The XXVIII edition ends this season Lied cycle ofl Zarzuela Theater and the CNDM, and does it in style with the opportunity to listen to the project of Christian Gerhaher, The Wolf Project, which is offered in the format of two recitals, he 11 of July Spanish song book, with soprano Julia Kleiter and the 18 July with the mezzo-soprano Anna Lucia Richter. In both appointments accompanied on the piano by Ammiel Bushakevitz.
Gerhaher always manages to take us to a higher level. And that he does it with a less conventional repertoire and accompanied by young figures, although already consecrated, from the world of lied, is one more twist to this form of interpretation.
Hugo Wolf had never traveled to Spain, but the Nordics have always felt a kind of attraction for everything that had to do with southern Europe, above all they were attracted to the light, so scarce in their countries of origin. If Wolf knew Renaissance music, especially that of Tomás Luis de Victoria. He also knew great works of Spanish literature. Although the end result of these Spanish song book does not have any element that seems to be inspired by Spanish music or culture.
The texts used by Wolf belong to different centuries. Not so the translations of the eighteenth century, work of Geibel and Heyse and, so, understood and interpreted in the same way. The texts for the elaboration of these songs are taken from the Florestán of old Castilian rhymes (1821, 1825 Y 1843), the general songbook (1511) by Hernando del Castillo, the Songbook called Flower of lovers (1562) or the general ballad (1604). The 10 first, the Holy songs, they are religious songs. The 34 remaining, the Secular Songs, they are secular songs. The latter were divided into two parts for the recital.
Christian Gerhaher is an interpreter who transmits a lot with his voice and hardly anything with his expression or gesture. Everything bets on his way of “saying” the texts, almost always flawless, thanks also to a perfect phrasing. Your doorbell has a peculiarity lately, seems less and less baritonal, as for dark records. Which does not affect its expressiveness and intensity at all.
In this first recital he was accompanied by debutante Julia Kleiter. A vocal prodigy, of refined technique and musicality. With a surprising volume and absolute control of the vocal game that allows you to deliver emotions that reach the audience in a captivating way. He had some especially happy and emotional interventions, in this format in which they strutted before the lectern and which gave fluidity and balance to the recital.
Ammiel Bushakevitz's piano was also a very pleasant surprise. Accompanied from the background, this being a great virtue. It did not detract from the voices but their presence was evident and extraordinary. Pending all the details and all the dynamic changes, that were not few, taking into account that each of the works that alternated had no relation to each other. His intervention was full of freshness and brought his nuance to each of the works.
The second part of this peculiar project was carried out by the mezzo-soprano Anna Lucia Richter, next to Gerhaher. Last season we had the opportunity to attend his brand new debut at this Theater.
On this occasion Wolf uses texts from a compilation by Paul Heyse in 1860. Some German translations of texts such as Tuscan folk songs, corsi, Illyrians, greeks, by Nicolo Tommaseo. Tuscan folk songs about Giuseppe Trigi. Unpublished popular songsUmbrians, Ligurians, Marches, Piedmontese, Latin, by Oreste Mrcoaldi. Y songs of the Venetian people, by Angelo Dalmedico.
On this occasion the texts did not deal with, as in the Spanish song book, popular and religious songs, these are small everyday texts, small anecdotes and details of daily life.
Anna Lucia Richter is transformed by this repertoire and makes use of theatricality. His song is homogeneous and the expressiveness of his face, sometimes humorous, helps narrate the short stories it tells.
Christian Gerhaher, unlike the first recital, innermost, uses its volumes in the broadcast to give character to the character it plays. The forte becomes one of the main protagonists.
On this occasion the piano requires a greater role, and without a doubt Ammiel Bushakevitz knows how to endow his instrument with that quality. He knows how to generate every atmosphere, however small it may seem, and fill with nuances and accents each word pronounced by the interpreters.
A perfect finishing touch for this XXVIII Cycle of Lied of the Teatro de la Zarzuela and the CNDM that has been full of unforgettable moments. We already count the days for the start of the next season that begins, nothing less, that with René Pape.
Photograph: Elvira Megías/CNDM
The music of Isaac Albeniz and Francisco Tárrega, contemporary composers between the 19th century and the last century, will put the brooch to the Notes of the Ambigu cycle 21/22 of the Teatro de la Zarzuela, the next Monday 4 of July (20h00). It will be the virtuoso guitarist Rafael Aguirre who will present the most romantic profile of both musicians.
From Albéniz they will sound ‘Asturias. Legend' and 'Seville' of the 'Spanish suite', on. 47, with arrangements of Andres Segovia and Manuel Barrueco respectively; 'Cordoba' of 'Songs of Spain', on. 232, according to John Williams; and ‘Vermeja Tower. Serenade' of ‘characteristic pieces’, on. 92, arranged by Rafael Aguirre himself.
Meanwhile, Tarrega's music, one of the great guitar masters, said passage is, will be present through 'Venice's Carnival' –variations on a theme Niccolò Paganini–, 'Arab caprice', 'Teardrop. Prelude' and the ‘Gran jota on popular motifs’.
And being in the coliseum in Plazuela de Jovellanos, two of the illustrious names of the zarzuela genre could not be missing: Federico Chueca Y Joaquín Valverde with the 'Vals-jota de los Ratas' by 'The Great Way' precisely according to Francisco Tárrega.
A special night to complete another edition of a successful cycle.
He Notes cycle Ambigú the Teatro de la Zarzuela will host the next Tuesday 28 of June (20h00) a concert dedicated to young composers. He Opus set 22 will take over, under the title ‘Contemporary Spanish Music’, the prèmieres of the four winning works of the I Prize for Composition of the Teatro de la Zarzuela and the Royal Conservatory of Music of Madrid.
The jury appointed by both institutions highlighted in its day the "high level" of all the compositions presented, and unanimously agreed to reward four of the works presented: "The eternity of an instant" Adela Rodríguez Yus, Grave of the Fireflies and Digital Aneurysm Pablo Gonzalez Gonzalez, "Behind a Crystal Abyss" Victor Pantoja Figueroa and "Tears of Light" by Nuria Maria Sanchez Sanchez.
The Ensemble Opus 22 was born precisely as a response to the musical concern of four young Spanish performers for investigate and disseminate current music. Composed by Ana Carmen Sanchez Bruno, fiddle; Inaki Marcos Bueno, clarinets; Alejandro Fenollosa Beltrán, saxophones; Y Javier Pena Tamayo, piano, he commitment to the compositional landscape national is among their priorities.
They chose the prize students enrolled in the specialty of Composition or Sonology during the academic course 2021/2022 of the RCSMM or those who have obtained in this academic institution the Higher Degree of that discipline in last two years academics.
Notes Ambigú 21/22
This season the Theater has once again offered the double of recitals that at the beginning of the cycle. 10 other inescapable that will end next 4 of July.
After the concert of Opus set 22 which will premiere the four winning works of the I contest of the Teatro de la Zarzuela and theRoyal Conservatory of Music of Madrid for young composers (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).
In just one year, Xavier Anduaga has made his debut at the Teatro Real, the Paris Opera and London's Covent Garden. And its presentation is announced next season at the New York MET. If we take into account that we are talking about a tenor of just 27 years, we will be aware that we are facing one of the most important lyrical voices of recent decades.
Continuing with the presentations, This week he has given his first recital at the Teatro de la Zarzuela. With the title of "Our music", Anduaga has toured the most important ballads of our musical scene. The first part began with "Bella in love", from The last Romantic, of masters Soutuolo and Vert. He continued with the inevitable "From this peaceful corner of Madrid", by Moreno Torroba. In both pieces he demonstrated the generous volume of his light lyrical voice..
Of the master Usandizaga he interpreted "Alare!, a place of happiness!”, of Mendi-Mendiya, with exquisite taste. In "Red Flower", by Los gavilanes, Jacinto Guerrero, demonstrated his mastery of bound, prolonging well-held sentences. He finished this first part with "by the smoke it is known", by Dona Francisquita de Vives, that approached with intention and sunny and full voice.
The second part began with "Goodbye Granada", of Los emigrantes and a spectacular “Tamar, reason for my existence”, from The Flame of Usandizaga. Here Anduaga demonstrated his exquisite taste and musicality. In "it can't be, this woman is not good, from The Tavern Girl of the Port by Pablo Sorozabal, in which he exhibited great intensity and drama, just like in Maitechu mine!, Francisco Alonso.
The program ended with an exciting interpretation of Júrame, of Maria Grever and Granada, Agustin Lara. By then the public had already gone crazy. The silence throughout the recital was sepulchral, a stunned silence at the young tenor's vocal qualities. generous volume, an enameled and luminous chime that filled the room with little effort. Metal even in the middle voices. Phrases with intention and emotion and regulates effectively.
As a first tip, she offered the traditional Basque lullaby Nice baby, performed in low voice, With the tenderness that memories evoke. As a second he repeated "You know by the smoke", by Doña Francisquita.
He was accompanied on piano by Giulio Zappa, who did his job, but he didn't have his night. It became almost the protagonist during the first part by simultaneously using an electronic support for the scores, and an assistant to turn the pages. Both things were incompatible and had us distracted and in suspense, he even had to start over one of the pieces.
With these wickers and thinking about the journey ahead to polish and perfect all those singing qualities that he treasures, the short future, medium and long, it looks spectacular. This has only started…
Photograph: Elena del Real
British tenor Mark Padmore, owner of a sinuous and flexible voice capable of the most exquisite nuances, will give us the next Monday 20 of June (20h00) at ciclo de Lied co-produced by Teatro de la Zarzuela and the National Dissemination Center Musical (CNDM), an intense schumannian monograph accompanied on the piano by the virtuoso Kristian Bezuidenhout.
In this long-awaited recital, the public will have the opportunity to listen to the suggestive group of sweet lieder on poems by Justinus Kerner, op.35, as well as an interpretation of 'Song cycle', op.39 in a more historically correct version which incorporates other songs..
Mark Padmore was born in London and grew up in Canterbury. After beginning his studies in clarinet, He won a scholarship to study at King's College, Cambridge, where I know graduated in music. Padmore has built a brilliant career in the world of opera, A) Yes as in concerts or recitals, with performances of Bach's Passions that have given him true international recognition. At the opera, has worked with stage directors as Peter Brook, Katie Mitchell, Mark Morris y Deborah Warner y has recently appeared in a new production ofDeath in Venice,Britten, in the Royal Opera House in London. He has sung the main characters of the operas of Harrison BirtwistleThe corridorYThe cureat the Aldeburgh Festival and the Theater of Linbury;Jephthah,Haendel, for the Welsh National Opera and the English National Opera; Captain Vere andBilly Budd,Britten, and the role of Evangelista in a staged concert of theMatthewPassion,Bach, at the Glyndebourne Festival. He also played Peter Quint inThe turn of the screw,Britten, in a television production for the BBC and recorded as protagonistLa clemenza di Tito,Mozart, with René Jacobs for Harmonia Mundi. This season, it is worth noting his artistic residency at Wigmore Hall, where celebrates his professional relationship with pianists of the stature of Till Fellner, Imogen Cooper, Paul Lewis y Mitsuko Uchida; with the latter he has recently made an important tour across North America. His extensive discography includes theMissa solemnis,Beethoven, YThe creation,Haydn, with Bernard Haitink and the Bavarian Radio Symphony Orchestra for B.R. Classic, or an album ofSongsBeethoven, Haydn y Mozart con Kristian Bezuidenhout for Harmonia Mundi. Mark Padmore has participated in three editions of the Lied Cycle: XIV (07-08), XVIII (11-12) y 28 (21-22).
Photograph: Marco Borggreve
On Tuesday 21 of June (20h00) presents at the Madrid Coliseum 'Our music'
Xabier Anduaga, one of the great young voices of world opera, offers in the Teatro de la Zarzuela a concert dedicated to extolling the genre. He will be accompanied on piano by Giulio Zappa.
Madrid, 16 of JUNE 2022.- Under the title 'Our music', the tenor Xabier Anduaga will review the next Tuesday 21 of June (20h00) at Teatro de la Zarzuela a good collection of the most significant romances of the genre. The San Sebastian tenor, day by day one of the most important voices of the world lyric, will offer the recital within the Concert seriesof the Madrid Coliseum accompanied by the pianist Giulio Zappa.
The concert will therefore be a exciting journey for works composed by some of the most outstanding zarzuela musicians such as Moreno Torroba, Sorozábal, Guridi, Usandizaga, Vives, Guerrero, Serrano, Soutullo and Vert O Barrier and Alley, in addition to traveling through the beauty and feeling of songs by Francisco Alonso, Agustin Lara, Maria Grever O Manuel Maria Ponce, that at this point transcend any time.
Giulio Zappa will perform on piano solo a nostalgia by Guridi and a bolero by Casella.
This year marks 148 since‘El barberillo de Lavapiés’ will premiere at the Teatro de la Zarzuela back in 1874. In all this time the work of Francisco Asenjo Barbieri –whose birth bicentenary is celebrated next year–, with magnificent libretto Luis Mariano de Larra –son of the insightful romantic intellectual ‘Figaro’–, has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. All one musical theater party 15 al 26 of June will brighten up the coliseum in Plazuela de Jovellanos with 10 functions of the acclaimed own production signed by Alfredo Sanzol and premiered on this stage in 2019.
He interest and the expectation of this Barberillo are not only due to the exceptional musical and literary material that make it a incontestable masterpiece; one of the funniest and happiest works of the lyrical repertoire which has remained on the scene to this day as a emblem of the Spanish lyric. It also reaches event quality, even in its replacement (and ticket sales don't lie), by those who are responsible for setting it up. The stage director and adapter of the text, Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today, or the international teacher José Miguel Pérez-Sierra, what, as usual, will give verve to the moat in front of the Community of Madrid Orchestra (Titular del Teatro). The production has the unique scenery and colorful costumes of Alejandro Andújar, the ever-revealing illumination of Pedro Yagüe and the choreography (so important in this title) from Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to making the work current and modern.
They will, Besides, two the deliveries (and three Barberillos) those who sing the brilliant 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 Y David Oller; Paloma will be played by the mezzosopranos Cristina Faus Y Carol Garcia; 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 Y Cristina Toledo; tenors Javier Tomé Y Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; baritone Gerardo Bullón will be the conspirator Don Juan de Peralta, and low Abel Garcia, Don Pedro de Monforte, defender of law and justice.
