts and delicacies is built, A young girl unleashes her imagination as she embarks on a hilarious train journey with a clumsy conductor and a magical encounter with a passenger, which is none other than Andersen himself.

Winks and smiles between, you crazy situations, and some poignant moment, The Little Match Girl will leave a message vindicating the right of children to enjoy a childhood that is not threatened by hunger, abuse or indifference. A message of solidarity that will drive us to look behind the dazzling Christmas lights.

The show has the support of the musicians Alexis Delgado, musical director and pianist, Y Silvia Romero Ramos, violinist, for interpreting music César Franck, accompanying the story. They will be the soundtrack to a story starring Eugenia González, Little Match Girl; Manu Rodríguez, the reviewer foiled, Y Joseba Pinela, the mysterious passenger Andersen.

LA Little Match Girl

Royal Theatre production

Inspired by the homonymous story (1845) from H.C. Andersen

Music of César Franck (1822-1890)

Children from 4 years. Sala Gayarre

ARTISTIC TEAM

Script and staging | Rita Cosentino

Musical director and pianist I Alexis Delgado

Violinist I Silvia Romero Ramos

Scenographer | Ricardo Sánchez Cuerda

Cartoonist | Jorge Arranz

Costume designer | Tiziana Magris

I Illuminator Lia Alves

Editor of the projections I Iñaki Garcia

The girl | Muge Gonzalvo

Andersen | Joseba Pinela

Auditor | Manu Rodríguez

Photograph: Javier del Real

59ª Religious Music Week in Cuenca

The 59Edition of the Religious Music Week in Cuenca, Easter Festival par excellence of the Spanish music scene, It will be held of the 6 al 12 of April, in various concert venues in the city (Auditorium Theater, Iglesia de la Merced, Torner space, Chapel of the Holy Spirit Cathedral of Cuenca, and the Church of Arcas)

Christopher Soler, artistic director of the SMR from 2017, It has designed a wide and varied program, articulated through its various sections (SMR- Passion Week, SMR and SMR-Antigua-Contemporary), in which the presence of numerous sets highlights and performers nationally and internationally renowned as Freiburger Barockorchester, The voice of the Light, Lionel Meunier, Amsterdam Baroque Orchestra & Choir, ton Koopman, Together conductus, Andoni Sierra, Nereydas, Ulises Javier Illán, Maria Espada, La Folia, Guillermo Turina, Iagoba Fanlo, Gabriel Diaz, RTVE Symphony Orchestra, PluralEnsemble, Fabian Panisello Angelica de la Riva, among others.

Johann Sebastian Bach It remains one of the backbones of the festival, and besides the St. Matthew Passion, the 59 SMR will present J.S.Bach: Passion, Death and Resurrection, cantatas for Easter ", a cargo of conduct ensemble, led by Andoni Sierra; recitals Bach and his contemporaries with violinist Tetiana Lutsyk, Bach writes Contemporary, with cellist Iagoba Fanlo.

The 59 SMR will join the celebration of the 250th anniversary of the birth of Beethoven, with Obituary Beethoven, and pianist Eduardo Fernandez.

The 59 SMR will present various recovery projects of the Spanish musical heritage, in which the Community of Castilla-La Mancha participate interpreters linked: resounding booms, with Nereydas and Ulises Javier Illán, works with Corselli, Lidón and Porretti; Nebra & Nebra, by the Musicians of His Highness and Luis Antonio González, with works by José de Nebra Mosque, housed in the Archives of the Cathedral of Cuenca. Another project of the Spanish heritage recovery will be holding the 550Anniversary of the birth of the composer Francisco de Peñalosa Toledano, Juan Carlos Asensio and Schola Antiqua.

Altera Beast for soprano soloist and 16 instruments, composer Jesus Torres It will be the Custom work 59 SMR Cuenca; your text, In latin, It belongs to a fragment of the Apocalypse of St. John. the soprano Isabella Gaudí and the PluralEnsemble, under the direction of Fabián Panisello, They will star in its world premiere at the closing concert of the SMR Easter Sunday.

The 59 SMR adds to the commemorations of the V Centenary of the first circumnavigation of Magellan and Elcano with a concert of baroque group La Folia directed by Pedro Bonet. The program dedicated to the music of evangelization by Iberian routes that Spain and Portugal began to explore from the end of the fifteenth century includes works in Castilian, French, Latin, Quechua and chiquitano related to the three oceans and four continents.

SMR Academy participates in two baroque musical events: he Stabat Mater de Pergolesi, Y The Lord said the trade.

The poster 59 SMR It has been designed by José María Lillo, Plastic artist born in Cuenca and formed under the influence of Fernando Zobel, currently he teaches at the Faculty of Fine Arts in Cuenca.

The SMR presents new renewed web and responsive design, which can be viewed on all types of devices (mobile, tablets, computers)

You can see the detailed programming 59 SMR one www.smrcuenca.com

Electra at the Royal Theater

He Teatro Real will fire the last days of the year the company National Ballet of Spain, which will offer four unique functions, the days 28, 29 Y 30 from December, her show Electra, created by choreographer Antonio Ruz, in collaboration with Olga Perica.

This touching show delves into different languages ​​of dance, giving life to classical tragedy with an original and contemporary vision inspired by our popular imagination, which will be heartbreaking voice of singer Sandra Carrasco, sheltered by the Head of the Royal Theatre Orchestra directed by Manuel Coves.

the dancers will alternate in the title role Inmaculada Solomon Y Miriam Mendoza, Who, along with the rest of the cast, They will share the stage with Antonio Najarro, director of the company until September this year, Aegisthus who will play in all functions.

Electra, one of the most ambitious bets of the BNE, both from a conceptual and artistic, He has had the participation of big names in the Spanish scene as Alberto Conejero, responsible for dramaturgy; Paco Azorín, in the scenic conception; Rosa García Andújar, in costume design, Y Olga García, in lighting.

Antonio Ruz, one of the great choreographic creators of our country, He has deepened its roots to interpret the Greek myth. Starting from the Mediterranean cultural identity combines disciplines such as flamenco, Spanish dance and contemporary dance, an amalgam of movements that live and coexist with light, the language of clothing fabrics dancers, and space, completing a unique show where everything necessary.

In Electra, the corps de ballet becomes a character, trying to "give back to the dance and choir imagine the place occupied in the classical tragedies", explains Ruz. At times, dance and word remind us of the world lorquiano, stories of destiny and revenge, enriched by music Pablo Martín Caminero, Moses P. Sánchez Y Diego Losada.

Over four functions, the days 28, 29 (two functions, to 17.00 h and the 20.30 h) Y 30, he National Ballet of Spain It will be the protagonist on the stage of the Royal Theater and he bid farewell year and a decade in which we have danced together.

