Rusalka

Day after tomorrow, Wednesday, 25 of November, to 19.30 hours, television networks HALF Y TV DOCTORS they will broadcast the opera live Rusalka, by Antonin Dvořák, new production of Teatro Real, co-produced with the Säschsische Staatsoper in Dresden, the Teatro Comunale Bologna, the Gran Teatre del Liceu in Barcelona and the Palau de les Arts Reina Sofía in Valencia, in which it will be presented after its premiere in Madrid.

The opera will be recorded in an audiovisual co-production with Jake Febus, Spanish TV, Half, Unitel and Medici. It will later be broadcast on The 2 of Spanish Television and will integrate the catalog of MyOperaPlayer before its DVD release with international distribution.

Audiovisual recording and broadcasts of Rusalka they have won a special international leadership as the Royal Theater is the only great European lyric theater that is currently presenting staged operas.

Rusalka, premiered in Prague in 1901, was the penultimate of eleven operas by Antonin Dvorak (1841-1904) Y, definitely, the most famous of all those he composed.

the libretto, of the poet and playwright Jaroslav Kvapil, is based on the Central European legend that inspired the book Undine (1811) from Friedrich de la Motte Fouqué and in the story The little Mermaid (1837) from Hans Christian Andersen, in which a water nymph decides to leave her aquatic world at any cost to pursue the prince she loves.

the score, in which the influence of Wagner and the currents of Central European musical nationalism subtly beat, different intertwines leitmotiv and bohemian folklore themes, with a different orchestration to represent the world of nature and spirits -with greater harmonic richness and a diaphanous and delicate timbral palette- and the world of men, with a more conventional and obscure instrumentation.

The stage manager Christof Loy bridges these two seemingly irreconcilable universes, delving into feelings, passions, wishes and contradictions of the characters, what, in a ghostly atmosphere, they go from life to stage, in a production that is a profound tribute to theater as a territory of catharsis and sublimation of emotions.

The Kingdom of Waters -with Rusalka, on the author Padre Vodník, the seasoned sorceress Ježibaba (turned into his mother) and the nymphs, her sisters- hides complex and conflictive relationships between the characters that, in Loy's conception, they transform into a strange and forgotten theater family with a glorious past, whose members, like specters, they live on nostalgic memories, but also illusions. And in that closed space, decadent and evocative conceived by the set designer Johannes Leiacker, with lighting of Bernd Purkrabek and wardrobe Ursula Renzenbrink, everything moves with the dream of a lame dancer in love, who aspires to reach heaven with his pointe shoes and the transforming power of love.

Photograph: © Monika Rittershaus

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Rusalka, almost a century later, at the Theatre Royal
Rusalka
Antonin Dvorák (1841-1904)
Libretto by Jaroslav Kvapil, based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories.
New production of the Royal Theater in co-production with the Dresden Semperoper, the Teatro Comunale Bologna, he
Gran Teatre del Liceu in Barcelona and the Palau Les Arts Reina Sofía in Valencia.
Teatro Real in Madrid 13 November 2020
D. Musical: Ivor Bolton
D. scene: Christof Loy
Scenographer: Johannes Leiacker
Costume designer: Ursula Renzenbrink
Choreographer: Klevis Elmazaj
D. choir: Andrés Máspero
Distribution: Olesya Golovneva, David Butt Philip, Rebecca von Lipinski, Andreas Bauer Kanabas, Okka from the Damerau, Sebastiá Peris, Esteve Manel, Juliet Mars, Julitta Aleksanyan, Rachel Kelly and Alyona Abramova.
In 1891 Antonin Dvorák received a letter at his home in Prague in which the influential Jeanette Thurber, founder of the New York National Conservatory of Music, offered him the position of director of the New York Conservatory. It was there that he wrote one of his best known works, the New World Symphony, and it was there also that Dvorák listened, as I had not done before, Wagner's obas. He lived in New York until 1895, year he returned to Prague to take over his Conservatory. It was then that Rusalka wrote, the penultimate of his works, and where is warned, clearly, Wagner influences. Not only for its ambitious duration, more than three hours, if not, by the use of leitmotifs referring to the characters and an orchestration full of complexity and delicacy., in the case of Dvorák, the nationalist inspiration could not be missing in the score. And it is that Rusalka is, above all, an opera with a strong Czech character. Evocative of romantic melodies, that can be seen in some of the brightest moments played by the harp or that ending, almost momentous, which is considered by many one of the most sublime opera of all time.Rusalka arrives at the Royal Theater as one of the great premieres of the season. And it can be considered a premiere, since since 1924 it had not been re-represented in Madrid. On that occasion, was his librettist, Jaroslav Kvapil, who took over the stage direction.

