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.



The Palau de les Arts Reina Sofia closes the lyrical season with his first foray into serious opera by Gioachino Rossini, ‘Tancredi’, which will be released next Friday, 23 June in the Main Hall.

Mayor of Les Arts, Davide Livermore, has presented this title today at a press conference together with Roberto Abbado, director musical; Emilio Sagi, stage-manager; mezzosoprano Daniela Barcellona (Tancredi); soprano Jessica Pratt (Amenaide); the tenor Yijie Shi (Argirio); and baritone Pietro Spagnoli (Orbazzano).

The also artistic director of the opera theater has recalled that the performances of 'Tancredi' will be dedicated to the memory of Alberto Zedda, highest authority in the work of the composer of Pesaro, who exercised, Besides, first artistic director of the Centre Plácido Domingo:

"What better tribute can we pay, what to offer a Rossini with the best artistic wickers that can be found in the current operatic scene, at the height of its Rossini Opera Festival of Pesaro or of the best theaters in the world ", Livermore explained.

Roberto Abbado, for second consecutive Year, closes the offer of Les Arts with this title, which he combines with the concert he will conduct at the Palau de la Música with the soprano Anna Caterina Antonacci and the Orquestra de la Comunitat Valenciana on the day 30 of June.

As highlighted by the Milanese teacher: “Rossini has been the greatest opera composer of his time, with great influence not only in Italian opera but also in French. The most fascinating thing is the innovative development, there is no other Italian who has pushed opera forward like him, it was as if I had a telescope to look at the future ".

"He always uses -continues the director- a very typical and recognizable language, that is why the difficulty as performers is that we must know how to distinguish in order to make that same language work differently in a serious opera or a comic opera ".

About the different endings, Roberto Abbado clarifies that of the three that exist: Venice, Ferrara and a Milanese version with other characters, the tragic ending (Ferrara, March 1813) to be seen at Les Arts, corresponds “according to my vision to the ideal of‘ Tancredi ’that Rossini had thought, besides being very innovative because in him the music disintegrates to end in silence ".

This is the seventh staging that Emilio Sagi presents in the Valencian cultural enclave after his celebrated proposals for Spanish opera and zarzuela: 'The Witch' and 'The king rabió', both by Ruperto Chapí; 'Luisa Fernanda', by Moreno Torroba; The duo 'The African', Fernandez Caballero, ‘Katiuska’, by Pablo Sorozábal and ‘Lucrezia Borgia’, Donizetti.

The montage, co-produced by the Opéra de Lausanne and the Municipal Theater of Santiago de Chile, features scenery by Daniel Bianco, costumes by Pepa Ojanguren and lighting by Eduardo Bravo.

The renowned stage director from Oviedo uses an aesthetic “inspired by the early twentieth century, but with a timeless cut ”to“ gain credibility and give a less stuffy image of the script ”. "Rossini's music -says- it is universal and modern too, that's why it works to make a montage away from the original narration word for word, which is nothing more than a story of knights and heroes ".

Daniela Barcellona, Rossinian Reference Voice, returns to Les Arts with one of his fetish roles, Tancredi, that has accompanied him throughout his career since his debut in Pesaro in 1999. This is his third performance at the operatic center, after singing at the Puccini Gala under the baton of Plácido Domingo in 2008, encarnar a Dido in 'Les Troyens', con Valery Gergiev, in 2009, and present for the first time the role of Amneris in ‘Aida’ in 2010.

"For me, Tancredi is a very significant role, because it has been the role that has made my entire career. When I debuted it I knew it was a great responsibility, since before me Lucia Valentini Terrani had sung it. As a character, I still love him very much, it is poetic and very positive, so much so that even though he thinks Amenaide doesn't love him, he fights for her ", underlines the Italian mezzo-soprano.

Jessica Pratt plays Amenaide, his first role in Valencia. the soprano, born in England but raised in Australia, is one of the voices with the greatest presence on the international scene. Since its debut in 2007 as 'Lucia di Lammermoor', his name is essential in the great bel canto productions in Europe and the United States, that has led him to win numerous awards around the world.

“Tancredi’ -añade Jessica Pratt- It was the first Rossini opera that I saw in Italy and also the one that made me fall in love with bel canto. Amenaide is a very interesting role both on stage and musically.. The music is incredibly beautiful, although it is also a challenge because it has a lot to sing: two duets, three scenes and the ending first… Physically it is very demanding, but I adore challenges ".

In the male section, Les Arts has two other figures of proven prestige who also make their first foray into the Valencian opera center: Yijie Shi (Argirio) y Pietro Spagnoli (Orbazzano).

Chinese tenor Yijie Shi is at the forefront of the operatic scene after being the revelation at the Rossini Opera Festival in 2008 with el papel de Cavalier Belfiore in 'The journey to Reims', followed by a resounding success for the title role in ‘Le comte Ory’ in 2009.

Despite his youth, Yijie Shi already has the recognition of the most prestigious opera houses such as the Metropolitan of New York, Opera San Francisco, el Théâtre des Champs Elysées in París, the National Academy of Santa Cecilia in Rome, and Maggio Musicale Fiorentino, the Rossini Opera Festival in Pesaro, the Deutsche Oper in Berlin or La Fenice in Venice, and has worked with directors such as Roberto Abbado, Zubin Mehta, Kent Nagano and Alberto Zedda.

Born in Rome, the baritone Pietro Spanogli is one of the reference interpreters in Donizetti's repertoire, Mozart and Rossini thanks to roles like Figaro and Conte Almaviva in ‘Le nozze di Figaro’; the leading role in ‘Don Giovanni’; Guglielmo y Don Alfonso in 'So do all of them'; Dandini and Don Magnifico in 'La Cenerentola': Belcore and Dulcamara in ‘L’elisir d’amore’; Sulpice in ‘The daughter of the regiment’ o Malatesta in ‘Don Pasquale’.

The cast of ‘Tancredi’ closes, the emerging mezzo-soprano Martina Belli (Isaura) and the soprano from the Center Plácido Domingo Rita Marques (Roggiero).

‘Tancredi’ is a ‘heroic melodrama’ in two acts with a libretto in Italian by Gaetano Rossi, which was first performed at the La Fenice theater in Venice on 6 February 1813. The text is based on the tragedy ‘Tancréde’, that Voltaire wrote in 1759.

In addition the day 23, Les Arts has scheduled other performances of Rossini's opera on the days 25, 27 Y 29 June plus a last show on 1 of July.