James Gaffigan debut in The Arts

James Gaffigan Debuts Thursday, 19 from December, at Palau de les Arts with 'A German Requiem', Johannes Brahms, which marks the beginning of the cycle. “Arts is symphonic ' American director currently being tested at the Auditorium with Cor de la Generalitat and the Orquestra de la Comunitat Valenciana this score for soprano, baritone, mixed choir and symphony orchestra, which reflects on life and death from biblical texts. Junto a James Gaffigan, solo, Arts reunites the Russian soprano Elena Tsallagova and US bass baritone Brandon Cedel.

'A German Requiem (A German requiem), opus 45 'is one of the most unique works of the sacred repertoire, that will value the excellence of stable bodies of Les Arts. Part decisive for the recognition of Johannes Brahms, It had its first partial interpretation in Bremen Cathedral on Good Friday 1868, to be released in its final version of seven movements in Leipzig, he 18 February 1869.

Under the heading, 'The Arts is symphonic', arts center offers six essential dates this season in which the Orquestra de la Comunitat Valenciana and Cor de la Generalitat Valenciana will display their recognized reliability and versatility. Stable bodies of Les Arts propose some of the most suggestive pages of the symphonic repertoire and lyrical-symphonic, with special prominence of the requiem mass and a session dedicated to music created by Stravinsky for Diaghilev's Ballets Russes, with the visit of prominent directors such as Michele Mariotti, Gustavo Gimeno, Juanjo Mena, Ivor Bolton y Daniele Gatti.

Les Arts recalls that the sale of tickets for this cycle is carried out both at ticket offices, as in the telephone sales line 902 202 383, as well as on the web www.lesarts.com. The prices of the localities oscillate between 30 Y 45 euros. further, the arts center has put up the ‘Passe 6 SYMPHONIC x 60 €’, an exclusive promotion that offers the student public a complete series of locations in the preferred area of ​​the
Auditori priced at 10 euros for each concert.

Elena Tsallagova The coloratura lyrical soprano Elena Tsallagova studied at the Saint Petersburg Conservatory and won the Rachmaninov Singing Competition at the Mariinsky Theater. He continued his studies with Ileana Cotrubas in Paris, where he debuted as Mélisande in ‘Pelleas et Mélisande’ under the baton of Philippe Jordan (recorded on DVD). During the season 2019-2020 will debut at the Mozartwoche at the Salzburg Festival, with
a new production of ‘Der Messias, K 572’ (Handel / Mozart), will play Violetta in ‘La traviata’ in Stuttgart, Berthe in 'Le Prophète' at the Deutsche Oper Berlin and Musetta in "La Bohème" at the Paris Opera. He made his debut as Pamina in Canada and in Chicago as Despina. Her recent performances include roles holders 'Pelleas et Melisande', 'Clever The zorrita' and 'La Calisto'. further, He has sung the Bayerische Staatsoper in Munich, la German Opera de Berlín (papers Micaëla, Adina, Gilda, Pamina, Liù, Corinna and Violetta) and Glyndebourne festivals, Bregrenz, Lucerne and Pesaro. His wide concert repertoire includes works by Bach, Mozart, Ravel and Rachmaninoff.

Brandon Cedel

The American Bass Baritone, Brandon Cedel, graduated from the Lindemann Program for Young Artists at the Metropolitan and has been a member of the Frankfurt Opera 2016 a 2019. In season 2019-2020 destacan Masetto ('Don Giovanni') en la Lyric Opera de Chicago, Basilio ('The Barber of Seville') at the Canadian Opera Company and Garibaldo on a European ‘Rodelinda’ tour with The English Concert, under the direction of Harry Bicket. further, has sung Masetto at The Metropolitan Opera; Leporello ('Don Giovanni'), and Argante (‘Rinaldo’) at the Glyndebourne Festival; Collatinus (‘The Rape of Lucretia’) at the Boston Lyric Opera; the title role of ’Le nozze di Figaro’ at Opera Philadelphia and Colline ('Bohemian') en Canadian Opera Company. At the Frankfurt Opera he has performed Masetto, speaker ('The Magic Flute), Lieutenant Ratcliffe (‘Billy Budd’), Argante, Ariodate (‘Xerxes’), Cesare Angelotti (‘Tosca’), Burner ('Damnation of Faust') and Achior in Mozart's 'La Betulia Liberata'. Future engagements include Claudio (‘Agrippina’), with which he will debut at the Teatro alla Scala in Milan, the title role in ‘Hercules’, Handel, at the Karlsruhe Festival and his return to the Metropolitan.

James Gaffigan

James Gaffigan is Principal Conductor of the Lucerne Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic Orchestra, for the third consecutive year. During the season 2019-2020 guest conducts the Chicago Symphony Orchestras, San Francisco and Detroit, French National and Czech Philharmonic, and debuts at the front of the Montreal Symphony, Melbourne and Swedish Radio. Likewise, will tackle four opera productions in the United States: ‘La Cenerentola’ at the Metropolitan, ‘Ernani’ in San Francisco, ‘Don Giovanni’ in Chicago and ‘Tristan und Isolde’ in Santa Fe. He regularly conducts in the main opera houses. His latest hits include ‘La bohème’,
'Don Giovanni', 'La Traviata' y 'The Marriage of Figaro' in the Staatsoper de Viena; 'So do all of them', 'La Cenerentola' and 'Falstaff' at the Glyndebourne Festival; 'Salome' in Hamburg; ‘La bohème’ in Zurich and ‘Così fan tutte’ in Chicago.

Of New York origin, Master Gaffigan is acclaimed for his musicality and a natural way of conducting. He stands out internationally as one of the most relevant American directors on the music scene. Since he is the head of the Lucerne Symphony, has significantly influenced the profile of the orchestra, increasing tours and recordings, always with great success. Collaborate with the most important orchestras, among which the Amsterdam Concertgebouw stands out, Paris, French national, Age of Enlightenment, Bavarian Broadcasting, German Symphony Orchestra de Berlin, Staatskapelle Dresden, Salzburg Mozarteum, Zurich Tonhalle, Tokyo Metropolitan, the
BBC symphony, Vienna and Cologne WDR, plus the Los Angeles Philharmonics, London, Munich, Rotterdam and Seoul. In the United States he has conducted the New York Philharmonic, the Cleveland and Philadelphia orchestras, as well as the San Francisco symphony, Saint Louis, Baltimore y Toronto, among other.

Photograph: Arts

https://www.lesarts.com/es/

Guillermo García Calvo

The prestigious conductor Guillermo García Calvo, since 2017 Musical Director General of the centennial German Opera of Chemnitz and his orchestra -the Robert Schumann Philharmonie–, It will be from the 1 January the 2020 Musical director of the Teatro de la Zarzuela. the young Spaniard teacher will take in the coming seasons of the musical direction of a significant number of productions of the coliseum the Plazuela de Jovellanos.

The relationship of the teacher García Calvo with this theater is gone consolidating since its debut in the same in 2012 con 'Ay, love!’, a double bill that included 'El Amor Brujo' and 'La vida breve'. He has since occupied the pit and the stage of La Zarzuela to direct titles like the new production of 'Curro Vargas' (2014) with stage director Graham Vick, which received the Campoamor prize; recovery 'Tempest' of Ruperto Chapí in concert version 2017 or 'Katiuska' one year later.