This double cast will be accompanied on stage by Holder Choir Teatro de la Zarzuela, as well as ten dancers and eight actors who also dance in each and every dance number.
Music & Performance. Validity, comedy, beauty
José Miguel Pérez-Sierra, who describes the work as «one of the tops of the genre», He argues that collaboration between Larra and Barbieri is more interesting, since «together they create a work in which one lives, breathes Madrid. A Eighteenth-century Madrid in the plot and nineteenth-century in music, but with a timeless perfume which means that even today this zarzuela has full validity».
Alfredo Sanzol, meanwhile, emphasizes that "the comic and adventurous tone of the function It is what we have promoted without ever forgetting that both things go hand in hand with the search for beauty.». The stage director points in each of his works to the idea that «the depth of life and their difficult conflicts they need the vision of comedy to find liberating solutions».
Barbieri and Larra they mix a popular plot, Loves the Lamparilla and Paloma, with the sentimental dalliances of two aristocrats, the Marquesita Star and Don Luis, and all this with a political background: the transition forced from a government of Grimaldi to Floridablanca. It is a thematic model that Barbieri had already used in Play with fire, The diamonds in the crown O bread and bulls, but that with Larra's text —written in verse— is filled with adventure, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.
Photograph: Javier de Real
with the recital ‘Today’s female composers at the piano’ what mario Prisuelos dedicated to the contemporary spanish creators, he Teatro de la Zarzuela will put the finishing touch to this season Chamber Sundays cycle. will be the next Sunday 5 June at 12:00 at Ambigú Coliseum, and tickets are available at single price of €6.
Mario Prisuelos will include in his concert music by Nuria Núñez, Marisa Manchado, Mercedes Zavala Y Teresa Catalán, with world premieres of Nuria Maria Sanchez, Ines Badalo and Sonia Megias.
Considered one of the most relevant pianists of his generation, In the extensive career of Mario Prisuelos, his firm commitment to the music of its time, for what has been released, recorded and performed works—often dedicated to him—by composers such as Tomás Marco, Jesús Rueda, David del Puerto, Jose Maria Sanchez-Verdu, Jesus Torres, Mercedes Zavala, Nuria Núñez O Mauricio Sotelo.
Each concert of the cycle has had one or more absolute premieres, a good part of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. On this occasion there will be three works that will be performed for the first time: Enneatypes by Nuria Mª Sánchez, 'Libro de arena' by Inés Badalo and 'Cubanías nº 1' by Sonia Megías.
Through the cycle Domingos de Cámara, that will have a new edition in the next season, the theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition.
Lara Diloy, naturalness leading an orchestra
Lara Diloy found in conducting the orchestra the best way to connect with her greatest passion, music. As an assistant director, she is a guarantee for theaters and head directors.. And we have been able to verify it recently, directing some performances of the opera Don Gil de Alcalá at the Teatro de la Zarzuela. His confidence and attitude in front of an orchestra show us that we are facing one of the new conducting talents in our country. the future is here.
How and when did you decide that you want to be a conductor??
In my case it has been a natural consequence of my dedication and passion for music. Since I was little I discovered that making music with other people made me very happy. The orchestra was my home, That's why when I finished higher horn studies and I felt that I needed to broaden my training to become a more complete musician, the option was to study orchestra conducting, since this discipline allowed me to deepen my knowledge while staying linked to the orchestra.
If I have to choose a key moment in which I decided to dedicate myself professionally to it, was participating in a JONDE meeting as a young director. The experience filled me so much that the following year I left my job as a teacher and the collaborations as a horn player in orchestras., and since then I have devoted myself body and soul to directing.
The conductor is the only musician who does not make a sound, but get everyone else to do it. What qualities do you think a conductor should have??
It is true that we do not emit any sound directly, but I will point out that the baton sounds (and a lot). The orchestra perceives our energy and our knowledge of music, and as such transfers it to the interpretation. That is the magic of conducting.
The necessary qualities are multiple since our discipline requires mastery of many facets. But something that I consider fundamental is to have a deep knowledge of the music that you have in your hands, decide your interpretive idea and, Of course, have the ability to communicate to transmit it to the group in front of you at all times.
She has been on several occasions assistant director at the Teatro de la Zarzuela, but this is the first time in which he has had to replace the titular teacher in several functions. Although, sooner or later that time may come, How is it?, what went through your head?
It really has been an unforgettable experience. Although as an assistant you are aware that at any time something can happen and you have to replace the teacher, usually does not happen. That is why it is difficult to know how you will react in such a situation..
In Don Gil de Alcalá I have had to take command in a few hours (They told me at 3:00 p.m. and the function was at 8:00 p.m.), and I can say that I only thought about doing what I had to do: be calm and lead. He knew perfectly the music and the production, and she was also surrounded by the teacher from a distance and throughout the theater. Fantastic energy was generated with the singers, the choir and the orchestra, and that energy reached the public. I can only be thankful for this opportunity.
Although he has had the opportunity to direct in important theaters such as Auditorio Nacional de Música and Teatro Monumental (Madrid), Alfredo Kraus Auditorium (The Gran Canarian palms) or the Arriaga Theater (Bilbao), How was this first experience leading the Orchestra, the Choir and the group of singers in a production as important as that of Don Gil de Alcalá at the Teatro de la Zarzuela?
It is a very special debut for me for many reasons. First, because debuting at the Teatro de la Zarzuela is a dream come true. I have been attending as a public for years, participating in various productions and working with enthusiasm to get to direct from the pit.
I feel very lucky that it was with a title like Don Gil de Alcalá, a Penella opera with wonderful music, in this production by Emilio Sagi that delights viewers (is a "candy"). If you add to that having worked hand in hand with maestro Macías and a huge cast professionally and humanly, and make music with the Madrid Community Orchestra and the Theater Choir, groups to which I have great affection, it is pure emotion to have lived this experience, so it will always hold an important place in my memory.
The figure of assistant director is not well known. Explain to us a little what it consists of and the importance it has in a production.
The work carried out by the musical assistant is fundamental within a production and, how do you say, little known and recognized. It is the extension of the musical teacher in the Theater, and for this reason this figure acquires importance for all the elements that form it: production, regiduría, technical team, orchestra (File, Archive, inspection, musicians), choir… The assistant conductor is in charge of matters such as preparing the materials in coordination with the archive of the orchestra, give notes to the singers, to the choir and orchestra, to listen to the balances in rehearsals, substitute the teacher in stage rehearsals (readings, sets and functions if necessary)… Together with the repeating teachers they form the musical team and facilitate the work of the director.
When there are internal bands, takes charge of directing them, something that in my case I have had to do in theaters such as the Maestranza or the Palau de Les Arts. The workload is extended when you are a musical assistant for a Season. Since 2021 I have assumed this role at the Oviedo Opera, where I also perform musical coordination tasks that have to do with the long term (template forecast, cortes, arrangement of the orchestra and a long etc.)
The work of the assistant director is not only important in productions, also in symphonic concerts or lyrical galas. I have recently been an assistant at the Teatro Real together with maestro Rovaris, at a gala with Lisette Oropesa, and the coordination with the theater archive and the teacher to prepare the materials was fundamental to optimize the rehearsal time to the maximum.
In addition to conducting, She is the director and founder of the Sinan Kay White Voices Choir., that we have been able to hear these days participating in Carmen, Bizet, at the Monumental Theater with the RTVE Orchestra and Choir. How did this project come about and what does it mean to you??
Sinan Kay is a very personal project. It arises from my time as a teacher, where I took charge of the children's choir of the center where I worked. The group disappeared from the programming and parents and students wanted to continue with the activity. It was established as an association in the course 2015/2016 and since then we have always sought a balance between artistic and pedagogical excellence.
In addition to having a multidisciplinary teaching team, we have participated in numerous competitions and festivals, being awarded several times. As for collaborations, we have sung in productions of the Teatro de la Zarzuela together with the Orchestra and Choir of the Community of Madrid and the Choir of the Theater, highlighting titles such as Pinocchio, The Wildcat or Mirentxu, and together with the Orchestra and Choir of Radio Televisión Española in the Concert of Kings of 2020 and in this Carmen. Next season we have commitments with both institutions again.
His knowledge of the symphonic and operatic repertoire is very broad. If you had to choose one of the two, Do you prefer conducting “only” symphony orchestras or do you prefer opera?
I have played in orchestra since the 12 years. The symphonic repertoire has always accompanied me and has made me grow as a musician. I could not conceive of dedicating myself to conducting an orchestra leaving aside that repertoire. Even so, I think that in the lyrical world I am finding my space. I feel comfortable and my high dedication to it in recent years is paying off. You work on a production for several weeks, there is more time to delve into the music and to get to know the people you work with, and that part makes me tilt the balance towards opera and zarzuela, although I would like to combine both.
You have said that women come to the orchestra direction to give you another point of view, enrich… what is yours?, what does Lara Diloy propose baton in hand?
Of course, I consider that the inclusion of new profiles in any field is enriching. Although perhaps my contribution is not new, yes i think it's rare: treat the profession naturally (we are people prepared to do a complex job, but not "divos" or anything like that), with leadership based on teamwork and making others shine, and seeking excellence from the love for music and the respect and affection for the people who accompany me in each project.
Are there any directors you particularly look up to or inspire you?
In the last year I have been fortunate to work with wonderful teachers.: Yves Abel, Corrado Rovaris, Ramón Tebar, Gianluca Marcianó, Lucas Macías, Ivan Lopez-Reynoso, Daniele Callegari… I have learned a lot from them and they are my greatest source of inspiration on a day-to-day basis.
I also have a lot to thank Óliver Díaz, with whom I have worked for a long time, that stands out for its professionalism and human stature. further, I follow Spanish directors or those who are making a career in Spain like Pablo González or Dima Slobodeniouk, since they are very talented musicians.
As for great names in history, Carlos Kleiber is a reference that I always have in mind. And also women like Marin Alsop or Susanna Mälkki who have been pioneers and have paved the way for us.
Is there a composer or work that you particularly like to direct and why??
I feel very comfortable directing Spanish repertoire, both lyrical and symphonic, and also with music by composers such as Mozart and Beethoven. Perhaps because they have been the pillars of my training as a musician and they adhere to the DNA. Even so, every time I am incorporating more repertoire and, even if it sounds cliché, I try that the work that I am interpreting or studying at each moment is the most wonderful in the world.
Surely you are already fulfilling one of your dreams. Where would you like to see yourself in not too long??, what do you dream about?
The most important is being done, What is it to be able to live from conducting an orchestra?. From then on I would always like to continue improving myself and improving., consolidate my career in Spanish theaters and orchestras, and take off with an international career.
After the splendid 'Lost in Bosch' and 'The incredible story of Juan Latino', he Teatro de la Zarzuela continues betting on quality children's theater with ‘The sky of Sepharad’, the new montage co-produced with the Claroscvro company What does it offer? a storyof love, humor, magic and tenderness. It is a bright music production, puppets and masks to be presented in Ambigú Coliseum, and narrates with special sensitivity and plainness the tragedy of Noa's expulsion from Spain, a jewish girl, and his cat. They offered 18 works to public from 6 years, and representations of the Saturday 28 (13h00 y 19h00) and Sunday 29 of May (11h30 y 13h00) will be open to the public with a single price of 10 euros.
In 'The sky of Sepharad', as in all Claroscvro productions, music is an essential element for the development of the show. Is one more character. This time, history is woven with Sephardic traditional music, works of the Palace Songbook and 15th century Spanish composers. The spirit of the work is that forced physical and emotional journey undertaken by those who were guardians and transmitters of a legacy that they treasured as a stolen love but always alive.
Therefore, in this music and theater celebration, example of courage through beauty, you want to show the resilience of the human being, on surprising ability to adapt to the environment even in the most harmful circumstances. 'The sky of Sepharad' is, first of all, a love story that lasts until today; the unconditional love story of that town, the sefardi, for his lost paradise.
The production has the stage direction of Larissa Ramos, together with those who are the soul of Claroscvro, Julie Vachon Y Francisco de Paula Sánchez, who also work as actors and puppeteers. The musical direction is from Enrique Pastor, that touches the fidula, the citole, the lute and the vihuela, next to Mary Jose Piré, voice, flute and percussion.
The Spanish-Canadian company Claroscvrotheater, one of the world references in puppet theater directed by Julie Vachon and Francisco de Paula Sánchez, thus presents its third co-production with the Teatro de la Zarzuela after the acclaimed 'Lost in Bosch' (2017 Y 2019) Y 'The incredible story of Juan Latino' (2020 Y 2021). Claroscvro Teatro employs recreation in historicist aestheticism in order to reinforce the educational values of their works, with the conviction that beauty is the perfect vehicle to love art.
He Teatro de la Zarzuela today presented the Season 2022/2023, in which it will offer a total of 161 functions keeping the average of the last years, and that will include 4 prèmieres Y 7 new own productions.
It's about the season 163 since in 1856 the theater will raise the curtain for the first time with the sole purpose of becoming the privileged stage of the Spanish musical theater and that, in the words of Daniel Bianco, director, “Now you have the inalienable vocation of being a public theater, supported and protected from the State so that it continues to be accessible and affordable, open to anyone who wants to discover and enjoy the Spanish lyrical heritage”. These are the reasons, ensures the manager, “for which – as our statutes say – this is and will continue to be the national lyrical theaterby excellence”.
Meanwhile, the general manager of National Institute of Performing Arts and Music (INAEM), Joan Francesc Marco, pointed out during the presentation that “we must be very proud of the significant work that, one more season, the Teatro de la Zarzuela is performing for get it back, protect and spread among citizens the richness of our heritage” and stressed that in the programming “the heritage protection coexists with the support and promotion of new Spanish musical creation, through premieres to creators of our country”.
Bianco advances that the recently presented season “open the door to emotions; promises a future in such difficult times in which it seems that the conflict can to the understanding”. And always argue positive, saying that "theater and music feed the soul, soften hearts and infuse strength to the spirit, thus culture is a necessary good that makes us better people”. And as a man of theater that he is, firmly believes thatthe music and the scene are capable of improving the world, and that miracle arises when public and artists breathe and vibrate together”.
