sonya-yoncheva

When one enters a field that is not his and does not know perfectly, it can be for two reasons, either he is reckless or he is very brave. And to be brave you have to have, Besides, other qualities.

The recital of Sonya Yoncheva at Teatro de la Zarzuela this past 29 of April, is a clear example of courage, among other things. You have to be brave to appear in the Theater of the genre with a zarzuela recital and you have to be even more so, to do it without knowing much about this genre.

Despite having to use the scores and having a somewhat insecure start, Sonya Yoncheva ha demostrado, not only have an instrument of indisputable quality, a bright voice, sunny, that filled the harmonics room, with a powerful central register and remarkable Spanish phrasing, but he also showed tremendous courage when interpreting with extraordinary success a repertoire of romances that made the audience vibrate. An audience that always knows how to thank and reward those who approach this genre with respect and dedication.

Yoncheva began the recital with the romance "Beautiful Night", de Katiuska de Sorozábal, as I say, something cold. But it was warming up as the recital progressed. He continued with "Three hours before the day", of the Machenera of the teacher Moreno Torroba, his favorite piece, as she herself indicated, and that he also offered as a first tip. He continued with three other romances, "My tears, where are you?", of the Iron Ring of Miquel Marqués, "The evening light is leaving", del Pájaro azul by Rafael Millán and ended this first part with "I saw myself in the world forsaken", from The Oath, Joaquín Gaztambide.

The second part began with the duet “What a beautiful night!”Of the wild cat, Manuel Penella. Here she was accompanied in the replica by an energetic Alejandro del Cerro. With a ravishing voice and a beautiful metallic timbre, put his two cents, next to the vibrant direction of Miquel Ortega, so that the public would definitely indulge in enjoyment.

He continued with "I did not cut more than a rose", by La with the bunch of roses by P. Sorozábal and “From Spain I Come” from the Jewish Child by Pablo Luna, already delivered from the stage and full of voice. He ended with "When I think about the duel of my loves", from La hija del cebedeo, by Ruperto Chapí and “I am Cecilia!”, by Cecilia Valdés de Gonzalo Roig, where he wasted great sympathy and ability to enjoy on stage. The second encore he offered, after the repetition of the Machenera, It was Carmen's habanera. Going all over the stage, including director's podium, who accompanied her to the piano. At that time the theater was surrendered to his bare feet.

Very outstanding was the work of the teacher Miquel Ortega leading the Orchestra of the Community of Madrid. Not only always attentive to Yoncheva's needs, giving you security, his direction at all times was especially outstanding and the interventions of the orchestral works raised the audience that at that time had been abandoned to the good work of the orchestra. They began with the prelude to La joy de la huerta, of Chueca, to later offer the Intermission of Los Burladores, of P. Sorozábal, The Prelude to Los Borrachos, by Gregorio Giménez and end with a masterful and electrifying interpretation of the Intermission of La Leyenda del beso by Reveriano Soutullo and Juan Vert.

A night to remember, next to the recital in this same room by Elyna Garanca, of those who come to our lyrical genre to know it, spread it out and make it even bigger.

SonyaYoncheva

the soprano Sonya Yoncheva sing to Italy in the recital that he stars this Sunday, 25 of April, to 18.00 hours in the Main Hall of the Palau de les Arts, with the piano accompaniment of Malcom Martineau.

The Bulgarian diva offers for the fourth session of the cycle 'The Arts is Lied' songs and romances of Leoncavallo, Martucci, Tirindelli, Tosti, Verdi and Puccini on a tour of the main Italian composers who cultivated this genre in the 19th century. The soprano has received unanimous applause from the public and critics for her performances of this repertoire in the main theaters and auditoriums..

Exceptional and charismatic artist, Sonya Yoncheva is one of the most sought-after and magnetic voices on the lyrical scene, Essential in the programming of the most prestigious auditoriums and concert halls, as well as in the operatic distributions of the great theaters of the circuit.

This Sunday's recital supposes, Besides, the reunion of the soprano with the Valencian public, who still remembers his memorable performances of ‘La traviata’ in 2013.

Malcolm Martineau will be in charge of accompanying Sonya Yoncheva on stage this Sunday. Born in Edinburgh, he is one of the leading pianists of his generation, and has worked with great international singers such as Thomas Allen, Karita Mattila, Ann Murray, Angela Gheorghiu, Christopher Maltman y Michael Schade, among others.

For those interested, the seats for the recitals within the cycle ‘Les Arts és Lied’ have a price range that oscillates between 20 Y 40 euros.