This season 2019/2020 February assume the direction of 'Farinelli' in concert, expected recovery work Tomas Breton.

Formed in Vienna, Guillermo Garcia Calvo made his debut at 25 years as an opera in the Austrian capital. Since then, his international career has tightened his grip surprisingly to become one of the conductors Spanish ones brighter and beyond our borders. Not in vain, nowadays directs assiduously in theaters as Staatsoper Vienna -with which it has a close relationship, having directed more of 200 opera and ballet–, the German Opera de Berlín one to Opera de Paris, where he led this year 'Don Giovanni'.

Guillermo Garcia Calvo is also one of the most sought after conductors in theaters and auditoriums in Spain, where, to give two examples illustrative, in recent months he has taken 'La Gioconda' in the Gran Teatre del Liceu from Barcelona, or 'The proprietress of the port' Production of the Teatro de la zarzuela itself in the Palau de les Arts Reina Sofia From Valencia.

Among the awards he has received throughout its solid and upstroke, the most recent is the Opera Prize XXI It has been awarded this year by the musical direction of 'Siegfried' at the Opera de Oviedo.

GUILLERMO GARCÍA CALVO

Guillermo Garcia Calvo is one of the directors of Spanish orchestra highlights of today. Since the season 2017-2018 it Generalmusikdirektor del Theater Chemnitz (Germany) Owner and Director of the Robert-Schumann-Philharmonie.

Born in Madrid in 1978, He graduated from the Universität für Musik in Vienna and made his directorial debut with opera Hänsel und Gretel at the Schlosstheater of Schöburn in 2003. Since then he works closely with the Wiener Staatsoper, where he has directed more than two hundred fifty performances and operatic titles, as Macbeth, The Magic Flute, La traviata, The Barber of Seville, L'elisir d'amore and Lucia de Lammermoor. It is also a regular guest of the Deutsche Oper Berlin, where he has been in charge of the direction of La Cenerentola, The Barber of Seville, Carmen, Don Giovanni or Pecheurs du Perles. Likewise, He has collaborated with the Aalto-Theater in Essen, directing Nabucco, Bohemian, I Puritani and La traviata, among others. Her operatic debut took place in Spain 2011 Tristan und Isolde at the Opera de Oviedo with the Symphony Orchestra of the Principality of Asturias, with whom reappears with Wagnerian tetralogy Der Ring des Nibelungen. It is especially noteworthy the direction of the first recording of the opera Elena and Malvina, Ramon Carnicer, with the Orchestra and Choir of Spain National.

Guillermo Garcia Calvo also has an attractive symphonic path to the front of orchestras including the National Orchestra of Spain, London Symphony Orchestra, DRP Saarbrücken Kaiserslautern, Orquesta de RTVE, Hamburg Symphony Orchestra, Valencia Orchestra, Filarmonica del Teatro Comunale di Bologna, Latvian National Symphony Orchestra, National Symphony Orchestra (Mexico), National Orchestra of Barcelona and Catalonia, Orquestra de la Comunitat Valenciana and the symphony orchestras of Bilbao, Tenerife, Madrid, Galicia and Asturias, among other.

Recent and upcoming engagements include ballo in maschera A, The bat, Fidelio o Der Ring des Nibelungen en el Theater Chemnitz (having obtained Götterdämmerung Faust Prize 2019 for best opera production in Germany), Siegfried at the Opera de Oviedo, StifFelio with Graham Vick en Festival Verdi de Parma, Rigoletto la s German Opera Berlin, Goyescas at the Royal Theater and the Maggio Musicale Fiorentino, L'elisir d'amore at the New National Theater in Tokyo and at the Wiener Staatsoper where he also directed this season Nabucco or the world premiere of the opera Persinette, Tempest or Katiuska at the Teatro de la Zarzuela, La Gioconda at the Teatre de Liceu or Don Giovanni at the Paris Opera, and several galas with tenor Juan Diego Flores and his debut at the International Music Festival of the Canaries with the Symphony Orchestra of Tenerife, among many others.

He has received several awards for his musical career, Codalario Award as the Best Artist in 2013, Leonardo da Vinci Award 2017 or Opera XXI Award for best musical direction 2019.

www.guillermogarciacalvo.com

Fotografía © David Bohmann Photography

http://teatrodelazarzuela.mcu.es/es/

Carols ne the Teatro de la Zarzuela

A week after the official arrival of winter and ten days of Christmas, he Teatro de la Zarzuela starts the countdown a concert performed by those who are protagonists Undisputed these dates: children. Is this next Sunday, 15 from December (12h00), in the main hall of the Theater and within the cycle 'Chamber Sundays with Ñ', when the Small and Young Singers ORCAM directed by Ana González present 'Carols and songs for winter'; a carefully chosen collection of songs for the occasion, that expresses the white voices genuine spirit of this time of the year. The only price of the concert is 6 euros.

The proposed program is very broad, and ranges from compositions Julio Dominguez, Javier Busto, David Azurza and some other anonymous, until Benjamin Britten, Rosa Alarcó, Bob Chilcott, Marcos Leite Y Manuel Vélez, going by Michael McGlynn, Kurt Bikkembergs, Eva Ugalte, Pablo Casals, Pedro Aizpurúa, John Rutter o John Reading.

The inescapable norm of the series 'Chamber Sundays with Ñ' is that each and every one of the concerts that make it up are played by soloists Titular Orchestra of the Theater, the Community of Madrid Orchestra, O for some of their groups, as in the case of this concert they will also participate pianist Pablo Eisele and percussionist Alberto Román.

He journey through the Spanish musical heritage camera posed the cycle, try to discover the public the excellent quality of the work in this format composers who achieved fame for his dedication to the Spanish lyric genre, as well as give visibility to new Spanish composers and contemporaries and consecrated.

More information

Symphony Orchestra of Castilla and Leon

The Socioeducativa Area Symphony Orchestra of Castilla and Leon, with the director Alejandro Garrido, Saturday presents an innovative proposal works around Mozart y Strainsky, to be held in the emblematic room Museo Nacional del Prado, on the occasion of the closure of the acts of its Bicentennial. This proposal is part of the Iberian Orchestral Project, promoted by the Junta de Castilla y León.

Iberian Orchestral Project (PIO) entrepreneurship and leadership beginning in the year 2017 as a unique initiative of the Socioeducativa Area Castile and León Symphony Orchestra, with the collaboration of the Centro Cultural Miguel Delibes, in which young musicians from Andorra involved, Spain and Portugal selected by major groups of young musicians from the three countries. A being a multidisciplinary team three dancers from the Professional School of Dance of Castilla y Leon and the young Portuguese baritone add, Frederico de Vasconcelos, along with a dozen young musicians.