The libretto is based on the fairy tale Undine (1811) by Friedrich de la Motte Fourqué and inspired by the story The Little Mermaid (1837) by Hans Christian Andersen and other European stories. Is, definitely, a tale that stage director Christof Loy (Whose Capriccio from last season we'll never forget), has located inside a theater.

For Loy, the theater is the only place where reality and dreams can be represented at the same time. That duality that exists in the work between the fantastic world, to which Rusalka belongs and the underworld she longs for. But Loy's elegant, gray scenography is missing essential elements of the work. The lake, who is one more character and who gives meaning to the protagonists and the story, does not appear by chance. Nor are there hardly any references to nature, another must-have romantic item.

Ivor Bolton's musical direction was at a great height. The expressiveness of his gestures infects the orchestra that had moments of great brilliance, generating that magical atmosphere of the score. The strings and magic that Mickäele Granados was able to generate with his harp stood out from a prominent place above the pit.

Extraordinary the choir, this time offstage, that recreated the magic of the lake flawlessly. Very good also the performance of the dancers and actors, who did not act as a mere accompaniment in the scenes, but they had a great role in that kind of sexual orgy that Christof Loy marked himself.

The young Russian soprano Olesya Golovneva demonstrated great versatility on stage, not only sang, she also tiptoed around the stage with her ballet slippers. With a pleasant timbre and a delicate line of singing, reached moments of great beauty in his interventions. He found his difficulties in the most serious areas of his score.

The British David Butt Philip was in charge of giving life to the prince who falls in love with Rusalka. A role not easy, due to the great demand that the tenor has in this work and that Butt knew how to address without great difficulties.

Andreas Bauer Kanabas' Vodnik best represented the most heartless part of the menacing father, than the protector with her daughter Rusalka. Has powerful low and mid tones, but it had its difficulties in the highest notes.

The evil Jezibaba was played by German mezzo-soprano Okka von der Damerau. His good stage presence helped raise a dual character, like the rest, with its funny part and its disturbing and dark part. Good flow of well-timbred and adjusted voice.

Rebecca von Lipinski played the insinuating foreign princess with great intention and freshness, Rusalka's rival in conquering the prince.

Much applauded were the three nymphs played by Julietta Aleksanyan, Rachel Kelly, with impressive treble, and Alyona Abramova. With very balanced and well timbred voices, they unfolded with ease all over the stage.

The rest of the cast was at a high level, both the hunter by Sebastiá Peris and the servants played by Manel Esteve and Juliet Mars.

One more success of the Royal Theater, that continues to make representations, It is already without stage adaptations due to the pandemic, to the amazement of the theaters of the rest of Europe. Good for Matabosch!.

Text: Paloma Sanz
pictures: Monika Rittershaus

Rusalka

Between days 12 Y 27 of November Royal Theatre offer 10 functions from Rusalka, from Antonin Dvorak, in a new production The Royal Theatre, co-produced with the Säschsische Staatsoper in Dresden, the Teatro Comunale Bologna, the Gran Teatre del Liceu in Barcelona and the Palau de les Arts Reina Sofía in Valencia, in which it will be presented after its premiere in Madrid.

Rusalka, premiered in Prague in 1901, was the penultimate of eleven operas by Antonin Dvorak (1841-1904) Y, definitely, the most famous of all those he composed.

the libretto, of the poet and playwright Jaroslav Kvapil, is based on the Central European legend that inspired the book Undine (1811) from Friedrich de la Motte Fouqué and in the story The little Mermaid (1837) from Hans Christian Andersen, in which a water nymph decides to leave her aquatic world at any cost to pursue the prince she loves.

the score, in which the influence of Wagner and the currents of Central European musical nationalism subtly beat, different intertwines leitmotiv and bohemian folklore themes, with a different orchestration to represent the world of nature and spirits -with greater harmonic richness and a diaphanous and delicate timbral palette- and the world of men, with a more conventional and obscure instrumentation.

The stage manager Christof Loy bridges these two seemingly irreconcilable universes, delving into feelings, passions, wishes and contradictions of the characters, what, in a ghostly atmosphere, they go from life to stage, in a production that is a profound tribute to theater as a territory of catharsis and sublimation of emotions.

