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La Cenerentola premieres the season at the Teatro Real

Cinderella
Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

ABAO Bilbao Opera

ABAO Bilbao Opera will start your new season 2021-2022 in October, welcoming all its partners, collaborating companies and institutions and amateur public.

He new lyrical course will begin by adjusting to the sanitary guidelines of the Bizi Berri plan at the level 2, that maintain the reduced capacity at cultural events indoors in 800 locations in the Euskalduna Bilbao, Y 600 at the Arriaga Theater, in addition to the obligation to keep social distance and the use of a mask at all times. These restrictions may be modified in the near future depending on the evolution of the pandemic.

PRETTY YENDE RECITAL

He Saturday 9 October to 19:00h in the Euskalduna Bilbao, The programming of cultural activities will begin with the debut in Bilbao of one of the most prominent voices on the international lyrical scene, the sensational South African soprano Pretty Yende, whose career has reached the highest levels in the world of opera at an unprecedented speed in recent years.

Acclaimed by the public and critics for the lyrical colorature of his voice, his stage presence and his great personality, He has performed in the most important opera houses and is currently succeeding at the Wiener Staatsoper, where he has set the public on its feet from the first moment.

The exclusive program that will interpret in ABAO accompanied by the teacher Michele d’Elia, includes pieces of Bellini, Rossini, Donizetti Y Liszt, and will end with the demanding and exhausting final scene of the opera La sonnambula Bellini. The complete program can be consulted on the ABAO website.

Tickets are already on sale for members of the 13 al 19 September at a single price of € 40, and for the amateur public from that date at a price of € 60. Young people up 35 years have a reduced rate of 20 and € 30 respectively.

70 OPERA SEASON

He Saturday 23 October, an extraordinary opera season will begin, with an ambitious schedule, full of premieres and of the highest artistic quality, with French repertoire, German and Italian, what includes eight titles, four of them in double program, plus a concert which adds two more new titles to the Association's catalog.

The Tales of Hoffmann from Offenbach, a romantic and exquisite opera, will open the season after two decades of absence from ABAO Bilbao Opera, sponsored by the BBVA Foundation.

The production is a premiere on the lyrical circuit from Spain and is signed by the "enfant terrible" of the current scene, Vincent Huguet, that presents a classicist proposal, imposing and modular.

In the musical section the teacher Carlo Montanaro will conduct a fast-paced and complex score, that respects the original spirit with which Offenbach composed it.

The cast will be made up of the great voices of Michel Fabiano who will play the troubled Hoffmann in a grueling role; Jessica Pratt who will tackle a true “tour de force” by playing the four main roles for soprano; Simón Orfithe one who will play Los 4 villains, elena Zhidkova with three roles, Y Mikeldi Atxalandabaso, Jose Manuel Diaz, Moses Marin Y Fernando Latorre. A challenge for the interpreters who will also have to assume the complex psychological profile of their characters.

Due to the current capacity limitation to 800 locations, the Association has scheduled a fifth additional function for him 27 October. In this way the representations will take place on Saturday 23 (inaugural function), Monday 25, on Wednesday 27, on Friday 29 October and Monday 1 of November.

This capacity restriction makes it difficult and limits for the Association to put tickets on sale to the amateur public.. Trusting that limitations will soon be removed and capacity will increase, ABAO has postponed the sale of single tickets until 27 of September. They can be purchased through the usual sales channels of the Association: in the offices, on its website and at the Euskalduna Bilbao box office.

17 TEMPORADA ABAO TXIKI

He Saturday 16 October The toy box inaugurates the 17 temporada ABAO Txiki at Arriaga theater. A musical tale full of tenderness and humor for the whole family with music by Debussy and stage direction by Enrique Lanz.

The maximum capacity of the Arriaga Theater is at this time of 600 locations and tickets can now be purchased both at the theater box office and through its website.

ABAO Bilbao Opera will start its new Season with the will and commitment to offer live and direct shows and excite the public as it has historically done, supporting culture in any circumstance, even in the most adverse ones like the current ones.

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He Teatro Real inaugurate the next 23 September Season 2021-2022 ─the twenty-fifth since the reopening and one hundredth since its inauguration─, with Cinderella, from Gioachino Rossini.

They offer 15 functions of the opera, between 20 September Youth Preview of the Season and 9 October, in a co-production of the Den Norske Opera in Oslo and the Opéra National de Lyon presented in both theaters in 2017, precisely two centuries after its premiere at the Valle Theater in Rome, in 1817.

In fact, Cinderella, that is, goodness in triumph (Cinderella, I mean, The triumph of goodness) it was composed against the clock, in record time of 24 days, with astonishing speed and synchronous coordination between librettist Jacopo Ferretti and Gioachino Rossini, that their 25 years he was already a consecrated composer, with 19 operas in your catalog, including such popular titles as Tancredi, The Italian Girl in Algiers, The turkish in Italy, Otello O The Barber of Seville…

Before the rush of time, Rossini worked piecemeal, reusing fragments from previous operas, how i used to do, in addition to having the collaboration of Luca Agolini for the writing of the recitatives.

Due to the limited technical possibilities of the Roman theater stage and the pressure of the premiere, Rossini and Ferretti decided to use a version of the story by Cinderella stripped of its fantastic elements: the wicked stepmother was replaced by the mean stepfather Don Magnifico; the fairy godmother disappears, leaving Alidoro as ‘godfather’ of the unfortunate maid, and the iconic shoe is replaced by a simple bracelet.

Both the profile of the characters and the score reveal a perfect osmosis between the tradition of the dramma giocoso and from the opera jokes with Don Magnifico and Dandini, heirs of the art commedyand elements of an already romantic ‘realism’ represented by the philosopher Alidoro or the leading couple.

With its astonishing melodic richness and brilliantly effective orchestral palette, Rossini delights in the humor of the characters and the great situations the set numbers, but also with bel canto arias of great sentimental ardor and vocal virtuosity.

The staging of Stefan Herheim returns to the tale of Cinderella its thaumaturgical elements, giving Rossini himself a ‘magic baton’ with which to bring his irreverent characters to life, in a permanent illusionist game closer to the universe of Lewis Carroll than to Charles Perrault.

Herheim recreates himself with the opera dress-up game, dressing up Rossini as Don Magnifico, in a clear nod to the famous production of Cinderella conceived by Jean Pierre Ponnelle, in which Rossini was hiding behind Alidoro, and that Teresa Berganza brilliantly starred.

A double cast will give life to the characters of Cinderella, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina. They will be accompanied by the tenors Dmitry Korchak Y Michele Angelini (Don Ramiro); baritones Renato Girolami Y Nicola Alaimo (Mr. Magnificent) Y Florian Sempey Y Maybe Borja (Dandini); the short ones Roberto Tagliavini Y Riccardo Fassi (Gold wings), las sopranos Rocío Pérez Y Natalia Labourdette (Clorinda) and mezzosoprano Carol García (Tisbe).

The musical direction will be borne by Riccardo Frizza, who already directed the two versions of Tancredi, Rossini also, in 2007. It will have the Headlines Choir and Orchestra of the Teatro Real, that they will interpret again Cinderella 20 years after the last production of this title presented at the Real, with musical direction Carlo Rizzi and stage director Jerome Savary, in 2007.

Photography © Erik Berg

Cinderella

The Palau de les Arts brings together Carlo Rizzi, in musical direction, y a Laurent Pelly, in the stage direction, for 'Cinderella', Rossini, that will be released this next 10 December in the Main Hall.

Les Arts recovers Rossini's comic repertoire in its programming with this new montage, co-produced with the Dutch National Opera and the Grand Théâtre de Genève, in which some of the most prominent experts in the work of the composer of Pesaro are cited, as explained by Jesús Iglesias Noriega today in his presentation.

On the podium returns to Les Arts Carlo Rizzi, one of the most prominent opera directors of recent years. Invited by the main theaters and festivals, Rizzi made his debut with the Choir of the Generalitat and the Orchestra of the Valencian Community (OCV) in 2013 with Verdi's 'Requiem'.

Carlo Rizzi has recordado, in this sense, the ductility and capacity of the OCV to tackle this work by Rossini, which is considered as his most appreciated title, and represented, después de 'The Barber of Seville'. The Milanese master, Likewise, has underlined the need for a great cast in an opera in which joint numbers take center stage.

Emerging and consolidated Rossinian interpreters make up the cast that will perform ‘La Cenerentola’ from 10 al 23 December at Les Arts, as Iglesias Noriega has pointed out. The mezzo-soprano ascendant anna Goryachova (Angelina) leads the cast of the production in its debut in Valencia. Lawrence Brownlee, become one of the main tenors of ‘bel canto’, plays the role of Don Ramiro.

For the role of Don Magnifico he will sing, for the first time in the Main Hall, the veteran bass-baritone from Zaragoza Carlos Chausson, considered one of the great Rossini specialists on the international scene. Beside, two emerging performers, the Catalan baritone Carles Pachón (Dandini) and the italian bass Riccardo Fassi (Gold wings) they close the deal, in which the interpreters of the Center de Perfeccinment also participate Larisa Stefan (Clorinda) Y Evgeniya Khomutova (Tisbe).

The sought-after French opera and theater director, Laurent Pelly, performs his first work for Les Arts with this title, what, as Iglesias Noriega has qualified, is part of the commitment to introduce new aesthetics in the programming by the hand of the main names of the current scene.

Pelly, recognized for the careful dramaturgy of his works, he is also the costume designer for this production, with scenery by Chantal Thomas, featuring Jean-Jacques Delmotte as Associate Costume Designer and Duane Schuler as Lighting Design. As he explains himself, in his ‘Cenerentola’ he proposes a narrative from a dream point of view, where everything is a product of the protagonist's mind. “Little by little, Angelina's dream comes true to reach the end of the show, in which we return to the starting point ".

At montage performances in Amsterdam and Geneva, Audiences and critics have praised both the dynamism and fine sense of humor of Pelly's staging, without forgetting the elegance of the aesthetic approach, with a predominant phosphorescent pink to embody the magic of the dream of 'La

Cinderella'.
Parallel activities
With the purpose of offering new meeting spaces for music and other artistic disciplines, this Friday 4 from December, at 7:00 p.m. in the Master Classroom, ‘Berklee a les Arts0 presents Mediterráneas’, a free proposal open to the general public, with prior reservation. This time, Berklee students invite us to reflect on different themes inspired by ‘La Cenerentola’.

On the other hand, next Monday, the Main Arts Hall will host the first ‘Preview up to 28’ of the season, an activity for which, for the first time, advance sale seats have been exhausted. A fact that, as Jesús Iglesias Noriega has highlighted, highlights both the interest of the young public for the lyric and the image of Les Arts "as a space for all audiences".

Among the activities around ‘La Cenerentola’, on Wednesday, 9 from December, the Master Classroom will host a free colloquium of the cycle ‘Perspectives’, carried out in collaboration with Amics de l’Òpera i de les Arts de la Comunidad Valenciana, in which Carlo Rizzi, Carlos Chausson and Carles Pachón will talk about this production.

'Cinderella'
Gioachino Rossini needed only three weeks to write the music for ‘La Cenerentola’. The piece was born as a commission from the young composer by the Teatro Valle de Roma after the success of ‘Il barbiere di Siviglia’. Jacopo Ferretti is the author of the text, based on the fairy tale ‘Cinderella’, by Charles Perrault and in the librettos by Charles-Guillaume Étienne and Francesco Fiorini.

It was Rossini himself who directed the premiere of the play on 25 of January of 1817. Despite the cold reception of the first performances, the work quickly achieved great popularity both in Italy and abroad. In this variation on the traditional story of Perrault, wicked stepmother is replaced by stepfather, Mr. Magnificent, and instead of the Fairy godmother Alidoro appears, philosopher and tutor to the prince. Is a
bracelet and not the popular crystal shoe that reveals Angelina's true identity, Cinderella.