Secretary General of Culture and Tourism of the Junta de Castilla y León, Gregorio Muñoz Abad, He has been present in the presentation of the program designed to mark the closing ceremony of the bicentennial of the Museum of the Prado. The repertoire PIO presented in two performances at the art gallery next Saturday, 14 from December, It consists of the following parts: 'Madamina, this is the catalog ' (Mozart aria for baritone), ‘Andante’ (Stravinski), 'Ah, come to the window' (Mozart aria for baritone), ‘X14’ (Alejandro Garrido) y 'Open a little' those ochhi ' (Ara for baritone Mozart), under the direction of Alejandro Garrido.

During the morning trials will open place in three different spaces of the Museum of the Prado, and in the evening they will surprise the visiting public with two performances in an emblematic room of the permanent collection of the Museum. During the day on Saturday (also the days 12, 13 Y 15 from December) the public can enjoy an audiovisual show on the street it includes live music and play of light, in tribute to the institution through a tour of his works.

Audiovisual intervention will take place on the facade of Goya with the artistic collaboration of Daniel Canogar. The objectives of the PIO are innovation, disruption, dare, commitment, training, leadership, multiculturalism, territory. In the context of OSCyL, Iberian Orchestral Project, margin to influence the artistic high-level training, It expands with training to prepare young people for the future, responding to the high professionalism of the sector and a highly competitive environment.

also influences provide a different view of musical expression, body and staging. Actually, musician becomes a figure interdisciplinary: a dancer, musician and actor at the same time, taking the view that through the interdisciplinary, musical performance is enhanced, where young musicians perform without sheet music.

In the Iberian Orchestral Project also actively collaborates People Foundation, thanks to the involvement of up 60 People with Disabilities Foundation. further, costumes designed by Nina Cruz, and they use in their performances, It has been made in sweatshops Foundation People in Guardo (Palencia). The Foundation aims to promote prevention, care and inclusion of people with intellectual disabilities and provide services that improve their quality of life and their families.

Iberian Orchestral Project has performed in these three years looking for new venues in cities such as Madrid, Lisbon and Valladolid.

More information

Ricardo Fernández

Next Saturday, 14 from December, in the ballroom of the Teatro Real, the singer and guitarist Ricardo Fernández del Moral will pay tribute to the history and artists of flamenco through the different disciplines of this universal art, with a show that will tour from the most classic and traditional side to the adaptations of existing songs and popular music.

In its passage through the International Festival of Cante de Las Minas de La Union 2012, Ricardo Fernandez de Moral manages to win the first five awards: malagueña, Taranta, Soleá, Toná y Minera, including "Mining Lamp". His art is pure music, an innate gift to which are added conditions, compass, timbral beauty, sense of the musical phrase and knowledge of styles.

Flemish version will feature the special participation of the dancer Monica Iglesias, Award "Desplante" at the International Competition of Cante de las Minas 2018, whose brilliant career starts in professional companies Joaquín Cortés, Aida Gómez, and Rafael Estévez & Nani Cloths. Collaborates with Carlos Saura in the "Flamenco Hoy", He has been part of the Ballet Andalusia under the direction of Ruben Olmo and, later, becomes first dancer Antonio Gades Foundation, in which he plays the lead role in the play "Carmen". Shortly after he joined the National Ballet of Spain under the direction of Antonio Najarro.

Rounding out the cast clappers Jose Jurado and Miguel Vallés, both with extensive experience and whose presence is demanded by great artists from the world of flamenco.

At 19:00 hours doors Street Felipe V will open and the 19:30 hours attendees will be welcomed with a tasting of a Spanish wine cellar Juan Gil, Real Flamenco collaborator since its launch. The performance will take place at 20.00 hours and at the end of it, viewers who wish may enjoy the company of artists and approach as well, personalized way, the world of flamenco.

Franco Vassallo

After consolidating his career as one of the great interpreters of bel canto romantic, Franco Vassallo It has become one of the most important representatives of the Verdian repertoire today. The Italian baritone debut in January at the Gran Teatre of the Liceu of Barcelona with its unique Amonasro, the father of the protagonist of the popular opera Aida in Verdi.

It is in the Verdian repertoire which concentrates its activity Vassallo today, It is considered as a reference in titles like Simon Boccanegra, Attila, A dance en mask, Don Carlo, Rigoletto, Macbeth, Nabucco, Otello, The Troubadour, Luisa Miller Y The force of Destiny, works he has played in some of the most important theaters in the world, New York to Milan.

Amonasro is a very complicated role to play”, explains Vassallo, “especially because you have to give credibility to the frustration of a dethroned king and humiliated, Besides, discovers that his daughter loves the leader of the army that devastated his own people. One must know how to measure delivery and the excitement that goes with, always with a major orchestra that is what Verdi envisioned for Aida”. Also states that "Although the role is not very long, It is one of the most intense and dramatic parts of the great Verdi baritone characters, with long passages dense applicants, They are requiring a large legato singing, phrasing, robustness and a wide vocal range”.

Franco Vassallo perform at the Liceu day 14, 17, 20, 23, 28 Y 31 January 2 February in the historical production of Mestres Cabanes in mid-century XX, a jewel of the Catalan school of scenography.

Among others, later they await a new production Don Carlo at the Salzburg Easter Festival and the Semperoper Dresden and directed by Thielemann Otello Y Luisa Miller Comunale in Bologna.

Web Franco Vassallo

Paola Leguizamón at the Zarzuela

Colombian mezzosoprano Paola Leguizamón will make its presentation at the Teatro de la Zarzuela the next Monday, 9 from December (20h00), to undertake a touching journey hand some of the most important figures of the music of their land. It will be within the Notes cycle Ambigú, and it will be accompanied on the piano by maestro Rubén Fernández Aguirre.

In spite of the incontestable greatness of composers and works which for many decades they are feeding the souls of those who, with our same language, They inhabit the other side of the Atlantic, there are few occasions when these music for obvious reasons many times are we so close, They are anchored on the coast of the ocean rightful.

This is one of the many points of interest which brings the recital that next Monday and virtuous young Leguizamón will offer Ambigú in La Zarzuela. The program is exciting from start to finish, with works Jaime de León, who will perform about a dozen songs; Antonio Maria Valencia, whose work the soprano and teacher repertorist address his song cycle on poems by the musicologist and Colombian poet Otto de Greiff; Luis Antonio Calvo, Fernández Aguirre who evoke with its beautiful 'Intermezzo No. 2 Piano ', "Wild Blue"; Luis Carlos Figueroa, with an important sample of its splendid songbook; and to top, José María Tena, with the popular 'Romance of the black girl'.

He Teatro de la Zarzuela it will be like that again different place where live concerts also as a unique experience. Public and artists sharing music in communion. Coming in the same plane, wrapped by the privacy of that warm living room which is the Ambigú.

A concert Paola Leguizamón, third cycle, will follow that of the baritone Maybe Borja 'The migration Galicia, Return songs', the soprano Andrea Jimenez 'Song Basque', that of the tenor and actor Ángel Ruiz dedicated to the Cuplé, the soprano Ruth González 'Three passions of women', the formation of Baroque The retreat led by cellist Josetxu Obregón 'The Spiritillo Brando', that of guitarist Ricardo Gallén 'Romantic Guitar', the trio Arbós with its new delivery 'Chamber Music' and soprano Berna Beads Joaquín Turina.

