The Barberillo Lavapies

This year marks 145 since The barberillo Lavapies' It will premiere at the Teatro de la Zarzuela way back 1874. Throughout this time the work of Francisco Asenjo Barbieri, with magnificent libretto by Luis Mariano de Larra (son of romantic intellectual insightful 'Figaro'), He has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. a feast of musical theater 28 March to 14 April will again brighten the coliseum plaza de Jovellanos with a new production, thirteen years after the last presentation of the title in this scenario. They will total 14 functions, of which, Friday's 12 of April (20h00), It will be broadcast live via Facebook, YouTube and the website of the Theater.

But the interest and expectation that has caused this Barberillo to the musical and literary material it an incontestable masterpiece should not be only; one of the most fun and joyous works of lyrical repertoire that has remained on the scene to this day as an emblem of Spanish lyric. Also it achieves quality event for those responsible for her feet this time. Stage director and adapter of the text is none other than Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today.

Musical direction of international maestro José Miguel Pérez-Sierra will be responsible, that as usual he will give verve to the pit in front of the Community of Madrid Orchestra (Titular del Teatro). The production features the unique scenery and colorful costumes Alejandro Andújar, the always revealing Pedro Yagüe lighting and choreography (so important in this title) Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to the work again become current and modern.

They will, Besides, two deals that sing the great work of Barbieri: Lampara, the Barberillo which aims to Paloma seamstress, who is immersed in a political intrigue without knowing how or why, It will be played by baritones Maybe Borja and David Oller; Paloma will be played by the mezzosopranos Cristina Faus and Ana Cristina Marcos; the marquise del Bierzo, intriguing policy that puts everyone in the mess, love and turn the suffering Don Luis de Haro, It will be sung by sopranos María Miró and Cristina Toledo; tenors Javier Tomé and Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; the bass David Sanchez will be the conspirator Don Juan de Peralta, and also under Abel Garcia, Don Pedro de Monforte, defender of law and justice.

He accompanied on stage this double cast Holder Choir Teatro de la Zarzuela, and ten dancers and eight actors who also dance in each and every one of the dance numbers.

Music & Performance. Validity, comedy, Beauty José Miguel Pérez-Sierra, who describes the work as "one of the peaks of the genus', He argues that collaboration between Larra and Barbieri is more interesting, because "together create a work
where you live, breathes Madrid. A dieciochesco Madrid on plot and nineteenth-century in music, but with a timeless perfume that makes this zarzuela still have full effect '.

Alfredo Sanzol, meanwhile, stresses that "the comic adventures and function tone is what we have enhanced never forgetting that both go together in search of beauty". Stage director points in each of his works to the idea that "the depth of life and difficult conflicts need the vision of liberating comedy to find solutions".

Barbieri and mixed Larra a popular frame, Loves the Lamparilla and Paloma, sentimental dalliance with two aristocrats, the Marquesita Star and Don Luis, and all with a political background: the forced transition from one government to Floridablanca Grimaldi. It is a thematic model that had already used Barbieri Playing with fire, The diamond crown or Pan and bulls, but the text, written in verse-Larra is filled with adventures, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.

Maria del Pilar

He Teatro de la Zarzuela continues rescuing the Spanish lyric genre titles that for various reasons had been forgotten. Some of these works, as Maria del Pilar, of the teacher Gerónimo Giménez, He not explained that they have lived so long in the ostracism. It premiered at the Teatro Circo Price in Madrid 1902 Y, since then, never again knew. It seems that one of the reasons for these absences may be in some scripts that have been very jetlagged. That of Maria del Pilar, from Francisco Flores and Gabriel Briones, It presents a casposa rural Spain and with many difficulties for theatrical performance. But the Teatro de la Zarzuela has found a good solution to this problem, as it did with "The Tempest".

In the concert version of which two performances scheduled, It has been replaced by an updated text spoken narration correctly by Maria Velasco. The story was in charge of a Mario Gas tempered, whose good work was demonstrated once again.

The score Jimenez surprised by its quality. the influences of his admired Wagner or Verdi noticed in her moments of true verismo. The orchestra, reinforced for the occasion, It sounded like the overture ever since, It is the most intense passages the two arias by tenor and bass or duo of the two sopranos in the second act.

The address of Oliver Diaz, replacing the maestro Jesús López Cobos, whom the representation was dedicated, He was full of intensity and colorful. It directed with suitable pulse firm and all passages of the work, giving each its own personality and nuances, as it evidenced in the Jota or very Verdian bass and baritone duet in the second act.

Section of the voices was very balanced. the soprano Carmen Solis He offered a homogeneous singing a beautiful tone and a voice body, especially in the middle. Your paper, despite naming the work, is not the protagonist or solo arias has, but he shone when he corresponded, Also in the dramatization.

Polish soprano Iwona Sobotka He played the role of Esperanza. It can boast a good diction in Spanish with his dark voice, which provides a good bass notes. Not so with sharp.

Marina Rodriguez-Cusi EARNEST he played Nieves, with his comic partner Jorge Rodríguez-Norton as Almendrita. Both high. She is always a guarantee of professionalism and good work.

Andeka Gorrotxategi, Rafael, He addressed his demanding tessitura with dedication and always beautiful timbre. He had solved a problem that as the work progressed. is not well understood sing all the time crossed arms, as if holding or seeking some support, in any case, It is not the best posture on stage.

baritone Damian del Castillo Marcelino she played a song and serene enough. The bass David Sanchez, as Uncle Licurgo, always solvent with deep and homogeneous tessitura.

Definitely the best of the night and most recognized by the public was the burgalés low Rubén Amoretti. Valentin her character was endowed with an entity much greater than character. His Romanza "What beam me annihilates", It was performed with elegance and trade, clarifying each phrase and filling dramatic intensity.

Is more than likely that the choir has had a brilliant performance, as usual, but whenever they placed upstage can hardly hear him. A shame.

Maria del Pilar has been an extraordinary surprise that we must thank the Teatro de la Zarzuela and, especially, its director, Daniel Bianco, you are performing a task that never thank him enough.

Ainhoa ​​Arteta

With the already sold out, Gipuzkoa soprano debut a song cycle commissioned by the composer CNDM Lorenzo Palomo straight cycle anniversary

the soprano Ainhoa ​​Arteta, accompanied by Roger Vignoles, one of the best pianists specialized in Lied, will hold the next Monday 10 of diciembrs going on 25 Lied cycle years that he National Dissemination Center Musical (CNDM) coproduced with Teatro de La Zarzuela.

It will do so with a recital in which premiere the song cycle magical path, commissioned work by composer Lorenzo Palomo CNDM straight cycle anniversary. Alongside this premiere, Vignoles Arteta and interpret the Three Petrarch Sonnets but Liszt and works Jaime León, Jayme Ovalle, Osvaldo Lacerda, Fernando Obradors and Enrique Granados. The seats for this concert are exhausted.

Arteta starred in October, with great success of critics and audiences, the operetta Katiuska Paul Sorozábal, which he opened the season 2018/2019 the Teatro de la Zarzuela.

stylish “mark Spain” lyric

After being the winner of the Metropolitan Opera National Council Auditions in New York and the International Concours de Voix d'Opera Plácido Domingo in Paris, begins a brilliant international career in theaters such as the Metropolitan Opera, Carnegie Hall, Covent Garden, Bavarian State Opera, Operas de Washington, Houston, Dallas, Seattle, San Francisco, Scala, San Carlos in Naples, Arena of Verona, Teatro Bellas Artes in Mexico, Amsterdam, Deutsche Oper Berlin and a long etc., playing the lead roles of operas La Traviata, Bohemian, Romeo and Juliet, Faust, The swallow, Eugene Onegin, Turandot, Manon Lescaut, etc.

He combines his operatic performances with recitals and concerts conducted by the most renowned masters such as Sir Neville Marriner, Christian Badea, Gianandrea Noseda, Christopher Hogwood, Vasily Petrenko, Pablo González, Adrian Leaper, Victor Pablo Pérez, Friedrich Haider, Pier Giorgio Morandi, Gustavo Dudamel, Miguel Ángel Gómez Martínez, Günter Neuhold, Frédéric Chaslin, etc, and by renowned repertory pianists such as Marco Evangelisti, Rubén Fernández Aguirre, Roger Vignoles and Malcolm Martineau with whom he records for the Deutsche Grammophon Recital label, an exquisite selection of French and Spanish song.