Photograph: Miguel Lorenzo

ABAO Bilbao Opera

ABAO Bilbao Opera opens its 69th Season with The turkish in Italy Rossini, one of the best-rated operas by the Italian composer that takes the stage for the first time in Bilbao, with the exclusive sponsorship BBVA Foundation, the following days 21, 24, 26, 28, 30 October 2 of November (the functions will begin at 19:30h except Saturday day 24 which will start at 19:00h). ABAO Bilbao Opera has expanded the number of scheduled performances from the usual four to six functions, in order to comply with the capacity restriction protocol (600 locations) and safety distances required by the competent authorities.

Opera bufa of great musical quality

For this work of attentive and refined narration both in the vocal and in the instrumental part, Gioachino Rossini was influenced by opera Cosi fan tutte Mozart. With a history of courtship, charm, tangles and lots of fun, Rossini's comic opera jokes about the different ways of seeing society and narrates Selim's misadventures, a Turkish prince eager to discover new pleasures in Italy.

A cast that shines with its own light

To bring the protagonists of this flirtatious opera to life, seduction, misconceptions, love without borders and fun, ABAO has assembled a cast of great artists led by a true specialist in fool roles, the Italian baritone Paolo Bordogna who puts himself in the shoes of the Turk Selim. At his side, the Navarrese soprano Sabina Puértolas, "The Fiorilla de Sagi", with an intense acting and vocal intervention. The baritone Renato Girolami's debut as Don Geronio completes the line-up for this title., the tenor David Alegret as Don Narciso, the presentations of the baritone Pietro Spagnoli as Prosdocimo and the mezzo-soprano Marina Viotti as Zaida and the tenor Moisés Marín as Albazar.

A creative musical discourse under the baton of Christophe Rousset

In the pit, The French master and harpsichord player Christophe Rousset returns to Bilbao, a great connoisseur of this repertoire and one of the most active conductors in today's phonography. In front of the Bilbao Symphony Orchestra, will put music to a score full of seductive moments, high melodic inspiration and rich textures.

Complete this section the Bilbao Opera Choir, directed by Boris Dujin.

Moments summit The turkish in Italy

Gioachino Rossini was not only one of the great masters of bel canto, rather, he created a language where the melodic line dominates over other musical aspects.

The duet between Fiorilla and Selim stands out in the first act “You are Turks! I don't believe you”With the quartet with Narciso and Don Geronio, and in the second act the duet between Geronio and Selim "A nice use of Turkey”, one of the most memorable of Rossinian production.

Other special moments of maximum artistic demand of the character of Fiorilla are the exquisite cavatina "There is no greater madness"And the wonderful"Shabby robe, and bruna”, of the second act, with all its virtuosic variations.

Geronio also has a stellar moment in the second act with the very difficult aria “If I have to say it, I would be very pleased”.

A beautiful and traditional Neapolitan recreation of Emilio Sagi

On stage a co-production of the Théâtre du Capitole de Toulouse, the Oviedo Opera and the Municipal Theater of Santiago de Chile signed by Emilio Sagi. An extraordinary theatrical proposal, modern, fresh, sparkling and full of cinematic references.

The action moves to the Naples of the years 60, like a "realistic urban comedy ", how to define it Sagi. The scenery full of light and color, work of Daniel Bianco, shows a populous Neapolitan street where no detail is missing: a ladder that goes to the sea, a tram that passes every 14 minutes with people going up and down, tendales, vespas, a pizzeria, A greengrocer… "the intention was to create a neighborhood atmosphere, street ”, relates the set designer.

Eduardo Bravo's play of light manages to capture a magnificent visual stamp. A successful recreation of manners with a colorful and splendid wardrobe of the recently deceased Pepa Ojanguren, whose bearing "to the Italian"Remember the"Holidays in Rome" de Audrey Hepburn y Gregory Peck.

Rubén Amon introduces The turkish in Italy in the cycle "The ABC of opera"

The cycle "The ABC of opera" that reveals the most relevant aspects of each title of the season in a keynote conference days before the premiere, premieres a new edition in a new location. This time it will take place in Room 0E of the Euskalduna Bilbao on Friday 16 October.

The speaker in charge of revealing all the details of this opera is the well-known journalist and writer Rubén Amón, who regularly participates in different radio and audiovisual media, as El Confidencial, Zero Wave, Antena3 and La Sexta. He has published several books on different topics, as an investigation on Secrets of the Prado (Today's Posts 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012) O the triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums (Today's Posts 1996). Blood, poetry and passion: Two centuries of music, noise and silence in the Royal Theater (Editorial Alliance 2018).

ABAO PROGRAMMING

ABAO Bilbao Opera will schedule the Rossini concert, Anna Bolena Donizetti and children's opera Guillermo Tell during 2022. True to its commitment to culture, its partners and fans of lyrics in general and continuing with its vocation to not cancel any function, the Bilbao Association has managed to fit new dates in which to offer these three shows, whose representation within the current season has been forced to postpone due to force majeure due to the state of alarm decreed by the Government due to the COVID-19 pandemic.

ABAO Thus, it achieves its objective of continuing to support culture and minimize as far as possible the effects that this complex situation has caused.. The Rossini Concert, composed of two works: Giovanna D'Arco Y Stabat Mater, will be performed for the first time in Bilbao on Wednesday 6 April 2022 season 2021-2022 sponsored by the BBVA Foundation, main sponsor of ABAO Bilbao Opera. For the occasion ABAO has the incorporation of soprano Angela Meade, undisputed queen of Metropolitan, who replaces Joyce El-Khoury, the rest of the cast and musical direction are maintained.

Anna Bolena, first title of the “Donizetti queens trilogy”, will come on stage the days 19, 22, 25 Y 28 November 2022. The only new addition to the cast is soprano Joyce El-Khoury, replacing Angela Meade, like ‘Anna Bolena’, the rest of the cast and production are the same that had planned to close the 68 ABAO season.

By last, the children's show Guillermo Tell will rise to the tables of the Arriaga Theater on days 3, 4 Y 5 of January of 2022. A fast-paced and fun adaptation to the exciting adventures of the Swiss hero that the company La Baldufa creates from the immortal opera by Rossini.

Ticket return policy:

For all those fans who have purchased tickets for the postponed shows and the new dates are not satisfactory ABAO Bilbao Opera offers you three alternatives as will be communicated, in detail, in future dates: donation to ABAO. request for a bond with expiration of 18 months and refund of the ticket price.

The virtual stage #ABAOenCasa continues with three premieres every week

ABAO Bilbao Opera continues its season virtually through the #ABAOenCasa initiative. A virtual scenario on the ABAO website that exceeds the 93.000 visits with totally free access to the best opera titles, conferences, unforgettable moments from other seasons and a specific program for the little ones.

The agenda José Miguel Pérez-Sierra, romantic bel canto specialist and a recognized expert in the work of Italian composer Gioachino Rossini, will return next October the podium of the National Opera of Chile located in the historic Municipal Theater of Santiago, coliseum in which the Spanish artist has been working for several consecutive years in a splendid harmony with the moat and the public of the city. Pérez-Sierra this time will be in charge of two deals that give life to the six performances scheduled The Italian Girl in Algiers in a production firm Rodrigo Navarrete; the first will be cast as Isabella Victoria Yarovaya, Anton Rositskiy como Lindoro, Pietro Spagnoli como Mustafa Orhan Yildiz y como Taddeo, while in the second protruding local artists Evelyn Ramirez and Ricardo Seguel.

José Miguel Pérez-Sierra Rossini debuted this score, undoubtedly one of the great works of the genre bufo, Opera in Las Palmas in 2010, directing later in the Rossini Festival of Wildbad (2015, Germany). With fifteen operas of bel canto composer in his repertoire, Spanish director carries a long way in the field rossiniano since his debut at the Rossini Opera Festival in Pesaro (Italy) in 2006 with The trip to Reims, then becoming the youngest director on the podium of the Italian competition.

Madrid's relationship with the Municipal Director of Santiago has borne fruit in recent years directing operas I Puritani (2014), The Turkish in Italy (2015), Cinderella (2017) e The Barber of Seville (2018).

After its commitment in Santiago, Pérez-Sierra will lead the Symphony Orchestra of Bilbao with a symphonic program and direct Rule Baluarte Auditorium in Pamplona, L'elisir d'amore in Las Palmas and The Barbarillo Lavapies at the Teatro de la Maestranza in Seville.

www.josemiguelperezsierra.com

Varduhi Abrahamyan 1

 

Varduhi Abrahamyan 2

Varduhi Abrahamyan 3

Varduhi Abrahamyan 4

Varduhi Abrahamyan 5

Varduhi Abrahamyan 6

Varduhi AbrahamyanSiempre interview under the influence of music in his native Armenia, Varduhi Abrahamyan changed his fondness for the love pop lyric. Since then, It continues to evolve and stepping, increasingly harder, the most important stages in the world. In recent months he is visiting our country playing various characters, Isabella, The L'italiana in Algeri, Carmen or the Princess of Eboli in Don Carlo. A variety of roles thanks to the versatile qualities
his voice.

Brío Clásica: It comes from a family of musicians, so it is clear the origin of their hobby but, When he realized that his instrument was her voice?

Varduhi Abrahamyan: effectively, I feel fortunate to have lived music since I can remember thanks to the fact that my father was a professional tenor; he taught us, both my sister which is soprano- like me, to love music. Actually I intended to follow a different lyrical way -¡me loved and still love pop music!- but once the singing teacher my sister heard me sing and told me that my voice could give much more of himself. That encouraged me to go to the Conservatory in Armenia My native country, where I studied opera singing for seven years- and from that moment I fell in love with opera It was literally a crush! Then I went to France to expand my training matriculándome at the Conservatoire de Marseille. With hard work and dedication I was able to start my career at the Opéra de Paris. It was like a dream come true.

B.C: Their repertoire is very wide, belcanto, baroque, Verdi, Chaikovski… It should not be easy to change registration, as it does?
V. A: Certainly, My repertoire is varied and this makes much more enjoyment of my career. It's always a challenge to change registration but actually, despite the difficulty, with time and experience you get used. The technique is the same, you just have to adapt to every style, which has its demands and peculiarities. Necessary, yes, know in depth each style. Cambiar de estilo entre producciones es un trabajo muy interesante como intérprete y lo disfruto muchísimo.

B.C: Si tuviera que elegir un repertorio más concreto, ¿por cuál optaría, belcanto, baroque…? ¿Cuál sería el motivo de esta elección?

V. A: Me resulta complicado escoger uno porque tengo la suerte de que me gusta todo el repertorio que canto 🙂 Procuro siempre que en mi agenda haya algún título de Rossini, un genio que admiro y que compuso para la cuerda de mezzosoprano; mi voz se adapta perfectamente a su música, tanto al Rossini bufo (as Isabella in L'Italiana in Algeri I thoroughly enjoyed last December in Barcelona) as serious so often I have sung (Semiramide, The Lady of the Lake). But I also love Bizet and Carmen or Eugene Onegin Olga Chaikovsky (Russian speaking also allows me to face the Russian repertoire) or the baroque repertoire offered with Alcina and Ariodante Haendel. I'm now stuck in my first trials of Eboli in Don Carlo and Las Palmas I can only say one thing: ¡Viva Verdi! :-).

B.C: It has a very powerful bass, It is said to be closer to a contralto than a mezzosoprano, How would you describe the characteristics of your voice?

V. A: Naturally my voice has a wide tessitura, It is true, and this allows me to face a mezzo repertoire very varied. I feel very lucky for it.

B.C: December has debuted at the Liceu in Barcelona with Isabella, a role that debuted in Paris 2014, How he has now approached the sparkling star of L'italiana in Algeri?

V. A: Isabella is a delicious character. She is a woman of strong personality and very practical, faced with intelligence all the complicated situations that put you ahead. The truth is that I enjoy very much interpret because from the point of view actoral has many shades and is a challenge. As I always get right into the psychology of the characters I play, Isabella offers endless possibilities me as an actress and as a singer. I sang for the first time at the Opéra de Paris precisely with maestro Riccardo Frizza in the pit, with whom I have again found in the Gran Teatre del Liceu in Barcelona for the production of L'Italiana in Algeri, here with stage direction by Vittorio Borrelli. It has been a great experience, therefore the work done with my castmates as the tune that I felt with theater and Barcelona audiences.

B.C: Had she worked with Riccardo Frizza? What would you highlight your address in this production?