The Kingdom of Waters -with Rusalka, on the author Padre Vodník, the seasoned sorceress Ježibaba (turned into his mother) and the nymphs, her sisters- hides complex and conflictive relationships between the characters that, in Loy's conception, they transform into a strange and forgotten theater family with a glorious past, whose members, like specters, they live on nostalgic memories, but also illusions. And in that closed space, decadent and evocative conceived by the set designer Johannes Leiacker, with lighting of Bernd Purkrabek and wardrobe Ursula Renzenbrink, everything moves with the dream of a lame dancer in love, who aspires to reach heaven with his pointe shoes and the transforming power of love.

In perfect harmony with this psychological view of the characters in Rusalka, Ivor Bolton, musical director of the Royal Theater, will be in charge of two select casts in which they will alternate, in the lead roles, the sopranos Asmik Grigorian Y Olesya Golovneva (Rusalka); tenors Eric Cutler Y David Butt Philip (Prince); las sopranos Karita Mattila Y Rebecca von Lipinski (The foreign princess); the short ones Maxim Kuzmin-Karavaev Y Andreas Bauer Kanabas (Sergeant) and mezzosopranos Katarina Dalayman Y Okka from the Damerau (Jezibaba).

He Choir and the Titulares Orchestra of the Royal Theater they will perform this opera for the first time, who returns to the stage of the Real after 96 years of absence and about to meet the 120 anniversary of its creation.

PARALLEL ACTIVITIES

Of the 15 October to 17 from December | International Institute

Film Series: at the end of the years 40 and during 50 twentieth century, producers, directors, scriptwriters, actors, Hollywood musicians were the subject of a spectacular persecution that deeply affected the film industry. This cycle, with films in English subtitled in Spanish, collect some titles that suffered that witch hunt.

– November sessions: One day in New York (5/11), The concrete jungle (12/11), Alone in the face of danger (19/11), Holidays in Rome (26/11).

– December sessions: The law of silence (3/12), Fugitives (10/12), Spartacus (17/12).

Free activity upon registration in www.iie.es

5 of November, 20:15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Ivor Bolton (musical director of Rusalka), Christof Loy (stage director of Rusalka), Pablo Rodriguez (musicologist and critic of El País) and Joan Matabosch (artistic director of the Teatro Real).

Interpretation of songs from the cycle Love Songs Op. 83, by Antonin Dvořák, by soprano Juliette Mars and pianist Mack Sawyer.

Face-to-face assistance with limited capacity and live broadcast by the Youtube channel of the Royal Theater.

10 of November, 19:00 h. | Czech Culture Center

Conference in streaming: American musicologist David R. Beveridge, specialized in the work and life of Dvořak, will offer a conference via Zoom on the Czech composer, his origins, his sources of inspiration and his influence on music.
Free activity at madrid.czechcentres.cz

From the 13 of November, 19:00 hours | National Museum of Decorative Arts

Storytelling in streaming: under the title Moon water, the public from 9 years you can celebrate your particular Friday 13 and enjoy a tale with ghosts, a swamp of deep and mysterious waters and a prince in love with a magical girl. A story of impossible loves and witches.
Free activity in www.museoartesdecorativas.es and on his YouTube channel.

14 Y 22 of November, 12:00 Y 16:00 h. | Routes of the Emperor Charles V

Guided tour: the palace of the Counts of Osorno in Pasarón de la Vera (Cáceres) opens its doors exclusively for, in groups of six, know the legend that encloses its walls and that, like in Rusalka, tells a story of impossible loves.
Free activity upon registration. More information admin@itineracarolusv.eu

15 of November, to 12:00 hours | Teatro Real, Great room

At 120 anniversary of the premiere of Rusalka, the soloists of the Titular Orchestra of the Royal Theater will offer a program around Antonín Dvořák.

Program:

Antonin Dvorak: Terzetto and Do Mayor. 74 for violins and viola

Bedrich Smetana: String Quartet n ° 1

Josef Suk: Meditation op. 35 for string quartet

Antonin Dvorak: String Quartet n ° 13

16 of November, 19.00 hours | International Institute

Literary gathering: Alix E. Harrow, author of A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies, with which he won the Hugo Award, will offer a lively talk in English via Zoom to talk about witchcraft, libraries and books in which the public can freely participate.
Free activity upon registration in www.iie.es

21 of November, 17:00 hours | Naval museum

Storytelling: the renovated Naval Museum opens its doors to host a fun and unique activity for children between 3 Y 7 years, in which the story of the nymph Rusalka will be told. The act, that will be face-to-face, it has a capacity limited to five people.
Free activity upon registration in www.armada.defensa.gob.es/museonaval