This is what the director says, who claims once again and with all conviction the Teatro de la Zarzuela: “It is much more than a building or an institution, it's a house, a rite, a tradition, a meeting place, move, dialog, of creation, to hear, see and think. And returns for the umpteenth time to thank the public that every night is part of the life of this theater, “who has accompanied us in each function and without which we would not exist”.
This that is presented is the seventh season since Daniel Bianco arrived at the Theater (though, as we said, could also be presented as season 163 Since its founding in 1856).
In the new course will be presented 10 musical theater titles with 4 prèmieres, of which 2 son recoveries of the spanish lyrical heritage: one in concert and one on stage. Y three lyrical titles from the great zarzuela repertoire.
the cycle of Concerts with will arrive with 11 proposals for all types of public and the Notes from the Ambigú cycle with as many recitals.
further, the Theater will continue betting on its educational project with a new title of ya traditional, successful and award-winning Zarza Project, with a show for the little ones and with the master classes for young artists.
They will also continue the cycle Chamber Sundays. Women with Ñ’ dedicated to the Spanish creators, and the cycle 'About…', by the musical director and the house, Guillermo García Calvo.
Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.
Regarding the tickets, Daniel Bianco highlights the INAEM's effort to maintain the numerous discounts “that allow the Teatro de la Zarzuela to remain accessible and affordable for everyone, taking special care of those who may have a harder time affording it”.
In this way, they will have a 50% discount them older than 65 years, large families orsingle parents, unemployed people, people with disabilities and minors 30 years, they can all find tickets from €2 and a half to €25. further, those under 30 years can benefit from the last minute tickets for only €5.
SUBSCRIPTIONS ARE BACK. After two years interrupted because of the pandemic, In the season 2022/2023 fertilizers return to the Teatro de la Zarzuela with all the advantages and discounts. Spectators who were already subscribers will keep their subscriptions, that they can renew the 26 May to 7 of June. The free sale of fertilizers will be of the 13 al 26 of June. On the other hand, the free sale of tickets for all shows in the season will start on 1 of July, except for the functions of the Lied Cycle that can be acquired from the 13 September 2022.
The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, will open the season with a premiere of a Spanish opera. We talk about "The Celestine" from Felipe Pedrell, mature work of the Catalan composer who will sound for the first time because even though it was planned to premiere it at the Liceo in the year 1902, never saw the light. The only thing that was heard were a couple of scenes that Pau Casal included in a concert in 1921 to honor the composer. It is a work of great importance that influenced later composers, in which Pedrell captures his national opera idea. In 'La Celestina' the enormous respect of the composer for the original work of Rojas from the 15th century and joins the recoveries that with this season already add 16 titles rescued from oblivion. It will be directed by Guillermo García Calvo and will feature the voices of Ketevan Kemoklidze, Miren Urbieta-Vega, Andeka Gorrotxategi, Juan Jesus Rodriguez, Simon Orfila, Sofia Esparza, Lucia Tavira, Gemma Coma-Alabert, Javier Castaneda, Mar Esteve and Ihours Galán. They will 2 functions in concert version the days 9 Y 11 of September.
After 21 years without performing at the Teatro de la Zarzuela (since 2001), returns one of the most loved and celebrated titles by lovers of Zarzuela: 'Bread and bulls'. Premiered on this very stage on 22 December 1864, is perhaps one of Francisco Asenjo Barbieri's most important contributions to the genre and one of the masterpieces of the great zarzuela. The work takes us to the Goya Madrid of the late eighteenth century, between conspiracies and confrontations of the two Spains represented in liberals and reformists.
With this monument of our heritage we want to celebrate with the public the 200 years of the birth of master Barbieri, to whom this house owes so much for being the main promoter of this theater and of the genre. This new production of the Teatro de la Zarzuela will have as musical director Guillermo García Calvo and as stage director to Juan Echanove, great lover of zarzuela who makes his directorial debut in the genre. Have been scheduled 14 functions 6 al 23 October, and will have the participation of Yolanda Auyanet, Raquel Lojendio, Carol Garcia, Cristina Faus, Maybe Borja, César San Martín, Milagros Martin, Gerardo Bullón, Maria Rodriguez, Enrique Viana, Pedro Mari Sánchez, Carlos Daza, Paul Galvez, Jose Manuel Diaz, Pablo Lopez, Lara chaves, Sandro Lamb, Alberto Frias, Cesar Sanchez and Julen Alba. The scenery and costumes will be Ana Garay, lighting Juan Gomez Cornejo and the scenery of Manuela Barrero.
In November it is scheduled, al fin, he premiere from 'Policemen and thieves', a newly composed zarzuela, written by Tomas Marco and Alvaro del Amo, that was not only affected by the confinement of 2020, but also by the strikes of 2018. in both circumstances it was not possible to release it. What if, as the popular saying goes, the third time lucky, the public can enjoy five functions of this zarzuela that deals with the current situation of political corruption with a tragicomic tone and from a sarcastic skepticism. They will 5 functions 18 al 27 of November, with musical direction José Ramón Encinar, scenic of Carmen Portaceli, scenery Montse Amenós, wardrobe Antonio Belart and lighting Pedro Yagüe. In the distributions they will participate Manuel Lanza, Miguel Ángel Arias, Alba Chantar, Cesar Arrieta and Maria Hinojosa.
And he returns to the Teatro de la Zarzuela a emblematic title of the Spanish lyric what premiered at this same theater in 1895, and since 1937 not represented in this scenario. 'The pains' from Tomas Breton, whose are fulfilled 100 years after his death. Another monument of our heritage this season, whose importance lies not only in the drama of its argument or in its great score, that also, but in that with this work Breton finally manages to compose a purely spanish opera, in which she shows us the constant struggle and survival of a woman of great strength in a hostile and very masculine environment that rejects her for lacking the honor that they themselves took from her. The musical director of this new production of the Theater will be Guillermo García Calvo, musical director of the house, and the scene Amelia Ochandiano. The scenery is Ricardo Sánchez Cuerda, your wardrobe Jesus Ruiz, lighting Juan Gomez Cornejoand choreography Michelangelo Bern. The two casts will have Saioa Hernández, Carmen Solis, Jorge de León, Andeka Gorrotxategi, Jsaid Antonio Lopez, angel Ódena, Maria Luisa Corbacho, Marina Pinchuk, Rubén Amoretti, Ihor Voievodin, Javier Tomé, Santiago Vidal, Gerard Bullon and John Noval Moro.
Continuing with the recovery policy of the Spanish lyrical heritage, a work is recovered from century XVIII signed by one of the most important composers of his time, José de Nebra. 'The Rape of Lucretia''Where there is violence there is no guilt', which was premiered in the private sphere of the Duke of Medinaceli in 1744. While in 2012premiered in concert version, now we have the opportunity to enjoy it also on stage. The libretto moves away from the rigidity of the mythological zarzuelas, and the value of this work lies especially in its music which, due to its advanced style for the time, is closer to classicism. This is a title that tells us about gender and violence with this theme collected from the sources of Tito Livio and that would later popularize Shakespeare. With a libretto that is a version written by Rose Montero of the original spoken Nicolás González Martínez, It is stage premiere in contemporary times will feature musical direction Alberto Miguélez Rouco who will be in front of the Los Elementos ensemble, stage direction of Rafael Villalobos, scenery Emanuele Sinisi and lighting Felipe Ramos. The cast will be made up Maria Hinojosa, Carol Garcia, Marina Monzó, Anna Goma and the actress Emma Suarez. They will 5 functions between 25 March and 1 of April.
In the month of April another important moment will come shows that zarzuela is still very much alive: The second new composition this season next to 'Cops and robbers'. Your title: 'favor treatment', and has music from Lucas Vidal, libretto Boris Izaguirre, music direction Andrew Salad and stage director Emilio Sagi. The scenography is signed by Daniel Bianco, costumes is Jesus Ruiz and choreography Nuria Castejón. It is a contemporary zarzuela, of women, who, due to historical circumstances, looks at himself in the mirror of 'La rosa del Azafrán', and which has a cast made up of Ainhoa Arteta, Nancy Fabiola Herrera, Enrique Ferrer, Amparo Navarro, Amelia Font, María José Suárez, Boris Izaguirre, cross Beitia Y Rafaela Chacon. They will 10 functions 29 April to 21 of May.
And we will reach the month of June with another essential title from our repertoire. After the success in 2021 on this stage and after having stopped at the Santander Festival Palace, the lyrical season will close with the revival of 'Luisa Fernanda' from Federico Moreno Torroba, a score much loved by the public, full of the most famous ballads of our zarzuela. The stage will revive the Madrid of the mid-nineteenth century (also that Extremadura that closes the story) to welcome the comings and goings of one of the undisputed masterpieces of our lyrics, with a script by one of the most prolific couples, successful and enlightened genre, as they are Federico Romero Y Guillermo Fernández-Shaw. The Zarzuela Theater and this work has been closely linked from 1934, two years after its premiere at the Teatro Calderón in Madrid. Musically directed by Miguel Angel Gómez-Martínez, Another of the many attractions of this project is the vision that the Turin stage director gives to this work, as popular as it is loved. Davide Livermore. The scenery is Giò Forma, your wardrobe Mariana Fracasso, lighting Antonio Castro, the audiovisuals of Pedro Chamizo and choreography Nuria Castejón. Maria Jose Montiel, Carmen Artaza, Ismael Jordi, Alejandro del Cerro, John Jesus Rodriguez, Rubén Amoretti, Sabina Puértolas, Rocío Ignacio, María José Suárez, Nuria García Arrés, Emilio Sánchez, Antonio Torres and Didier Otaola are the performers who make up a double cast of absolute bells. The 8 scheduled functions will go of the 21 al 30 of June.
With the introduction of these 7 titles the theater will continue to be one more year unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.
CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED
After the success obtained in its first six seasons, he CONCERT SERIES in the main room presents 11 new proposals with some of the leading voices of lyric, the popular song, he flamenco and the pop. This makes the Theater a fundamental space in our theater because there is room for the plurality of Spanish music, without prejudice and with a spirit open to all audiences. The Jerez-born cantaora will open the cycle Tomasa La Macanita one of the most renowned and recognized artists in the world of flamenco, which debuts at the Teatro de la Zarzuela with a personal memory of the work of the composer Manuel Alejandro, author of songs that resonate in everyone's memory and who always knew how to express the feelings of the artists for whom he composed his songs (10 of September); after the success obtained in the cycle Notas del Ambigú of this season, Enrique Viana, accompanied by the teacher Ramón Grau, take back the show ‘Luisa Fernanda, I already have instagram’, this time in the main room and with many updates, so that more people can enjoy this unique artist who will embody two characters who will tell us and sing the secrets of the theater season with a great sense of humor. The laughts, good atmosphere and music are guaranteed (11 Y 17 October); Elche boy, one of the most revolutionary and avant-garde singers of current flamenco, presents his new job. The concert will be made up of a cast of artists who will perform a repertoire of festive flamenco songs (22 of November); one of the most relevant voices of Spanish and Latin pop Marta Sanchez, returns to the Teatro de la Zarzuela with a show full of feeling where she reviews her career accompanied by a piano. He will surprise his audience with other jewels and nods to his career and music (24 of November); ‘Tribute to Luis Mariano’ is a very special recital dedicated to the memory of Luis Mariano, one of the most recognized voices in Spain and France between the years 40 Y 60 last century. In this concert we can enjoy one of our most international artists, Ismael Jordi, accompanied on the piano by the teacher Ruben Fernandez Aguirre, interpreting the greatest hits of the irunés tenor, as 'Imperial Violets', 'That's wonderful', 'Amapola' or the romanza of the only zarzuela that the tenor sang at the Teatro de la Zarzuela in 1958, 'The song of my love', among others (26 of November); the traditional Christmas Concert, an appointment that is already a classic of the seasons of the Teatro de la Zarzuela, a tradition for the public. It will be directed by the teacher Guillermo García Calvo, who will accompany Carlos Alvarez Y Rocío Ignacio, who will offer us a concert of great romances from the repertoire with the Community of Madrid Orchestra (30 from December); 'So come on 30 years': tenor and actor Ángel Ruiz will give a very special concert with a clarinet band, saxo, flute, double bass and drums, directed from the piano by César Belda. An emotional and fun evening between coplas, boleros, Iberoamerican song and musical theater (31 from January); two emblematic voices of international lyric return to the Plazuela de Jovellanos: Ainhoa Arteta Y Ramon Vargas. Fans will once again enjoy the complicity that these two great artists and friends radiate on stage, giving them ballads and duets of zarzuelas, precious jewels of our musical heritage (6 February); ‘Spanish symphonic music. Concert of young directors'. Three young directors and great promises of direction, Lara Diloy, Lorraine School Y Ruben Sanchez-Vieco, lead the Community of Madrid Orchestra to interpret works by composers such as Arriaga, Rodrigo, Guridi, Turina o Falla (7 of March); 'A Spanish serenade': A unique tenor concert Celso Albelo –after his great success in 'Don Gil de Alcalá'– along with the Pulse and Plectrum Orchestra of the UCM directed by Enrique García Requena, with double steps, habaneras, rancheras, jacks, mexican songs, Y, Of course, zarzuela arias (31 of March); and to close the loop, Passion Vega will return to the Teatro de la Zarzuela to present his new album. One of the most respected artists and one of the most beautiful voices in this country that has traversed the genres with the greatest capacity to move, like copla or tango (6 of May).