V. A: He is a director who knows the Italian repertoire in general and particularly bel canto as few in the world. It is always a great pleasure to work with him because he understands the singers and their needs and puts his direction the orchestra as the best vehicle for singers we are comfortable and can lucirnos.

B.C: After Liceo, January came to Oviedo to represent Carmen, a role he knows well. It is a multifaceted woman, her many women stay. How is the Carmen de Varduhi Abrahamyan?

V. A: Carmen is a role that I take the skin and has given me a lot of joy throughout my career. I have sung so many times I feel I know every corner of the sheet music of Bizet, but the fascinating thing about my job is that every time I play I discover a new detail, a new hue, it makes is in constant growth and evolution. This is a free and follows its own rules; It is a seductive woman, mysterious, charming and forbidden love Live every moment to its logical conclusion! Freedom coexist in it, the femme fatale, the drama, countless feelings. For this reason it lets face it from many points of view, both vocal and actoralmente.

B.C: When preparing a role as this, Is there any other Carmen in which it is fixed or will inspire or reference?

V. A: Carmen is such a universal operatic character who is hard not to have references; There are several mezzosopranos throughout history who have sung and I have admired, but in the end my version of Carmen is inspired directly from my emotions, and so with all the roles I play. I could not do otherwise.

B.C: Y, without leaving Spain, debuts the role of Princess Eboli in Don Carlo in Las Palmas, How is the process of choosing a new character? What would this shortcut Princess Eboli?

V. A: Eboli is the first role I assume dramatic mezzosoprano and is a challenge, difficult but at the same time an exciting experience. It is a historical figure and in these cases I try to always research, read, Go to the original source to soak his character and mine to live and feel on stage. I feel a thrill of having built now, a good time, and surely I will eventually incorporate other Verdian roles.

B.C: In their profession, Have you fulfilled a dream?

V. A: I have fulfilled several dreams and I still have a lot to fulfill. I could not live without dreams; these, junto con el amor de mi familia, son los que me dan fuerza y energía para sentirme feliz.

Interview: Paloma Sanz

ABAO

ABAO-OLBE (Bilbao Association of Friends of the Opera) recovers Semiramide Rossini twenty-four years after his last performance at the Coliseo Albia. This title belcantista par excellence, quintessence of vocal tradition of the eighteenth century in which arias and duets brilliant acrobatic coloratura occur with traditional structure, but both musically, and vocal style and orchestration, follow the innovations adopted by Rossini in Naples, up on stage next days 16, 19, 22 Y 25 February.

Rossini's last opera seria

This tragic melodrama composed of Pesaro Swan for La Fenice in Venice, It is the last opera that the composer wrote in his Italian stage. Based on the tragedy "Semiramis" Voltaire on the legendary character of Semiramis of Babylon, its plot is a heady mix of romantic intrigue and maneuvering for power.

An exceptional opera for voices

To enliven the quartet protagonist of this opera Rossini characterized by its great musical quality and "beautiful singing" on stage, ABAO-OLBE has assembled a cast led by the Italian soprano Silvia Dalla Benetta, who returns to Bilbao after his success as 'Gulnara' in Il Corsaro, to give life to the Queen 'Semiramide'. Beside the Italian mezzosoprano Daniela Barcellona, recently nominated as best female singer in the '2019 International Opera Awards', returns to ABAO to address the role of 'Arsace', transvestite role that involves an additional difficulty by having the interpreter to concentrate on looking at all times a man both musically and scenic. Close the quartet the Menorcan low Simon Orfila who voices 'Assur' and tenor José Luis Sola as 'Idreno'. They are accompanied by bass Richard Wiegold as 'Oroe', soprano Itziar de Unda as 'Azema', the tenor Once Josep as 'Mitrane' and low David Sanchez as 'Nino Ghost'.

Alessandro Vitiello al frente de la Bilbao Symphony Orchestra

In the musical section, teacher Alessandro Vitiello in front of the Bilbao Symphony Orchestra He puts music to an opera rich and lush orchestration in his own words "It represents the culmination of classical operatic, formal perfection achieved by Rossini”. This section complete Bilbao Opera Choir, directed by Boris Dujin, that provisions strategic location, It acts as a witness of what is happening in court and in town.

Semiramide moments summit

The Overture. One of the most famous pieces of opera and one of the most performed of Rossini in concerts and recitals.

Ah! I remember that day every hour. It is the cavatina of Arsace, in Act I. Arsace's character has come to Babylon.

Bel-range lusinghier. Definitely, one of the most famous opera arias of all iconography and perhaps lyric soprano.

Serbami every hour you trust. A vocal duel throughout their expression between the soprano and mezzosprano: Semiramide y Arsace,

Assur, my signs. Another great moment of the score is this duet from Act II between the characters of Semiramide and Assur blaming the death of King Nino. Assur killed but gave poison Semiramide.

Release production nationwide

On stage a production of the San Carlo di Napoli, which you can be seen for the first time in the country, signed by who was considered one of the great innovators of Italian theater Luca Ronconi, a born innovator who scored with his strong personality and theatrical productions and operas, the profile of modern performing arts. He directs the opera in Bilbao Marina Bianchi and participate in the assembly 140 artists. Breathtaking scenery, with 51 eye movements, and dominated by surprising elements, They represent the drama in all its depth and symbolize a power vacuum and violent. The guiding principle of the scenery is a primitive world in ruins where guilt devastates the soul of the characters. French couturier Emanuel Ungaro author costume design, plays with breastplates that emulate naked torsos, "A mirror of depravity, the place where civilization has disappeared ".

A masterpiece to all

To enjoy this opera until the last note there is a wide range of prices in the localities. A) Yes, those under 35 years have four different areas between 36 and 58 € and eight zones ranging in price from 62 and 98 €. For those over 35 years, There are six areas with locations between 56 and 82 € and ten spaces with prices from € 100.

Music critic Andrea Merli introduces Semiramide

Andrea Merli, stars in the fourth conference of the cycle of introduction to opera organizes ABAO-OLBE, prior to the premiere and free of charge, in the Bilbao Fine Arts Museum, in order to know the most important aspects of each title of the season.

Andrea Merli, It is music critic, essayist and lecturer. He collaborates with the magazine L'Opera and Milan correspondent of the magazine Opera Actual. His interest in music and opera has led him to publish numerous works in theaters and specialized media. For over a decade it has an opera program on RAI Radio.

The appointment is Friday 15 February in the Auditorium of the Museum of Fine Arts (access door by Chillida) to 19.15 hours. Free entry until complete seats.

Reserve this day: 13 March 2019. Presentation of the new season ABAO 2019-2020

He Wednesday 13 of March partners ABAO-OLBE and all opera fans are invited to meet the programming designed to 2019-2020. The 68th opera season in Bilbao brings titles in Italian, French and German, four co-productions ABAO-OLBE and two premieres in Bilbao. In the troupes will visit large and well-known figures of lyrical and musical notable teachers. We unreleased productions in the country, many cultural activities and many important developments within the Association that will be disclosed in the presentation, whose closure will have a very special performance.

The appointment is in the Arriaga Theater at 19:30h. The invitations to attend the gala can be booked by calling 944 350 100 or by writing to inscripciones@abao.org and may retire at the offices of ABAO-OLBE from 12 February, Prior reservation and registration.

Silvia Dalla Benetta

The Italian soprano Silvia Dalla Beneta sing Semiramide in Gioachino Rossini's opera climbing on stage next 16 February, in the 67 opera season in Bilbao ABAO-OLBE.

Praised by critics worldwide for its "Vehement and temperamental voice", singer debut in ABAO-OLBE in 2010 in Il Corsaro Verdi with the difficult role of "Gulnara".

Endowed with a great vocal range as a dramatic soprano of agility, personal and resounding timbre and a shocking emotional temperament, It is considered as a reference artist in the repertoire from Mozart to Rossini, from the most challenging bel canto to the young Verdi or Puccini the most lyrical, Vocal thanks to its solid technique and considerable volume of his voice, with means for the middle voices and filados, very beautiful. also it has a striking stage presence, and a natural ability to take their personal dynamic and compelling readings thanks to his talents as an actress.

His recent and upcoming engagements include: Rule Ferrara, Requiem Sophia Verdi, Così fan tutte in Mexico City, Aureliano in Palmira Y Eduardo and Cristina en el Festival Rossini one Wildbad, Jerusalem in Parma, Normto in Liege and The happy widow in Catania, Carmen in Liege, La Petite Messe Solennelle, Moses and Pharaoh Y Aureliano in Palmira one Festival Rossini one Wildbad, Summer concert in Liege, The Rover I do Modena, Moses en Egypt in Pisa and Novara, among other actions.

From Benetta sustituye in the inicialmente scheduled Angela Meade, who has canceled all future commitments due to illness certified by the office of the artist. ABAO-OLBE deeply regrets the unwillingness of American soprano who has moved his best wishes for a speedy recovery.

Maxim en el College 1

Maxim en el College 2

Maxim en el College 3

Maxim en el College 4

Maxim en el College 5

Maxim en el College 6

Maxim en el College 7

Are you a big rossiniano interpreter What qualities or technical believes should be to be a good interpreter rossiniano? The rossiniano edge requires a very particular technical; We can call Rossini style "il bel canto fiorito". You need to know to keep the tessitura, which in many cases it is quite high, besides having the vocal agility. It is important, especially, know the style of writing well and know Rossini vary the ridge line where it should. It is about, definitely, a set of very specific things. Ah, I forgot: all this must be done at the same time and with extreme ease.

The last summer, He reprized the Conte d'Almaviva, in the new production The Barber of Seville, Rossini Opera Festival in Pesaro, stage direction of Pier Luigi Pizzi. What are the challenges this role?

Yes, is one of my favorite roles Rossini, and every time I have to sing, I thank this magnificent role Rossini. Even if he might have to thank Manuel García more? Who knows what this great tenor in the past has contributed to the creation of the character of Almaviva! If the role is as in Pésaro, that is to say, Integral with the end rondó, the difficulties are brutal. It's a long role, demanding from the point of view actoral, full of disguises and movements. Is, Besides, a very dynamic role to be crowned with final rondo full of coloratura. But the feeling of satisfaction you get after you did makes you forget any difficulty.

What other roles Rossini would like to do in the future?

Actually, after so many years working in the Rossini repertoire, there are few roles that I debut, but I could point to three I want to do in the future: Le Comte Ory, Corradino en Matilde in Thabran and Ilo, in Zelmira.

If publica ahora "This is Rossini!”, a selection of arias accompanied by piano chamber by Richard Barker, a nineteenth-century piano, similar to that used by Rossini and coinciding with the anniversary of his death. How you have lived this experience?

It is the result of hard research work, but very interesting, I've done with my great friend, Master Richard Barker. The truth is that has always fascinated me chamber music; I think in this genre composers had much more freedom of expression and, especially, experimental. In the chamber music repertoire of each composer we can find real gems, they often fall into oblivion. So with this CD we want to bring to light lesser known works of Rossini and empower them to be interpreted. We used a historical instrument to record this album: Pleyel very similar to that used the same Rossini. The period instrument sound is unmistakable and catapults you, Instantly, to the past, producing an almost magical effect. the touch, we can feel what I felt the same Rossini. We wanted to call this CD "Questo è Rossini"!, (This is Rossini!), but perhaps it would have been more appropriate to call it "E anche questo è Rossini" (And also this is Rossini!), by the amazing variety of music ... from the pathos of an exile in the aria "L'esule" the almost grotesque comedy of "La Chanson du bébé", which features the same glimpse Rossini.

His previous CD "The Ricordanza" was dedicated to the repertoire of chamber Bellini, How this project came?

"The Ricordanza" is a concert-story. The idea came while he was visiting the Museum Bellini in Catania. Among the exhibits, there were two pianos They are belonging to Bellini. They were in a sorry state, And you could hear the sound. But it was there that I got to thinking: How would the sound of these instruments listening Bellini? How does that sound could influence his inspiration? So I began a journey through the history of the life of Bellini, and I understood that his chamber works could illustrate his entire artistic career. And I designed this concert, in which I tell the public about the great composer of Catania, which left us too soon, and illustrate my story singing their arias camera. This concert has had great success in Moscow and Vienna, and soon, we will take, for the first time, to Italy. It is a fairly novel experience for the listener. The public is always happy. also we made a CD, which it is now only available online an iTunes, Spotify o Google Play. It is also available on the web www.illiria.de/charity, where we have made a special edition to help collect funds for the German organization Kinderlachen, which helps children with difficulties.