22 of November, 12:00 hours | Museum of Romanticism

Storytelling: the expert narrator Alba Muñoz will give voice to the story of The little Mermaid, by Hans Christian Andersen, a masterpiece from which Dvořak was inspired to compose his opera Rusalka. An activity for children from 8 years that will transport you to a magical world.
Free activity with prior reservation at www.culturaydeporte.gob.es/mromanticismo

23 of November, 19:00 hours | International Institute

Conference in streaming: the writer Alix E. Harrow will meet virtually with the public to discuss witchcraft and the female vote, main themes of his new novel The Once and Future Witches. The act, what will be in english, will address the fight for witches' rights in the suffrage movement.
Free activity upon registration in www.iie.es

25 of November, 17:30 hours | National Archaeological Museum

Guided tour: a unique and exclusive tour to know the halls of Greece from the hand of a specialized guide, where the attending public can discover the many mermaids, nymphs and other fantastic beings that populate some of the pieces in the museum's collection.
Free activity with reservation of place. More information www.man.es

29 of November, to 12:00 and to the 17:00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: music workshops for the whole family, direction and presentation of Fernando Palacios. Story of a mermaid.

A nymph bewitches with her songs whoever approaches the lake.

Photograph: Javier del Real

Teatro Real 20/21

“We can't wait for normality to come alone, we have to be brave”. These words from the director of the Teatro Real, Joan Matabosch, which are quite a declaration of intent, have accompanied the presentation of the next season of the Madrid coliseum. A schedule that, as Matabosch has pointed out, it has hardly changed with respect to what was planned. Many news, repertoire operas and a good number of national artists, are some of the characteristics of this new season.

In its 24ª season after reopening, the Teatro Real presents an ambitious program, captaining co-productions with the most important European theaters, driving current creation, defending the Spanish musical heritage and offering great titles of the lyrical repertoire with some of the most acclaimed singers worldwide in their respective repertoires.

Between the 15 titles of the OPERA SCHEDULE, that extends from the 17th century to the present day, there will be 7 new productions of the Teatro Real ─Rusalka, Peter Grimes, Lessons in Love and Violence, Rule, Long live the mother! and the 2 world premieres Marie Y Transit─; 4 guest productions ─A masked ball, Don Giovanni, Siegfried Y Tosca─; Y 4 operas in concert version: The birth of the Sun King, Elektra, Mr.Fernando, the summoned Y Orlando Furioso.

This season is possible thanks to the support of all the sponsors of the Teatro Real and especially to Telefónica, as main technological patron; a Endesa, as main energy patron; already BBVA Foundation already Santander Foundation, as main patron.

New productions of the Teatro Real

  • For its international projection, two important new European co-productions stand out that will be premiered at the Teatro Real before being presented at the other co-producing theaters: Rusalka, from Antonin Dvořák (Ivor Bolton/Christof Loy), co-produced with the Dresden opera houses, Bologna, Barcelona and Valencia; Y Peter Grimes, from Benjamin Britten (Ivor Bolton/Deborah Warner), co-production with the Royal Opera House in London, Paris Opera and Rome Opera.

 

  • The popular Czech romantic opera Rusalka will be presented for the first time at the reopened Teatro Real with stage direction of Christof Loy, architect of the great triumph of Capriccio, Richard Strauss, last season. With the complicity of Ivor Bolton, responsible for musical direction, Loy will once again explore a mythical and mysterious universe tinged with tragic resonances and populated by nymphs, goblins, princes and princesses who sing beautiful melodies and who will give life to two casts led by Asmik Grigorian Y Olesya Golovneva, which will be accompanied by Karita Mattila Y Alexandra Deshorties; Eric Cutler Y David Butt Philip; Katarina Dalayman Y Okka from the Damerau, Maxim Kuzmin-Karavaev Y Steven Humes.

  • Peter Grimes will reunite Ivor Bolton (musical direction), Deborah Warner (stage direction) Y Michael Levine (scenography), after the great success obtained with the award-winning production of Billy Budd, also by Britten, where they worked together. They will again have a choral cast led by Allan Clayton, Maria Bengtsson Y Christopher Purves, in this masterpiece that talks about the destructive power of a hypocritical and unforgiving society.

Peter Grimes will return to the Teatro Real after 23 years, now with the participation of his Choir and Orchestra Holders, so that in 1997 the opera was presented with the stable bodies of the La Monnaie Theater.