In recent years he has received numerous awards such as the ‘Gold Medal for Merit in Fine Arts’, Doctor Honoris Causa by the Universidad Rey Juan Carlos, Spain Brand Ambassador, 'Prize Hispanic Society of America' for his contribution to the arts, Award for "Best Classical Music Artist" in the V Edition of the ‘Music Awards’, ‘ONDAS Award’ for the most notorious work in classical music, ‘Federico Romero Award’ from the Fundación Autor for his career of international projection, 'Gold Medal of the Palau de la Música', Honorary President of the Maestro Segovia Association, Academic of the Royal Academy of Fine Arts of Cádiz, Universal Basque, Patron of the Foundation Choir-Catalan Music Palace, artist-in-residence of the Cadaqués Orchestra, ‘Golden Microphone of the Federation of Radio and Television Associations of Spain’, 'Enric Granados Prize' and Gold Medal of the Association of Friends of the Opera Lleida, as well as the ‘City of Alcalá Award for Arts and Letters’.

Of his greatest successes should be highlighted their participation in Cyrano de Bergerac with Plácido Domingo at San Francisco Opera and at the Teatro Real, Bohemian at the Metropolitan and La Scala in Milan, Otello in Corunna, Turandot, Carmen Y Bohemian at the Lyceum, Dialogues des Carmelites, Eugene Onegin Y Simon Boccanegra en ABAO, as well as the premiere of the opera in Paris The last day of a convict junto a Roberto Alagna, Don Carlo at the Opera de Oviedo y Don Giovanni at the Theatre Royal, her role as Alice Ford of Falstaff with Bryn Terfel at the San Francisco Opera, he Requiem by Verdi at the Suntory Hall and Fukushima with the Tokyo Philharmonic Orchestra under the baton of Nicola Luisotti, Manon Lescaut at the Teatro de la Maestranza, AAdriana Lecouvreur en la ABAO, Tosca in Bologna Teatro Comunale of Reggio Emilia and, La Wally at the Grand Theater de Geneve, Bohemian in the Fine Arts in Mexico and Tosca with Marcelo Álvarez in Sao Paulo. His Falstaff in Covent Garden, Tosca at the Welsh National Opera with Bryn Terfel, opera gala at the Vienna Konzerthaus Wiener Kammer Orchester with, Tosca en la German Opera de Dusseldorf, Manon Lescaut en ABAO, Alice Ford Falstaff at the San Carlo Theater in Naples and A Coruña and his debut at the Bolshoi Theater in Moscow with the role of Manon Lescaut, as well as the Sydney Opera House with Tosca.

His recent and upcoming engagements are Tosca in the arena of Verona, San Carlos Theater in Naples and at the Deutsche Oper in Düsseldorf, Manon Lescaut at the San Carlo Theater in Naples and Bolshoi, Requiem by Verdi with the Royal Liverpool Philharmonic under the direction of Vasily Petrenko, Andrea Chenier Opera in Oviedo, Bohemian en ABAO, Adriana Lecouvreur In sevilla (Maestranza), I Pagliacci (Nedda) in the Currency of Bruselas, Madama Butterfly at the Lyceum and Don Carlo at the Theatre Royal.

Photograph: The small room mr

Bernarda Alba's house 1

Bernarda Alba's house 2

Bernarda Alba's house 3

Bernarda Alba's house 4

Bernarda Alba's house 5

Miquel Ortega being accompanist at the Teatro de la Zarzuela, back in 1991, He began composing an opera based on the work of his admired Federico García Lorca. It was nothing less than "The House of Bernarda Alba". In a few months the first act was finished. From now on, and because of the numerous commitments that he was acquiring the composer, his work went on for 8 More years. It was a chamber opera in its original composition 14 musicians, mode the Britten chamber operas. But in 2007 He came the opportunity to release it with the condition than in version for symphony orchestra in the theater of the Romanian city of Brasov. Then come the Festivals of Santander and Peralada.Llega now the Teatro de la Zarzuela in a new production version for chamber orchestra, as it was conceived at the outset by Miquel Ortega. And for the first time in a Spanish language version. Julio Ramos's libretto is absolutely respectful of the play. Almost exclusively so do not leave time, some scenes and character were eliminated Prudencia.

Ortega creates a score to match the play. Something not easy with such a complex and full text of more wrenching drama of Lorca. Ortega music, does nothing but enhance the drama, creating a distressing and oppressive atmosphere. Giving life to the other main character is the house and the great Ezio Frigerio, Riccardo Massironi, They have managed to capture in a scenario that the applause was nothing the curtain rises, in recognition of the loyalty of that suffocating space where the tragedy will take place. Frigerio describes it: "It has some convent, some prison, something not seen and have to feel. "

The scenery is enhanced by the costumes of Franca Squarciapino you saw all those women tormented describing perfectly by her outfit. Not missing anything left over in an accurate reading that brings credibility to the representation. The same goes for lighting Vinicio Cheli and the great stage director Barbara Lluch. Among the four they compose the perfect scenery naturally, without fanfare or adornment, as only make great.

Nancy Fabiola Herrera is the Bernarda Alba this production, It is delivered to rigorously character, both vocal and interpretative. It is a relentless and ruthless Bernarda. Impress their sentences at the end of the work She died a virgin!, referring to her daughter Adela, to listen to startle.

In this version, Daniel Bianco free to offer the teacher the opportunity to make a change in one of the main characters of the play took. Poncia, the maid of the house which maintains a curious relationship with Bernarda. According to Lorca's own annotations in the work, Poncia is a friend of Bernarda and only able to talk face to face. For this reason Bianco thought that this character needed a powerful record, a baritone.

The chosen was Luis Cansino, who accepted his character honored, "Artists have to have a point in life where we are able to get out of our comfort zone". Cansino is a dramatic baritone with an unknown capacity in our country, where it is required for papers bufos, and building a flawless and full of theatricality PONCIA, taking care of the details in the interpretation. Gorgeous duet with Adele in the second act.

Highlight the performance of the only high-pitched voice, the Carmen Romeu, who plays the youngest of the sisters, Adela, in a resounding performance.

Impressive to see the grande dame of the Spanish scene Julieta Serrano, who plays Maria Josefa, mother of Bernarda Alba and unique declaimed paper. The play begins with its heartbreaking: ¡Bernard!, which you are able to place on your site each stage, including public.

A high rise was the rest of the cast made by Carol Garcia, as Martirio, Marife Nogales as Amelia, Bethlehem Elvia, Magdalena, Berna Beads, Anguish and Miracles like Martin as a maid.

A magnificent production of Teatro de la Zarzuela is putting the bar very high. No one should miss anything of what is happening here. And that miss, worse for him…

Text: Paloma Sanz
pictures: Javier del Real

Franz-Josef Selig

With a program consists of ballads Carl Loewe, Hugo Wolf and Rudi Stephan

He National Dissemination Center Musical in co-production with Teatro de la Zarzuela will present next Monday 12 of November, To the bass Franz-Josef Selig on his second visit to Lied. Selig comes accompanied by Gerold Huber the piano to provide program consists of ballads Carl Loewe, Hugo Wolf and Rudi Stephan. tickets, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

The elegant deep bass

According to musicologist Isabel García Adánez: “Franz-Joseph Selig is one of the most renowned low today, and his voice, as imposing as delicate and nuanced, has given life to many characters equally impressive and full of nuances opera from Monteverdi and Mozart to Wagner (He has interpreted the giant Fasolt of the Rheingold and King Marke of Tristan and Isolde). No less a success that has reached beyond the opera, for example, at Requiem Mozart or Scenes from Goethe's Faust Schumann, and has recorded a magnificent album of lieder on Prometheus, with texts by Goethe and versions that made them Schubert, Strauss and Hugo Wolf, accompanied on piano by Gerold Huber, whom we have had the pleasure of listening in various recitals of this Lied. The elegance of a big bass opera invites identification with the many characters of great dramatic scale starring texts ballads tonight: Archibald Douglas, the Great Emperor, Edward sanguinary, Knight Oluf, itinerant harpist Goethe's Wilhelm Meister or the god Odin himself ready for battle. Unlike other programs, more in line Liederabend understood as intimate evening to sing around the piano, tonight's meeting suggests the tradition of storytelling or theater depict scenes, since almost all are ballads, whose main feature is the narrative element. This tradition of telling a string of stories or novellas from a framework is well known since the beginning of the history of literature: Think of the Arabian Nights or Decamerón and, and at the time of the lieder, Novellen in cycles of German Romanticism, for example, by E. T.. Hoffmann. As a curiosity, in German, selig It means "happy, greatly happy, blessed "and is a word that appears frequently in stories. Thanks to this voice, Odin own, incarnating so many wonderful stories, Bliss will be to our ears.”