His repertoire is clearly belcantista but also addresses other roles as Orfeo, Gluck, even Mozartian roles. Where he is evolving voice?

Inevitably, the voice changes over time ... I do not notice unusual changes, although obviously the voice grows, acquires volume and color enriched, but still I can not say that, within a year, sing Otello Verdi ... Nothing, I'm happy with Rossini!

Where do you feel more comfortable, performing arias full of ornamentation or more dramatic arias?

I prefer the arias, where they know how best to express the will of the composer. The fact that they are with or without coloratura, unimportant.

From 13 Lindoro in December will The Italian Girl in Algiers, Liceu in Barcelona, How do you approach this role?

Lindoro is a complex character that we perceive today very differently than was created at the beginning of the nineteenth century. Lindoro comedy came from the fact that, in this opera, it is the woman who plays a man: She part of Italy to Algiers, Mustapha seduces, freeing the slaves. But if I had not come to save Isabella, he would have been equally well in Algiers. It was the favorite slave of Mustafa! Also from the vocal point of view, writing is almost feminine, very sharp and full of ornaments. I try to create a very young character, a little naive and dreamy ... one of those people who do not know exactly where they are and escape from danger by the great fortune to have.

We had the opportunity to see him in another The Italian Girl in Algiers in 2009, When can we hear again in Madrid?

moment, I have no other commitments in Madrid, but I remember with great pleasure the period I was there, especially people working in the theater. I've never seen people so passionate opera working in a theater!

Faced with a new role, How do you prepare and what items you consider?

I always start studying first the arias, then the duets, trios, quintets... and so on to reach the final. In this way, I have enough time to mature arias. parallel, I also inquired about the opera: leo, I see things on the internet ... Today, We can benefit a lot from this media.

How is your relationship with stage directors? Do they have much influence on the version of the character played?

Stage directors are now masters (owners) Opera. Sometimes, This benefits the opera, and other times, no. If the stage manager is smart, is given always realize that doing operas of the great composers of the past as Rossini, Mozart, Donizetti, Verdi, Puccini, etc., It is not only to absolute geniuses of music but also theater. Stage director's work involves a great imagination, but it must be combined with a certain humility. The great directors of the past had this gift. Directors today ... not all. Few understand that they must first convince us, the singers, for us to be able to convince the public. I do not believe in set in classical or modern scene, but in those that work or do not work. Normally, from the first encounter with the stage manager, I usually tell if the show will or will not succeed and who will win in the end: composer and stage director.

To end, What are your future engagements?

Immediately after Barcelona, presentamos "The Ricordanza" en Italy, specifically in Cuneo. Then I go to La Scala Cinderella, and the Staatsoper Berlin for The Barber of Seville. In late summer 2019, I'll be at La Fenice in Venice with another Barber shop. However, I have to record my new album. Just I ask the Lord to give me health to do all this!

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With his deep voice and a smile sunny eternal, Spain returns to the mezzo-soprano Marianna Pizzolato to play the title role of L'Italiana in Algeri by Rossini, Summer Festival of El Escorial, and the San Sebastian Musical Fortnight. Passionate about belcanto, We will surprise with his Mistress Quickly of Falstaff verdiano, next season in the Classical Theater Real.Brío: You are a very determined woman. In his professional life, What were these decisions made today is where it is?

Marianna Pizzolato: Rather than making, I would like to talk about the choice that music has done for me because, Really, I have to say it was the music that chose me, not vice versa, and little by little, it was my love for her; that is to say, that came gradually. So it has been a choice of life, in some way, It has taken place, mutual and jointly; Of course, since it has emerged this love, no longer it has never stopped ...

B.C: What differentiates a Mediterranean voice of another who is not?

M.P: I think a very nice question (laughs). I'd say that what differentiates a Mediterranean voice of all others is the climate and geographical factor. Como Sicilian, Let's say I find myself in the midst of a cultural crossroads, and therefore what might characterize a voice Mediterranean, It could be probably the mixture of cultures; definitely, the earth and the sun that characterize our area, much influence, because both give life to all those minerals and all these climatic factors that will surely serve to get a vocal projection and actual sound vibrations Mediterranean.

B.C: You affirm that, "Bel canto singing voice must not force, but accompany the fiato ". Can you develop a little more this interesting technical issue?

M.P: Let's say I have become an idea of ​​what these years, somehow, It means the belcanto, and I tried to experience it myself. I think in any form operística, either belcanto, whether or baroque verismo, You not ever have to strain your voice; This is the base that can accompany any style and any operatic era. What I mean? For accompanying the voice with fiato means putting the fiato as absolute right to leave the correct sound, designed and clean, because it is important to sing healthy and beautiful. And for healthy singing voice must be supported in the fiato. The fiato that runs through our body and thoracic spine; In my opinion, there are no large or small voices, but there are voices projected, and it is precisely fiato determines the frequency of a voice. If it used well fiato, the sound vibrates in the most natural way and walk as long as possible. Definitely, the voice has to run through fiato, as we say in our jargon; and this is what allows even very large rooms, the voice can also "travel".

B.C: Are you a performer Rossini, Do you think the song rossiniano requires a specific technique?

M.P: To me, the truth is that I really do not like rankings and I do not mind saying, although in recent years he has done a lot Rossini, but I argue that there is only one technique. More than one technique, to face the repertoire rossiniano, I talk about that a certain innate characteristic is required; I mean you have to be born with a predisposition to certain coloratura, the elasticity and speed; as stated before, through fiato and technical, you can highlight all these features, which they are typical of edge rossiniano.

B.C: Many of the characters are transvestites Rossini for Mezzo, How scenically prepares these roles?

M.P: Sing a role in transvestite is a very interesting thing, because one changes a little with that kind of role. Not that you have to change the body, even if they adopt certain attitudes, it is a change of mentality. It may seem a joke, but when a role is sung in transvestite in a production, one strives to think like a man, and move like a man; I think here lies the success of a transvestite role in. In any case, it is necessary to get carried away, because especially in Rossini, with respect to music, is all written. So he carried away by the music and thinking a little is not a too difficult task but rather the contrary, It's very exciting.

B.C: Some current approaches may be peculiar scenic or, even, eccentric, Have you ever said no to a role for its scenery? I would?

M.P: Yes, indeed it is a very thorny issue. Nowadays, stage directors make some opera padroni. What if, I once had to give up a role, I even went in the course of production. You can do everything, and everything can be beautiful; I like modern productions, I love modern directors, especially when I teach new things, but when the idea stage manager exceeds the composer and does not highlight the composer but himself, putting the singers in second or third level as we see very often in some productions, I think is disrespecfull. It has happened to me, I said no and I would do if necessary, because in my opinion, music and voice have to defend beyond all this, and they have to take first place; on the contrary, the opera itself would have no reason to exist.

B.C: His repertoire is clearly belcantista but his voice is very versatile. To what roles or codes you can evolve their voice?

M.P: Fortunately, the world does not stop with Rossini and I'm very happy about it. I am preparing to address the role of Mrs Quickly, in Verdi's Falstaff at the Teatro Real in Madrid; I will also many Requiems by Verdi, French repertoire, not forgetting of course the symphonic repertoire for mezzosoprano, which it is huge, and I like it because it allows me to express myself differently. The concert world is a world that puts you in touch with the composer and the audience differently opera, and I have to say that this form of expression and contact with music and public interests me very much.

B.C: Among his repertoire it is also the German Lied. How's that moment of introspection that requires this kind, in a small room, with the audience so close and accompanied only by a piano?

M.P: Recently I'm addressing the lieder repertoire and recital, but as stated above, contact with the public is completely different because a more direct contact is given, and no other filters such as scenography, or orchestra, or the language of the opera. In this case, We speak another language, and other body language also. It is very interesting and perhaps more difficult because it offers you the chance to express more directly but like all relationships of love, when nearby they are dangerous.

B.C: Next season we hear in the Falstaff of the Teatro Real ...

M.P: Yes, What I can say Quickly? Well, that is a wonderful character Quickly. I am preparing now, and I'm having so much fun while you study. As in all Verdi's operas, there is always a contrast between sweet and sour. Quickly is a character of ironical nuances but with a touch of acidity, so I hope to do well and have fun.

B.C: Of all the stories or events that have happened in her profession, Is there any particular remember?

M.P: I tell you something funny that happened to me years ago in Pésaro, who was signing autographs in place of my colleague because fans were convinced that it was I who had played that role on stage, and my colleague had played another role. Actually, We exchanged fans and we continue like this throughout the evening until we reveal the secret and everyone started laughing. It was one of the funniest moments. I remember also when, for example, once on stage I dropped the sword role in making a transvestite and was alone with the scabbard, so I started to fight alone with pod, and the public logically began to laugh during a serious opera (laughs).

Interview: Paloma Sanz
pictures: As Isabella in L'Italiana in Algeri at the MET
(c) Ken Howard/Metropolitan Opera
Como en Isabella The Italian Girl in Algiers en el Maggio Musicale Fiorentino (c) Simone Donati

Marianna Pizzolato

known Italian mezzo-soprano Marianna Pizzolato, Reference interpreter of Rossini repertoire, returns to Spain to sing the title role The Italian Girl in Algiers Rossini in the new Joan Anton rechi production, which can be seen in the Summer Festival of El Escorial (26 Y 28 of July), and in the San Sebastian Musical Fortnight (11 Y 13 of August).

At 150 anniversary of the death of Italian composer, and after his recent success at the Théâtre des Champs-Elysées and the Teatro Comunale di Bologna, Sicilian singer will play, once again, the role of the brave Isabella. A role she has played almost a hundred times in prominent festivals such as the Rossini Opera Festival in Pesaro, where it is invited habitual, and famous operatic coliseums as the Metropolitan Opera in New York, Teatro Massimo Palermo, o el Capitol Theater, among others.

Marianna Pizzolato es, undoubtedly, Isabella of the moment, but his wide repertoire ranging from baroque to from Lied German, and he has worked with directors of the stature of Alberto Zedda, Riccardo Muti, Daniele Gatti, Antonio Pappano, Charles Dutoit, James Levine, Bruno Campanella, Roberto Abbado, John Eliot Gardiner, Giovanni Antonini, Michele Mariotti y Dantone, among others, as well as with famous stage directors such as Dario Fo, Robert Wilson or Luca Ronconi.

His intense concert activity, She has led her to sing in major concert halls with orchestras of great international prestige as the Accademia Nazionale di Santa Cecilia, la Staatskapelle Dresden, la Leipzig Gewandhaus Orchestra, la Tonhalle Orchestra Zurich, o la Bavarian Radio Symphony Orchestra.

Among his most immediate commitments, highlight Sigismondo s Munich con la Munich Radio Orchestra, Falstaff at the Theatre Royal, Serse con Il Pomo d'Oro in Toulouse there Essen, Stabat Mater Rossini in Tokyo and Turin (with RAI Orchestra), Missa in tempore belli Haydn en de Rome with the Accademia Nazionale di Santa Cecilia, and the Missa Solemnis K 139 de Mozart with Il Giardino Armonico Giovanni Antonini y en la Mozartwoche de Salzburg.

http://www.mariannapizzolato.it

Mariella Devia

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

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

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

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

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

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

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

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

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

José Miguel Pérez-Sierra

One of the most international music directors, José Miguel Pérez-Sierra, He began in September in the course already known and well-loved places by the Madrid musician: he 9 of September he directed the Galician Symphony in an emotional Rossini Gala programmed by Friends of the Opera of A Coruña in homage to the great Alberto Zedda, legendary director, musicologist and manager, Responsible for the Rossini de Pesaro Festival who died last March and with whom Pérez-Sierra maintained a close personal and professional relationship: was his assistant and collaborator between 2004 Y 2009. This same month (days 15 Y 23) returned to the podium of the Euskadi Symphony with two concerts for the San Sebastián International Film Festival. In October, the Madrid maestro's agenda will put him up to date again in Italy, country in which he has developed a good part of his career since he debuted at the Rossini Festival in Pesaro in 2006; the days 13 Y 15 he will direct The Barber of Seville at the Teatro delle Muse (Ancona).