Since its inception, six seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign of ‘sold out places’ and have left a sweet and different taste to any musical experience due to the proximity of the artist with the public that creates an exciting and happy atmosphere. The Ambigu is undoubtedly the music hall of the Teatro de la Zarzuela. This seventh edition of the cycle, will have several commemorations: he bcentenary of the birth of Joaquín Gaztambide will be celebrated with the recital ‘Cheese, a life for zarzuela' from the hand of Sofia Esparza Y Rinaldo Zhok (14 of September); one of the most important sopranos that this country has given will also be remembered, Victoria de los Angeles, with Nuria Rial Y Rubén Fernández Aguirre, on the centenary of his birth (9 of May); with the Breton Quartet, we will remember the figure of the teacher Tomas Breton when they are fulfilled 100 years after his death (23 from January); and another memory, with Gerardo Bullón Y Ramón Grau, this time to one of the most important artists in the history of this country, Pablo Picasso, in the 50 years after his death, with a show written and directed by Enrique Viana under the title 'Mr. Pablo, with a brush?’ (27 Y 28 February); as every year, a concert will celebrate the International Women's Day, teacher Cecilia Bercovich, accompanied by a group of students from the conservatory, will bring us a special violin concert, violet y violet of love with works by female composers and two world premierescommissioned for this concert (8 of March). Other concerts in this cycle will give us a vision of the historical arc of Spanish music, ranging from medieval polyphony to the female vocal ensemble Egeria (10 of April), to Renaissance music by the voice and vihuela duo Sweet rhyme around the figure of the humanist and teacher of queens Beatriz Galindo “La Latina”, friend of Elizabeth the Catholic (3 October); the Chapel Jerome Carrion will also offer an exquisite program of music from temples and theaters of the Golden Age with recitations of the actor Pepe Viyuela (10 of July); Besides, Serena Saenz Y Rubén Fernández Aguirre will dedicate a recital to the Catalan song composers such as Granados, Mompou, Oltra or Guinovart (18 October); with the concert 'The solo piano of master Alonso', Laura Sierra Y Manuel Tevar, Iberian & Piano Duo Piano, they will show us “four hands” their recovery work on the piano work of Francisco Alonso in his younger years (14 of November); we will also have the second edition of the Composition Award, whose winning works will be premiered by the trio Arbós. It is important to highlight at this point the composer José María Sánchez-Verdú for his involvement in promoting the new creation carried out by the Teatro de la Zarzuela in collaboration with the Real Conservatorio Superior de Música in Madrid(12 of June).
He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ. Fourth edition of the cycle of Spanish chamber music that for the third consecutive year it will be devoted entirely to the role of women in music in her role as composer. With this cycle the Theater wants to continue with the dissemination of these works, many unpublished, and discover to the public the excellent quality of the creations of these Spanish composers who rarely had or have due recognition for their creations. In this way, some of our 20th and 21st century composers will be valued as Maria Teresa Prieto, Claudia montero, Diana Perez Custodio, Marisa Manchado, Zulema de la Cruz, Illuminated Perez Frutos, Carme Fernández Vidal, Rachel Garcia Tomas, Laura Vega, Helena Canovas, Amanda garrido, Consuelo Díez, Julia Maria Dopico Vale, Maria de Alvear, Ana Vazquez Silva, Beatriz Aramendi O Teresa Catalán, among other. And the commitment of the Teatro de la Zarzuela is also with the future of the authors, with the promotion of new creations, And because of that each concert will feature an absolute premiere by young female composers, students of the Royal Conservatory of Music Superior of Madrid; this time the authors will be: Amanda garrido, Nuria Sanchez, Adela Rodriguez Yus, Laura de las Heras Y Beatriz Lopez Nogales. The five appointments are the following: BOOST, percussion group (13 of November), Isabel Dobarro and Miguel Borrego, violin and piano duet (12 February), Manuel de Falla Quartet, clarinets (23 of April) and the Breton Quartet (21 of May).
On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXIX edition with 8 recitals: The bass Renit's pape (28 of November), baritone Christian Gerhaher (19 from December), baritone Konstantin Krimmel (30 from January), soprano Christiane Karg (7 February), mezzosoprano Marianne Crebassa (27 of March), baritone Andrand Schuen (3 of April), baritone Manuel Walser (8 of May) and tenor Ian Bostridge (5 of June).
TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES
One of the fundamental pillars of the artistic project of the theater is young audience, that should not only be treated as the public of the future but also as that public of the present that is already.
Thus, the Teatro de la Zarzuela opens its doors to let them know their musical heritage through quality shows specially created for them.
It is precisely for this special attention that young people deserve, the reason why the Theater dedicates a large part of its programming to them, he 22% Of the same. The fruits of this work are already a reality and can be seen in the youth that more and more frequently and ingreater amount mixes with other generations in the stalls; because he has “fallen in love” with zarzuela –as most of them admit– thanks to these proposals, especially the Zarza Project, getting excited about a genre that also belongs to them.
Today, More than 48,000 young people have filled this stalls in the editions of the Zarza project. The collaborations with educational centers increases every year, and they are almost 70.000 users who have seen today the 6 productions available on our Youtube channel.
In the new Season a total of 30 functions between the shows that make the didactic project.
Zarza PROJECT, zarzuela made by youth for youth, is the guarantee of resounding success each season. Along these years, since its first edition, the award-winning Project has grown as much as the acclaim and recognition of the productions that have been presented in it.
Till the date, they have mounted adaptations of emblematic works of the boy genre, a new show with music by various composers and a magazine.
This year the Theater bets once again for another new creation Hand Lola Blasco, author of the text, and the stage manager José Luis Arellano, this time around the figure and the legacy of master Alonso, with musical direction Lucia Marin.
"All those who know Alonso's work will know how much young people will appreciate the musical jewels that the master bequeathed us and that they will be able to enjoy in this show", states Daniel Bianco.
The new production will bear the name of the duo of '24 hours lying!’ 'I will love you', and in addition to those already mentioned, participate in the assembly Pablo Menor Palomo as author of the scenery, Ikerne Giménez who signs the locker room and Nuria Castejón, responsible for the choreography. The cast, as usual, will be made up of a group of young singers and actors from among 18 Y 30 years elected after a audition process (which is in progress) and accompanied by a chamber music ensemble. The 14 functions They will be offered of the 24 February to 4 March 2023.
And the didactic projects stand out one more year because, thanks to them, he Ambigú del Teatro returns for the sixth year in a row to function as a space for shows. After two exciting deliveries 'Lost in Bosco' and those of the overwhelming success of 'The incredible story of Juan Latino', The puppet theater with live music will return to Ambigú. The proposal this time will be the replacement (since it premieres these next few days in this season) of the work ‘The sky of Sepharad’, co - produced by the Zarzuela Theater and the Claroscvro Company. Will be others 10 functionsbetween 4 and the 9 November 2022. It is a story full of music and poetry; a story also full of humor, of love, magic and bravery, who will discover the little ones who our roots go beyond what our eyes can see at first sight.
Although it has not yet been possible to see why, as we say, it premieres precisely tomorrow Wednesday, he The interest of schools and the public has been so high that the Theater has decided to reprogram it.
One more year, also framed in the didactic projects and thinking about the training of those who are called to be the artists of the present and the future, we will have the Master Classes, in this case by Lluís Pasqual, in which the young artists will be able hone their acting skills and learn of the experience and knowledge that this great man of theater has acquired throughout his extensive and varied career. Of the 10 al 15 October.
So far the visible part of the educational project of the Teatro de la Zarzuela. Although the scope of this is much greater. the theater is present in educational centers and institutions to which they are offered free virtual tours and talksto learn more about zarzuela and its theater. This season there have been 80 of these sessions that they have enjoyed more of 2.000 schoolchildren from Spain, Andorra, Canada, United States or Switzerland. 43 Interviews behind the scenes to our artists with more than 100 thousand views. 21 episodes of ‘Journey through the zarzuela’, available on the Youtube channel of the Theater, what have they seen more of 65 a thousand people. They open essays to students studies related to the performing arts, music and singing. are welcomed internship students in various departments of the theater where they learn and live the day to day of a lyrical theater. Why, as White says, “The continuity of theater and zarzuela also it is important to train those who will one day take over”.
On one side, he National Ballet of Spain, directed by Ruben Olmo, will offer of the 9 al 22 from December10 functions from 'Crazy', a ballet inspired by the artistic and existential vicissitudes of the dancer Felix Fernandez "El Loco", with choreography by Javier Latorre Y Manuel Coves in front of the Community of Madrid Orchestra, alongside the flamenco musicians of the National Ballet.
On the other hand, the National Dance Company directed by Joaquin de Luz will offer 11 functions of two different programs between 12 and the 23 July 2023. with choreographies of Jerome Robbins, Peter Martins, Joaquin de Luz O George Balanchine and music of Leonard Bernstein, Samuel Barber, Piotr Ilich Chaikovski, Frank Sinatra O Philipp Glass.
CHAMBER MUSICAL THEATER
Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. About this valuable alliance, Daniel Bianco once again shows his gratitude “for the possibility of working together with the Fundación Juan March and Miguel Ángel Marín, your director of the music department, in the co-production of a chamber opera that shows that the sum of efforts allows us to reach mfarther”. Of the 25 September to 3 October the seven functions will be presented (four open and 3 school) from 'The miserly knight' from Sergei Rachmaninoff, a moralizing chamber opera which tells the story of a rich and stingy father and a spendthrift and greedy son, whose relationship ends up destroyed by the greed of both. The musical direction of this chamber opera will Borja Mariño, who will also perform music on the piano. The stage direction is Alfonso Romero, the scenery of Carmen Castanon, your wardrobe Gabriela Salaverri, lighting Felix Garma, the video scene of Philipp Contag-Lada and the cast make it up Ihor Voievodin, Isaac Galan, Gerardo Lopez and Luis Lopez Navarro. As usual, The representations will be at the Fundación Juan March.
After the great reception of the cycle 'About…’, the Teatro de la Zarzuela will once again have concerts by the maestro Guillermo Garcia Calvo, a great concert pianist and musical director of the coliseum, in which he explains at the piano the international music map, and in what way composers of the works that the teacher directs in the season are located and related within that international sound map.
The concerts this season are: ‘About Pedrell ’ with works Enrique Granados, Alexander Cherepnín Y Bela Bartok (11 of September).
About Barbieri with works Martin Sanchez Allu, Santiago Maples, Pedro Albeniz, Franz Schubert Y Teobaldo Power (9 October).
'About Breton' with works Johannes Brahms, Gabriel Fauré, Claude Debussy, Alban Berg e Isaac Albeniz (5 February).
The already veteran series of conferences is also returning in collaboration with the Association Friends of the Ópear of Madrid. A) Yes, the Theater will have the presence of four musicologists: Elena Torres, Nieves Pascual, Ana Vega Toscano Y Celsa Alonso, and three musicologists: Emilio Casares, Ramon nephew Y German Gan Quesada. All of them will help to unravel the secrets of the works and discover the fundamental keys of each of them.. To this day more of 21.000 viewers have followed our conferences on YouTube.
Don Gil de Alcalá triumphs at the Teatro de la Zarzuela Manuel Penella composes Don Gil de Alcalá in 1932. Wrote the music and the libretto, inspired by the entanglement novels of Valle-Inclán and Jacinto Benavente. But his greatest encouragement was found in the play "The Yes of the Girls", by Leandro Fernandez de Moratin.
Until then, the Spanish music scene was characterized by the variety of musical typologies: skits, zarzuelas or magazines, among others. But from 1910 a certain decline of the small genre begins and zarzuelas in two acts begin to triumph, in the style of Viennese operetta, and with a larger structure, similar to comic opera.
The result is an opera in three acts., whose scene Penella placed in eighteenth-century Mexico, when it still belonged to New Spain. The author knew well the South American countries, and wanted with this work to pay a heartfelt tribute to the places he had traveled, thanks to his adventurous spirit.
Underlying the work is a criticism of the arranged marriages that took place at the time and, through a funny mess, raises the celebration of an unequal marriage, between a lady and a court ruffian, that it was not well seen by the upper classes to which the young woman belonged. All with a plot development very close to opera buffa, made with great ingenuity and with a well delineated and refined musical writing.
In this return of Son Gil de Alcalá to the Teatro de la Zarzuela, the orchestral direction was carried out by the assistant director Lara Diloy, due to indisposition of the owner Lucas Macías. The young Lara Diloy is one of the few Spanish conductors on the current circuit and has extensive knowledge of the symphonic and operatic repertoire, as was well demonstrated in this representation. Always outstanding singers, he knew how to impress the orchestra with the verve and spark that characterizes this work. You could appreciate the delicate nuances in the orchestration of a classically inspired score, how is this. Diloy performed at the head of the Orchestra of the Community of Madrid, that security that is only the result of work and talent. We will have to follow her closely.
The scenery comes from the Campoamor Theater in Oviedo, where it was performed in 2017. It is a single room to which elements are added that create the different environments, always colonial and always elegant, as usual in their directors, Emilio Sagi and Daniel Bianco, and that they are already a house brand, such as the lamps or the perfect arrangement on the stage of all the participants. Exquisite also the wardrobe of the remembered Pepa Ojanguren. All enhanced by the impeccable and romantic lighting of Eduardo Bravo.
The group of singers is made up of two high-quality casts. In this first one, the Canarian tenor Celso Albelo is in charge of giving life to the protagonist, Don Gil de Alcalá. He does it with the musicality of his beautiful song line, imprinting the character with modest humor, Albelo is capable of much more in the interpretative facet. Where he did not save efforts was in the vocal part. That timbre that caresses and the richness of vocal nuances.
Beside, as Star Girl, the soprano Sabina Puértolas, which represents a sparkling, as well as innocent, Don Diego's fiancee, although in love with Don Gil. Well in the habanera duet with Maya, but he lacked expressiveness in other important moments of his performance.
Carol Garcia brought Maya to life, Stargirl's maid, who composed a fun and carefree character. He stood out brilliantly in his duet habanera with Sabina Puértolas and was the ideal couple, vocally and in interpretative, of the Chamaco of Carlos Cosías, which rounded off a magnificent performance, full of grace and liveliness.
The Don Diego of the baritone Manuel Esteve was very well defined, both on your singing line, as in the character of the character, arrogant and formal.
Sergeant Carrasquilla has been played by Simón Orfila. He was the most likeable character in the cast and the most celebrated by the public in his sharp interventions as a Sevillian rogue..
As Mother Abbess, María José Suárez, a regular in this scenario that always adds value. The rest of the comprimarios were at a good level, with Miguel Sola at the head, as governor; Pablo Lopez, as Viceroy of New Spain; David Sanchez, in the role of Masterful Father; Ricardo Muniz, as master of ceremonies; and the members of the cone, Paula Alonso and Rosa Maria Gutierrez, as Lucia and Rosita, respectively.
A Don Gil from Alcalá, who has returned to the Teatro de la Zarzuela 23 years later and that is always in fashion. With that picaresque Spanish of other times. O no ...