Franz-Josef Selig It has established itself on the international scene as one of the best known low. Usually sings the role of Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland, Fiesco and Fasolt in major opera houses of the world as the Vienna State Opera, the Bavarian State Opera, the Scala Theater in Milan, the Teatro Real in Madrid, Parisian opera or the Metropolitan Opera in New York, and at prestigious festivals such as: Bayreuth, the Salzburg Festival and the Festival d'Aix-en-Provence. Operatic productions and its concert activity led him to collaborate with orchestras and conductors as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski, Semyon Bychkov, Riccardo Muti, Yannick NezétSéguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta, among others. In addition to his many operatic engagements and concert performances, He devotes a large part of his time to Lieder recitals. He has recently sung solo pianist Gerold Huber next to Katowice, Cologne and Frankfurt, Markus Schäfer and with, Christian Elsner, Michael Volle in concert Liedertafel (Gerold Huber also accompanied by piano) one Stuttgart, Schaffhausen y Madrid.

Selig studied sacred music at the Staatliche Hochschule für Musik in Cologne before you start taking singing classes with Claudio Nicolai. Early in his career he was a member of the Aalto Theater in Essen. Since then he has been an independent singer. During last season 2017-2018 He has excelled in the following operatic roles: King Arkel (Pelléas et Mélisande) in Bochum and Paris, Seneca in a new production of The Coronation of Poppea Monteverdi at the Berlin State Opera, Daland (The flying dutchman) State Opera in Munich, Gurnemanz (Parsifal) with the Berlin Philharmonic under the direction of Sir Simon Rattle and Sarastro (The Magic Flute) with the Chamber Orchestra of Europe and Yannick Nézet-Séguin in Baden Baden Festival. In concertístico Franz-Josef Selig field has sung Missa Solemnis Beethoven with Thielemann and Rattle and opera Parsifal, concert version, at the Berlin Philharmonic.

His numerous recordings on CD and DVD ranging from St. Matthew Passion Bach to The Magic Flute Mozart (The Royal Opera, London / Sir Colin Davis) going by Don Giovanni (Vienna State Opera / Riccardo Muti), The Marriage of Figaro (Salzburg Festival / Nikolaus Harnoncourt), Y The abduction from the Seraglio (Gran Teatre del Liceu / Ivor Bolton / Christoph Loy), as well as The Coronation of Poppea (Gran Teatre del Liceu / David Alden / Harry Bicket). He has recorded the role of Gurnemanz in the opera Parsifal (Wagner) under the baton of Christian Thielemann (Vienna State Opera / German Grammophon) and Marek Janowski and the Radio Symphony Orchestra Berlin (Pentatone). The DVD The Ring of the Nibelung (DG, Metropolitan Opera in New York, 2010) where Selig sang the role of Fasolt, He received a 'Grammy' in 2013. This year the DVD launched The Flying Dutchman Bayreuth Festival (Thielemann / Gloger). June 2014 It came to light his first CD of lieder accompanied on piano by Gerold Huber. Under the title Prometheus (AVI) features songs by Schubert, Wolf y Strauss. In July 2015 Deutsche Grammophon released a new recording The abduction from the Seraglio Mozart (Festival production Baden-Baden, 2014).

Katiuska

After a season, the 17/18 complicated, he Teatro de la Zarzuela He inaugurated the 18/19 with a more typical expectation and glamor of Milan Scale, but castizo.

Nobody wanted to miss the event began with a poster relumbrón. Katiuska, Paul Sorozábal. After 37 years of absence in the street theater Jovellanos, He came with a cast to match any opera house ringside: Ainhoa ​​Arteta, It is acting just two days, Carlos Alvarez, whose absence this season of the Teatro Real is allowing us to see him often at his side zarzuela, Y Jorge de León.

Katiuska premiered in Barcelona in 1931 and there are few occasions when he reenacted. This time the "Song of the Earth" recovers, who disappeared in recording 58 Pilar and Alfredo Kraus Lorengar. Master Sorozabal, Before die, He reviewed the work and hoped that this fragment returned to interpreted.

It is at this time, and the master's hand Guillermo García Calvo, when it represented almost entirely, since they have been removed for this release some of his dialogues. The result is a short work, but agile and pace.

García Calvo says that in the works of Sorozábal a closeness, poetry, frankness and affection that do not appear in any other repertoire. Something we should do feel very proud. It is set in the Russian Revolution 1917 and it is full of comic numbers, almost surrealistic, perfectly alternating with romantic music of great lyricism describing the love triangle between the three protagonists. perfectly instrumented, It has a variety of colors and tools that describe places and situations, mandolins as they bring the Russian Color.

The scenery Daniel Bianco and directed by Emilio Sagi, evokes a cinematic montage inspired by the years 30 in which Katiuska opened and the divas of the time, more princesses actresses, when the film had its protagonists with ideal lives that helped break the routine to an audience delivered to their idols. It was a great frame filled with debris, those of the Tsarist regime. A colorful scenery but a little austere for or customary Sagi. I do not miss, Of course, one of his favorite elements, the moon.

Ainhoa ​​Arteta, with an impressive stage presence, He plays an elegant and glamorous princess Katiuska. He noted for his pianos.

Carlos Alvarez is an extraordinary moment vowel. He started something intemperate but it was the big winner of the night with the baritone timbre so attractive that gave great personality to his character Pedro Stakof.

Jorge de León wore her powerful voice on a difficult role, though brief, as Prince Sergio.

The high comprimarios were giving a master class performance and know being on stage, without losing any quality when they played sing or dance. Antonio Torres como Bruno Brunovich, Milagros Martín and Olga, Boni young bride, Colonel's assistant played by Emilio Sánchez. Enrique Baquerizo gave birth to a hilarious Amadeo Pich, Catalan mean traveling salesman. And Amelia Font as Tatiana, Boni aunt and landlady. Also splendid Theater Chorus,

Definitely, an evening of music and theater to enjoy that nobody should miss.

24 Hours lying!

On the occasion of the function of 'lying 24 Hours!'I closed the season 2017/2018

Near 42.000 people follow the first broadcast of the Teatro de la Zarzuela via Facebook Live. The number of video views, remaining on the Facebook page Theater, It is far from 16.470. They registered 3.691 reactions, comments or comparticiones. Apart from public all parts of Spain, spectators joined Italy, Austria, Puerto Rico, Mexico, Peru, Colombia, Argentina, Uruguay, Guatemala, Chile o EE.UU, among others. In this period the number of followers has increased news of the page in a 4,19%

He Teatro de la Zarzuela broadcast for the first time live through Facebook Live last Saturday, 14 of July, on the occasion of the function "24 Hours lying!’ that closed the season 2017/2018. The result was 41.748 people reached, 16.470 video views, remaining on the Facebook page Theater, as well as 3.691 reactions, comments or comparticiones, O 5.990 post clicks. The women of 55 a 64 years were the main audience of the broadcast. The number of new page followers It has been increased a 4,19%.

During streaming, apart from public all parts of Spain, Spectators joined in various locations in Italy, Austria, Puerto Rico, Mexico, Peru, Colombia, Argentina, Uruguay, Guatemala, Chile o EE.UU, among others.

These dates continue to increase, the that the video continues to be posted on the Theater's Facebook page.

24 Hours lying!

The Teatro de la Zarzuela will take advantage of the last performance of the season to launch to the rooftops its purposes of strengthening its basic condition that makes it a unique theater in the world and for everyone, and incidentally to reinforce the international projection of the Spanish musical heritage. This will be possible on Saturday 14 July thanks to the live broadcast through Facebook Live, and for free, from "24 Hours lying!’. This will be the finishing touch to a particularly intense season.

The broadcast can be followed live from 8:00 p.m. in Spain (19h00 in the Canary Islands), 11:00 a.m. in Los Angeles (California), from 12:00 in Honduras, Nicaragua, Costa Rica or El Salvador, from 1:00 p.m. in Colombia, Ecuador, Peru, Mexico or Panama, from 2:00 p.m. in Venezuela, Guyana, Bolivia, Paraguay, Chile, Cuba, Dominican Republic, Puerto Rico, Miami or New York, and from 3:00 p.m. in Suriname, Brazil, Argentina or Uruguay.