More information

Photograph: © 2016 Cartagena International Music Festival

Nabucco, Placido Domingo, Arts

'Nabucco' at Les Arts with Placido Domingo in the title role, premieres next Monday, 2 from December, to 20.00 hours, considered the first great success of Giuseppe Verdi.

Valencian Jordi Bernàcer He is the musical director of this title, It presented on a mounting Thaddeus Strassberger, with Placido Domingo in the title role for the first four performances.

Jordi Bernàcer reconnects with the stable bodies of Les Arts, Heart of Catalonia and Orquestra de la Comunitat Valenciana, with whom he began his professional career, and for the first time it assumes ownership of all representations of a fertilizer opera Les Arts.

Alcoyano teacher returns to the Main Hall five years after his memorable roles of zarzuela "Luisa Fernanda ', also with Placido Domingo in the cast, season 2014-2015.

In full career international, and work for the Mariinsky Theater in St. Petersburg, Real Madrid, San Carlo in Naples and Carlo Felice in Genoa, Jordi Bernàcer debut this season with the Opéra Royal de Wallonie in Liege, Petruzzelli de Bari, Semperoper Dresden and Berlin Deutscheoper, also returning to the San Francisco Opera, Royal Opera House de Mascate, Los Angeles Opera, Rome Opera House and Arena of Verona.

The Arts presents a mounting of Thaddeus Strassberger, also responsible for the scenography, with wardrobe Mattie Ullrich, lighting Mark McCullough and address Wrestling Ran Arthur Braun, conducted for the Washington National Opera, in co-production with The Minnesota Opera and Opera Philadelphia.

Strassberger, that the Valencian audience will remember for 'I due Foscari', also Verdi, recovered for staging the spirit and historical moment of the premiere of 'Nabucco' in 1842 Scala in Milan. The rejection of the Italian people to the Austrian occupation turned the work, and especially the chorus 'Va pensiero', Jewish slaves singing lamenting the loss of their homeland, a symbol of Italian nationalism and Giuseppe Verdi in an essential figure of the 'Risorgimento' Italian.

He explains "the design of this production is inspired by the aesthetic and social conventions of the time: decorated painted in two dimensions, costumes according to the story or outdated details that put the action in the context of a nation struggling to define its own identity ".

Placido Domingo deals with 'Nabucco' a new foray into the Verdian baritone repertoire of Les Arts, feat that began in 2013 Francesco Foscari en 'I due Foscari', title which followed the lead roles in Simon Boccanegra ' (2014), ‘Macbeth’ (2015) and Giorgio Germont roles in 'La traviata' (2017), and Rodrigo 'Don Carlo' (2018).

Madrid artist after his concerts, as director and singer last season, he gets on the stage of the Great Hall to sing the first four functions of this title (2, 5, 8 Y 11 from December).

Meanwhile, Amartuvshin baritone Enkhbat play the role of the Babylonian king day 14 Y 16. Mongolian pop singer will thus its debut at Les Arts after the success in Verona, Tel Aviv, Naples, Padua, Melbourne, Parma, Paris, Verona or Naples for their roles verdianos.

Anna Pirozzi da vida in Abigaille, one of most feared for soprano roles in opera history, and already he sang in Les Arts in 2015. Rejected by many great divas because of its demand, This role has devoted to the Neapolitan singer as one of the best dramatic sopranos today.

His resounding success at the Salzburg Festival this role, under the baton of Riccardo Muti in 2013, It marked the beginning of an international career with engagements in New York, Vienna, Milan, London, Berlin, Munich and Rome, in addition to collaborations with prestigious directors like Zubin Mehta, Nello Santi, Nicola Luisotti, Gianandrea Noseda, Michele Mariotti and Renato Palumbo.

The cast of this opera also includes two voices known by the Valencian public, under the renowned Italian Riccardo Zanellato (Zaccaria) who participated in 2008 en 'The Marriage of Figaro' and 'Iphigénie en Tauride', and Mexican tenor Arturo Chacón the-Cruz (Ismaele), who began his career with Les Arts 'Cyrano de Bergerac' in 2007 and in 2017 Alfredo Germont he played in 'La Traviata'.

Participan también the mezzosoprano Russian Alisa Kolosova (Fenena), Korean low Dongho Kim (high Priest), Ukrainian tenor Mark Serdiuk (Abdallo) and soprano Sofia pamplonesa Esparza (Anna).

On Nabucco

Nabucco is an opera in four acts with libretto by Solera Temistocle, inspired by biblical texts and the novel by Auguste Anicet-Bourgeois. It premiered in 1842 Scala in Milan and became the first major success of Giuseppe Verdi with which begin his most prolific period, known as the 'galley years'.

The opera takes place in Jerusalem and Babylon and is based on the biblical story of Nebuchadnezzar, king of Babylon, that after conquering the Jewish people, God will be proclaimed, a dare that will be worth madness and destronamineto as divine punishment. His daughter Abigaille be unconscionable who takes his place. After returning from madness, Nabucco is converted to Judaism and reclaim the crown decides to return finally to the people their freedom Jew.

locations

Les Arts recalls that the locations for all functions 'Nabucco' are out. So it is only available for purchase five percent of the capacity of the main room, under current law, It sold the day of each performance at the theater box office.

lesarts.com

Photograph: Miguel Lorenzo / Mikel Ponce

He National Dissemination Center Musical (CNDM) in coproduction with the Teatro de la Zarzuela, will present next Monday 2 from December (20h00), at XXVI Ciclo the Song, to the German lyric tenor Christoph Prégardien with the English pianist Julius Drake. The program chosen for this event will consist of the liederísticas pages Viennese composer Franz Schubert giving life to the poetry Ernst Schulze, next to one of the basic series of work schumanniana, 'Song cycle', on. 39, in which the author focuses on the poética de Joseph von Eichendorff.

tickets, with a General price 8 a 35 euros, and are on sale at the box office of the Teatro de la Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Precise vocal control, clear diction, intelligent musicality and ability to reach the heart with all that singing assure Christoph Prégardien a place among the most important lyric tenors of the world. He performs regularly with orchestras around the world, as the Vienna and Berlin Philharmonics, the Bavarian Radio Symphony Orchestra, the Orchestra of the Concertgebouw of Amsterdam, la Staatskapelle Dresden o la de Leipzig Gewandhaus Orchestra.

His broad orchestral repertoire includes the great oratorios baroque, classical and romantic, as well as works of the seventeenth century (Claudio Monteverdi, Henry Purcell, Heinrich Schütz) and XX (Benjamin Britten, Killmayer, Wolfgang Rihm, Igor Stravinsky). Especially appreciated as lied singer, their engagements this season include a tour of the United States and recitals at the Temple Church, el Wigmore Hall, the Concertgebouw or Schubertiade Schwarzenberg and Schubertíada of Vilabertran. Christoph Prégardien He has acted in two editions of the Lied: WE (99–00), accompanied by piano Michael Gees, y IX (02–03), next to Juliane Banse, Ingeborg Danz Y Olaf Baer; accompanied on the piano by Wolfram Rieger.