  • Another important international co-production, Lessons in Love and Violence, from George Benjamin Joint commission and co-production of the Royal Theater with the London Operas, Amsterdam, Hamburg, Lyon, Chicago and Barcelona─ will culminate the presentation in Madrid of the operas of this great composer, after the huge success of Written on Skin (2016) e Into the Little Hill (2019).

The opera, created like the previous ones in partnership with the playwright Martin Crimp, part of the Elizabethan drama Edward II, from Christopher Marlowe, to enter the sordid and tortuous path to rise to power as a perverse spiral from which no one is saved, sharply reflected in the staging of Katie Mitchell, highly praised by international critics at its premiere at the Royal Opera House in London two years ago. Josep Pons, musical director of the Gran Teatre del Liceu in Barcelona, will direct the opera in both theaters. Among the soloists they stand out Stéphane Diverting, Gyula Orendt Y Georgia Jarman.

  • From world premieres of Spanish composers of different generations reaffirm the commitment of the Teatro Real with the current creation. Marie, from Germán Alonso, with libretto and dramaturgy of Lola Blasco, investigates a woman's fight for sexual freedom based on the character of Woyzeck de Georg Buchner, present at the Alban Berg opera. It will be presented at the Teatro de la Abadía, with staging Rafael Villalobos and the participation of the singers Xavier Sabata, Jordi Domènech, Nicole Beller Carbone Y Valentina Coladonato, who will act with him Ensemble Proyecto Ocnos under the composer's direction.

Transit, with music and script Jesus Torres, is a foray into the universe of Spanish republican exiles after the second world war, in a time of doubts and disappointments evoked in the heartbreaking drama of the same name Max Dog. The opera will premiere at Naves Matadero, with Lydia Vinyes-Curtis, Isaac Galan, María Miró, Javier Franco Y José Manuel Sánchez; stage direction of Eduardo Vasco and musical direction George French, in front of the Head of the Royal Theatre Orchestra.

  • The Teatro Real will premiere a new production of Rule, from Vincenzo Bellini, with musical direction Maurizio Benini and two great voice casts in which they will alternate in the title role Yolanda Auyanet Y fiber Gerzmava, seconded by Clementine Margaine Y Annalisa Stroppa; Michael Spyres Y John Osborn; Y Roberto Tagliavini Y Fernando Rado, in the lead roles.

The stage direction will be Justin Way, who, together with the renowned set designer Charles Edwards, has conceived a minimalist montage with strong symbolic power prepared for easy roaming. The Royal will thus have its own production of this iconic opera of romantic belcantism, with flexibility to be adapted to different spaces, like the one at the Ljubljana Festival, where he will go on stage five months after its premiere in Madrid, on a tour of the Royal Theater Choir and Orchestra.

  • Live the Mother!, new production of the Teatro Real in co-production with the Lyon and Geneva Operas, is the name coined by film director Helmut Käutner when dramma giocoso from Gaetano Donizetti The theatrical conveniences and inconveniences, to be released in Madrid with a hilarious and witty staging signed by Laurent Pelly and acclaimed by the public and critics since its premiere. In his satirical tangle, that reveals the back room of an opera rehearsal where a gallery of cartoon characters parades, highlights that of the histrionic Mamma Agata, mother of the second-woman, whose crazy role Donizetti awarded to a baritone and who will be played at Real by Carlos Alvarez Y Luis Cansino, in front of both casts. They will accompany you Sabina Puértolas, Maybe Borja, Gabriel Bermúdez, Sylvia Schwartz, Xabier Anduaga, Carol Garcia Y Enric Martínez-Castignani, under the musical direction of Evelino pido.

Guest productions

  • A masked ball, from Giuseppe Verdi, will open the season with a production from the Teatro de la Fenice, in which the stage director Gianmaria Aliverta claims the American setting devised by Verdi's librettists to circumvent censorship.

Nicola Luisotti, principal guest conductor of the Teatro Real, will lead from the departments of great verdean voces, that will alternate in the leading roles: Michael Fabiano, Ramón Vargas, Anna Pirozzi, Tatiana Serge, Artur Ruciński, George Petean, Daniela Barcellona, Maria Jose Montiel, Elena Sancho Pereg e Isabella Gaudí.

  • Don Giovanni, from Wolfgang Amadeus Mozart will bring to the Real the acclaimed staging of Claus Guth, in which Don Giovanni, killed from the start of the opera by a fatal blow, remembers, dying, the episodes of his dissolute life in a dark and disturbing environment.