"24 Hours lying!’, a madcap musical comedy Francisco Alonso in which nothing is what it seems and will serve as grand finale of the season 2017/2018, is on the bill since 29 June to 14 of July.

This time, the script to write Francisco Ramos de Castro and Joaquín Gasa for the premiere of the work in 1947 It has been updated by the last National Prize Dramatic Literature, Alfredo Sanzol. This free version of Sanzol and dramaturgy Jesus Castejon weave a sparkling show in which are reflected some of the ills of society then and now, centered cynicism in the world of gastronomy, politics and show business.

The play, full of especially hilarious situations caused by the lies of all the
protagonists who try to pretend what they are not, It is directed and starring Jesús Castejón, the musical direction is in charge of Carlos Aragon, which stresses the uniqueness of the piece as a musical comedy what emparenta with musicals on Broadway and in Hollywood lived its golden age in years 40 last century.

So that the fun mess that is mounted reaches the best of ports, on the tables will be, besides Castejon (Frequently), a line-up of singers and actors of the first line like Gurutze Beitia (Caste), Martyn Estíbaliz (geek), Nuria Pérez (Charito), Adan Lopez (Ricardo, Charito boyfriend), Enrique Viana (i Love Lolo, the peevish and witty butler who knows everything and everything he sharpens), Raffaela Chacon and Mario Martin (Restaurant owners who feed the family of artists, which in turn they are parents of Ricardo, and that the circumstances lead them to pretend that they are the same Casto hosts and Casta), Angel Ruiz and Cecilia Solaguren (Fernando and Laura, Fernandito parents, boyfriend turn of Totó, and one of the elements by
those who the knot of lies does not stop growing), Jose Luis Martinez and Maria Jose Suarez (Euphonium and Magdalena, marriage of corrupt politicians), and Luis Maesso (Fernandito). Throughout the representation they will be accompanied by eight dancers, what, Likewise, They sing and act as the most.

The scenery is by Carmen Castañón, Ana Garay's wardrobe, lighting by Eduardo Bravo and choreography by Nuria Castejón. Enjoyment, definitely, is served.
"24 Hours lying!"It is a story of very special people in show business: the marriage of Casto and Casta, and two daughters, Charito and Totó. The family intends to lock herself in her house to rehearse a magazine that takes them from the bad economic situation in which they find themselves, but while they are held there make others believe that his absence is due to have toured America with his artistic company. And from there, Supine tangle.

Jorge Ferrando García

'Applicants' Jorge Ferrando García won the First Contest of Lyrical Work Project Teatro de la Zarzuela unanimously.

The author will receive the Custom entire composition of the work outlined.

He Project first contest of lyrical work Teatro de la Zarzuela has already winner. The Madrid composer Jorge Ferrando García, from 32 Years, He has been awarded this distinction thanks to the construction project "Applicants', which deals with the lights and shadows of the world of musical theater, and it has been unanimously elected among thirty-eight pieces that aspired to award. The prize is the Custom complete composition of the work.

The judge It has met day 2 Y 3 of July, and it has been composed of Daniel Bianco, Director of Teatro de la Zarzuela, as President, musicologist Emilio Casares, composer and singer Pilar Jurado, stage director Miguel del Arco and the musical director of the Theater, Oliver Diaz.

Accomplished a first selection process, They were excluded thirty-three works, resulting only five finalists works. In a second selection process, after deliberation by the jury, it unanimously decided to award to work "Applicants', from Jorge Ferrando García.

Xavier Sabata

He Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM), will present on Monday 25 of June (20h00), first in the Lied, a Xavier Sabata, one of the most important countertenor today, which it will be accompanied by Anne Le Bozec floor.

the ambitious, unusual and heterogeneous program, sung in Catalan, italiano, Greek and French consists of works by Giovanni Battista Perucchini, Déodat Severac, Jatzidakis hands, Federico Mompou, Luciano Berio and Manuel de Falla. The theme of this wide selection makes us travel to popular music.

According to Enrique Martinez Miura, author of the program notes, “several of the composers of this program, If Falla and Berio, found in popular music a poetic manifestation that served them as an incentive for creating your own sound world. In the songs of Déodat of Séverac is present this phenomenon, well covered by a layer of regionalism Occitan. It is not very usual in the concert halls of Spain Greek composer Manos Jatzidakis, well known for inveterate moviegoers, but in their country of origin is a myth, in whose image the Greek song of the last half century is reflected. The composer not only related to cinema, since also he composed incidental music with a close cooperation with the Athens Art Theater. The final trip is an atypical song written for solo voice by Mompou in 1947 on a poem by Juan Ramón Jiménez. Luciano Berio had a very different attitude toward popular music. The Italian composer sought to create a new unity between the songs from that heritage and personal style.”

The latest posts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

shoe: BORN in the counter inquieto Avia, Barcelona, he graduated from theatrical performance at the Institut del Teatre of Barcelona. He completed his higher education in parallel saxophone. Between the years 2002/06 studies in the Department of Ancient Music of the ESMUC, in the classroom Marta Almajano. Then continue studies in Germany at the Hochschule Karlsruhe with Hartmut Höll in Liedgestaltung Mitsuko Shirai and. In 2005 participó con William Christie Les Arts Florissants are in the Jardin des Voix. He has worked and works habitualemnte with orchestras such as Venice Baroque Orchestra Andrea Marcon, De Europa Galante Fabio Biondi, The Spanish Concert Emilio Moreno, Al Ayre Spanish Eduardo López Banzo, Antiqua Form,
The Resonance, I Barocchisti, Musicians of His Highness Luis Antonio González, Ingenious labyrinths of Xavier Diaz-Latorre, The Tempest, Pulcinella Ensemble of Ophéle Gallard, Washington Symphony Orchestra and Symphonic Orchestra of Castilla y León. Sabata develops his operatic activity in opera houses such as the Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, Opera Oviedo, Teatro de la Fenice in Venice, Theater Champs-Élysées in Paris, Caen Theater, the Grand Théâtre de Luxembourg, Nancy Theater, the Lincoln Center in New York, Aixen-Provence Festival, the Teatro Carlo, Freiburg Theater and the Theater Basel. He has performed in concert halls such as the Auditorium of Barcelona, Palace of Catalan Music, the Auditorio Nacional in Madrid, the City of Music is the Salle Pleyel in París, the Kennedy Center in Washington DC and the Barbican Center in London, among others. She has sung the roles of Ottone, Arnalta y la Nodriza en diferentes de Producciones The Coronation of Poppea y Peisander The Return of Ulysses to Ithaca, both of Monteverdi, Ruggiero de Vivaldi's Orlando Furioso, Perseus freed Andromeda de de
Vivaldi and others, Gernando Faramondo of Ottone and Agrippina, both of Haendel, Prince Go-Go Le Grand Macabre from Ligeti, Mother of Il Sant'Alessio by Landi and Endimione La Callisto Cavalli, among others. It has developed a number of projects from the lives of several characters: Undercastration, Francesco Bernardi y sobre Senesino, and Alonso The communique of Arrendó, capon. Sabata has recorded for the labels Harmonia Mundi Iberica, EMIVirgen Classics and Handel with Faramondo I Barocchisti, Cencic y Jaroussky. Aparté recorded for Bad Guys, with arias by Handel, junto a Il Pomo d'Oro y Riccardo Minasi.

Matthias Goerne

With swansong (Swansong) It ends the cycle this season has offered Matthias Goerne on Franz Schubert. The whole universe of Schubert Lieder with The beautiful Miller (The beautiful molinera) Y Winterreise (Winter trip).

He 30 April Goerne and Hinterhäuser addressed Winterreise. A cycle of songs compounds initially tenor, but leaving open the possibility of being interpreted by most serious voices that can provide greater intensity and darkness each song. Sometimes also it is interpreted by female voices. And is that Winterreise, unlike other works, through its dynamic, times the phrasing, It provides an almost endless variety of interpretive possibilities.

And Matthias Goerne is of those interpreters who gives Winterreise of life. Goerne delves into the intimacy of this winter trip like no other. The flexibility of his baritone voice, always discover new nuances in this set of songs so you never get tired of listening. This dramatic journey to the solitude of verses Wilhelm Müller, describe the emotional moment of a Schubert abandoned by a woman. The songs are shelling, by hopelessness, Roving for that trip to melancholy.