Andre Schuen, one of the liederistas most celebrated on the current scene, will perform the program Songs of the night and farewell (Night and Farewell Songs) at Lied Cycle of the National Center for Musical Diffusion (CNDM) and the Teatro de la Zarzuela, with pianist Daniel Heide. The recital will take place on Tuesday 17 May at 20:00 hours at the Teatro de la Zarzuela.
After his successful stint at the Teatro Real playing the Count of Almaviva in The Marriage of Figaro, the Tyrolean baritone will change to a more nostalgic register, sprinkled with dreams, goodbyes and night. Schuen will address a Central European thematic program made up of works by Franz Schubert, with some of his most famous lieder, Gustav Mahler, one of the greatest exponents of post-romanticism, and the Oscar-winning composer -and not so programmed- Erich Wolfgang Korngold.
Andrè Schuen returns to Madrid after being applauded in his last performances in the capital, with the beautiful Miller Schubert. Since leaving the Mozarteum University of Salzburg, where he trained with Horiana Branisteanu and Wolfgang Holzmair, its presence in Central Europe has been continuous. As liederista, has offered recitals with pianists of the stature of Gerold Huber, in rooms such as the Wigmore Hall in London or the Konzerthaus in Vienna, among other.
Journey into darkness and dreams
In the first part of the recital, the public will travel through the lyrical nature of Schubert's music, starting from an energetic About Wildeman, D 884, a lied that describes a journey to the beat of eighth notes. The journey continues with The lovely star, D 861, that leads us to happier shades, to later take darker routes, with works like The youth and death, D 545, describing how a young person accepts the arrival of death. Schuen will close the Viennese musician's compositions in this block with Elf king, D 328, a fast and anguished lied that requires a perfect vocal mastery and adapted to the difficulty of the accompaniment.
After Schubert, the singer will perform Kindertotenlieder, from Mahler and with lyrics by the poet Friedrich Rückert, who he wrote these pieces through grief after the loss of two of his children. Sadness and consolation are the main themes that run through this cycle of five songs that must be interpreted and listened to as a single global structure..
In the second part, Andrè Schuen will delve into the universe of Korngold, declared a genius by Mahler himself and whose repertoire in this program recreates an intimate atmosphere of simple melodies. Schuen's voice will reveal to us the adventures of a night traveler (nightwalker, on. 9), the mystery of the moon (Mond, so you go back up, on. 14) or love (what you are to me, on. 22).
The recital will close with a return to Schubert, with pieces like night and dreams, D 827, that will take the public to the depths of dreams.
The last tickets for this recital, with a General price 8 a 35 euros, are available at the box office of the Teatro de la Zarzuela, the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.
The stage manager Emilio Sagi lives one of the sweetest moments of his career. just celebrated their 40 years on stage, just received the Gold Medal for Merit in Fine Arts and his extraordinary career has been recognized with the Opera Prize XXI. And it is that the Sagi Theater, unmistakable, it's pure magic. Smart and always bright. Elegant. Sublime. Now, his theatrical science lands for the umpteenth time in the Teatro de la Zarzuela where from 5 al 22 of May will surrender tribute to the teacher Manuel Penella with 14 functions from his comic opera 'Don Gil de Alcalá' in an elegant and enormously funny stage version by the Asturian director, which will serve for commemorate 90 years of work.
From the pit, teacher Lucas Macías –debutante of luxury in the theater of the plazuela de Jovellanos– will lead with his intense poetic seal to the Community of Madrid Orchestra, Head of the Theater, that despite the fact that it is already freed from restraints that for months have diminished it due to the pandemic, this time it is presented as a string orchestra and harp, as required by Penella's original score.
The 'Don Gil de Alcalá' that the public can enjoy these days, is the beautiful production of the Oviedo Spanish Lyric Theater Festival and the Teatro de la Zarzuela that Sagi premiered in 2017 at Campoamor theater. Penella's is a work very close to the luminosity and vividness of Italian opera, but with a Hispanic treatment. Hers the stage manager stands out above all things its "extreme beauty", tenderness and high doses of nostalgia. This time, counts on the splendid works of some of his closest collaborators such as Daniel Bianco in the scenery, the much remembered costume designer Pepa Ojanguren in the dressing room, Eduardo Bravo in lighting and Nuria Castejón in the choreography.
And as is usual in the theater, will be two splendid and balanced casts those who next to Holder Choir Teatro de la Zarzuela, led by teacher Antonio Fauró, unfold on the boards this plot in which, in the words of Emilio Sagi, a romantic love story is mixed, “cheesy and almost soap opera”, with the “hilarious humorous mess that ends up becoming in the style ofbuffa operas by Rossini”.
The argument freed from historical ties to clearly narrate nice adventures, in the lands of New Spain, of Don Gil, a spanish captain, and Star Girl, a mestizo orphan.
The lead role, that of Don Gil de Alcalá, it is performed by the tenors Celso Albelo –which several decades later happily returns to a production at the Teatro de la Zarzuela– and José Luis Sola; his lover, Star Girl, will be embodied by the sopranos Sabina Puértolas e Irene Palazón. And the papers that stand out for their humor are numbers, like those of Sergeant Carrasquilla, who will give life the bass Simon Orfila; the Indian servant Chamaco, whose role will be assumed by the tenors Carlos Cosías Y Facundo Munoz; maya indian maid, What will the mezzo-sopranos perform? Carol Garcia Y Lidia Vineyards-Curtis; the role of the Governor of the State of Veracruz, whose peculiar personality will be unraveled by the bass-baritone Miguel Sola; or that of the Viceroy of New Spain of the baritone Pablo Lopez. The also baritones Esteve Manel Y Eleomar Neck they will put themselves in the shoes of who is the third vertex of the love triangle: Spanish aristocrat Don Diego.
The mezzo-soprano also has an important presence and voice in the story. María José Suárez as mother abbess, baritone David Sanchez as masterful father or the tenor Ricardo Muniz as master of ceremonies, all accompanied by 8 extras-dancers.
Luis Sagi-Vela and "the gold"
Emilio Sagi acknowledges that I had always wanted to do the “Don Gil”, and “not only because it is a wonderful work, with inspiring music and a fresh and very funny story –as if he were a little Mozart–“; he also wanted to get into that fantastic world because A few years after its premiere in Barcelona, he arrived in Buenos Aires and Mexico with his uncle, Luis Sagi-Vela (who made it and recorded it many times), in the cast. Those functions contributed to the decisive success of the work.
And in this production that is now being presented, Everything happens, how not, with ubiquitous Mexican “el dorado”. Almost all the scenery is the color of gold and the characters go with mud-stained boots, but very well dressed, embellished with embroidery and gold trim.
a different work
'Don Gil de Alcalá' is a “different” work by Manuel Penella. certainly beautiful, like the rest of his production, and in which the Valencian composer bet once again on the Spanish lyric, although this time from a perspective more in line with European trends. With this job, Penella not only recognizes and honors the long lyrical tradition that he and other creators had inherited and brought to the American world, but also proves once again that he knows how to create a classic work that would stand the test of time, even in a country where the formula of opera in the Spanish language was never quite convincing. When Penella bravely wanted to undertake a homage to America with a work as unusual as it is classic, as precious as modern, wrote 'Don Gil de Alcalá', which premiered at the Teatro Novedades in Barcelona, and two years later in La Zarzuela.
Once again he went out with his company to represent it for the New World, in what would be his last big company, although before it would reach the stages of several countries and I would soon take her to the movies in a Mexican production: "The Adventurer Captain". Like a good part of the projects he undertook throughout his life, his lyrical works are unrepeatable.
On many different occasions 'Don Gil de Alcalá' has been seen again at the Teatro de la Zarzuela. and now come back, already in the XXI century, as the great creation of musical theater that is.
Sixth recital of this season of the Lied Cycle of the Teatro de la Zarzuelaand the National Center for Dissemination of Music (CNDM) and another debut. This time it's about the soprano Katharina Konradi, born in Kyrgyzstan, a beautiful country in Central Asia, belonging to the Soviet Union until its disintegration into 1991.
Trained in Germany, Katharina Konradi gave a recital on Monday, but not only songs, also how those songs should be interpreted. With an extraordinary language facility, he went from Fauré to Schumann and from Debussy to Ginastera and Montsalvatge with a stylistic precision that is rarely observed.
It all started with five songs by Fauré, with texts by Victor Hugo, Paul Verlaine and Armand Silvestre. And it was from the beginning that Konradi presented his credentials and his ability to describe the attractive charm of The butterfly and the flower O Our love. Then came the song cycle, Opus 39 from Schumann, with texts from Joseph von Eichendorff. Here both interpreters showed a special sensitivity. Schumann's work fits perfectly with the characteristics of Konradi, voice full of freshness and a delicate and crystalline singing line.
The second part began with one of the most intimate works of Dbussy, Ariettes oublièes, composed of a series of six songs where the capacity for nuance, by both Konradi and Martineau, was clearly demonstrated.
left for the end Ginastera Y Montsalvatge. Another surprising language change, his phrasing and diction in Spanish was better than that of any national singer, as well as his expressiveness in singing. The elasticity of your voice and, again, his stylistic ability, perfectly drew the character of these two composers. De Ginastera performed Five Argentine Popular Songs, full of color, tenderness and eloquence. De Montsalvatge chose three of his Five Black Songs, habanera point, black singing Y Lullaby to put a black boy to sleep.
We know of the mastery on the keyboard of Malcolm Martineau. Of his ability to generate atmospheres and colors that perfectly describe the composer and his work. On this occasion he had some moments of true virtuosity. The Konradi – Martineau connection has been one of the most fruitful. It seemed as if they had been performing together for a lifetime.. She was safe and he was happy., what could go wrong?
Without a doubt, a demonstration of capabilities and strength that left us all wanting more.. We look forward to your participation in successive cycles.. He offered two tips, fishing way, from Schubert and Nana, from Manuel de Falla. Lately many lullabies have been heard in this Lied Cycle. It seems that in addition to singing, these young performers are also very fertile. Congratulations to all.
He I Prize for Composition of the Teatro de la Zarzuela and the Royal Conservatory of Music of Madrid you already have the four winning works what, as already announced in the bases, will integrate the program of the concert that under the title 'Contemporary Spanish Music' will offer the Tuesday 28 June the Ensemble Opus 22 within the cycle Notes from the Ambigú.
The jury appointed by both institutions, which highlights the “high level” of all the compositions presented, It has been agreed unanimously reward the works “The eternity of an instant” by Adela Rodríguez Yus, Grave of the Fireflies and Digital Aneurysm Pablo Gonzalez Gonzalez, "Behind a Crystal Abyss" Victor Pantoja Figueroa and "Tears of Light" by Nuria Maria Sanchez Sanchez.
This jury was made up of Guillermo García Calvo, musical director of the Teatro de la Zarzuela, Miguel Galdon Perez, deputy director of the Teatro de la Zarzuela, Enrique Frias Wheel, Professor of Composition at the RCSMM and Bruno Dozza, Professor of Composition at the RCSMM.
Likewise, the role of the renowned composer and member of the Department of Composition and Musical Technology of the RCSMM, José María Sánchez-Verdú, has been essential for the good development of the contest.
They chose the prize students enrolled in the specialty of Composition or Sonology during the academic course 2021/2022 of the RCSMM or those who have obtained in this academic institution the Higher Degree of that discipline in last two years academics.
Monday, 4 April at 20:00 hours, he National Dissemination Center Musical (CNDM) presents, in co-production with Teatro de la Zarzuela, to soprano Katharina Konradi, one of the voices with the greatest projection on the international scene in what will be her debut within the XXVIII Cycle of Lied. Malcolm Martineau, one of the most renowned pianists on the circuit, will accompany the soprano in a initiatory journey from the roots of the genre —Schumann with one of his most representative cycles, the song cycle, on. 39- until the nearest sound spaces to the popular that connect so much with emotion, how are the sounds of Ginastera and Montsalvatge. In between, there will be room to be seduced by the sound refinement of Debussy or the lucid neoclassicism of Fauré.
The demanding program proposed by Konradi and Martineau explores, from the beauty of the selected works, the diffuse border of the genre with other more immediate musical spaces. The Five popular Argentine songs of Ginastera or the five black songs of Montsalvatge serve as an example of how modernity and tradition go hand in hand in that search for essences of the human being what is the lied. the magnetic ones Ariettes forgotten by Debussy or the refinement of selected pieces by Fauré will complete the tour.
The last entries for this recital, with a General price 8 a 35 euros, are available at the box office of the Teatro de la Zarzuela, the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.
ONE OF THE VOICES OF THE FUTURE
critically acclaimed, Katharina Konradi makes its debut in the Lied Cycle with this unconventional program. Born in Bishkek (Kyrgyzstan, Asia), is the first soprano from this country with an international career as a lied singer, concerts and opera. He performed for three years at the Hessian State Opera in the city of Wiesbaden. In 2018, made his introduction as Ännchen in The Marksman, de Carl Maria von Weber, at the Hamburg State Opera. Since then, He has sung the main soprano roles in the best theaters of the world, as Zdenka in Arabella, Richard Strauss, at the Semperoper in Dresden; the shepherdess in Tannhäuser, Richard Wagner, at the Bayreuth Festival; Sophie Der Rosenkavalier, Richard Strauss, directed by Vladimir Jurowski; o Sophie in Werther, Jules Massenet, and Susanna in The Marriage of Figaro, by Wolfgang Amadeus Mozart at the Bavarian State Opera.
His voice has the right mix between technical expertise and musical intelligence, taking advantage of the brilliance of his high register and the color homogeneity of his singing to get the maximum emotion out of the repertoire he deals with, as he demonstrated in his last presence in Madrid a few months ago at the Liceo de Cámara XXI Cycle of the National Center for Musical Diffusion (CNDM), with a fantastic welcome. further, will perform in the recital a work never heard before in the cycle, the beautiful Love song, on. 27, No 1 by Faure.
ELEGANCE MADE SOUND
Few introductions needed one of the myths of the accompanying piano. Malcolm Martineau belongs to that privileged generation of interpreters who have been able to transfer to their refined technique the sensitivity and elegance in phrasing that identify it and make it recognizable for many music lovers. The Scottish pianist has spent his entire life among the musical elite, being required for accompany the most outstanding voices of several generations, como Janet Baker, Florian Boesch, Barbara Bonney, Thomas Hampson, Elina Garanca, Simon Keenlyside, Angela Gheorghiu, Thomas Quasthoff, Anne Sofie von Otter, Christoph Prégardien, Felicity Lott, Bryn Terfel, Magdalena Kožená, Christopher Maltman o Sonya Yoncheva, among many others.