Later he will travel to Canada to make his debut at the Opéra de Montréal with another Rossini, Cinderella (11, 14, 16, Y 18 of November), will conduct a symphonic concert with the Orchester National de Lorreine in Metz (France, 26 of November) and will go up to the podium of the Symphony of Euskadi to direct a program that includes works by Wagner, Chausson and Debussy on a tour that will visit the Kursaal Auditorium in Donosti (1 Y 4 from December), Antzokia Principal Theater of Vitoria (2 from December), Baluarte Auditorium of Pamplona (5 from December) to conclude at the Euskalduna Palace in Bilbao (7 from December).

Rossini Stabat Mater

Under the cooperation agreement between the Royal Theater and Music Festival El Greco in Toledo, he Headlines Choir and Orchestra of the Teatro Real will return to the cathedral of the capital manchega next Sunday, 24 of September, to 20 hours to play the ravishing Stabat Mater from Gioachino Rossini (1792-1868), operatic marking, despite religious and deeply sorrowful theme of the Litany.

When, in 1831, Rossini traveled to Spain ─country of his first wife and muse, the famous singer Isabella Colbran─ accompanied by the banker Alejandro Aguado, was received with all honors in Madrid, where King Ferdinand VII presided over an acclaimed performance of The Barber of Seville. In the heat of that triumphant visit, the prelate of Seville, Don Manuel Fernandez Varela, commissioned Rossini to Stabat Mater, that the composer agreed to write pressing for the situation, with the commitment that the work will never be published or change owners.

Rossini was then around the 40 years and had already abandoned, definitively and surprisingly, his brilliant career as an operatic composer. The crisis in his marriage was becoming more pressing and he began to suffer from the depressive states that would accompany him cyclically until the end of his days.. In this context, he was unable to complete the Stabat Mater on the agreed date and after composing the six most dramatic numbers, he asked his friend Giuseppe Tadolini, director of the Italian Theater of Paris, to compose the remaining numbers of the Latin religious poem.

This joint version of the work was the one that was finally premiered in Spain, in the chapel of San Felipe el Real in Madrid, Good Friday of 1833, to the great annoyance of the prelate, who rewarded the composer with a gold tobacco.

after his passing, breaching the contracted commitment, the owner's heirs sold the work, whose illegal edition Rossini managed to counteract by recomposing, Finally, the parts of Stabat Mater that were not of his authorship, so that the work had unity, cohesion and imprint that it deserved.

this final version, entirely written by Rossini, discreetly launched 7 of January of 1842 at the Sala Ventadour in Paris. Two months later the work would be performed in Bologna, under the direction of Gaetano Donizetti, with category of great musical event, since Rossini, aged with just 50 years, it had been a decade without releasing a major score.

Rossini composed a Stabat Mater highly theatrical, as a kind of 'marian opera', that expresses the feelings, states of mind and evocations of the Virgin with a sometimes misunderstood disinhibition to deal with such a profound and lacerating religious text: Standing the sorrowful mother / next to the cross, tearful, / while the son hung / whose soul wails, / saddened and suffering / pierced the sword…

The passionate and passionate character of the work gives an earthly feeling to the pain of the Virgin, that easily mimics the emotions of the public, trapping him with seductive melodies, amazing modulations and brilliant, gimmicky orchestration, whose theatricality brings the divine closer to the human.

Four renowned singers will give life to the Rossini score: soprano Eleonora Buratto -which will be Micaëla in the Carmen which opens 11 October at the Teatro Real-, mezzosoprano Silvia Tro Santafe -What are you currently playing?, very successfully, Cecilio's role in Lucio Silla, the tenor Michele Angelini, which will debut at the Teatro Real, and low Roberto Tagliavini, who will participate in Aida Y Lucia de Lammermoor in this season.

Together with the soloists, the Headlines Choir and Orchestra of the Teatro Real, under the direction of Ivor Bolton, will return to the Cathedral of Toledo, where already addressed, with great success, he Requiem from Mozart, in 2014.

RENFE COLLABORATION

The Royal Theater has had the special collaboration of RENFE, which has scheduled a train with a special schedule to move the public from Madrid to Toledo.

The Teatro Real Avant Space train will leave the Atocha Station on Sunday at 17.50 h. bound for Toledo and will depart from there, at the end of the concert, to 22.00 hours.

Daniella Barcelona y Jessica Pratt en Tancredi

Valencian Palau de Les Arts, He has brilliantly closed the season with five performances of the rossiniano Tancredi, who they have assembled a superb cast headed by voice Daniela Barcellona as Tancredi and Jessica Pratt in the role of Amenaide, next to the excellent performance of the Orchestra of Valencia directed by Roberto Abbado. As well, It should be noted the interesting proposal scenic Emilio Sagi. curiously, and being higher quality representations that have been seen throughout the season, the assistance of the public has not been massive, can be seen enough holes in the capacity of the Valencia theater. yes, The audience applauded with great force that's great singers and orchestra.

Gioachino Antonio Rossini (Pesaro, 1792 - Paris, 1868) Very soon he was attracted to the opera. In 1810, with only eighteen, It premiered at the Teatro Samuele Venice his first major work The marriage bill, to which will follow next year L 'wacky misunderstanding. You get his first big success with The stone of the Comparison premiered at the Teatro alla Scala in Milan, in 1812, becoming a tremendously prolific composer, since before the end of the year, He had premiered two new operas: The silk stair Y The ocassion makes the thief. Rossini surprising ability to simultaneously compose, a limited period of time, a comedy like Mr. Bruschino, Y Tancredi (his first serious opera) both released in Venice respectively 27 January 6 February 1813. The success of the comic works of Rossini, you can hide its importance as a composer of operas serious. Great titles like The Italian Girl in Algiers (1813), The turkish in Italy (1814), The Barbers of Seville (1816) O Cinderella (1817), I sank into oblivion blatant serious operas he composed in his Neapolitan period, between 1815 Y 1823. In dramatic titles such as Otello (1816) Y The Lady of the Lake (1819), He resigned from the neoclassical heroism, to be outdone by the romantic atmosphere, I was starting to be born. Rossini concluded that bright stage, in 1823, with the premiere of Semiramide, last thirty-four Italian operas, starting the same year to France, where he will continue writing comedies like The trip to Reims (1825) Y Le Comte Ory (1828), dramatic titles such as The siege of Corinth (1826), Moses and Pharaoh (1827); Y, especially, his monumental Guillaume Tell (1829), which lays the foundation of the romantic melodrama, and with which he concluded his operatic cycle when she was thirty-seven years.

Tancredi It was composed by Rossini in December 1812 and January 1813, libretto by Gaetano Rossi from the play u Voltaire. The premiere took place on 6 February 1813 Teatro la Fenice in Venice, and the opera ended with a happy ending. He 20 March of the same year, Rossini premiered in Ferrara a revised version included several changes, the most significant being a new ending of tragic character, whose text was written by the poet Luigi Lechi. This end not like the public, and Rossini developed a new version, premiered in Milan, in December 1813, He is synthesizing those offered in Venice and Ferrara, with the inclusion of the happy ending. For twenty years, until 1833, the opera was performed with some regularity, subsequently falling into the most absolute forgetfulness. The score and text of the tragic end came to disappear, It is discovered by musicologist Philip Gossett, who prepared a critical edition, in 1976, from the version released in December 1813, but ended with the tragic end of Ferrara. The ultimate recovery of this opera came when the critical edition premiered at the Opera Houston (Texas), in 1977, with participation as Tancredi of the great American mezzo Marilyn Horne, who will become the great guarantor of this opera, who he played for more than a decade in various theaters around the world, Having legacy up to eight live recordings, including making video made in the Theater of the Liceu in Barcelona, in 1989. The middle Daniela Barcellona he played Tancredi for the first time in the Festival of Pesaro 1999, since become a referential Tancredi. This is evident in various audio and video jacks, especially marketed by TDK DVD, some functions that took place in the Teatro Comunale of Florence, in October 2005, next to one of the great interpreters of Argirio: Argentine tenor Raúl Giménez. In Spain, Barcelona Daniela has performed on many occasions Tancredi: Corunna (2003), Oviedo (2004), Teatro Real in Madrid (2007), Teatro de la Maestranza in Seville (2009), and now the latest features that have taken place in the Palau de Les Arts, where it is shown the critical version of Philip Gossett with tragic ending Ferrara.

He Tancredi represented in Valencia is a co Lausanne Opera and the Teatro Municipal in Santiago de Chile, stage direction of Emilio Sagi, moving the action from the XI century, at the time of the Crusades, to the nineteenth century, in the Italian Risorgimento period. The action begins in the great hall of a palace, with marble columns and large windows with beautiful stained glass polychrome, where many guests gather around a large table, dressed in colorful and reloaded uniforms designed by Pepa Ojanguren, regular contributor to Emilio Sagi. That same scenario is transformed, by rapid movement of its walls and moody lighting, in different scenic spaces: the small and intimate where the duo Tancredi and develops Amenaide Act I, and in Act II, becomes the elegant Argirio office or in prison where seclude to Amenaide.

Sometime, to finding an esthetician visual impact, scenic approach is unsuccessful, as in the battle sequence, in Act II, bounded in a space whose bottom is a panel where many small mirrors assembled, scenic dark alone is altered by the spotlight lanterns bearing figurantes and reflected in mirrors, seriously disturbing viewers. Appeals the final scene of the opera where you can see a large funerary monument at the base of Tancredi's death it occurs in the arms of Amenaide. Noting the inadequacy of the military fatigues carrying Tancredi, encorsetando his stage movements. We are excepting the scene of dazzling lanterns, it is quite appropriate lighting design by Eduardo Bravo, creating suitable environments scenic always in line with the development of the action.

Excellent address Roberto Abbado, who achieves high performance of the Orchestra of Valencia. The maestro Abbado knows very well this score, habiéndola led on many occasions, being able to hear a superb studio recording by RCA, in 1995, where he addressed the Münchner Rundfunk Orchestra, with Vesselina Kasarova como Tancredi, the Amenaide Eva Mei and excellent Argirio of Ramon Vargas, displaying a voice of great beauty. This record contains the two final version and alternative Amenaide aria "Ah, degg'io die is pur "Rossini composed for the version of Ferrara.

Roberto Abbado was presented with the immobilized right arm injury, what still he made his directorial work more meritorious, that already it revealed from the same opening (identical to a previous Rossini: The touchstone) whose first section cutting clearly mozartiano, shone metals and woods; Y, a second section, dominated by an orchestral crescendo reiterated, típicamente Rossini, which alternates with the interpretation of a graceful melody which include interventions in conjunction with the cello flute, bassoon and all the rope. Superb sound of the orchestral prelude that introduces the great scene of Act I Tancredi, with continuous sound of the bass string accompanying violins and wood, with lucid interventions of the solo oboe. Note accompanying the great duo Amenaide and Tancredi in Act I, ending with a bright coda. As well, orchestral performance at the end of Act I: Concertante sextet and conclusive. Ya, in Act II, delivery was excellent clarinet soloist during the aria of Isaura, followed by the brilliant performance of music, strong symphonic breath, which precedes and accompanies the recitative Amenaide "Di mia vita infelice". Very beautiful orchestral introduction and accompaniment of the aria in Act II Roggiero. Highlight the ethereal and faint sound of the string chamber music, that accompanies the scene of the death of Tancredi. In the numerous recitatives containing this opera, include the excellent performance of the basso continuo consisting of pianoforte (José Ramón Martín), cello (Rafal Jezierski) and bass (David Molina). Good concertante work of Roberto Abbado always aware of the voices.