Just one week later, he 8 of May, Goerne, this time accompanied on the piano by veteran Alexander Schmalcz, which he replaced a sick Hinterhäuser, he offered swansong. Poems that make up this cycle of songs, unlike the other two cycles, not belong only to one author. In this case there are three poets chosen, Ludwig Rellstab, Heinrich Heine and last Seidl which it has been omitted in this recital. It seems that was not part of the initial body and was only added by the superstition that they were not 13, if not 14, the songs that make up this cycle.

This latest collection of songs was made by the editor Hanslinger and Schubert's brother, after the composer's death, to the enormous production of songs he had composed, almost compulsively, before his death. Less well known than the two previous cycles, swansong not only is a matter. These contain themes dedicated to love, lost love, mythology and, one of the favorite themes of Schubert, trip, of dealing stay (Resting place).

Goerne has used almost all of the resources you have, which they are few, Shelling each parts forming this cycle. From vocal exaltation, perhaps somewhat exaggerated The Atlas (The atlas), the disturbing drama of The lookalike (The double), with which Goerne is capable of transmitting the most profound and wrenching psychological tensions. The execution of Alexander Schmalcz the piano, It was the setting and the perfect way for the interpretation of Goerne. Subtle, energetic and delicate. All at the moment and just measure.

The barmaid port

Unsummoned downtime 'The barmaid port’

The paros provided for 'The barmaid port’ have been desconvocados “Immediately”, and therefore the public can enjoy the last three features of this title:

– of today Friday 18 of May to 20h00

– of tomorrow Saturday 19 of May to 20h00

– The one of Sunday 20 of May to 18h00

He Teatro de la Zarzuela presents 'The barmaid port’, masterpiece Pablo Sorozábal and one of the essential jewels of the repertoire. History of adventure, loves sailors Y smuggling that takes place aboard a absolutely great music.

 

Music

Pablo Sorozábal

record

Federico Romero and Guillermo Fernandez-Shaw,

based on a sailor romancillo (1935) Federico Romero

Premiered at the Tivoli Theater in Barcelona, he 6 May 1936,

and the Teatro de la Zarzuela, he 23 March 1940

Mathias Goerne

The cycle is a co-production between the National Broadcasting Music Center and the Teatro de la Zarzuela. After singing on Monday 26 February the beautiful Miller (The beautiful molinera) with pianist Markus Hinterhäuser, now it offers song cycles Winterreise (30 of April) Y swansong (8 of May)

He Monday 30 April at 20h00, he National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela presented again in the XXIV Lied German baritone Matthias Goerne together with the excellent pianist Markus Hinterhäuser, this time to interpret the cycle Winterreise from Franz Schubert.

Always with particularly demanding programs, the Goerne surprising proposals for male voice reveal its permanent concern in this genre. In this season It is addressing the three cycles Schubertiads. After the beautiful Miller Y Winterreise, he 8 of May will end the cycle with swansong at the Teatro de la Zarzuela. Three recitals in just over two months with the same accompanist, which have become Dating indispensable this season for opera lovers.

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

As “artist in Residence” CNDM this season, Goerne has participated in two concerts more: with the Orchestra of the Community of Madrid (BARREL) with his homeroom teacher, Victor Pablo Pérez, He sang last November, Kindertotenlieder of Gustav Mahler. He has also walked the stage of the Royal Theater in Elijah Mendelssohn, Granada with Pablo Heras-Casado in front of two great Germanic sets (Rias Chamber Choir y Freiburg Baroque Orchestra) CNDM in a co-production with the Philharmonic and the Madrid coliseum last 8 of April.

Schubert: the lyricism of lieder

Arturo Reverter critic indicates that: “The lyricism of Schubert's lyricism of lieder, whose deep and troubling backdrop as nothing less than the romantic idea of ​​death, intuits that, is eying, finally it becomes real, singular alone or in connection with the surrounding nature, after each instrumental effect, melodic or harmonic; after those subtle thematic chains, apparently improvised expressive or below tremolos, abundant chromaticism, the dissonances or the apoyaturas. Through the lyrical effusion things are transfigured into that romantic who eventually ascribed and where nothing will universe and what was. Winterreise (Winter trip) is, indeed, a real inner journey, a basic idea, as we said, Schubert's music. Rarely it has been painted in such a precise, justness and loneliness dramatics, desolation and despair; It not often has penetrated so deeply into the intimate drama of a human being and has delved into the antechamber of death itself and in these songs, real journey to nowhere. Two fundamental and recurring themes dominate the musician Müller's poems: again the idea of ​​travel, change of position in space, Shuttle, and loneliness”.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

Last season include concerts with major orchestras in the US and Europe such as the Boston Symphony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris y Philharmonia Orchestra London, as well as a series of recitals with Leif Ove Andsnes songs and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London and the new concert hall in Seoul LOTTE, among many other places. He has made a world tour singing Winterreise with the famous William Kentridge and another with the Freiburg Baroque Orchestra by major European cities. further, Goerne made his debut as Jochanaan (Salomé) at the Vienna State Opera as Wotan (Siegfried) version in concert with the Hong Kong Philharmonic and Jaap van Zweden. In summer 2017, he returned to the prestigious Salzburg Festival, where he sang the title role Wozzeckplus a lieder recital with piano Danii Trifonov.

Florian Boesch

Last 9 April we were about to hear in the Teatro de la Zarzuela the recital 6 of the Lied to the National Center for Dissemination of Music organizes every year. Antonio Moral, director, He came to the microphone stage at hand to explain the events that occurred during the weekend and alter the representation. Let's start thinking that the proposed merger between the Teatro Real and the Teatro de la Zarzuela in the latter triggered a series of mysterious events, although duly justified, they will need the work of an exorcist more than a few ministerial interventions.

Del Moral explained that the holder of the concert, Anna Lucia Richter, He had canceled their participation due to illness and became replaced by Julia Kleiter, and another young soprano located on the immediate horizon Lied Cycle. But Friday also suspended due to illness, which he left Antonio Moral a narrow margin for maneuver solved, as he himself said, pulling your friends. This is where it appears Florian Boesch. Austrian baritone is well known in this cycle and their makeshift, but very well chosen, Program, He was accompanied by Justus Zeyen on the piano, whose mastery at the keyboard contributed to the success of the recital.

The first part was devoted to Schubert poems by Goethe dedicated to the mythological Greece, Prometheus, D 674, Group from the tartar, D 583, Grezen of humanity, D 716, There Pilgrim, D 794, Calm sea, D 216 y The gods of Greece, D 677. He finished the first half with Gesänge des Harfners, D 478, Harpist songs that Boesch narrates with great expressiveness and Zeyen accompanies the piano as if it were the sound of a harp.

The second part was devoted to Schumann and three groups of songs on texts Heinrich Heine. Poor Peter. On. 53, song cycle, on. 24 y songs of Harfners, on. 98a. Boesch has an appreciable volume of voice at the service of its serious, which gives depth interpretation. Perhaps the nuances worst off, but it compensates with great interpretive sensitivity.

A recital, after the first surprise cancellations, was a success. And some performers who did enjoy an audience who thanked effort.

Maria Jose Montiel

POSTPONED TO 7 MAY CONCERT María José Montiel scheduled for today

Due to a sudden illness duly substantiated by the artist, concert Maria Jose Montiel "Discovering Padilla" scheduled for tonight is postponed to Monday 7 May at 20:00h. For this new date will be valid entries already acquired.

Viewers wanting a refund of localities may apply at the theater box office from today.

Box office hours are Monday through Friday 12:00h a 20:00h, and Saturdays, Sundays and holidays 14:30h a 20:00h. Holidays in which no function, the box office will be closed.

We apologize for any inconvenience.

Maria Jose Montiel

The varied artistic interests of Spanish mezzosoprano Maria Jose Montiel They've taken an interest in the work of Jose Padilla Sanchez, author of such popular songs as Valencia or La Violetera, items to be included in the recital that offer the diva Madrid 6 April in the Teatro de la Zarzuela of the Spanish capital. It is a different evening, intimate, with an exquisite repertoire in which the famous interpreter of Verdi, Bizet and Saint-Saëns be introduced in the work of that almost forgotten genius who was Padilla almeriense, a creator of tunes that astonishes by its virtuosity. From the piano accompanied by the Basque Rubén Fernández Aguirre, María José Montiel promises a night of passion with a repertoire melancholy yet to be discovered.