Sonya Yoncheva

Bulgarian soprano Sonya Yoncheva is one of the most acclaimed and brilliant performers of her generation. He studied piano and singing with Nelly Koitcheva in Plovdiv, your natal city, and later he studied a master's degree in singing in Geneva with Professor Danielle Borst. further, perfected his training with William Christie and Le Jardin des Voix.

His most successful performances include new productions of ‘Tosca’ and ‘Otello’ at the Metropolitan in New York., where she has also played the titular roles of ‘Luisa Miller’, ‘La traviata’ and ‘Iolanta’, in addition to Mimì in ‘La bohème’ or Gilda in ‘Rigoletto’. In London's Covent Garden he has triumphed with titles such as 'Norma', 'The Traviata',Faust’, "Hoffmann's Tales" (Antonia), ‘Carmen’ (Micaëla) y "La bohème" (Mimì and Musetta). Likewise, has sung ‘Il pirata’ and ‘La bohème’ (Mimi) Teatro alla Scala in; 'The coronation of Poppea' in the Festival de Salzburgo; new productions of ‘Médée’ and ‘La traviata’ at the Berlin Staatsoper; and ‘Don Carlo’, 'Bohemian', ‘Iolanta’, ‘La traviata’ and ‘Lucia di Lammermoor’ at the Paris Opera.

He has recently sung ‘Tosca’ at the Staatsoper in Munich and Berlin, 'La traviata' in the Florentine Maggio Musicale, ‘Medea’ in the Staatsoper of Berlín, 'Bohemian' (Mimi) in Covent Garden, ‘Il pirata’ at the Teatro Real in Madrid, ‘Otello’ in Baden-Baden and Berlin, in addition to ‘Iolanta’ and ‘Otello’ at the Metropolitan.

In 2020 Y 2021 has participated in the opening gala of the Teatro alla Scala season; at Met Stars Live in Concert with a recital offered in ‘streaming’ from the Schussenried monastery; at the Christmas concert in the presence of the President of Germany and broadcast on German television; at the Rolex ‘Perpetual Music’ gala from the Berlin Staatsoper; at Le Concert in Paris, plus galas and concerts in Salzburg, Madrid, Montecarlo, Budapest, Mexico City, Verona and Antwerp.

She is a global ambassador for Rolex and exclusive artist for the Sony label., with whom you have recorded, among others, the album of opera arias ‘Paris, my love', accompanied by the Orchestra of the Valencian Community. At the Palau de les Arts he starred in ‘La traviata’ in 2013 directed by Zubin Mehta.

Photograph: Javier del Real

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photograph: Javier del Real

Romeo and Juliet

He Teatro Real will offer, dirigido por Michel Plasson, the days 16, 20 Y 26 December at 20 hours, Romeo and Juliet, from Charles Gounod (1818-1893), in concert.

Los roles titulares serán interpretados por la soprano búlgara Sonya Yoncheva,-que en el Real ha cantado en Don Pasquale y en Il retorno d’Ulisse in patria, y que se encuentra en un fantástico momento de su carrera- y el tenor franco-italiano Roberto Alagna, que en la última función será reemplazado por el norteamericano Charles Castronovo, conocido del público madrileño por su interpretación en Poppea et Nerone.

The opera, en un prólogo y cinco actos, Romeo and Juliet, Charles Gounod, está inspirada en la Symphonie dramatiqueRoméo et Juliette de Héctor Berlioz y en la ópera I Capuletti e i Montecchi de Vincenzo Bellini, pero se acerca más a la tragedia de Shakespeare que sus predecesoras, gracias al libreto firmado por Michel Carré Y Jules Barbier.

Released in 1867 con puesta en escena de Georges Bizet, ha sido la primera ópera sin diálogos hablados representada en la Opéra-Comique de París. En su partitura aflora ya la nueva tendencia del drame lyrique francés de alejarse de la grandilocuencia y adentrase en la vida anímica de los protagonistas.

El núcleo de la ópera son los cuatro grandes duetti entre Romeo y Julieta, integrados a su vez en una totalidad cohesionada musicalmente por medio de la articulación de diferentes motivos musicales.

En Roméo y Juliette el virtuosismo puramente vocal es mucho más contenido que en Faust, y su presencia está subordinada a la dramaturgia de la obra. In this context, Gounod define con mayor precisión el perfil musical de los protagonistas sobre el claroscuro de los grupos sociales personificados en los coros, las oraciones y las baladas populares. With this opera, presentada al mundo en la Exposición Universal de París de 1867, el compositor se despedía de escena.