He has participated in recitals in the main concert halls, like the Berlin State Opera, Carnegie Hall, Concertgebouw, Gran Teatro del Liceu, Mariinsky Theatre, Metropolitan Opera, Royal Opera House, La Scala, Sydney Opera House, Teatro Real o Musikverein; and to festivals like Aix-en-Provence, Baden Baden o Tanglewood. Multi-awarded in its long and prolific recording career (over a hundred recordings), He combines his tours with his work as a teacher at the Royal Academy of Music
Martineau has participated in memorable nightss inside the Ciclo Lied the Teatro de la Zarzuela, accompanying Dorothea Röschmann or Florian Boesch recently. In this your twentieth appearance, de la mano de Katharina Konradi, pianist and singer will show off that amazing «capacity to move us, but also to make us reflect on the importance of music and art in times like the ones we are living in», as Isabel Díaz Adánez comments in her notes to the program. A whole musical vindication.
Photograph (c) Simon Pauly
He Teatro de la Zarzuela closes the cycle 'About...' with a tribute by Guillermo García Calvo to some of the virtuoso pianists who "coexisted" with Isaac Albéniz.
Guillermo García Calvo, musical director of Teatro de la Zarzuela, will close this next Sunday 3 of April (12h00) in the ambigu of the coliseum, the cycle 'About…' with which the conductor and pianist has tended bridges between some of our most important authors and the national and international currents of each period. This time, the concert will be dedicated to several of the most outstanding piano virtuosos who were contemporaries of Isaac Albéniz, coinciding with the premiere these days of the operetta ‘The Magic Opal’ directed by the teacher himself.
In this third appointment of the cycle, entitled ‘Virtuous and poets of the romantic piano’, teacher will link the unique creative and interpretive world of Albéniz with that of some of the most brilliant pianists of his time such as Enrique Granados, Ferenc Liszt and Frederic Mompou.
The loop object is introduce the word and expose the piano the relationships between the titles of the season in which García Calvo is in charge of the musical direction –‘Circe’, ‘Between Seville and Triana’ and ‘The Magic Opal’–, their composers –Ruperto Chapí, Pablo Sorozábal e Isaac Abeniz–, his works and those of his contemporaries.
In 'Nine luck of a woman' all kinds of emotions come together, like at a feast. The always warm and soulful voice of the mezzo-soprano Nancy Fabiola Herrera, the geometric and prodigious piano phrasing of Rosa Torres-Pardo and the flaming word of beauty and meaning of the actress Silvia Abascal, undertake in this concert a inner journey that investigates the lights and shadows of those women who suffer, secure, they laugh and cry in the zarzuela.
A journey in which the texts of Juan Marchan they spin the music until they reach the unsuspecting soul of the spectators. Why no one can stop feeling alluded. it will be tuesday 5 of April (20h00) inside of the Concert series of the Teatro de la Zarzuela.
In the concert-recital, works by some of our best composers of the genre will be played, such as Luna, Chapí, Serrano, Chueca, Valverde and even Leon; tickets, this time, who wrote with woman as protagonist, as the first and last end of sorrows and joys, certainties and uncertainties, of desires and aversions. But as 'Nine luck of a woman' is a party, and extraordinary the trip in which it tries to envelop us, together with the nine chosen ballads will also flow, on the floor only, the beauty and depth of Falla and Granados.
Daniel Bianco, Theater director, is very graphic in specifying the essence and wild emotion of the show: “The soft rocking of tenderness is suddenly an overwhelming fire and at the same time beautiful. They are the swings of love, the pain, the happiness, the longing that leads us to nostalgia and even melancholy. is the identity, the earth. what we have been, what we are and what we will be. All this with a look, woman's skin and heart”.
For some seasons the number of viewers, also young, who attend performances of the Teatro de la Zarzuela has been on the rise, and consequently, In recent years there has been a considerable decrease in the average age of those who occupy the seats. Meanwhile, the usual public, whose loyalty has kept the genre and its theater alive, stay true to the quote. They are therefore several generations that today meet in the coliseum of the Plazuela de Jovellanos, that in October of this year will be 166 years, for enjoy with the same enthusiasm our heritage.
In this days, two new sets will continue to fill this reality with argument. On the one hand, he Dress rehearsal of Isaac Albéniz's operetta 'The Magic Opal'tomorrow, Wednesday, will be filled with boys and girls from 16 Y 30 years, who will witness this scenic recovery –The play has not been performed on stage since its Spanish premiere in 1894 on this same stage – with a spectacular audiovisual montage of Paco Azorín and musical direction Guillermo García Calvo.
On the other hand, has already been opened call for the presentation of candidacies to participate in the hearings of the Zarza Project –zarzuela made by and for young people– it's from the season 2022/2023. In this way, the interpreters of 18 a 30 years with proven theatrical and musical training who are interested in attending them will have until the next22 April at 11:59 p.m. to present. In the next link you can find all the information about it.
To be part of the cast of 'The Green Envelope' – the title of this season – more than 800 candidates.
Many strong emotions they wait for us in the month of april. Among them the scenic recovery of ‘The Magic Opal’ by Isaac Albéniz, what come back to Teatro de la Zarzuela 128 years after its premiere in Spain on this same stage. From that Madrid premiere to the present day, he has never been on stage again. The work had been presented in English one year before, in 1893, at the Lyric Theater in London during the stage in which Albéniz focused his creative work on this city. From clever and fun music, this operetta demonstrates the enormous variety and versatility of the Catalan musician, placing it among the great international composers. Now, a century and almost three decades later, the public will have the opportunity to enjoy it of the 1 al 10 of April with a innovative montage by Paco Azorín addressed to the viewer of the 21st century through an audiovisual and contemporary language.
The history, developed in the key of a comedy of intrigues and adapted by Paco Azorín Y Carlos Martos de la Vega, revolves around the search for love Yet the irresistible quality of a magical opal whose power is that everyone who touches it falls madly in love with whoever owns it.
And for this effective approach to reach the desired port, to the staging and scenery of Azorín joins like a invulnerable tandem the musical direction of the master Guillermo García Calvo –musical director of the Teatro de la Zarzuela, General music director de la Chemnitz Opera in Germany, head director of the Robert Schumann Philharmonie and without a doubt one of our most illustrious orchestra conductors–. As if this were not enough, to them is added a scenically overwhelming artistic team Y two balanced distributions of great voices and special talent for the scene. García Calvo will likewise return to share the coliseum pit with the Community of Madrid Orchestra, Titular del Teatro, and will also lead the Holder Choir Teatro de la Zarzuela.
the leading roles, immersed in a inexhaustible becoming of crazy entanglements, in many cases especially funny, will be performed by Ruth Iniesta Y Carmen Romeu, who will take turns in the role of the young dreamer Lolika; tenors Santiago Ballerini Y Leonardo Sánchez, who will act as Alzaga, your intrepid ally in the search for true love; baritones Luis Cansino Y Rodrigo Esteves, who will embody the banker Carambollas, symbol of money and power as one of the most harmful and perverse burdens in the daily lives of Citizens. "King is love, but money is the emperor», it is said in the appearance on the scene of this character and his complementary, Aristippus the treasurer, played by bass Jeroboam Tejera. The baritones Damian del Castillo Y César San Martín will assume the role of Trabucos, who at all costs will try to achieve his goals always helped by the Bandits or by the magic opal that will make him invincible while it is in his possession. And the mezzo-sopranos will also enter the game and the entanglements Carmen Artaza Y sea field like Martina, her too mezzo Helena Resurrection, which will be Olympia, soprano Alba Chantar (Zoe), the tenor Gerardo López (Pekito) or baritone Tomeu Bibiloni (I work). And as master of ceremonies of all the mess, Eros XXI played by the actor Fernando Albizu.
21st century audience
They will all boil, they will alter, they will have fun and endure the unspeakable imbued by the innovative scenery of the Paco Azorín in which the projections, the video, technology and lighting will create a new universe: the one with the magic opal game. A voracious entertainment in which the allegorical wardrobe of Juan Sebastian Dominguez, the always complicit and subtle illumination of Pedro Yagüe, the magical audiovisual design of Pedro Chamizo or the laborious and fluid scenic movements traced by Carlos Martos de la Vega, that the protagonists will develop together with 8 will have fun and suffer throughout the spectacular scenery of Y 4 acrobats.
Paco Azorín faces this recovery with a “total respect towards music”, and brings the story up to date by directing it towards the theme of the trivialization of love and its instrumentalization, for example, with the numerous apps that today are for many people the perfect assistant to search and find a partner. In this way, the director tries tocreate a staging that addresses the public of the 21st century through an audiovisual and contemporary language”.
It so happens that for the premiere of this new production of the Teatro de la Zarzuela, one has been commissioned new translation of Arthur Law's libretto, of which they are authors Javier L. Ibarz Y Pachi Turmo.
It is also necessary to highlight the commendable work of Borja Mariño, author of the new critical edition of ‘The Magic Opal’, a work that despite its big success with more of 300 representations throughout England, had not been performed since the end of the 19th century due to the dispersion of its materials and the different modifications it underwent over time. The play premiered with bearing three titles and was translated into Spanish to be performed at its premiere at the Teatro de la Zarzuela. In the critic's words G. Bernard Shaw: «The opera puts Albéniz far ahead of the best of his rivals».
Influences and conquests of Albéniz
Guillermo García Calvo draws attention to the circumstance that "although sometimes we think we know our composers, In reality, on many occasions, we only know about a very small part of its creation.; Y this is the case of Albéniz”. This is how the conductor reveals it, who in direct reference to the score of 'The Magic Opal' tells us about another completely new facet of the composer of Camprodón: “Music wisely collects diverse influences of European currents at the end of the 19th century, letting yourself be inspired but never copying”. A) Yes, we hear melodies that anticipate the french impressionism - you can think of Lalo, Chausson Y Fauré—, orchestral rhythms and colors close to the Italian opera of the moment —both the verismo of Puccini as the neoclassicism of the 'Falstaff' of Verdi— and also to the French operetta —as in ‘La fille du regiment’ by Donizzeti or the operetta of Offenbach—. "And of course, we also listen English operetta and symphonic atmospheres, and very occasionally, as a seal of identity, Spanish melodic twists, the Andalusian cadence or melodies in Phrygian mode”. García Calvo has no doubt that “as a whole it is a beautiful work, exquisitely instrumented, that serves as the perfect support for the magical atmosphere of a story of Shakespearian wit and humor”.
From today's perspective, we meet one music to taste in which we can appreciate the Albéniz's ability regardless of all the conditioning factors of the time in which it premiered. This new production de ‘The Magic Opal’, intended for 21st century viewers, gives us the privilege not only of listening to the work, but also of almost see her on stage 130 years after that lasttheatrical versionand on this same stage of the Teatro de la Zarzuela where it happened. We are therefore fortunate that the opal falls in love again.
For a few seasons the Teatro de la Zarzuela, in collaboration with the National Center for Dissemination of Music (CNDM), is making room in its popular Lied Cycle for new performers of this genre. Although young, some are already consecrated, such as the case of Sabine Devieilhe or Anna Lucia Richter, which we have recently enjoyed in this same Cycle. Others are truly debutantes, as is the case at hand. Also taking into account that the liederistic genre does not have a long tradition in Spain, the fact that our protagonists are nationals, brings to this debut a plus of interest.
The program has been as attractive as varied and somewhat risky, precisely because of the variety of styles. And perhaps this point was the most delicate. Beethoven to start, specifically An the distant beloved (to the distant beloved), made up of six works of great beauty. After Schubert, with six songs on poems by Rückert. The second part began with Fauré, language and registration change, The right song, on nine poems by Verlaine. To end, six works by Strauss from the opus 27 (of), opus 10 (a) and opus 19 (three).
Josep Ramón Olivé began his cello studies, piano and singing in La Escolanía de Monserrat. He later studied choral conducting and classical singing at the Escuela Superior de Música de Catalunya and continued his vocal training at the Guildhall School in London with Rudolf Piernay., later participating in master classes by Graham Johnson, Gerald Finley, Kurt Widmer, Josep Bros, Luigi Alva and Teresa Berganza. He was nominated as an Oxford Lieder Young Artist in 2015 and was part of the acclaimed Le Jardin des Voix project by William Christie and Les Arts Florissants in 2017. Lied is not new to him, having already tackled several important Brahms cycles, Mahler, etc.
Almost fundamental qualities for this genre appear in it, like a good and intentional phrasing, a solid technique, voice volume more than appreciable and a very good diction in French and especially in German, something fundamental to rigorously approach a lied.
Be young, Besides, has the advantage of the road ahead to improve. Especially, in presence on stage, a better and greater nuance, to give each work the character it needs. But there is enough material to write down these names and hope to see their evolution in future seasons in this same cycle..
Together with Olivé he has debuted on the piano victory warrior, quite a find in this recital. Always perfectly attentive to the voice, has freshly and accurately described the character of each work. Especially Beethoven and Strauss. He has shown great delicacy and generosity in accompanying.
Born in Jerez de la Frontera, He has received classes from pianists of the stature of Joaquín Achúcarro, Nino Kereselidze, Claudio Martinez Mehner, Edward Wolanin, Tibor Szász y Ángel Sanzo, among others. He has performed in concerts as a soloist in different cities of the Andalusian geography. He finished his piano studies with Óscar Martín at the Superior Conservatory of Seville. She has also been a repetitive pianist with the choir of the Villamarta Theater in Jerez de la Frontera.. She has been awarded the prize for the best pianist in the prestigious Das Lied-International Song Competition in Heidelberg in 2017 y Paula Salomon-Lindberg song competition at the Berlin University of the Arts 2015.
The recital ended with two tips, the first a work in Catalan by the Barcelona native Ricard Lamote de Grignon (1872-1949), performed with exquisite taste by Josep Ramon Olivé. The second a lullaby by Manuel de Falla, given the imminent paternity of the Catalan baritone.