Photograph: Jean-Baptiste Millot

Thursday morning, 28 of November, will take place in the Ballroom of the Teatro Real, a new show of flamenco cycle, in which shine with their own light the dancer from Cadiz Rosario Toledo, in their codes that combines traditional art, with expression forefront, without sacrificing the essence inherited from artists like Charo Cruz, Manuela Carrasco and Antonio El Pipa.

Among the awards he has received throughout his career, They include the National Prize at the Flamenco Art Contest in Córdoba by Guajiras and Tarantos in 1998, The second prize of the Festival de las Minas de La Union 1999; the Giraldillo Award for Best Show at the Biennial of Seville 2012, among others.

At 20:00 hours doors Street Felipe V will open and 20:30 hours attendees will be welcomed with a tasting of a Spanish wine cellar Juan Gil, Real Flamenco collaborator since its launch. The performance will take place at 21.00 hours and at the end of it, viewers who wish may enjoy the company of artists and approach as well, personalized way, the world of flamenco.

Rosario Toledo (Home) Born in Cádiz in 1977. intuitively, fresh, expressive, visceral, earthly. It has managed to be at the top Flemish contemporary thanks to its creativity. He began his career as part of the companies
Manuela Carrasco and Antonio El Pipa, alternating with performances in tablaos, participation in competitions (awarded at the National Flamenco Art Contest of Córdoba and the Festival de La Union) with collaborations as a guest artist in shows with artists of the stature of Javier Latorre, Javier Barón, Antonio Canales, Israel Galván, Miguel Poveda, Archangel,
Dorantes, Mario Maya, what has allowed him to develop a personal vision of flamenco dancing. A deep dance, conceptual, and very creative. In this context, Cadiz is immersed in the development of projects with his own company, obtaining a huge success of critics and fans, and becoming a dancer essential in today's flamenco scene.

CURRENT OPERA has delivered today its Awards 2019, the awards given since 2002 the only magazine in the lyrical genre that is published in Spain and one of the most important in the world. The winners are:

AN ARTIST AWARD FOR YOUR INTERNATIONAL CAREER

A Spanish director scene Calixto Bieito

AWARD AN INSTITUTION

To LICEU FOUNDATION CONSERVATORY

Prize includes the general director, Maria Serra MARTIN

YOUNG ARTIST AWARD brighter

The Spanish soprano Leonor BONILLA

-Made in the act in the Circle of the Liceo de Barcelona- Seville soprano Leonor Bonilla He offered a recital accompanied by the teacher Carlos Aragon, while the general director of the Liceu Conservatori explained details of his doctoral thesis on the origin of both the governing body as the Gran Teatre Liceu of the. They presented the awards Without Fernando River, president of this publication has been published since 1991; Pablo Meléndez-Haddad, chief editor of the magazine; Y Albert Garriga, OPERA ACTUAL correspondent in Zurich.

They attended the personalities quote from the business world and culture as Oriol Aguilà, President of the Association Opera XXI, which brings together the coliseums and festivals programming lyrical Spain and director of the Festival Castell de Peralada; Xavier Cester, Director of the Department of Music of the Catalan Institute of Cultural Industries (ICEC) and collaborator of ÓPERA CURRENT; senior leadership of the opera houses Barcelona (Gran Teatre del Liceu: Salvador Alemany, Valenti Oviedo, Victor Garcia de Gomar, Leticia Martin), Sabadell (Association of Friends of the Opera Sabadell: Mirna Lacambra) and Sevilla (Teatro La Maestranza: Javier Menendez); President of the Festival Castell de Peralada, Matthew Isabel Suqué; the president of the Circle of the Lyceum, Francisco Gaudier and members of the host entity as José García-Reyes, Luis Lopez de Lamadrid Y Manuel Bertrand; the presidente of the Society of Gran Teatre del Liceu, Xavier Coll; presidente of Friends of the Liceu, Ramon Bassas; President of the Foundation Ferrer-Salat Music, Sergio Ferrer-Salat; Vice President of the Foundation Damm, Ramon Agenjo; President of the Association of the Paseo de Gracia Without Luis; the director of the OperaStudio of the University of Alcalá, Lourdes Perez-Sierra; and artists such as stage director Paco Azorín or actress Roser Road, In addition to the patrons of OPERA ACTUAL Awards 2019.

The Royal Theatre will present, between 30 November and 20 from December, 14 functions The pirate, Bellini, in a new co-production of the Teatro Real and the Teatro alla Scala in Milan.

It was in this temple of Milanese opera where the premiere of the score took place in 1827. Vincenzo Bellini (1801-1835), then with 26 years, already he had two operas to his credit, both released in Naples, but the success of The pirate He opened the door to a clean and brilliant career as operatic composer, mown by his untimely death in Paris, with scarcely 34 years.

With The pirate, Bellini initiates a fruitful artistic communion with Felice Romani (1788-1865), poet and playwright of great notoriety would sign the libretto seven of his ten operas, including the famous Rule.

Romani part of the Gothic drama Bertram, or The Castle of Saint Aldobrand of the Irish writer Charles Maturin (1782-1824) and creates a libretto dark, tempestuous and fatalistic romantic sap, with a loving trio that pining for the love of her former lover Imogene ruined nobleman Gualtiero ─un, impetuous and passionate transformed into pirata─; and her husband and father of her child, to which espoused to save the life of his father, and which owes obedience and fidelity.

The final tragic, with the murder of husband, the atonement of the lover and cathartic madness fated heroin, antever leave the germ of the great romantic melodrama, Bellini also outlines in his music, melodic deep breath, strong expressive contrasts and an eagerness to set and articulate the recitatives, arias, caballetas, duets and choirs, dramatúrgica towards the fluidity of the frame.

This same concern goes beyond all music, trying to sublimate feelings and passions Hyperbolic through a vocal writing endiablada, especially for the two protagonists: Gualtiero, which already owns the contradictions of a Byronic hero, vocally you must join an elegiac song, courtly fearless courage and virtuosity; e Imogene, dutiful wife and mother, You must stifle his love corrosive to the explosion of madness and dreaming, alternating long and lofty melodies with intervallic leaps that permanently express their inner struggle and mood contrasts.

Perhaps the extreme difficulty of both roles has contributed to the lethargy of this opera for nearly a century, until in 1958 Imogene Interpret Maria Callas at La Scala, al lado de Franco Corelli y Ettore Bastianini, they were not, but nevertheless, at its height. Some years later Montesarrat Caballé has taken the witness, granting the tragic and deranged heroin Callas a crystalline song and almost eerie, poetic and stylized, with its distinctive and extremely long FIAT.

In this new co-production The pirate, Emilio Sagi avoids any realistic approach to the script, creating a pictorial and symbolic framework adapted to the drama of each scene, musically flow to the tragic fate of the characters, devoid of all artifice.