The Great Means Trieste Daniela Barcellona Tancredi has made its most paradigmatic role, providing its precise belcantista vocalism, great dramatic interpretation and stage presence totally identified with the character. Ya, is bright entrance with its scenic interpretation of recitative "O patria, sweet and ungrateful Fatherland ", que starts where with half a voice, and where exhibits a refined edge line full expressiveness, with excellent sound regulations. El enlaza with recitative and arioso "You light up this core" para concluir con el famosísimo "Of the many heartbeats", interpreted in the purest bel canto style, masterfully executing relevant variations in the repetition started with the phrase "sara felice", where he shows his mastery of agility, with a sharp fine cast. Ya, in Act II, makes a great interpretation of the cavatina "Ah, scordar you are not "with the repeated phrase" the love anchor "increasingly expressed with different shades. Makes a great vocal and dramatic interpretation of the aria-rondo "Perché disturb the calm", with a first section slow, full of sad accents, which derives another much faster, aggressive initiated with the phrase "Traditrice! I surrender to you ", where he shows his mastery of agility with timely and accurate uploaded to acute. these changes occur rhythm slow-fast, in a continuous crescendo, to conclude the aria with the heroic and repeated phrase "field, to the field to trionfar "inserting superbly cast powerful treble. In a totally different register, about to die, endows accents recitative-aria pathetic "Oh Dio, lasciarte I ought ... .Amenaide, serbami tua "conclusive opera faith.

Amenaide great performance as the soprano Jessica Pratt, in possession of a voice attractive timbre, well planned, domain linked with the hand, excellent sound regulations and an absolute mastery of coloratura: trilling, scales, notes chopped, treble and treble with great cast. As well, include its magnificent stage performance. all, as evidenced in its initial cavatina "Come dolce all'alma mia" . In Act II, endows de gran lyricism of recitative-aria "Di my life miserable ... ..no, that the die is not ", with melancholic accents and excellent ability for middle voices and sound regulations, emitting beautiful notes in pianissimi. Its brightest moments occur in the recitative-aria "Gran Dio!…..Just God humble love "donde en primera y recitative section of air, shows a polished ridge line full expressiveness, emitting precious filados, apianando voice even in the high notes. Ya, in the second part of the aria, where music takes up the crescendo of the overture, it can be stated capacity for coloratura singer, issuing notes with real precision chopped, up easily acute and sobreagudo and ending aria with an impressive Mi5.

Extreme quality are the two duos interpreted Pratt and Barcellona, especially the middle section of the second "Ah, how come that soul ", with accompaniment of string pizzicato.

Argirio's character is played by the Chinese tenor Yijie Shi, magnífico singer Rossini, despite its unattractive timbre. During his numerous interventions he showed an elegant phrasing and excellent execution of agility. Especially turned bright interpretation of the recitativo-ary "Oddio Crudel! What name ... .Ah! segnar I try in vain ", offering in the recitative, a song full of expressiveness; Y, in the aria, meditative moments apianando voice, along with other genuine bravura singing with bright uploaded to acute and sobreagudo. Very well in his duet with Tancredi of Act II.

The bass Pietro Spagnoli, It has a lyrical voice over for the role of Orbazzano and its interpretation was not discreet, despite having real opportunities to shine, because in this version Tancredi if INSERTA and air "At the glory voices" (immediately before the duo Tancredi and Argirio of Act II) which is usually omitted. In the role of Isaura, the middle Martina Belli He showed a large though somewhat guttural voice, with good command of agility, in the interpretation of the aria "Tu che i miseri conforti" of Act II. The young soprano Rita Marques belonging to the Development Center Placido Domingo, He excelled in his aria "Torni Alfin ridente". Great numbers set closing Act I, especially the end concertante. Magnificent performance of the Coro de la Generalitat Valenciana (in this case only male voices) in its numerous interventions, highlighting his performance in Act II of the Coro di Saraceni: "Terror reigns in the city".

These functions Tancredi were dedicated to the memory of the conductor and musicologist Alberto Zedda, who died last March, whose work has been instrumental in the recovery of the entire work Rossini.

 

Daniela Barcellona

Hailed in the most famous opera houses as the great interpreter Rossini, Daniela Barcellona is, years, one of the most sought-after singers of the international scene. Her acting skills and her vocal virtuosity have been acclaimed throughout the world and their presence is habitual in the most famous festivals and lyrical scenes: Salzburg, BBC Proms, Metropolitan Opera House in New York, Bavarian State Opera de Munich, German Opera de Berlín, Semperoper Dresden, Royal Opera House, Opera National de París, Staatsoper Vienna ... From next 23 of June, and up 1 of July, will play in the Palau de les Arts in Valencia his famous leading role in Tancredi from Gioachino Rossini.

Considered by critics and audiences as the best Tancredi today, Daniela Barcellona made its debut in the role of Tancredi in 1999, Rossini Opera Festival in Pesaro, becoming, immediately, favorite star in Rossini's most famous festival.

In the extraordinary curriculum of the award-winning Italian mezzo, include the most prestigious conductors on the international scene: Claudio Abbado, Alberto Zedda, Sir Colin Davis, James Levine, Riccardo Muti, Georges Prêtre, Roberto Abbado, Riccardo Chailly, Bruno Campanella, Kent Nagano, Daniel Barenboim O Valery Gergiev, among others.

Daniela Barcellona return to the scene of the Arts, with the teacher Roberto Abbado as musical director and production signed by Emilio Sagi for the Lausanne Opera and the Teatro Municipal in Santiago de Chile. the soprano Jessica Pratt (Amenaide), the tenor Yijie Shi (Argirio) and baritone Pietro Spagnoli (Orbazzano) complete the cast of this Rossini opera seria, which closes the season of the Valencian coliseum.

José Miguel Pérez-Sierra

Madrid Director José Miguel Pérez-Sierra, recognized expert in bel canto romantic, will focus in the coming months on the theatrical work of Rossini, one of his favorite composers learned from many of its secrets in the Rossini Festival in Pesaro (Italy), with whom he has collaborated repeatedly, being the youngest musical director to get on the podium of this contest dedicated exclusively to the study and dissemination of the work of the famous Italian composer. The days 14 Y 22 July the maestro Pérez-Sierra will review the opera Aureliano in Palmira, one of the least programmed of the composer, on his return to the Rossini in Wildbad Belcanto Opera Festival (Germany), one of the most famous in the repertoire.
The Madrid maestro will conduct a program in honor of the legendary baritone Antonio Tamburini, favorite performer of various bel canto composers.

Later, in August (19, 21, 23 Y 25), the director will return to the Municipal Theater of Santiago de Chile to take command of a Cenerentola who signs on stage Jerome Savary and that will feature the voices of Jose Maria Lo Monaco, Michele Angelini, Joan Martin-Royo, Pietro Spagnoli Y Ricardo Seguel. With the same title, the Madrid artist will debut in November at the Opéra de Montréal (Canada).

More information

Jessica Pratt

It is one of the few Spanish scenarios that had not yet debuted in opera staged, since the Australian soprano Jessica Pratt, undoubtedly one of the most important interpreters on the international scene - hailed by critics as the worthy successor of the great Joan Sutherland–, It has been presented gradually, and always successful in large squares in the country lyrics. The same happens in Paris, NY, London or Milan, where they have also applauded. And after the recent triumph in Las Palmas as Marie in Daughter of the Regiment, now it's the turn of The Palace of Arts in Valencia, theater in which he will debut in an opera staged in the difficult role of Amenaide from the opera Tancredi, from Rossini, in a co-production between the Opéra de Lausanne and the Municipal Theater of Santiago de Chile with stage direction from Spanish Emilio Sagi and that for the occasion will have the baton of Roberto Abbado (the days 23, 25, 27, 29 June and 1 of July).

After an intense season in which he has walked some of his most emblematic characters such as Semiramide (Semiramide, Florence Opera), Rosmonda (Rosmonda of England, Florence and Teatro Donizetti in Bergamo), Queen of the Night (The magic Flute, Metropolitan Opera, NY), Gilda (Rigoletto, Opera Oviedo), Jessica Pratt to sing in May La Sonnambula (Victorian Opera, Melbourne), I Puritani (Müpa, Budapest), Le Comte Ory (Klangvokal music festival, Dortmund) before traveling to Valencia in June.

In the coming months, the leading roles of I Puritani (Savonlinna Festival during the visit of the Royal Theater of Madrid to the Finnish competition), Lucia of Lammermoor (Champs Elysées Theater, Paris), his return to Spain with Don Pasquale (ABAO-OLBE, Bilbao) Y L'elisir d'amore (Liceu Barcelona) and his long-awaited return to New York with Lucia of Lammermoor (Metropolitan Opera).

More information.

David Alegret

The Palau de la Música Catalana You will receive next 1 June to the tenor David Alegret, a singer with a Mozartian consolidated in the field of international opera career especially in the rossiniano and- and the oratorio, but what, Besides, a lover recital repertoire is declared. In his performance he will have a special role the "Lied" Catalan, a selection of disc contents of Alegret "Impressions of nature" (edited by Columna Música and recorded at the Petit Palau) centered, precisely, in this repertoire and which includes some findings of the pianist Daniel Blanch, performer who accompanies the Catalan tenor at the Palau recital and on the album. Blanch is the president of the Joan Manén Foundation, entity that claims not only the work of this virtuous composer, but also that of other Catalan authors. In addition to the usual pianistic repertoire, Blanch has worked to rescue from oblivion by bringing to record and recovering works, among others, of Manén, Joaquín Nin-Culmell, Xavier Montsalvatge, Carlos Suriñach, Manuel Blancafort O Ricard Lamote de Grignon, of whom some of his pieces for song and piano are included in the album and in the recital together with others by his father, Joan Lamote de Grignon, that stood out for its catalog of cultured songs that reached a hundred works. "Impressions de natura" also includes works by Francesc Montserrat -the name of the album comes from one of its pieces-, Francesc Pujol -whose unpublished scores have been found in the Library of the Palau de la Música Catalana- and the much better known Eduard Toldrà.

After this appointment with the Barcelona public, David Alegret's international career will take him to the Massimo Bellini Theater in Catania (The rose pilgrimage, from Schumann), to the Granada Festival (arias concert of Mozart with the Granada Orchestra conducted by Pablo González), back to the Palau de la Música Catalana (Ninth Symphony of Beethoven and Passion according to Saint John of Bach with the Orquesta Simfònica del Vallès), to the Life Victoria Festival in Barcelona to offer a recital of Lied accompanied by the pianist Albert Guinovart, at the Gran Teatre del Liceu in Barcelona (Romeo you Juliet, from Gounod, directed by Josep Pons), to the Toulon Opera (The Barber of Seville, Rossini) and the Oviedo Opera (The Turkish in Italy, from Rossini).

www.davidalegret.com

José Miguel Pérez-Sierra

Madrid Director José Miguel Pérez-Sierra returns to Rossini repertoire, which it is one of the most prestigious specialists, this time with the opera Mr. Bruschino in the Opera National du Rhin, in France. It is a new production of the French company-specifically its direction Opéra Studio- scene Jean-Michel Criqui and musical young Spanish teacher. This return to Rossini It occurs after the debut of Pérez-Sierra in opera Puccini's Manon Lescaut in Italy, a composer with whom he also is very comfortable. The Opera Studio of the Opéra National du Rhin is one of the most important projects of France divulging an opportunity to gain experience on stage promising young lyric. In this case it is a double cast by singers Georgios Papadimitriou, Francesca Sorteni, Louise Pingeot, Emmanuel Franco, Diego Godoy, Camille Tresmontant, Antoine Foulon Y Coline Dutilleul.

Commanding the Mulhouse Symphony Orchestra, Pérez-Sierra Il Signor Bruschino lead in the three headquarters of the company: Mulhouse, in the auditorium of La Sinne (29 Y 30 of April), Colmar, at the Théâtre Municipal (6 of May) and Strasbourg, in the Opera (12 Y 13 of May).

http://josemiguelperezsierra.com/

Cinderella

ABAO-OLBE (Bilbao Association of Friends of the Opera) recovered for the fourth time in its history Cinderella from Rossini. This opera buffa offering a realistic tale Perrault, up on stage, sponsored by the Department of Education, Linguistic Policy and Culture of the Basque Government, the days 19, 22, 25, 26 New -open- Y 28 of November, two months before the bicentennial of its release.

it dramma giocoso, one of the most successful works of Rossini, combines the whole game composer, the coloratura, their morals and joie de vivre. To give life to the characters in this opera whose score has a bright dynamic vocalism, ABAO-OLBE has assembled a cast led by Jose Maria Lo Monaco, one of the most important mezzo-sopranos of her generation, who debuts in ABAO to play 'Angelina', beside the Uruguayan tenor Edgardo Rocha He will play the prince 'Don Ramiro' in which is its presentation in Bilbao. Beside them two known the Bilbao public as the bass-baritone Paul Bordogna in the role of 'Dandini' and the baritone Bruno de Simone as 'Don Magnifico', the debut of low petros Magoulas as 'Alidoro' and soprano returns Marta Zubieta as 'Clorinda' and mezzosoprano María José Suárez as 'Thisbe' complete the poster.