A very good initiative of the organizers of the cycle, that of incorporating young promises, what we hope to see in future seasons.
He Teatro de la Zarzuela will broadcast live through your youtube channel the last session of the master classes which since last Monday has been imparted by the international soprano Nicola Beller Carbone inside of the coliseum educational program. The broadcast will be starting at 6:00 p.m. next Sunday 27 of March, World Theater Day, will last approximately 60 minutes and during the same questions can be sent that will be answered by the interpreter herself or by the students at the end of the work.
The soprano Nicola Beller Carbone is distinguished by a peculiar artistic profile, in which he takes care of both the theatrical and musical aspects. Artist of great versatility thanks to a complete training in singing, piano, drama or classical dance, as well as his experience in shows of all kinds -Opera, concert, musical, street theater, cabaret or rock and jazz bands–, he has always sung in famous theaters and festivals as the Bavarian State Opera, La Fenice in Venice, Bregenz Festival, Paris National Opera, the Zurich Opera, the Teatro Real in Madrid or La Monnaie in Brussels, in which he has performed very many roles among those who have a predilection for Salome, Tosca, la Marie de ‘Wozzeck’ o Katerina Izmáilova de ‘Lady Macbeth de Mtsensk’.
Has been invited on several occasions to the Teatro de la Zarzuela to sing titles like 'The Grand Duchess of Gerolstein', 'The Villain' or 'The Wildcat'.
singer and teacher
In recent years Beller Carbone has combined his activity as a singer with teaching, giving master classes in prestigious institutions of Munich, Madrid, Las Palmas de Gran Canaria or Florence, among other places.
In 2019 started FREEinCANTO, where do you teach from master classes for lyrical singers in which works acting and singing from imagination and creativity, combining the technique, the body, voice and intuition.
With works of Beethoven, Fauré, Schubert Y Strauss
He will be accompanied by the pianist victory warrior
Baritone debut Josep Ramon Olive and pianist victory warrior at ciclo de Lied that for 28 years program the National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela, with a program in which the works that comprise it have as common element beauty. will be the next Monday 21 March at 8:00 p.m., and for the occasion the singer has prepared two series of special relevance: the opus 98 from Beethoven, 'To the Distant Beloved' ('To the distant beloved') and the one belonging to the opus 61 from Fauré, that delicate collection entitled 'La bonne chanson' on poems by Verlaine. And between both, seis lieder de Schubert, five of them on poems by return, among which stand out the imposing and passionate 'Sei mir gegrüsst', D 741 y ‘You are the rest’, D 776. as colophon, another six pages of Strauss, 'Morning!’ and ‘The night’, between them.
Olivé, interpreter versatile and with one international career more than interesting despite his youth, is one of the most outstanding promises of the Spanish lyric.
Josep Ramon Olive was born in Barcelona. He began his cello studies, piano and singing in the Choir of Montserrat and, later, continued at the Barcelona School of Music. Study choral direction and classical singing at the Higher School of Music of Catalonia and continued his training vocal at the Guildhall School in London with Rudolf Piernay. He has participated in master classes of Graham Johnson, Gerald Finley, Kurt Widmer, Josep Bros, Luigi Alva and Teresa Berganza, among others.
Josep-Ramon Olivé has collaborated with orchestras such as Le Concert des Nations, Les Arts Florissants, Hesperion XXI, the Barcelona Symphony and National Orchestra of Catalonia, the Community Orchestra from Madrid, the London Handel Orchestra and the Orchestra of the Age of Enlightenment in concert halls and theaters such as the Palau de la Música Catalana, the Concertgebouw in Amsterdam, National auditorium from Madrid, la Elbphilharmonie de Hamburgo, the Great Theater of the Lyceum, the Philharmonie de Paris, the Konzerthaus de One, the Wigmore Hall and the Barbican Hall in London and the Tchaikovsky Hall in Moscow, under the direction of Jordi Savall, William Christie, Kazushi Ono, Sigiswald Kuijken, Laurence Cummings, Josep Pons or Victor Pablo Perez. He received the Gold Medal from the Guildhall School in London in 2017, as well as the first prize and the prize of the public of the Handel Singing Competition in 2015 and the second prize of the Permanent Contest of Young Performers of Musical Youth in 2011. As well was nominated as an Oxford Lieder Young Artist in 2015, was part of the Le Jardin des Voix project by William Christie and Les Arts Florissants in 2017 and was selected ECHO Rising Star in 2018. Ha performed in the field of oratoryA German RequiemBrahms, heRequiemby Faure, he Requiemby Duruflé, heCarmina BuranaOrff, heRequiemand theSolemn Evening of the Confessor Mozart,Messiah,EstherYAlexander Balusof Handel and theMagnificat,theMass in B minorand the Christmas OratoryBach. Finally, on the side of the lied, has sung the cyclesThe beautiful MageloneBrahms,Songs of a WayfarerYRückert songsMahler,the beautiful Miller Schubert,poet's loveSchumann,Natural storiesRavel,The right songof Faure and To the Distant BelovedBeethoven, among others. Among his recent activities, highlight the premiere of works by composers Salvador Brotons, Josep Vila i Casañas, Albert Guinovart, Johan Duijck, Raquel Garcia-Thomas, Joan Magrané, Laurence Osborn and Alberto Garcia Demestres, his presentation in the Gran Teatro del Liceo and at the Peralada Festival and the inauguration of the Life Victoria 2018 in a recital with the pianist Malcolm Martineau. Josep-Ramon Olivé participates for the first time in the Lied Cycle.
victory warrior was born in Jerez de la Frontera (Cádiz). He began his studies with Maria Jesús Durán at the Belén Fernández School of Music and Dance. At the same time, continuous his piano studies at the Joaquín Villatoro Professional Conservatory of Music. has received classes of pianists of the stature of Joaquín Achúcarro, Nino Kereselidze, Claudio Martinez Mehner, Edward Wolanin, Tibor Szász y Ángel Sanzo, among others. He has performed in concerts as a soloist in different cities of the Andalusian geography. He finished his piano studies with Óscar Martín at the Superior Conservatory of Seville. She has also been a repetitive pianist with the choir of the Villamarta Theater in Jerez de la Frontera. It has been awarded the prize for the best pianist at the prestigious Das Lied-International Song Competition in Heidelberg in 2017 y Paula Salomon-Lindberg song competition at the Berlin University of the Arts 2015.
Victoria Guerrero has extensive training as a soloist, consolidated in Germany. In the present, she dedicates herself exclusively to the lied repertoire and works as a co-repetition pianist within the Singing Department of the Mozarteum University in Salzburg. further, he has completed a master's degree in Liedgestaltung with professors Pauliina Tukiainen and Matthias Alteheld at the University of Music de Friburgo. Later, completed the postgraduate Solistenexamen with the prestigious pianist Hartmut Höll at the Musikhochschule Karlsruhe. Ha attended a multitude of improvement courses with internationally renowned liederistas, like Helmut Deutsch or Wolfram Rieger, Anne LeBozec, Jan Phillip Schulze, David Selig the Burkhard Kehring and singers like Andreas Schmidt, Christoph Prégardien, Wolfgang Holzmaier o Christiane Iven, among others. She has been awarded the Frauen Förder Stipendium scholarships and those of the Association of Musical Youth of Madrid. Likewise, has been invited to different cycles the song, como the Bonn Schumann Festival in the Schumann House in Bonn, inside the Festival im Spring in Heidelberg or in the ciclo recital in Friburgo; in summer 2018, acted in the Schubertíada en Vilabertran with Wolfram Rieger and, in summer 2019, in the Schubertiad Valdegovía with soprano Natalia Labourdette. Victoria Guerrero participates for the first time in the Lied.
He Chamber Sundays cycle. Women with Ñ of the Teatro de la Zarzuela present this next Sunday,20 of March al Sax-Ensemble quartet, one of the best sets committed with the contemporary musicians and with the task of facilitating the access to music through pedagogy. This time, the concert, which will take place in the Ambigú of the coliseum at 12:00, will include works of Spanish composers today, among which two absolute premieres can be heard. Tickets are available at single price of €6.
In addition to being outstanding, the program is loaded with meaning since for the second consecutive year the aforementioned cycle, which is already celebrating its third edition, is dedicated entirely to the woman, and more specifically to role of female composers in spanish music; hence the title ‘Women with Ñ’ what defines it.
The quartet will include music from Sonia Megías, Maria Rosa Ribas, Zulema de la Cruz O Rachel Garcia Tomas, with world premieres of Cruz Lopez de Rego Y Laura de las Heras.
The Sax-Ensemble quartet was created in 1987 with the objective of promoting the creation and dissemination of contemporary music. This is a chamber group flexible integrated as base per flute, clarinet, fiddle, viola, cello, saxophone quartet, piano, percussion and electroacoustic music, and that counts in the necessary cases, with the participation of other wind instruments, rope and with the voice, in many of his performances. In the concert on Sunday the performers will be Francis Martinez (soprano saxo), Francis Smith (alto saxo), Pilar Montejano (tenor sax) Y Miriam Castellanos (baritone sax).
Through this cycle the Theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition for their creations.
Each concert will feature one or more absolute premieres, a good part of them from young composersin collaboration with the Royal Conservatory of Music of Madrid. This time there will be two premieres: 'Blue' by Cruz López de Rego, and 'Pria' by Laura de las Heras.
The two remaining appointments of the cycle will be with the trio Arbós (24 of April) and pianist mario Prisuelos (5 of June).
Four Productions of Teatro de la Zarzuela have been chosen among 13 montages that will compete to be nominated forBest Musical or Lyrical Show in the XXV edition of the Max Awards for the Performing Arts.
The titles that will compete for the prizes are ‘Benamor’, directed by Enrique Viana, 'The king who raged’ with scene of Barbara Lluch, Y 'The hawks’ Y 'The barmaid port’ both with address Mario Gas.
They will also be candidates for nominations Mario Gas, Ezio Frigerio and Angel Ruiz for the stage direction, the scenery and the acting work of 'La tavernera del puerto', Y Franca Squarciapino, Gabriela Salverri and Clara Peluffo Valentini for the costume design of ‘Los gavilanes’, 'Benamor' and 'The king who raged' respectively.
The Organizing Committee of the Max Awards has announced the candidates for the 20 contest categories of these awards organized by the Foundation of the General Society of Authors and Publishers (SGAE), whose purpose is stimulate and recognize the talent of theater and dance professionals in Spain.
The territorial juries appointed by the Committee have selected in this first phase the shows among which the finalists will be chosen of those 20 categories.
Photograph: Elena del Real
Nominations of the Teatro de la Zarzuela for the nominations of the XXV Max Awards for the Performing Arts:
The barmaid port
– best production
– best stage direction (Mario Gas)
– Best Stage Space Design (Ezio Frigerio)
– best Actor (Ángel Ruiz)
The King who raged
– best production
– Best Costume Design (Clara Peluffo Valentini)
– best production
– Best Costume Design (Gabriela Salverri)
– best production
– Best Costume Design (Franca Squarciapino)
In 1913 premiered in Madrid, at the Theatre Royal, the opera Tabare, made of Tomas Breton from the poem of Juan Zorrilla de San Martin. The work is located at the beginning of the conquest of Uruguay, and narrates the fights that took place between the towns of Mar del Plata and the Spanish conquerors. It tells us the adventures of a mestizo Indian who fought for peace between the two sides.
The protagonist of the story was in charge at his premiere of one of the most important tenors of the moment, Francesc Viñas, in the midst of great success. But as on so many occasions, this work disappeared after its first season. Until now, when she was rescued by him Teatro de la Zarzuela. Thus fulfilling one of its main missions of making our lyrical heritage known.
Tomás Bretón considered Tabaré as his best opera. It is certainly one of the most complex., about music writing. With undoubted Wagnerian influences, full of contrasts and great expressiveness. The vocal parts are also not far behind in terms of difficulty. Leading roles are highly demanding and a high-level cadre of singers is needed.
Breton never got over the fact that it was a zarzuela, The Festival of the Dove, for which he would be internationally recognized, and not one of his operatic compositions, as you would have liked. But it was a "minor" work, barely fifty minutes long, the one that made him a universal composer.
The composer always had the determination to place Spanish opera at an internationally recognized level. But it could never live up to Italian opera, french or german, nor in Spain did he have recognition. Now, and after an intense work carried out with the handwritten score of Bretón, we have the opportunity to discover it in concert version.
The play, nearly two and a half hours long, he offered himself out of the blue and without warning, what must have caused some havoc. The address of Ramón Tebar he didn't take too much care of the singers, who were screaming to be heard. The volume of the orchestra got a little out of hand for the conductor, especially in the first act. The best moments were the most lyrical, I don't know if it was due to the score or because the ear rested a bit.
One of the protagonists debuted in this Theater, Maribel Ortega, as Blanca. The moments of greatest lyricism and delicacy are due to her. Something not easy at times, because it had to rival the volume of the orchestra. The result was not always clean.
The other protagonist was the tenor Andeka Gorrochategui in the role of the brave Tabaré. It has a beautiful timbre, but his way of singing, always hard, led him to spend more than a moment of trouble at the end of the work. Arms crossed and with a somewhat nervous sway, couldn't put down the water bottle. It was a bit distressing to see him.
baritone Juan Jesus Rodriguez, as Yamandu, had a brilliant performance. His score was devilish, but he confronted him with authority and vocally defining the characters very well.
Another task that was not easy was ahead of the bass player from Malaga Luis Lopez Navarro, as Father Esteban and Siripo. With a remarkable volume and good edge line, he tamed the beast of his score and came out more than successful. It only lacked nuance in some moments.
Airoso came out too Alejandro del Cerro, in his role as Gonzalo. Although sometimes a little untempered, managed to be heard, that was not little.
Marina Pinchuk, like light, he put the point of elegance and temperance in his song, something that, in view of the final result, it was not an easy task.
The comprimarios were very good David Oller, as Ramiro, Ihor Voievodin, Garces, Cesar Arrieta, Damian and J.avier Povedano, Rodrigo, always attentive and synchronized.
At the beginning, a speech by Daniel Bianco was heard, Theater director, in favor of peace and harmony provided by music, something so necessary in these uncertain times. All the protagonists wore a scarf with the colors of the Ukrainian flag.