The opera will be offered for the first time at the Royal Theater with three different players trios: tenors Javier Camarena, Celso Albelo Y Dmitry Korchak in the title role of Gualtiero; las sopranos Sonya Yoncheva, Yolanda Auyanet Y Maria Pia Piscitelli como Imogene; and baritones George Petean, Simone Piazzola Y Vladimir Stoyanov as Ernesto. They shall be assisted by tenor Marin Yonchev (Itulbo), the bass Felipe Bou (Goffredo) and soprano María Miró (Adele).

Maurizio Benini, expert in the Italian lyric repertory, that Real has directed Tosca (2004), L'elisir d'amore (2006) e The Troubadour (2019), It will be placed at the front of the Headlines Choir and Orchestra of the Teatro Real debuting a score that gradually regains the proper place, beyond virtuosity and beauty of his melodies.

Photograph: Javier del Real

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela, will present the Monday 25 November at 20h00 in the XXVI Cycle of Lied to the Canarian mezzo-soprano Nancy Fabiola Herrera together with the American pianist Mac McClure. The program chosen for this evening, what It will be held at the coliseum plaza de Jovellanos, immerses us in a varied and colorful redoubt that takes us from the Viennese saltshaker Oscar Straus the lilting sounds of Astor Piazzolla, through the iconoclastic world Erik Satie, cabaret Kurt Weill, the evocation of the great Edith Piaf and humor Poulenc, with Cuban sones Ernesto Lecuona, two pieces of the now forgotten Joaquim Zamacois Y, back to the cabaret, four Mexican boleros and Antillean. tickets, with a general price from 8 a 35 euros, and are on sale at the box office of the Teatro de la Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

The constant presence of Nancy Fabiola Herrera on the international stage makes one of the great mezzo-sopranos today, the trade press has called "The Carmen of the XXI Century". In 2018 two recordings made in interpreting Rosario Goyescas, Granados, with the BBC and Health La vida breve, de Falla, with the BBC Manchester. Isabella highlight their performances in The Italian Girl in Algiers at Teatro Colon in Buenos Aires and as Bernarda The House of Bernarda Albto the Teatro de la Zarzuela. He has sung Stabat Mater (Rossini), he Requiem (Verdi) in San Sebastian and Guadalajara (Mexico), directed by Placido Domingo, and he has given concerts in Moscow Tchaikovsky Room and you recitals at the Palau de la Música and the Festival of Benicàssim, next to Ainhoa ​​Arteta. His interpretation Health La vida breve It has led to St. Petersburg, Tanglewood, Toronto, The Angels -with the teacher Frühbeck de Burgos—, Madrid, Cincinnati and the Orchestra of Capitole. His Carmen has been in the Metropolitan Opera, he Covent Garden, he Bolshoi theater, the Tokyo Opera, the German opera, the Bavarian State Opera, the Baths of Caracalla, he Dresden Semperoper, he Masada Festival, the Opera Tel Aviv, the Los Angeles Opera Y Spanish theaters such as the Opera de Sabadell, the Villamarta Theater in Jerez, the Kursaal in San Sebastian and the Teatro Perez Galdos de Gran Canaria, among others. In 2009, He opened the season of the Arena di Verona as Carmen, under the direction of Sunday. Between his recordings highlight Witch Chapí para German Grammophon, Dante Granados for ASV, Tonades of the seventeenth and eighteenth centuries Gerhard for Columna Música, the symphony No. 3 Mahler for New Art, The love wizard Failure to Naxos and Italian Concerto Llorca, in addition to The postman Catan and Luisa Fernanda, both also Domingo. Among his distinctions include the Current Opera Award 2018 an entire career and Placido Domingo Award. In 2019, He has acted in Houston Grand Opera, in Florence, at Amazon Catan, The Wildcat in the Los Angeles Opera, The Tales of Hoffmann at Beijing National Theater Y Samson and Delilah in La Maestranza in Seville. Nancy Fabiola Herrera has participated in an edition of the Lied: XVII (10-11).

Photograph: ©Shirin Tinati

The days 22 Y 24 of November They can be considered Historic for him Teatro de la Zarzuela. At that time the public will hear (in concert), Y for the first time in Basque In this theater, one of the most unknown works of Jesus Guridi: the lyrical idyll in two acts ‘Mirentxu’. And it will be after 52 years of silence in this scenario, only where it has been heard complete in Two occasions along its 163 years of history, the last one in 1967. Again theater the Plazuela de Jovellanos meets one of its essential tasks such as the preservation, study, Recovery Y divulgation of our operatic heritage. The Colisseum, after starting the season with The village ', and culminates its particular tribute to one of our most brilliant musicians.

Libretto by Jesus Maria de Arozamena Y Alfredo Echave, of 'Sandy', the words of the expert musicóloga Maria Nagore Ferrer, "It is indisputable beauty, which explains the popularity of some numbers as the prelude to the first act or the beautiful and lyrical aria end ". A) Yes, Nagore Ferrer stresses that " compositional mastery Guridi It is set to the service of a poetic text that is treated with flexibility, simplicity and orchestral palette rich and elaborate but wrapped in soft hues”.

The various 'Mirentxus'

'Mirentxu' premiered at the Theater des Champs Elysees in Bilbao 1910, and since that first occasion he suffered constant changes. Nagore Ferrer speaks even "Six or seven 'Mirentxus' different', even to become opera, thus adding to the parties dialogued music. In this format was presented at its premiere in Barcelona 1913, but Guridi was not at all satisfied, convinced, despite the rave reviews, that the public did not understand the work precisely because that format opera. So, two years later, in 1915, presents in Madrid, at the Teatro de la Zarzuela, but in its original version.

A new adaptation of 'Mirentxu' It premiered at the Arriaga Theater in Bilbao 1934, Guridi commissioning recast the libretto to his usual collaborators Federico Romero Y Guillermo Fernández-Shaw. For this new version, the composer It reinstrumentó whole score; modified some numbers and added new ones, trying not to undermine the work.

In 1947, the composer asked writer Jesus Maria de Arozamena a new review of the work. Arozamena departed version 1934, also using elements of the original libretto by Echave, Y He wrote two versions, in Castilian and Basque. This last and final 'Mirentxu' was released by the Company Lyrical Theater Donostiarra at the Grand Kursaal in San Sebastian precisely 24 November 1947, receiving Ruperto Chapi National Theater Award. Y It is this "final" version that can be heard these days in the Teatro de la Zarzuela in Madrid.

Although they have not been able to find documented evidence that the work was presented as an opera beyond its premiere in Barcelona, remains always the same question: Is 'Mirentxu' an opera or an operetta? Nagore Ferrer responds: "As rightly says Ramon Lazkano in his introduction to the critical edition published by the Complutense Institute of Musical Sciences in 2009, the imprecision of the work did not stop Guridi pose problems for more than thirty years of gestation of the definitive work: It is a work "halfway between a singspiel and éuscara zarzuela, or a verismo drama and a pastoral scene».”