Ivor Bolton, a superb director Mozartianos, will be in charge of two casts with Christopher Maltman y Adrian Erod; Brenda Rae, Adela Zaharia Y María José Moreno; Mauro Peter Y Airam Hernandez; Anett Fritsch Y Federica Lombardi; Erwin Schrott Y Marko Mimica; in the lead roles.

  • With Siegfried tetralogy will continue Ring nibelungo, from Richard Wagner, with musical direction Pablo Heras-Casado and the disturbing and vindictive production of Robert Carsen Y Patrick Kinmonth starring a select Wagner cast: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler, Ricarda Menzer Y Ronnita Miller, among others.

 

  • Tosca, from Giacomo Puccini, with Nicola Luisotti in musical direction, will close the season with a production conceived by Paco Azorín, responsible for the stage direction and set design of the pucciniano drama, that flows directly and effectively, leaving room for the expression of the characters, that will be embodied by three star casts and that will bring Madrid to Sondra Radvanovsky, Maria Agresta, Anna Netrebko, Joseph Calleja, Michael Fabiano, Yusif Eyvazof, Jonas Kaufmann, Carlos Alvarez Y Luca Salsi.

Operas in concert version

  • In the framework of the defense of the Spanish musical heritage, a romantic opera that triumphed at the Teatro Real in the 19th century will be rescued from oblivion, Mr.Fernando, the summoned, from Valentin de Zubiaurre with review by the great Verdian expert Francesco Izzo and the collaboration of the ICCMU, Complutense Institute of Musical Sciences. José Miguel Pérez Sierra will be in charge of directing the score in front of a cast in which they stand out José Bros, Look Urbieta Vega, Damian del Castillo, Fernando Rado Y Cristina Faus, among others.

 

  • Baroque opera will be represented by two very diverse proposals, both in concert version and with singers and orchestras specialized in that repertoire. The birth of the Sun King (The Royal Ballet of the Night), delicious 'miscellany' of 17th century opera and dance conceived by various composers, will be recreated by the Matching set directed by harpsichordist Sébastien Daucé. Orlando Furioso, from Antonio Vivaldi, will be performed by the versatile Greek group Harmony Athena, with the stamp of its multifaceted and award-winning director George Petrou, renowned expert in the baroque universe.

  • Finally, a single function will be offered Elektra, from Richard Strauss, with the Philharmonia Orchestra, who will perform alongside a stunning female threesome ─Irene Theorin, Lise Davidsen Y Anna Larsson─, under the orders of the famous Finnish director Esa-Pekka Salonen.

  • The DANCE SCHEDULE will bring to the Royal Theater 3 companies representing different choreographic and stylistic universes. He Munich Ballet will play Giselle, in the version of Peter Wright reviewed by its current director, Igor Zelensky. The National Dance Company will present three works: Apollo, from George Balanchine; DSCH concert, from Alexei Ratmanski; Y White Darkness, from Nacho Duato. And the Royal Ballet of Flanders will offer the absolute premiere of a new version of the work In rememberence, conceived by its director, Sidi Larbi Cherkaoui.

 

 

  • The music program completes the cycle of 7 concerts CAMERA SUNDAYS starring soloists from the Teatro Real Titular Orchestra; the Concert of the Friends of the Royal Theater Foundation in commemoration of the 250th anniversary of Ludwig van Beethoven, in which the Mahler Chamber Orchestra y he Chamber Choir of the Palau de la Música Catalana, under the direction of Gustavo Dudamel, they will perform the ravishing 9th Symphony; and the Viñas Tenor Contest Concert, starring the winners of its 58th edition, Next to the Head of the Royal Theatre Orchestra under the direction of Alvaro Albiach.

 

  • OPERA IN CINEMA, with a program articulated with the productions of the season, will offer in the main room 4 operas recorded on stage: Faust, from Charles Gounod (Dan Ettinger / Àlex Ollé); The beamer, from Giuseppe Verdi (Maurizio Benini / Francesco Negrín); and the award-winning productions of Benjamin Britten Billy Budd (Ivor Bolton/Deborah Warner) Y Gloriana (Ivor Bolton/David McVicar).

 

  • They make up the children's and youth programming of THE REAL JUNIOR 8 shows of different formats úsmusic, dance, who, puppetry, puppets, Shadow Theather, music stories, etc.─ conceived for different ages, of which 3 are own productions Y 5 new productions that will be seen for the first time at the Teatro Real and a total of 83 functions for family audiences and schools.