On the agenda of the singer, and among his upcoming engagements, featured a concert accompanied by a select group of soloists of the Orchestra of Valencia and the program Five Neruda Songs de Peter Lieberson with the National Symphony Orchestra directed by Portuguese Joana Carnerio and at the Teatro Sao Carlos in Lisbon.

More information

Elina Garanca

She has been waiting a long time the public of Madrid Elina Garanca, without a doubt one of the great ladies of opera. The mezzo Letona, which has among its brilliant merits being considered as one of the reference Carmens history, will finally realize the dream of many fans on Sunday, 11 of March (18h00) with her long-awaited debut in this city. The logical expectation caused by this historic concert, has made tickets are sold out months ago.

And it is not only the meaning of his first visit to Madrid what makes it so valuable appointment, but also the program that offered that evening: equally dedicated, naturally, the opera Carmen by Georges Bizet and zarzuela. Not in vain, the singer wanted to baptize the concert as "A tribute to Spain". On the podium he will be the British teacher (Gibraltarian) Karel Mark Chichon, brand new principal conductor of the Philharmonic Orchestra of Gran Canaria, who continues bewitching audiences worldwide with their temperament, his passion and musicality; and under him the Coro Titular del Teatro de la Zarzuela and ORCAM, Holder also Orchestra Theater.

Elina Garanca -quien, Among his many commitments, in May debut at the Vienna State Opera the role of Dalila in Samson et Dalila opera by Camille Saint-Saëns, and which will open in September with the same paper season the Metropolitan Opera House in New York, will feature in the concert of Teatro de la Zarzuela with the complicity and talent of tenor Andeka Gorrotxategi, one of our most international singers, to interpret some of the romanzas.

Beside the selection of arias from Carmen, which will occupy the first part of the concert, viewers will hear the special beauty of her voice, "Intelligent musicality" her and enjoy his always impressive theatrical performance, in romanzas Lavapies El barberillo of Francisco Asenjo Barbieri, The barquillero Ruperto Chapí o chulapona Federico Torroba.
The interpreter is exclusive Deutsche Grammophon artist since 2005.

Mezzosoprano Elina Garanca ... ...

La mezzosoprano Elina Garanca, Born in Riga, Latvia, within a musical family, He studied with his mother at the Music Academy of Latvia. In 1999 He won the Mirjam Helin Singing Competition and was a finalist in the BBC Cardiff Singer of the World of 2001. He began his professional career as a resident artist at the Staatstheater in Meiningen Südthüringischer, where he interpreted many major roles, and later was a resident artist at the Frankfurt Opera. Since then, the interpreter has established itself as a major international star of opera thanks to his performances with leading opera companies and symphony orchestras around the world, obtained unanimous acclaim from critics and audiences for his beautiful voice, his intelligent musicality and theatrical performances sweeping. In September 2005, Elina Garanca became exclusive Deutsche Grammophon artist. During the season 2017-18, He has completed its long-awaited debut at the Opéra National de Paris as the
Princess Eboli in a new production of Don Carlo; in the Wiener Staatsoper debut in the role of a new production Dalila in Samson et Dalila, paper with which to open the next season of Metropolitan New York. Before, also return to the Royal Opera House Covent Garden Cavalleria rusticana with, and the Bayerische Staatsoper with Carmen. In chapter concert, Ravel and Berg will sing with the Berlin Philharmonic and Sir Simon Rattle; Mahler songs with the Vienna Philharmonic (in Vienna and on tour), and Christian Thielemann in Dresden and Salzburg.

Likewise, It will be headlining several festivals, galas and concerts throughout Europe and other continents. He has given numerous recitals and galas around the world, including Verdi's Requiem at La Scala with Daniel Barenboim, Anja Harteros, Jonas Kaufmann y René Pape, and recitals at Carnegie Hall in New York and Wigmore Hall in London. In 2013, He was honored by the Weiner Staatsoper with the title of Kammersängerin. Being one of the youngest recipients, Elina Garanca received this award for his devotion to the theater, where he has sung eighteen different characters in more than 140 functions since its debut in 2003. Elina Garanca acts for the first time at the Teatro de la Zarzuela.

KAREL MARK CHICHON ... Musical direction ...

British teacher continues bewitching audiences worldwide with their temperament, passion and musicality. In recognition of his services to music, Queen Elizabeth II named him an Officer of the Most Excellent Order of the British Empire and was elected Fellow of the Royal Academy of Music in recognition of his work in the profession. Born in London in 1971, Chichon studied at the Royal Academy of Music in London and was an assistant director Giuseppe Sinopoli and Valery Gergiev. Fue director titular de la German Radio Philharmonic Saarbrücken (2011-2017), Latvian National Symphony (2009-2012) and the Symphony of Graz in Austria (2006-2009). In May 2017 He was appointed principal conductor of the Philharmonic Orchestra of Gran Canaria. It has a major presence in theaters such as the Metropolitan in New York, Vienna State Opera, German opera en Berlín, Opera Munich, Rome and Bologna Opera and with orchestras such as the Vienna Philharmonic, Royal Concertgebouw, London Symphony Orchestra, English Chamber Orchestra, Dutch Radio Philharmonic, Radio Symphony Orchestra Berlin (RSB), Vienna Symphony, NHK Symphony Tokyo, Switzerland. In 2016 She debuted at the Metropolitan Opera in New York with Madama Butterfly, transmitted in HD 2000 theaters 66 countries, and again in 2019. It artista de German Grammophon, for which he has recorded numerous albums and dvds. Over the next five years will record the complete works of Dvořák with Radio Deutsche Philharmonie for the label Hänssler Classic. Between 2006 Y 2010 He was musical director of the concerts Christmas in Vienna, held in Vienna Konzerthaus and televised to millions. Karel Mark Chichon directed first at the Zarzuela Theater.

African duo

The Teatro de la Zarzuela It has the firm intention of popularizing the genre that gives name, zarzuela, in this century progresses and, and hurried, by its second decade. Add to loyal following that for years attends functions and is payable to the seasons, that other spectator who attends the theater not by prejudice towards gender or ignorance. And within this resolute intention, is especially important public young: make this approach without fear and free from ties to the zarzuela, thus giving continuity and ensuring its future, It is the laborious target.

For this reason, Teatro de la Plazuela de Jovellanos launched last season Zarza project, aimed at a young audience from 12 Y 18 years. Arguably, unhesitatingly, this is again one of the most important bets of the season. The title chosen for this second edition is 'The African duo' Manuel Fernández Caballero, and it will be performed by young singers who are mostly between 18 and the 28 years and they have been chosen through a long and thorough selection process over 100 auditions which have occurred over 300 boys and girls.

The duo African ', in this new production of Teatro de la Zarzuela, is a free version of the work of Fernández Caballero signed by Susana Gómez from libretto Miguel Echegaray write late nineteenth. Musical direction and scenic borne by the teacher Miguel Huertas and Susana Gómez own, respectively, and eighteen actors-singers will be accompanied by a chamber orchestra consisting of eight musicians. All functions will be in the Teatro de la Zarzuela of 28 February to 7 of March, and school passes will alternate (for students of secondary and high schools), of the 28 February to 2 of March, and 5 March day 7 (with a total of 9 functions), and to the general public, of the 2 al 4 of March.

This comic zarzuela in an act is made, so, by and for young people, priority following the philosophy of the project: bring the genre to new generations; and what better way than using their own language.
It is about, well, an unconventional proposal from the story of a modest opera company that is prepared for testing African, Opera great success of Meyerbeer. Querubini, the entrepreneur who runs this company, It has a policy of spending as little as possible, both the sets and singers. This comic zarzuela in an act was written in the late nineteenth, and the new version, which preserves fully the spirit of that, It now moves to a television set today, with auditions and competition included. Does that sound?

Wednesday, 28 February 10:00 hours and 12:30 hours (school functions)
Thursday, 1 of March 10:00 hours and 12:30 hours (school functions)
Friday, 2 of March 10:00 hours (school function) Y 19:00 hours (open function)
Saturday, 3 of March 19:00 hours (open function)
Sunday, 4 of March 12:00 hours (open function)
Tuesday, 6 of March 10:00 hours and 12:30 hours (school functions)
Wednesday, 7 of March 10:00 hours and 12:30 hours (school functions)

Matthias Goerne

The Teatro de la Zarzuela, in co-production with the National Broadcasting Music Center (CNDM), will present next Monday, 26 February, at 20h00, at XXIV Lied al German baritone Matthias Goerne, regular visitor and one of his favorite artists (He has acted in 15 occasions), playing next to excellent pianista Markus Hinterhäuser, the beautiful Miller (The beautiful molinera) from Franz Schubert. Always with especially demanding programs, its amazing proposals in a male voice reveal its permanent concern in this genre.