The double date in La Zarzuela

In the double date with 'Mirentxu' at the Teatro de la Zarzuela, the podium will be assumed by Oliver Diaz, who must face the master orchestrator Guridi; to its inspiration in creating melodies or the detailed architecture vocal of the work. To address all these are demands, It will feature a balanced distribution voices outstandingly suitable to the requirements of the composer.

the soprano Ainhoa ​​Arteta will play the role of Mirentxu, Manu the miller's daughter, and premium Raymond, living with them and who is in love unsuccessfully. The role of Raimundo, love to turn Presen, Mirentxu friend, I assume the tenor Mikeldi Atxalandabaso. Bass-baritone Christopher Robertson It will act as a Txanton, the old man who cares for children whose older sister is presented in the house next door to the mill where they live Manu, Mirentxu and Raimundo. Presen's role will be played by mezzo-soprano Marifé Nogales. Meanwhile, baritone Jose Manuel Diaz Manu will play. All of them will also join the baritone solo Mario Villoria, component of Holder Choir Teatro de la Zarzuela, and children Patricia Valverde Y Azahara Bedmar, members of the White Voices Choir Sinan Kay.

The story of 'Mirentxu' this time is recreated by renowned playwright Borja Ortiz Gondra and will be the actor Carlos Hipolito who among the musical numbers go unfolding succession of events which lead to the final tragedy.

The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, completes the artistic picture of this historic recovery will have a milestone: recording and subsequent broadcast of the work by Classical Radio RTVE. The critical importance of this record is that to date there are no recordings valid 'Mirentxu'.

David Cantalejo Gómez (Bilbao, 1985) It is lifted winner XXX edition of the Young Composers Award Foundation SGAE - CNDM 2019 jointly announce the SGAE Foundation and the National Broadcasting Music Center (CNDM), and whose final held yesterday in the auditorium 400 the Museo Nacional Centro de Arte Reina Sofía in Madrid. The Bilbao won the first "Xavier Montsalvatge" award, endowed with 6.000 euros, for his work The night of Walpurgis and it also becomes resident composer Network Music Musical Youthes of Spain during the season 2020-2021. "This award recognizes the fruit of much effort and work daily, I receive a boost as composers forces us to improve ourselves ", He said Cantalejo. On The night of Walpurgis, a work that has won the award, David Cantalejo explained: "I wanted to recreate the atmosphere of the fires, the witches, the movement of fire, which it is central to the piece, how it enlivens and how the flames disappear, avoiding the use of programmatic sounds ".

Pilar Jurado, president of SGAE, He handed over the first prize to the composer and recalled as she won this award in 1997, after being a finalist three years ago: "This event demonstrates the commitment of the SGAE with symphonic creation, some awards are of great importance in the sector and, for a young composer, the recital today represents the best cover letter and a boost to the development of their careers ".

full Honors
In this way, the complete palmares of the XXX edition of the SGAE Foundation Young Composers Award - CNDM 2019 It is configured as follows: Maria Pilar Castillo Miralles (Almería, 1997), He won the second "Carmelo Alonso Bernaola" award (3.000 euros) with his work Overthinking IC; mayor Anton (Rianxo, A Coruña, 1992), He won the third prize "Francisco Guerrero Marín" (1.5000 euros) with its part Firefly (after ‘Tokio Blues’), while Bruno Angelo (Brazil, 1985) received honorable mention “Juan Crisostomo Arriaga” (1.200 euros) For his job Res cream. Ontological reflection on ornament. All of them have less than 35 year old.

The ensemble KOAN 2, under the direction of José Ramón Encinar, it released the four compositions yesterday, Series in the cycle 20/21 CNDM. further, and as in every edition, SGAE Foundation will release a promotional album which will bring together the four finalists of the contest, in order to contribute to its further promotion and dissemination. The judge, which it was composed by composers Carlos Fontcuberta Llavata, Junkal Guerrero Langara, Alejandro López Román, Jesus Torres Ruiz Y Ana Vazquez Silva, these works has selected a total of 22 presented in competition.

Resident Composer Music Network
A first prize also adds Cantalejo designation as Resident Composer Music Network Jeunesses Musicales of Spain. The Bilbao and is commissioned three works of chamber music will be released and interpreted within the circuit Network Music during the season 2020 – 2021 and will be awarded 1.000 euros for each piece. "This is our bit to alleviate the difficulty of composers of contemporary music in general, and young people in particular ", Antonio Martin has expressed, Secretary General of Jeunesses Musicales of Spain after the delivery of the prize. Resident composer will choose three features of the selected Music Network that premiered by and construed in all recitals in this circuit offering more organized 200 concerts a year.

About the award
SGAE Foundation and CNDM this award held annually in order to stimulate the creation in the field of contemporary classical music among young creators up 35 years, contribute to social development and understanding of new languages, trends and modes of musical expression. Created in 1987 by SGAE, It has become one of the most important events of its kind, by their organization and thoroughness, the prestige of the performers and participants juries. Through its twenty editions, the award has served as a promotional showcase at the professional beginnings of some contemporary authors who now enjoy greater recognition, and whose works are common in international circuits dedicated to contemporary music.

Among the winners of previous editions include already established names in the panorama of the current composition, with international careers that show the good health of the Spanish musical creation: Charles Augustine, Mauricio Sotelo, José María Sánchez-Verdú, Jesús Rueda, Jesus Torres, Pilar Jurado, Gabriel Erkoreka, Ramon Humet, Juan Cruz Guevara, Jesus Navarro, Oliver Rappoport or Nuria Núñez, among many others, They have been involved in this indispensable appointment in the section of the ensemble composition nationally.

About the winner
David Cantalejo (Bilbao, 1985)
He studied composition at the Conservatorio Superior de Navarra Pablo Sarasate with Joseba Torre and piano at the Catalonia College of Music under the supervision of Eulàlia Solé. He has won first prize in several editions of the Composition Competition Durango City, among others, in addition to chamber music competitions as a member of the duo of flute and piano Iceberg. Part as composer and performer of the Center for Contemporary Music contemporary. In the year 2016, Navarra Symphony Orchestra Debuts Elegy of silence for accordion and orchestra, inside of the NAK Festival. Some of his works have been published by the publishing house Da_sh Editions and the association Silboberri.

About The night of Walpurgis
The inspiration of the work arises from the pagan festival of Walpurgis Night, held in regions of Central Europe on the night of the 30 April to 1 of May, where according to tradition witches conjured through dances and fire. Large bonfires formed from a spark, and it takes fan to not become extinct, They are generating me an image of a musical gesture that will being elaborated from different starting points along the seven sections of the piece, supported by a modal and rhythmic system, where the number 3 (and the aforementioned 7) They are constantly present. In my language show special interest in sudden changes of character, the insistence on the extreme registers of the instruments and so on opposite applied to different musical parameters as they are dynamic contrasts, the sound from the stillness collapse against the dissolution of a great texture, or against statism rhythmic maelstrom.

Photograph: SGAE Foundation

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