 

  • Season THE REAL JUNIOR starts with the Gala Everyone at la Gayarre!, this time in the main room, that will evoke the stellar moments of 70 children's workshops held during 9 years with this successful cycle conceived by Fernando Palacios, which will offer new ones 18 family functions in the cozy Gayarre Room, intimately related, as usual, with the programmed operas. An inspired version of the A Soldier's Story, from Igor Stravinsky, with choreography and dramaturgy of Ferran Carvajal and interpretation of JORCAM soloists; the magic show of puppets and circus Totolín-Entredós, creation of the Theater company Etcétera; the celebrated film version (awarded with an Oscar in 2011 for the best animated film) from Peter and the Wolf, from Sergey Prokofiev, with interpretation of the Head of the Royal Theatre Orchestra directed by Luis Miguel Mendez; the Tales in the heat of home, creation for puppets and shadow theater about stories by the Grimm brothers conceived by the Karromato company of Prague; the concert Al piano… ¡Johann Sebastian Jazz! with a dialogue to two pianos between Alexis Delgado and Iñaki Salvador in the Orchestra Hall; the poetic proposal A catless smile (suite) inspired by Lewis Caroll's Alice in Wonderland, with music by the composer José Luis Greco and interpretation of JORCAM soloists; Y, Finally, the funny Festival Real Junior to celebrate the start of summer vacation in style, with the complicity of JORCAM Choir and Orchestra and surprise guests, under the direction of Rubén Gimeno.

  • He TRAINING PROGRAM increases and diversifies significantly in the coming season, and will address both classroom training and online.

In the section of The Open Opera, that reveals the assembly process of an operatic production from within, have been organized 6 workshops: A masked ball, Siegfried, Peter Grimes, Lessons in Love and Violence, Long live the mother! Y Tosca. Likewise, also closely related to the season, They will be offered 4 monographic courses: Understand… Mozart, Benjamin Britten, George Benjamin Y the american musical theater.

  • For those who want to start or expand their operatic culture, the Royal Theater offers 4 opera knowledge courses, 1 on History of the voices Y 3 about fundamental concepts: From the beginning to the 19th century, The romantic opera Y Contemporary opera; and also 3 interdisciplinary courses: The role of women in the history of opera, Performing arts teaching Y Music and emotional intelligence.

 

  • The courses for higher education students will continue within the University on Stage program and have been designed 3 training courses in performing arts and business management from culture: Opera and leadership: the art of working with high-performance teams, Scene photography Y Regiment and protocol.

 

  • In addition to these training proposals, the Teatro Real has created THE REAL YOUNG, cultural revitalization and customer loyalty program young man aged between 18 and the 35 years, which will have exclusive spaces, preferential sales channels and events designed for this group in collaboration with its own committee made up of representatives from different areas of civil society.

 

  • Parallel to these programs, the Real has devised, as in the previous seasons, a delicious programming of PARALLEL ACTIVITIES to each operatic production, with the collaboration of prestigious cultural institutions such as (in alphabetical order): UNHCR, National Library, Madrid Regional Library, British Council, Czech Culture Center, Circulo de Bellas Artes, SGAE Foundation, International Institute, Polish Institute of Culture, National Archaeological Museum, Museum of Contemporary Art of Madrid, Museum of Decorative Arts, Lazaro Galdiano Museum, National Sculpture Museum, Thyssen-Bornemisza National Museum, Naval museum, Museum of Romanticism, Student's residence, Routes of Emperor Carlos V and Nebrija University.

 

  • Within this permanent dialogue with different forms of artistic expression and musical languages, the sixth edition of the UNIVERSAL MUSIC FESTIVAL, in summer, and the third edition of the cycle REAL FLAMENCO, with performances throughout the season in the Royal Theater Ballroom.

 

  • The Teatro Real will increase the national and international diffusion of its programming through new recordings and retransmissions and the expansion of the catalog of MyOperaPlayer, International audiovisual platform created and supervised by the Teatro Real, offering recordings from a large number of theaters in Europe, America and Asia.

 

  • Finally, under your SOCIAL CLASS, the Royal Theater continues to host children in unfavorable situations throughout the academic year, whether physical, psychological or social, with a program that uses music as an integrative and therapeutic vehicle, developed with the support of the Fundación Acción Social por la Música.

DATA AND NUMBERS

PROGRAMMING

  • FUNCTIONS | A total of 234 functions: 122 opera performances, distributed between 15 Titles; 12 dance performances with 3 different shows; 13 concerts of different formats; 5 concerts of Voces del Real; 6 concerts of Chamber Sundays, 2 extraordinary concerts; 83 functions Royal Junior Y 4 projections Opera in Cinema.