The musical part is in charge of a legend, Antonello Allemandi who has directed twenty-seven titles in seasons and ABAO 2003 he received the Gold Medal and Diamond Association. Allemandi takes charge of the Bilbao Symphony Orchestra to run the version of the master Alberto Zedda, one of the world's leading experts in the work of Rossini La Cenerentola who has defined as "the portrait of suffering humanity more, true and touching, along with Ninetta La Gazza Iadra, He has come out of his pen ". The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a production of the Opéra fresh Toulon, dynamic, colorful and fun devised by two young French debutants ABAO, Jean Phillipe Clarac Y Oliver Deloeuil, who are also responsible for the sets and costumes. Complete creative lighting section full of chromatic ranges also debutante Rick Martin.

Opera Berri and Fair Saturday

Representation of La Cenerentola 26 of November, forms the eleventh edition of Opera Berri, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this role the protagonist duo is formed by the mezzo-soprano Carol Garcia and tenor Xabier Anduaga in which is its presentation in Bilbao. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 19:00 h.

He 26 November was also held the second edition of movement Fair Saturday, a day to change the world through culture. ABAO-OLBE, as the driving entity of this movement, He collaborates on this occasion giving a percentage of box office revenue function Opera Berri to the organization RAISFundación.

RAISFundación

Entity state level social initiative created in 1998 actively working in several regions and in the Basque Country through the RAIS Euskadi Association. Its main objective is to combat social exclusion and to respond to the needs of the most disadvantaged people, especially the homeless.
ABAO-OLBE RAISFundación shares with the aim of working for a more just and participatory society and contributes to this action to promote social inclusion through culture and opera.

Conference on "La Cenerentola" and tribute to Teresa Berganza

ABAO-OLBE organized on Friday 18 November at 19:15 at Guggenheim Museum Auditorium, its traditional conference introduction to opera on this special occasion will become a Conference-Tribute to Teresa Berganza.

Music critic Fernando Fraga, It will be responsible for disclosing the details of La Cenerentola and driving a tribute to the great mezzo Madrid for one hand, recognize the career of one of the most important voices of opera, and other, his extraordinary interpretations of the role of "Angelina" in this opera, which they constitute a benchmark in the history of opera.

This act takes place within the framework of collaboration ABAO-OLBE in the program run into commemorating the twentieth anniversary of the Guggenheim Museum Bilbao. Admission is free until full capacity but with prior registration.
We recommend withdraw the invitation as soon as possible at the ticket office or at the Guggenheim museum website.

Edgardo Rocha

Uruguayan tenor Edgardo Rocha will be Don Ramiro in the opera La Cenerentola in Gioacchino Rossini that will go on stage next 19 of November, in the 65 Opera Season ABAO-OLBE in Bilbao. Rocha will replace the one initially planned Javier Camarena, medical indisposition who has been forced to cancel this commitment. Rocha, que debuta en ABAO-OLBE, He has sung in the seasons of the most prestigious theaters in the world. His main roles include: Gianni of Paris at Wexford Opera Festival; The Cinderella in Cagliari, Lombardy, Seattle, Stuttgart, Sevilla, Lausanne; Don Pasquale in Florence and Verona; Cosi fan tutte in Naples and Turin; L’Italiana in Algeri en Bari y Viena; La scala di seta and Otello in Zürich; The Barber of Seville en Viena, Valencia, Madrid, Lausanne, Munich, Dresden, Paris, Tel-Aviv, Hamburg, Verona, Roma; La Gazzetta in Liège; The Turk in Italy en Turín; Otello in Paris, Salzburg and Milan; The trip to Reims en Zürich; Pearl fishermen in Nancy; The Puritans in Stuttgart; The Jewess in Munich.

His interpretation of Don Ramiro in the film “La Cenerentola, una favola in diretta ”by Anderman staged by Verdone and directed by Gelmetti. His upcoming commitments include: La Cenerentola on tour in Europe, The Donna of the lake in Salzburg, The gazza barks and Don Pasquale in Milan, The Turk in Italy en Zürich, The Barber of Seville in Munich y Anna Bolena in Lausanne.

Perez-Sierra

The ABAO closes his 64 season premiere, this Saturday, from The Barber of Seville from Rossini, directed by José Miguel Pérez-Sierra.

Madrid Director, considered one of the Rossini specialists, He was the youngest director on the podium of the Rossini Opera Festival in Pesaro (Italy) in 2006 directing The journey to Reims. Throughout his career he has directed many works of Italian author, but this time it will be the first time I do it with The Barber of Seville. A play that premiered ago 200 years in Rome, and which is one of the most represented by the author.

The Bilbao public, you can once again enjoy the baton of the Mtro. José Miguel Pérez-Sierra, who has not left the capital of Biscay after directing the Bilbao Symphony Orchestra in La Sonnambula (Bellini) Yet the Basque National Orchestra at the Musika-Music Festival for, this time, direct to Navarra Symphony Orchestra.

The cast completes it: Marco Caria (Figaro), Annalisa Stroppa (Rossina), Michele Angelini (The Count D’Almaviva), Carlos Chausson (Bartolo), Nicola Ulivieri (Basilio), Susana Cordón (Berta), Alberto Arrabal (Fiorello), fake Santamarina (Ambrogio), and the Bilbao Opera Choir, directed by Boris Dujin.

Emilio Sagi signs the staging of this work produced in the Teatro Real from Madrid, that can be seen in Bilbao on days 14, 15, 17, 20 Y 23 of May. He 15 May will be the function of "Opera Berri", ABAO's initiative to bring opera to new audiences.

The next commitments will lead to the Mtro. José Miguel Pérez-Sierra to two symphonic concerts with the Galician Symphony Orchestra, to direct Il Trittico (Puccini) in the Opèra-Théâtre Metz Métropole, Lucrezia Borgia (Donizetti) in ABAO and a Symphonic Cycle with the National Orchestra and Choir of Spain.

www.josemiguelpereziserra.com

ABAO

ABAO-OLBE (Bilbao Association of Friends of the Opera) puts an end to his 64 season The Barber of Seville Rossini, the most popular and represented by the Italian musician, Summit comic art and opera buffa. The following days 14, 15 - Opera News -, 17, 20 Y 23 of May, sponsored by Iberdrola, this title is brought to the stage in the year that commemorates the bicentennial of its premiere.

This very funny plot comedy is built on a script full of wit and entanglement that interacts perfectly with the music of the “Pesaro swan”, combining traits of the opera bufa with the tradition of bel canto. To give life to the protagonists of this work full of unforgettable musical moments, ABAO-OLBE has assembled a cast of great Rossinian interpreters who combine vocal quality and theatrical agility. The Italian baritone Marco Caria, debutante in the Asociación Bilbaína, gives voice to ‘Figaro’ the famous barber of Seville. The young Italian mezzo-soprano is in charge of the love couple ‘Rosina’ and ‘Il Conte D’Almaviva’ Annalisa Stroppa, where is its presentation in Bilbao, and the American tenor Michele Angelini. The Zaragoza Bass Baritone Carlos Chausson plays ‘Don Bartolo’, young Rosina's tutor. At his side the broad cast completes the bass debuts Nicola Uliveri like ‘Don Basilio’ and the mezzo-soprano Susana Cordón like 'Berta' and the baritone comebacks Alberto Arrabal as 'Fiorello', the bass David aguayo as ‘An officer’ and the actor fake Santamarina as 'Ambrogio'.

The musical part is in charge of teacher José Miguel Pérez Sierra, great Rossini specialist, who takes charge of theNavarra Symphony Orchestra to direct this title for the first time and make the most of a score full of immortal melodies. The choral part is once again task Opera Choir BilbaO, with Boris Dujin in front.

On stage a production of Teatro Real in Madrid joyful, full of life and grace conceived by Emilio Sagi, in which the scenic movement that continuously transforms the space creating the different scenes of the opera stands out..

New Opera

Representation The Barber of Seville of the 15 of May, closes the tenth edition of New Opera, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this function the baritone returns to Bilbao Damian del Castillo like 'Figaro' and the mezzo-soprano Marifé Nogaleslike ‘Rosina’. Together with them the tenor debuted in the Association David Alegret as 'The Count of Almaviva', baritone Enric Martínez Castignani like 'Don Bartolo' and the bass Roman Ialcic as 'Don Basilio'. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 18:00 h.

Conference sobre "The Barber of Seville" "

In order to analyze, in advance the premiere, the most relevant aspects of this Rossini opera, ABAO-OLBE has organized a conference, Free entry, For friday 13 May at the Hotel Ercilla at 20.00 hours. This time, Andrea Merli, renowned music critic of the magazine L'opera, who has his own program on Italian radio and is a correspondent in Italy for the magazine Opera Actual, discover the ins and outs The Barber of Seville.

Annalisa Stroppa

The last commitments of the Italian lyrical singer Annalisa Stroppa they have brought it with great success to the public of the Liceu Barcelona, last November, to play the role of Ascanio in the under-represented opera by Berlioz Benvenuto Cellini, under the stage direction of the Monty Python Terry Gilliam, and the Israeli Opera in Tel Aviv, between 12 March and 2 of April, debuting as the protagonist of Cinderella in the eponymous opera by Rossini.

In May the agenda of the young mezzo-soprano will mark her return to Spain to resume the role of the beautiful, flirtatious and determined Rosina, the female lead character in The Barber of Seville, also Rossini, with which he will debut in the season of the Bilbao Association of Friends of the Opera (ABAO-OLBE) the days 14, 17, 20 Y 23 of May.

«I am very excited about my debut before the Bilbao public», says the singer, «Mainly because I do it in a role that I love a lot and, even more, because it will be done in the captivating production of the bravisimo stage director Emilio Sagi, with whom I have already been fortunate to work on various occasions. In the musical direction will be the teacher José Miguel Pérez-Sierra, great Rossinian and with whom I will work for the first time ».

The friendly -and difficult- character is not new to Stroppa, which has been closely linked to his career. It debuted in Rome in 2012 directed by a whole authority in bel canto such as maestro Bruno Campanella; later it has retaken the role in various international theaters such as the German opera of Berlin, the Lausanne Opera (Switzerland), Gran Teatre del Liceu in Barcelona, the Tel-Aviv Opera or the Verona Philharmonic Theater, obtaining great applause and praise from both the public and critics, who has defined it as "Magnificent" (Opera News), «A Rosina from manual» (The reason), "The best of the cast" (The musical bee. with) and «Excellent: it is a pleasure for the eyes and ears » (Teatrionline.com).

Future commitments will take her back to Spain, when in June he sings in Menorca Fenena del Nabucco verdiano, and the Teatro Real in Madrid, in July, as Enrichetta of I Puritani. Later he will return to the Teatro alla Scala in Milan (Italy), then as Suzuki from Madama Butterfly.

Info:

http://www.annalisastroppa.it

 

CelsoAlbelo

After opening the season with the Vienna State Opera Rigoletto, to return to that theater with Anna Bolena next to the legendary Edita Gruberova and to sing the Stabat Mater of Rossini in Monte-Carlo Opera, he 7 of November, Celso Albelo figure as one of the guest stars of the farewell concert of the lyrical season organized by the Fundació Menorquina de l’Òpera de los Amics de s’Òpera de Maó which takes place at the Teatre Principal in the Menorcan capital. In the evening, Albelo will share the stage with the soprano Jessica Nuccio and with the baritone Simone Piazzola, together with the Symphony Orchestra of the Balearic Islands conducted by Francesco Ivan Ciampa.