This season will address the three major cycles Schubertiads -after the beautiful Miller, they will arrive Winterreise (30 of April) Y swansong (8 of May)– who has already performed separately in this musical series, but this time in three recitals with little more than two months apart and with the same companion.

The tickets, with a General price 8 a 35 euros, are already for sale at the box office of Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49. Goerne's interpretation of these pieces becomes one of the indispensable appointments this season for opera lovers.

As “artist in Residence” CNDM this season, Goerne participates in three concerts more: with the Orchestra of the Community of Madrid, BARREL (Owner of Teatro de la Zarzuela) with his homeroom teacher, Victor Pablo Pérez, He sang last November, Kindertotenlieder from Gustav Mahler. He will also step on the scene of Teatro Real at Elijah from Mendelssohn, with the Grenadian Pablo Heras-Casado in front of two great German sets (Rias Chamber Choir Y Freiburger Barockorchester) in a CNDM co-production with the Philharmonic and the Madrid coliseum the next 8 of April. A couple of days later, will offer, inside of the Liceo Chamber cycle XXI at National Auditorium, and accompanied by the Belcea Quartet, the melancholic Night, on. 57 of Othmar Schoeck with poems by Lenau.

Schubert and his reflection on top of Lied

Based on a poetic anthology of Wilhelm Müller (1794-1827) published in 1820 under the title Seventy-seven poems from the posthumous papers of a traveling horn players (Seventy-seven poems from the posthumous papers of a traveling horn player), the beautiful Miller (1823) It has become one of the peaks of the lieder genre. Musicologist Paul L. Rodriguez indicates that: “Schubert not only used verses in this first cycle Müller, but in the second, Winterreise (1827), whose composition coincided with the death of the poet and nearly as well with his own. The composer had begun writing the first early 1823, that is to say, after a few weeks of their diagnosis of syphilis, the illness, then mortal, that would end his life five years later. Actually, the work is not limited to a depressed mood or a particular fact of his biography, but it reflects its nature. Musicologist Maynard Solomon published more than two decades ago an important psychoanalytic study of Viennese composer from numerous testimonies of the epoch that reveals its dual nature: a mixture of poetry inside attached to a hedonic outer. And it is precisely this condition which tormented hedonistic Schubert found in the poems of Müller an ideal expression of his experiences. The name of lieder cycle is secondary, Schubert then really made a selection of twenty poems which presents a complete emotional sequence itself, Although each episode of the story be more complete if you surround yourself with context. The composer used basic elements, but extremely effective, to achieve such unity. For example, He took the succession of colors as a way of crimping or oppose each of the lieder, all with the help of piano, far from being a mere accompaniment, acquires a fundamental role in weaving the start of each lieder soundstage, either become stream or alter ego of the protagonist.”

Matthias Goerne

Natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

Last season include concerts with major orchestras in the US and Europe such as the Boston Symphony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris y Philharmonia Orchestra London, as well as a series of recitals with Leif Ove Andsnes songs and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London and the new concert hall in Seoul LOTTE, among many other places. He has made a world tour singing Winterreise with the famous William Kentridge and another with the Freiburg Baroque Orchestra by major European cities. further, Goerne made his debut as Jochanaan (Salomé) at the Vienna State Opera as Wotan (Siegfried) version in concert with the Hong Kong Philharmonic and Jaap van Zweden. In summer 2017, he returned to the prestigious Salzburg Festival, where he sang the title role Wozzeck plus a lieder recital with piano Danii Trifonov.

Lost in Bosco

The Teatro de la Zarzuela presents 'Lost in Bosco', a magical dream of puppets and live music for young audiences

  • He new show, for spectators from 6 years, is a coproduction between the theater and Spanish-Canadian company Claroscvro, and it is signed by Julie Vachon Y Francisco de Paula Sánchez.
  • The history, whose characters come to life thanks to amazing puppetry, develops riding a Also very peculiar music: Cantigas of Alfonso X the Wise, Codex Calixtinus O Llibre Vermell de Montserrat, and other compositions medieval.
  • The music is performed live by Sara Marina Y Emilio Villalba, also they participate as "angels" in this fantasy.

It is known that both children as young boys son priority in the artistic and educational project of Teatro de la Zarzuela. The purpose is that the public still without prejudice, go familiarizing themselves with the essence of our musical heritage Y theatrical so that end part of nature with little effort, using the intelligent fun as a way of learning. Walk in this direction 'Lost in Bosco', he new show of the theater, for the public from 6 years, coproduced with the Spanish-Canadian company Claroscvro, and signed by the two alma maters of this: Julie Vachon Y Francisco de Paula Sánchez. They will total 12 functions, Ten for school (of the 2 al 9 February), Y two are open to the family audience: Saturday 10 February at 11h00 and at 13h00. All of them Coliseum in Ambigú, made for the occasion in a cozy theater, and by now it is recognized as an artistic space more Plazuela de Jovellanos in.

Maruxa

I returned to Maruxa home, he Teatro de la Zarzuela, almost 47 years later. It was in this theater which premiered at 1914 when its composer, Amadeo Vives, He was artistic director of the Zarzuela. And back in style. Upon entering we waited for the sound of a bagpipe that is creating the right environment to hear that, by musical director, José Miguel Pérez-Sierra, "It is a great Spanish opera of his time, and even more, It is a great European opera of his time. Vives, in the wake of Puccini, used as setting folklore, but with a completely orchestration Central, between the German and French traditions ".

When Daniel Bianco, director of Teatro de la Zarzuela, He commissioned Paco Azorín, take charge of the scenery became Maruxa, This asked him to do what he wanted. Y, of course, He has done what he wanted.

With the excuse, some, that the libretto Luis Pascual Frutos It is more than regrettable, so naif passages that do not exceed the most childish tales, Azorín has been allowed to build a new story. He wanted to pay tribute to Galicia and has adorned with verses of this Maruxa Rosalia de Castro and the elegant dance and live Maria Cabeza de Vaca, who embodies the character of Galicia as a goddess. It has created an atmosphere of mystery and meigas creating a forest full gauzy curtains moving and mist on a slate floor. All it enhanced with a successful lighting Pedro Yagüe.

But the second half came and with it the "do what I want". On battery images Urquiola disaster occurred in the seventies, He came the chorus, yes, in a memorable performance, dressed in overalls volunteers who cleaned up the spilled by the Prestige oil slick. A strange mix of events linked intentionally and stuffed with a shoehorn that generated some perplexity in the public. The end result was so strange forced the new argument. Only it served to detract prominence to a work and, especially, a music that deserves all the attention.

The direction of José Miguel Pérez-Sierra is very solid. Perfect knowledge of the score and the nature of the work, He maintained the tension from start to finish and got the better of a pit that increasingly sounds more roundness and solvency.

The vocal quintet was quite balanced. This work is an extraordinary vocal demands, both technical, and in sufficient volume to rival guarantees a powerful orchestra. He was noted for his vocal qualities and his stage presence, baritone Simon Orfila, in the role of Rufo.

A high altitude also shone the pair of protagonists Maite Alberola (somewhat old-vocal volume), and as Maruxa Rodrigo Esteves, in a remarkable Pablo.

Carlos Fidalgo he played a convincing Antonio and Svetla Krasteva He replaced in the character of an indisposed Rosa Ekaterina Metlova.

Curiosa Maruxa to be missed if you want to review first hand. a version, Paco Azorín the, for music lovers of Amadeo Vives but, especially, for theater lovers.

Maruxa

That humans, the species to which we belong and so often it seems that is beyond good and evil, First accelerates aging and deterioration of the planet we inhabit, It is no secret. Not even news, even though the media around the world gather daily petty actions involved in this voluntary manslaughter and collective. This is the current point as bleak as part of Paco Azorín with its impressive reading 'Maruxa', opera in two acts by égloga Amadeo Vives, in a new production of Teatro de la Zarzuela which will be released next 25 from January, and that the public can participate 14 functions to 11 February.