  • OPERA PRODUCTIONS | They offer 7 new productions of the Royal Theater ─Rusalka, Peter Grimes, Lessons in Love and Violence, Rule, Long live the mother!, including the 2 world premieres, Marie Y Transit─; 4 invited productionsA masked ball, Don Giovanni, Siegfried Y Tosca─; Y 4 operas in concert version: The birth of the Sun King, Elektra, Mr.Fernando, the summoned Y Orlando Furioso.

 

  • SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor A masked ball; Santander Foundation sponsor Rusalka; Endesa sponsor Don Giovanni Y Rule; the Royal Theater Friends Meeting sponsor Elektra Y Long live the mother!; and the BBVA Foundation sponsor Peter Grimes Y Tosca.

 

  • OPERA BY THE CENTURIES | There will be 1 century opera XVII (The birth of the Sun King); 2 operas of the century XVIII (Orlando Furioso Y Don Giovanni); 5 operas of the century XIX (Long live the Mama!, Rule, A masked ball, Siegried Y Mr.Fernando, the summoned); 4 operas of the century XX (Rusalka, Tosca, Elektra Y Peter Grimes); Y 3 century titles XXI (Lessons in Love and Violence, Marie Y Transit).

 

  • OPERA BY GEOGRAPHICAL AREAS | They will be presented 4 italian operas; 3 Spanish operas, 3 Germanic operas (1 of them, Don Giovanni, in Italian); 2 english operas, 1 French opera and 1 czech opera.

 

  • DANCE | There will be 12 functions starring 3 companies, with 4 functions for each.

 

  • THE REAL JUNIOR | The Teatro Real's children's and youth programming is made up of 83 functions, divided between 26 school and 57 family, including 18 workshops Everyone to the Gayarre!.

 

  • TRAINING PROGRAM | They offer 6 workshops Uncovered Opera, 4 monographic courses, 4 general knowledge courses on opera, 1 course of History of the voices, 3 courses on fundamental concepts from the history of opera, 3 interdisciplinary courses, 3 training courses in performing arts and business management from the culture and 1 program edition The University on Stage.

 

  • PARALLEL ACTIVITIES | Around each opera production have been organized 75 activities in collaboration with 20 cultural institutions, which will be expanded throughout the season

LOCATIONS AND FERTILIZERS

LOCATIONS AND FERTILIZERS | They will go on sale near 255.000 locations (including those of fertilizers) from next season.

OPERA FERTILIZER CATEGORIES | They offered 2 shifts of fertilizers of 10 operas, 5 shifts of fertilizers of 9 operas (one on the weekend), 1 turn of abonus of 7 operas, 3 shifts of fertilizers of 6 operas (one also on weekend), 2 shifts of fertilizers of 5 operas and 2 subscription shifts (Selection I and II) from 3 popular titles.

DANCE FERTILIZERS | They offered 4 dance passes with 3 shows each.

"VOICES OF THE REAL" PASS | It is offered 1 shift payment 3 concerts.

‘SUNDAY CAMERA PASS ' | It is offered 1 shift payment 7 concerts (includes the Viñas Concert)

CINEMA OPERA PASSES | It is offered 1 shift payment 4 projections.

‘EL REAL JUNIOR’ FERTILIZERS | They offered 3 different types of subscriptions with weekend functions: 2 shifts for the main room on Saturday and Sunday with 3 shows; 2 shifts for the Gayarre Hall and Orchestra Hall with 4 shows also on saturday and sunday; and the Sunday subscription Everyone to the Gayarre! in the morning and evening shift.

THE REAL YOUNG | Commitment to young people is reinforced with new and expanded initiatives such as the first Opening gala of the season for young people with A masked ball at special prices the 16 of September. It also creates the Young armchair, more than 5.000 tickets in seats for young people distributed in Platea, Main and Mezzanine, which will have a preferential sale for young Friends and for other young people up to 35 years before the sale to the public. Those under 26 will get these tickets for 20 € and those up 35 years 30 €. Likewise, Last minute online sales will open, in which minors 26 years can purchase an entry for 20 euros and young people between 26 Y 35 years can buy tickets for 35 euros.

FRIENDS OF THE ROYAL THEATER | From 60 euros per year you can already enjoy the advantages of being Friend of the Royal Theater, with a 75% of the deductible donation.

YOUNG FRIENDS OF THE REAL THEATER | From 25 euros per year you can already enjoy the advantages of being Young Friend of the Royal Theater.

Photograph: Javier del Real

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