Always in november, Celso Albelo will make his debut at the Opéra Royal de Wallonie (Liege, Belgium), with six performances from one of your favorite operas: Lucia of Lammermoor, from Donizetti (17, 20, 22, 25, 28 November and 1 from December). It will be performed in the Belgian city with the French soprano Annick Massis counting on the musical direction of the Spanish Jesus Lopez Cobos.

Among others, Later commitments await you in Santa Cruz de Tenerife, NY (debut en la Metropolitan Opera House), Berlin and Madrid.

Pérez-Sierra

The international agenda of the young Spanish teacher José Miguel Pérez-Sierra not to. After directing in Trieste's Falstaff Verdi, The Italian Girl in Algiers en el Bel Canto Opera Festival Rossini de Wildbad (Germany) and Il Turco in Italia at the Teatro Municipal in Santiago de Chile, in November will dive into this last work of genius Gioacchino Rossini, esta vez in the Opera Theater of Metz Métropole (France) day functions 22, 24 Y 26.

Although his repertoire is as wide as your interests, Rossini and bel genre of romantic song marked the trajectory of the Madrid manager, He is having debuted on a podium at the Rossini Opera Festival in Pesaro (Italy), world capital of the work of Italian composer. His regular collaborations with experts in style as Marianna Pizzolato or great Mariella Devia (who in December will redirect in a concert at the Opera A Coruña) they have become a reference point in Italian opera. And if in November is the turn of Il Turco in Italia in Metz and in December a date with Devia, in January and February will return to the podium of the season ABAO-OLBE bilbaína another example belcantista, La Sonnambula, from Bellini.
In any case, proof of his interest in all kinds of repertoire and avoiding any typecasting, su will be expected debut as director Wagnerian: will be in A Coruña, in June, Der Fliegende Holländer when lead.

Annalisa Stroppa

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

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

High school

He Gran Teatre del Liceu Barcelona presented last 27 February new season 2015/16. With her, Theater strengthens its role as artistic reference in the level of their productions, many innovative, and the quality of their voices, with a world debut. In many cases, programming comes to fill empty historical, with premieres of titles.

The budget of the season will be 41,5 millions of euros, in front of 40,2 million current, with a re-balancing of accounts, for the first time, will reflect a slight surplus: 123.000 euros, thus fulfilling the Strategic Plan 2014-2017.

The season, which is again from September to July- increases in number of functions, passing of 108 a 114 and the number of titles opera remains: 12.

Opera

The official opening of the opera season will be the 7 October with Nabucco, in a co-production of the Gran Teatre del Liceu with the Teatro alla Scala in Milan, the Royal Opera House Covent Garden in London and the Lyric Opera of Chicago. Among its cast, destaca Ambrogio Maestri, winner last season with Tosca, and the stage director Daniele Abbado.

Then, if programará Benvenuto Cellini, Hector Berlioz, an opera that has been performed only once at the Liceu, season 1977. This work comes from the hand of Terry Gillam, one of the founders of the legendary Monty Python, with an innovative scenography. The play, produced by the Inglés National Opera (ONE) and the De Nederlande Opera Amsterdam, just got an overwhelming success in London. The orchestra will be led by music director of the Liceu, Josep Pons.

In December, Lucia di Lammermoor will come, de Gaetano Donizetti, where the world debut of tenor Juan Diego Florez will occur in the role of Edgardo and will be joined by Elena Moşuc, among others. In the scenery it features a huge glass tower tilted, located on stage, in an opera musically directed by Marco Armiliato and stage director Damiano Michieletto.

Another highlight of the season will be the representation of two Otello: the Verdi and Rossini, hand of the two most renowned tenors in the title role: Aleksandrs Antonenko and Gregory Kunde (the Pollione in Norma this season).

Likewise, the Teatralogía Wagner closes with Götterdämmerung (Twilight of the Gods), con Irene Theorin, Lance Ryan and best Wagnerian voices of Bayreuth. The musical direction will be borne by Josep Pons.

The Liceu will host the premiere in Spain of Written on skin (Written on Skin), XXI century opera, which premiered three years ago in Aix-en-Provence has become a reference worldwide. The opera, in semi-staged version, It will be led by its own composer: George Benjamin.

Also it will release all Serse Handel, which you have never seen at the Liceu. This baroque opera, concert version, It will be interpreted by one of the best formations in the genus, el Ensemble Matheus, on period instruments.

The season will host a special celebration: that of 50 years after the debut of Placido Domingo, acting in Simon Boccanegra, in Verdi, with a cast that includes Leo Nucci and Giovanni Meoni, in-house production of the Liceu and the Grand Théâtre in Geneva.

A star cast will be in Capuleti e i Montecchi I, Bellini, an opera-represented in the Liceu, which will feature the voices of Elina Garanca, Silvia Tro Santafe, Patricia Cioffi y Ekaterina Siurina. The clothing bears the stamp of the French designer Christian Lacroix.

One of the operas most appreciated by the public of the Liceu, Puccini's La Bohème, It can be seen in the months of June and July, in a new production at the Liceu in the Inglés National Opera and Cincinnati Opera, under the direction of Jonathan Miller scene, one of the innovators of modern lyrical scenery. The cast will be seen Viñas Contest winner this year, Ukrainian Olga Kulchynska, a commitment to new voices.

It will close the season Die Zauberflöte (The magic Flute), Mozart, with an innovative aesthetic reminiscent of silent film of the year 20. The production comes from the Komische Oper Berlin, which it has triumphed in several countries.

Dance

The dance program includes two reputed companies: the National Ballet Inglés Tamara Rojo, who will perform Swan Lake, and the National Dance Company, under the direction of José Carlos Martínez. In both cases, music will be performed by the Symphony Orchestra of the Liceu.

The National Company debut at the Liceu his Homage to Granados and then offer contemporary choreography, including Jerome Robbins, William Forsythe and the director of the company itself.

Concerts and recitals

This chapter highlights the concert by Italian director Riccardo Muti, who will play Mozart with a membership of "Luigi Cherubini" orchestra and the Orchestra del Liceu, acompañamiento with the piano Ignasi Cambra.

An attractive proposal will be the American actor John Malkovich, who will perform Beethoven Egmont, based on the classic Goethe, in a program that includes the Symphony No. 7 German genius.

Orchestra del Liceu, under the baton of maestro Pons, will perform his symphonic works program linked to opera and music titles from other genres, like film. In the case of a concert about Wagner (with works linked to Star Wars, Indiana Jones and The Lord of the Rings) and another about Romeo and Juliet. The symphonic cycle will be completed with a program dedicated to Mendelson and Tchaikovsky to be held at L'Auditori.

At Christmas, The schedule is Volvera Shepherds, Nadal cantata, Albert Guinovart, after the success achieved in the last edition, when the Liceu had own programming at this time. Pau Casals Memorial will be continued with the Pessebre, Casals own, with texts by Joan Alavedra and interpretation of the Theater Orchestra and the Polyphonic of Puig-Reig.

In the chapter of great voices, Concert highlights the mezzo Joyce DiDonato, who just won with Maria Stuarda, the concert with Diana Damrau, which will perform works by bel canto, and the concert baritone Christian Gerhaher, one of the main lideristas the moment and won the award for best recital 2014 Campoamor Awards.

Petit Liceu

Programming for younger renewed next season, although some of the most popular shows are held by the public, The Seville as superbarber, William Tell and The houseboat.

It highlights the premiere of a show: Aria kadabra, a new production of the season Liceu where adults will be explained to children through illusionism and magic, a show that intends to continue in coming seasons.

Likewise, The bird is prodigious debut, The company Maquiné, a puppet show based on the legend The Firebird by Igor Stravinsky.

By last, a dance recovers: Minus 16. A ball, de IT dansa, the Company's Institut del Teatre, with the intention to introduce the smallest in the world of dance.

The theater is the place that welcomes all great passions, and it seems that nothing can happen here sedate manner ". With these words he tried to explain the
General Director of Real, Gregorio Maranon in recent statements, operetta depicted in this theater in recent weeks to notice the change in artistic direction.
This time, passions have not moved to the stage. The season has not started with a premiere, as it has been traditional. He has done so with the revival of Sagi's "Barbero de Sevilla" which has already premiered here in 2005 with great success. On that occasion Rossini's work was led by Juan Diego Flórez and María Bayo. Although it is not easy to overcome this cast, It is not very well understood that this time two deals were used, mostly new and with numerous shortcomings, vocals and interpretations. The Royal Theater must aspire to much more in a season premiere if it truly wants to occupy a place among the greats.
Emilio Sagi has presented on this occasion a more polished scenography with extraordinary details, creating independent tables that formed a homogeneous set. With delicate lighting and some effects that, for its simplicity, they were colorful and original. Such is the case of the scene from "la calunnia", played by bass Dimitry Ulyanov. The same did not happen with the storm, where imagination was absent. A scene where the elements moved happily and in an orderly fashion. Including extras and dancers, somewhat excessive in their winks to Seville, they seemed to be perfectly aligned. Sagi raised the scenography with an important load of madness and freshness, but the interpreters, and especially the musical direction, imposed a rationality far removed from the inspiration and ingenuity that Rossini demonstrated at the time of its composition.

The young Czech director, Tomas Hanus, premiered at the Real with a work that he knows well, his directorial debut was precisely with the Barber of Seville. Despite this apparent knowledge of the work, it was clear from the beginning that the Rossinian spirit does not dwell in him. A routine address, no vitality, stiff and poor, always waiting for a comeback that never came. An overture in which the promising initial finesse of violins, gave way to some vulgar brass and an ensemble musically far removed from the brilliance to which we were getting used.

The first act was endless. The lack of sparkle and personality was noticed in the moments that should have been of greatest splendor. Great difficulties with concertantes. The hold the end of the first act was tarnished and the I grew up they were non-existent.
Of this first cast, highlight the interpretation of the Italian mezzo-soprano Serena Malfi. Without a doubt, it is this voice tessitura that best builds Rosina's character, and the young Malfi, with a confident voice and plenty of volume, resolved his score with dignity. He showed fluency in dancing at the end of the play and a certain grace. Pity the lack of chemistry with Almaviva for which she is not the only one responsible. An ice cream Dmitry Korchak, that's what russian for, and the sad influence of the musical direction, reinforced the lack of empathy between the two.
Dmitry Korchak, Count Almaviva, went down to something. No volume, without grace, falsifying the pianos and going out of tune at the beginning. He spent the whole night saving himself for his final aria. The public, who forgives everything when he is eager to enjoy, applauded him in greetings.
Before starting the show, Mario Cassi’s Figaro cold was announced. Nonetheless, did not seem to struggle in mid and high tones. But the agility, numerous in this character, could not be played without a conspicuous lack of volume. Sometimes he was barely heard. Thank you for not being a histrionic Figaro, although it was somewhat crude and uninteresting.
Bruno Simone as Bartolo, was the only one, with Susana Cordón, to provoke a smile from the public. But Bartolo is a character who has to have much more mischief. The same thing happens with Don Basilio, played this time by Dmitry ULyanov, who must already live in the theater. His deep and dark bass voice is appreciated because this tessitura is scarce, but the lack of theatricality in the interpretation in a buffo character, lo mata.
The only one that repeats in this production, regarding the premiere of 2005, is the youngest and most enthusiastically applauded Susana Cordón. His Berta turned out to be the friendliest and funniest character of the night. The best moment of the play was his aria which he performed with the servant Ambrogio, masterfully performed by Eduardo Carranza.

But the season has only just begun and, as one spectator said at the end of the performance, "Let's not lose faith". The year is presented, how much less, entertaining.

The Barber of Seville
Gioachino Rossini (1792-1792)
Melodramma buffo in two acts
Libreto by Cesare Sterbini, based on the homonymous work
of Pierre Beaumarchais
D. musical: Tomas Hanus
D. scene: Emilio Sagi
illuminator: Eduardo Bravo
Choreography: Nuria Castejón
D. choir: Andrés Máspero
Distribution: Dmitry Korchak, Bruno de Simone, Serena Malfi,
Mario Cassi, Dmitry Ulyanov, Susana Cordón, Isaac Galan,
Jose Carlo Marino, Eduardo Carranza

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