Galicia, our Galicia, of Rosalia de Castro as present in the imaginary (most beautiful place on earth no / Galicia dream, enchanted Galicia), It is the bitter pretext that helps the stage director and set designer to conceive this painful song; this cry to the world from the abyss of a foggy cliff. "Maruxa is a corner in Galicia, Galicia is Maruxa ". A tragedy", as the creator defines: "Maruxa is a song painful to Galicia, a sort of Stabat Mater ". How would Rosalia own: "Large said land for a term always have great catastrophes."

we met, well, between the world of églogas past and present environmental tragedies. The actions of the most powerful affect the townsfolk, which usually try to live in harmony with nature. This time, the testimony dances Vives notes clutching the waist of a walking a tightrope between love and desire story.

Celebration: 'Maruxa', 46 years later
On the other hand, and one more time, the Teatro de la Zarzuela is celebrating. In this case, thanks to 'Maruxa' returns to the secular stage, in which premiered at 1914, after 46 year absence. Those two functions then also had a strong festive as they were programmed, in June 1971, to mark the centenary of the birth of Amadeo Vives. This almost half a century without raising tables theater Jovellanos Street in Madrid makes it even exceeds the expectation around the title, whose original script is signed by playwright Luis Pascual Frutos.

But the reason is not only the impact of the new installation or long absence on the stage of La Zarzuela which has raised such interest. He has also made, and largely, the whole proposal. And is not for less, as the stage direction and set design by Paco Azorín, one of the biggest names in the theatrical creation today, He joins the expertise of international José Miguel Pérez-Sierra, reference baton will head the Community of Madrid Orchestra (Titular del Teatro) and delCoro Holder Teatro de la Zarzuela, double cast for the score seems to be tailor-made and an artistic team that puts quite naturally our lyrical genre in the XXI century.

'Maruxa', He is according to the master Perez-Sierra, "It is filled with light music, yet elegant, and combines the art of lyric writing of the time, allowing these-apparently simple characters traveling on the same roads that other contemporary heroes have gone through different stages in the continent ". The play, Besides, It is full of orchestral nuances that are easy for the public, but especially difficult for interpreters.

precisely this, the difficulty of addressing the sheet music singers, has been, according to the opinion of conductor, one of the stumbling blocks that has faced 'Maruxa': "If not done more over the past century, It is because it is an extremely difficult work of cantary were very few artists able to do ". But this is not the case in, much less, because it ensures that the representations of the Teatro de la Zarzuela "We have wonderful teams that certainly the public will enjoy it immensely."

Height distributions referred to Pérez-Sierra will be composed of sopranos Maite Alberola and Susana Cordón on the role of Maruxa (young love with Pablo), baritones Rodrigo Borja Esteves and perhaps Paul's (the young lover of Maruxa), Simon Orfila low as Rufo (foreman must ensure the relationship between Rosa and Antonio), Ekaterina sopranos and Svetla Krasteva Metlova by serving as Rosa (premium Antonio, with whom he must marry to perpetuate the substantial family farm, but passionately attracted to the naive Pablo), tenors Carlos Fidalgo and Jorge Rodriguez-Norton
impersonating Antonio (cousin Rosa, who must marry, and attracted by Maruxa) and baritone Carles Pachón, recent winner of the International Competition Alfredo Kraus, as the voice of a Zagal. Joining them will alternate the scene 12 actors and dancer Maria Cabeza de Vaca, which will be the goddess Galicia. Likewise, It will ring off the voice of actress Maria Pujalte.

It is also necessary to emphasize the heterogeneous uniquely designed costumes for the occasion by Anna Güell, lighting and projections Pedro Yagüe and Pedro Chamizo respectively, with a decisive role in the development of the work, and stage movement generated by Carlos Martos.

When in 1914 Amadeo Vives assumes the artistic direction of the new Teatro de la Zarzuela, which it had been rebuilt after a fire in 1909, the premiere of the new work by the Catalan composer projects, 'Maruxa', an exceptional job in his musical production, an eclogue without speaking parts. His triumph was clamorous, Y, from there, He toured all the stages in Spain, even to New York 1919 (as happened with El Gato Montes the following year).

'Maruxa' is an example of nationalism folklorist, since all the music seems to use popular melodic themes with great ease, combining the Verismo prevailing at the time with a taste for opera and operetta that is embodied in the concept of the show and the vocal treatment of the characters. The action is continuous and different issues occur with admirable skill constructive. Is, definitely, masterfully written score in which the popular highlights in a special way. Since its premiere, 'Maruxa' has been part of the outstanding history of lyrical theater in general national, and the Teatro de la Zarzuela in
particular.

AROUND 'MARUXA'
As it is usual in all stagings of Teatro de la Zarzuela, around 'Maruxa' are scheduled several activities:

On Friday 19 from January, and for the premiere, a conference that will give the philologist Concha Baeza be held at the Theater ambigú, and it will be devoted to this work of Vives (Ambigú the Teatro de la Zarzuela, 19h30).

Monday 23 from January, Paco Azorín and Jose Miguel Perez-.Sierra converse with French performing arts students and members of the National Youth Classical Theater Company, as preamble pre-rehearsal to be attended once the chatter (Teatro de la Zarzuela, 16h30 and 18h00, in collaboration with the National Classical Theater Company).

Monday 29 January at 19h30, Perez-Sierra Maestro will star, Ambigú in the Teatro de la Zarzuela, a meeting aimed at students in conducting and students from various musical disciplines.

Monday 5 February at 19h30, Paco Azorín will meet with students of different branches of the performing arts, design or cinematography at the main hall of the theater. Daniel Bianco submit, director of Teatro de la Zarzuela.
All meetings will be invited users Youth Card Theater, which they are already close 700.

Piotr Beczala

Next Monday 8 from January, he Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM) and the collaboration of Polish Institute of Culture, presents the tenor Piotr Beczala in what will be your first visit to the Lied Cycle. Beczala arrives accompanied by Helmut Deusch at the piano to offer a program composed of works by italian authors (Donaudy, Wolf-Ferrari, Respighi y Tosti) and Polish (Szymanowski, Karlowicz s Moniuszko). tickets, with a general price 8 a 35 euros, are already on sale at the theater box office, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

With a well-studied combination of Italian and Polish songs with a wide temporal range, containing pages that go of romanticism more lyrical to post-impressionism, and with the Karlowicz's powerful novelty, deeply influenced by german music, makes its appearance in these cycles this tenor, pro mozartiano in his beginnings, what has grown in technique, vocal density and volume until you reach the top of your media, who are today those of a fully lyrical. Likewise, s a guarantee listed next to it Helmut Deutsch, sober pianist, safe and musical.

A tenor at the peak of his means

Piotr Beczala (Czechowice-Dziedzice, Poland, 1966) he is one of the most sought-after lyrical tenors of our time and a regular guest at the most important opera houses in the world. The artist, pro mozartiano in his beginnings, who has grown in technique, volume and vocal density and who has reached the peak of his means, that are today those of a lyric of rare fullness with ease, style and line, he is acclaimed not only for the beauty of his voice, but also by an ardent vehemence that he manifests in each of the characters he represents. In addition to his operatic work, has sung in many choral works with the most distinguished orchestras and teachers. During the season 2016-2017 has performed again in Chicago, NY, Berlin, Barcelona, Vienna and Zurich among many other cities. After a recital with the San Diego Opera, Piotr played the role of Edgardo in a new production of Lucia of Lammermoor en la Lyric Opera de Chicago. In New York he sang the role of Rodolfo in Bohemian at the Metropolitan Opera, where he celebrated the 50th Anniversary of the MET, interpretation that catapulted him for his return to the Deutsche Oper Berlin. His brilliant last season continued with the Werther by Massenet at the Gran Teatro del Liceo and with a recital at the Palau de la Música, both in Barcelona; Frankfurt, Graz, Berlin and Hamburg will host new recitals to return to the Wiener Staatsoper, where Beczala leads a revival of A masked ball before participating in a new production of The Land of Smiles de Lehar at the Opernhaus Zurich in the role of Prince Soy Chong. Beczala has recorded numerous albums and, since 2012, works exclusively with Deutsche Grammophon: his first album My Heart’s Delight It was released in the spring of 2013. In 2012 sang for the second year in a row at the New Year's Concert at the Semperoper in Dresden. The concerts, directed by Christian Thielemann, They were broadcast on television and recorded on records and DVDs by Deutsche Grammophon.. His last recording for this label The French Collection, was published in 2015. This year he has released a DVD of his performance in the role of Lohengrin alongside Anna Netrebko as Elsa.. In 2014 was chosen by the ECHO Klassik Award as "Singer of the Year".

News