The recital that next Tuesday 8 of March (20h00) will offer in Teatro de la Zarzuelaactress and singer cross Beitia and the pianist and composer César Belda inside of the Notes cycle Ambigú promises to be especially emotional, of course vindictive, and certainly festive and happy. It is presented on the occasion of International Women's Day under the title ‘A woman in music’, and celebrate works of popular music composers, sprinkled with songs by authors as prodigious as they are.
During the concert, Gurutze Beitia will link some compositions with others through witty soliloquies especially timely on the occasion of the celebration. And so, many musics will be heard that today are the soundtrack of so many lives; works by authors such as Consuelo Velázquez ('My little piece'), Maria Grever ('My soul' or 'Swear to me'), Gloria and Emilio Estefan ('With the years I have left'), Cecilia ('Since you've been gone'), Veronica Bellini ('Spinster') o Marguérite Monnot ('Hymn to love' with lyrics by Edith Piaf), that will combine with music from Alberto Cortez ('my soul'), Enrique Pedro Delfino (‘What do you want with that parrot’), Jaume Mestres ('Severe regimen') or his own César Belda ('To the Caribbean!’).
It will definitely be one of those nights. that remain alive in memory, and that once again will serve to vindicate and make visible the fundamental role, essential and valuable for women in all spheres of life. So we are still in the year 22 21st century.
Notes Ambigú 21/22
In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.
After the recital cross Beitia Y César Belda the cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (is postponed from 18 April to 11 of June). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June).And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).
He Teatro de la Zarzuela meets one essential work in the preservation, study, Recovery Y diffusion of our operatic heritage. For this reason, the opera schedule ‘Tabaré’ (baptized by its author as "lyrical drama in three acts") becomes one of the highlights of this season. The work of Tomas Breton, with libretto by the composer himself based on the homonymous epic by the Uruguayan writer Juan Zorrilla de San Martin who gave him his poem in person, It premiered at the Teatro Real 26 February 1913 with a glittering cast led by idolized tenor Francisco Viñas in the lead role. Was aresounding success, absolutely unanimous according to what all the press of the time collects, but the story would surprise locals and strangers again with another incomprehensible and sad paradox: after the three performances of that long-awaited premiere, not without obstacles and problems, 'Tabaré' was plunged into a deep silence that condemned it to oblivion even though it was one of the composer's favorite works. 109 exact years have passed of that premiere, and that makes the Friday 4 (20h00), Y on Sunday 6 of March (18h00) sean happy days for our lyrics. The work will sound again More than a century later, this time in concert version.
Directed by maestro Ramón Tebar, undoubtedly one of the most outstanding Spanish and international directors –principal director of the Florida Grand Opera in Miami, of which he has been artistic and musical director since 2010; also in the United States artistic and musical director of the Naples Opera since 2014; Associate Principal Conductor of the Valencia Orchestra, of which he has been its artistic director and owner; and with an agenda full of commitments of all kinds around the world–, who faces this sheet music of an extreme requirement, both for him as a driver and for the singers. Thus, for the proper interpretation of the work, to carry it out with all the guarantees, It is also essential to have a cast of singular relevance.
A) Yes, the tenor Andeka Gorrotxategi will play the role of Tabare, mestizo indian, Invincible "super warrior" fruit and victim of the violence of kidnapping that implies an improvement of the race by mixing indigenous blood with European after forced union, in your case, of his mother Magdalena with his Araucanian captor. Tabare is a romantic hero, lonely, melancholic, dreamer of impossible causes, who moves between two worlds that ultimately make him a misfit lacking a physical and cultural home. like oedipus, Tabaré is a passive hero who flees from himself and who will only be moved to action by the danger that Blanca runs, young white woman who awakens her deepest instincts played by the soprano Maribel Ortega, being kidnapped by the warrior Yamandú, to whom the baritone gives voice Juan Jesus Rodriguez. Don Gonzalo, cross and executioner of Tabare, It will be played by the tenor Alejandro del Cerro, that completes the quartet of protagonists who will be accompanied by the baritones Luis Lopez Navarro Y David Oller, bass-baritone Ihor Voievodin, the tenor Cesar Arrieta, the baritone also Javier Povedano and the mezzo-soprano Marina Pinchuk.
The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, directed by Antonio Fauró, completes the artistic picture of this historical recovery.
The importance of 'Tabaré'
‘Tabaré’, construction site written in just one year, is a maturity composition which synthesizes the melodic lyricism of the Italian tradition, he harmonic treatment of Wagnerian opera Y sounds of impressionism. Breton himself considered her his most personal and independent work.
As the musicologist points out Maria Encina Cortizo, the opera Tabare, Tomás Bretón's last lyrical triumph, Y his penultimate opera, "is a masterpiece of a mature musician sixty-three years old, already considered one of the great composers of his generation, that of the Restoration, who contributed so much to regenerate the cultural fabric of turn-of-the-century Spain.” This is a task to which Breton applied himself thoroughly and not only through the creation, but also of the management and interpretation.
For Thomas Breton (1850-1923) he development of Spanish opera era, in the words of Cortizo, "in addition to a personal aspiration, a patriotic ideal in need of institutional support, essential factor for educate a public dedicated then 'exclusively to politics and bullfighting'”, as the musician himself would write.
He theme on which the argument of 'Tabaré' is developed could not be more particular: the fight between the Charrúa Indians (that populated what is now Uruguay in the 16th century) and the spanish. A unconventional theme –especially for a Spanish composer– with a libretto by Tomás Bretón himself based on the epic poem of the same name by Juan Zorrilla de San Martín.
Breton, well, is the literary adapter of a poem that, in Zorrilla's opinion, already possessed musical character, with love duets, warrior or twilight songs, choirs of soldiers and savages. Even so, Breton almost completely rewrote the poetic text, keeping only nine verses of the original in the operatic libretto. The first act of the opera, for example, It is pure creation of the composer.
Now, after 109 years of silence, viewers today we have the opportunity to enjoy it for the first time.
At this point, no one doubts that the Project Zarza del Teatro de la Zarzuela, Or what is the same: zarzuela made by youth for youth, is one of the indisputable and recognized values of this unique lyrical venue in the world. With 'The Green Envelope' by Jacinto Guerrero the sixth season of this initiative created by the director of the Teatro, Daniel Bianco, with the purpose of popularize the genre among the generations of the 21st century. Year after year the scope of a project grows that in the auditions held before the summer brought together more of 800artists from among 18 Y 30 years who aspired to become one of the 18 cast members. He young audience has a decisive relevance in the current colosseum project, that in this way he intends that he approaches zarzuela without prejudice, thereby continuing gender and strengthen its future.
That is why the Zarza Project is one of the star initiatives of the Theater, and serve as an example award for the Best Initiative for the Promotion of Lyricism awarded in the latest edition of the Ópera XXI Awards. Aimed at an audience between 12 Y 18 years, the title chosen in this sixth edition is 'The Green Envelope' by Jacinto Guerrero, that the composer himself subtitled "Sainete con drops de magazine in two acts". With a text by the playwright Álvaro Tato revising the original libretto by Enrique Paradas and Joaquín Jiménez, It is a musical show set in the popular Madrid of a century ago, but also in that New York that was already scratching the skies with its roofs and terraces, with the lightning rods and the antennas of its infinite buildings. The play, what in its time it was a formidable success (premiered in Barcelona in January 1927 and in Madrid two months later), and that thisa mere five years shy of turning one hundred years old, is appreciated by Tato as a "cabaret comedy, fun and rogue with a theme that has not lost relevance: the money". That's it, money and what we might call its unexpected “side effects”, O how fortune can turn into the worst of nightmares.
It can be said that the singer-actors of the different editions form the young company Zarza Project, and who also fulfill the mission of serving as quarry for the great productions of the Theater. And is that, from your participation in the Project, a good number of them have intervened already in some title of the lyrical seasons.
In this new production of Teatro de la Zarzuela, the musical and stage direction will be in charge, respectively, from Cecilia Bercovich (who will also play the violin) and Nuria Castejón, the scenery is signed by Ricardo Sánchez Cuerda, costumes is Grabriela Salaverri and lighting Juanjo Llorens. On this occasion, the invaluable work of the director of the Teatro Titular Choir has also been, Antonio Fauró, who has worked in the preparation of the voices of the eighteen actor-singers who participate in the work and who will be accompanied by a chamber orchestra made up of seven young musicians.
The programmed functions will be presented in the main hall of the Teatro de la Zarzuela in the 21 al 26 February, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (23, 25 Y 26 February) with a total of 12sessions. As has been done in the five previous editions, after the show will be held one colloquy between the public and artists.
The role of the school Wednesday 23 February (11h00) will be issued live through Facebook, YouTube and the website of the Theater Y will be available on these channels.
“¡Fiesta!”, A) Yes, With a single word Nuria Castejón defines 'The Green Envelope' and the work carried out. The stage director and choreographer of the production had a clear challenge from the beginning of the creative process. This consisted of answering a simple question: How to get people today, young people born in this 21st century, connect with the concerns and with the art of that modernity of the years 20 twentieth century? She is clear about what to do and what not to do to achieve this complex goal: “In this case, it is neither necessary nor appropriate to make a 'jump' and locate the story of 'The Green Envelope' in the streets of today's Madrid.; not by dressing our singers in tracksuits and jeans we will achieve that connection with the conflicts and situations that a already fully modern function, funny, clara, effective and powerful in the simplicity of its approach”.
That is why they decided that the best option was invite current viewers to immerse themselves in the cosmopolitan and street atmosphere of that time, "in a colorful and sensual review of that aesthetic, Y propose a musical comedy with a cabaret tone and intense rhythm, with a direct scenic language to revive the modernity of a century ago and rediscover the rhythms that have given rise to our way of understanding music today”.
A) Yes, with great enthusiasm, Castejón speaks of the spirit of theatrical work that, “about a reduced orchestra that synthesizes the essences of the original, with a first rate artistic team in all aspects and a young cast curdled with talent and dedicated to the scenic party, our “the green envelope” wants to revive a piece of our cultural history and return to the stage one of the great classics of the origins of Spanish musical and stage modernity”.
In music and dance prevail, among others, the rhythms of those “roaring twenties”: rapid, fresh and daring (charleston, fox, one-step…) what, as Nuria Castejón recalls, laid the foundations for today's rock and pop culture. So, we are before another suggestive, dynamic, fresh and vigorous bet that one more time celebrates the commitment of the Theater with young artists and young spectators.
21, 22 Y 24 February (10h00 and 12h00)
23 Y 25 February (11h00)
Functions open to the public:
23 Y 25 February, at 20h00
26 February, at 12:00 p.m. and at 8:00 p.m.
He Teatro de la Zarzuelawill host the next Sunday, 20 February in his Ambigu (12h00), the expected concert of the harpist Cristina Montes. Winner among other prestigious contests of the Primer Prize of the International Music Tournament in Rome and the Primer Prize in the 32nd International Harp Competition Valentino Bucchi Prize, is consecrated as one of the most important international harpists of her generation. Tickets are available at single price of €6.
The third edition of cycle ‘Chamber Sundays’ of the theater is dedicated entirely to the woman for second consecutive Year, and more specifically to role of female composers in spanish music; hence the title ‘Women with Ñ’ what defines it.
Cristina Montes will include in her concert music by spanish composers for harp with works Rosa Maria Rodriguez Hernandez, Laura Vega, Illumined Pérez Frutos, Marisa Manchado, Carme Fernández Vidal, Consuelo Díez, Claudia montero, with world premieres of Mercedes Zavala and Adela Rodriguez Yus.
Through this cycle the Theater continues with the diffusion of music "in feminine", much of it unpublished, with the intention of discovering to the public the excellence of the creations of these Spanish composers they seldom had (or have) due recognition for their creations.
Each concert will feature one or more absolute premieres, a good part of them from young composers in collaboration with the Royal Conservatory of Music of Madrid. This time there will be two premieres: 'The path of the brush' as part of ”The haikus of the snow” by Mercedes Zavala, and 'Llum i sombra' by Adela Rodríguez Yus.
The three remaining appointments of the cycle will be with the Sax-Ensemble Quartet (20 of March), he trio Arbós (24 of April) and pianist mario Prisuelos (5 of June).
the recital arrived 4 of the Lied who jointly organize the Teatro de la Zarzuela and the National Center for Dissemination of Music, and he did it with a safe value, baritone Matthias Goerne, accompanied this time on the piano by Markus Hintereuser.
This time Goerne has faced a repertoire of one of the most deeply romantic composers, Robert Schumann. The program has been varied and select, Six Poems and a Requiem, on. 90 (poem by Nikolaus Lenau (1802-1850)),
candy song cycle, on. 39 (poemas de Joseph von Eichendorff (1788-1857) and the five songs contained in the op. 135, on poems by Queen Mary Stuart (1542-1587). A succession of songs that the German baritone offered continuously and without interruption. One hour twenty minutes at a time.
Matthias Goerne has us accustomed to dissect, with great success, the deepest and most psychological aspects of the works and authors that he interprets, y Schumann it, definitely, the most psychologically complex author. And this selection of songs reflects the most sensitive and disturbing Schumann.
Goerne unfolded everything that is expected of a Liederist. Putting the stress on each syllable, giving content to each sentence. Even the silences were loaded with interpretive intensity.
The greatest depth was deposited in the characters with the greatest prominence, The hermit, The Lion Bride or To Queen Elizabeth. Goerne offered a precise and polyhedral description of each situation, place the protagonist. In that kind of trance in which the interpreter enters as if he were acting as a medium between the public and the essence of the composition.
He was accompanied on piano by Markus Hinteräuser, that accompanied the German with the most exquisite taste and precision, forming an extraordinary tandem.
Another magnificent night of lied at the Teatro de la Zarzuela, one more…
Photograph: Rafa Martín
Carmen Romero, Next to the pianist Borja Mariño will perform compositions of Oscar Espla, Manuel Palau Boix, Miquel Asins Arbó, Matilde Salvador Y Angeles Lopez Artiaga
Monday, 7 February 2022.- continues the cycle Notes of the Ambigu in the Teatro de la Zarzuela. In the sixth installment of this sixth season she will be the soprano Carmen Romeu who accompanied by the pianist Borja Mariño manage to move the public from that endearing space of the Theater to the llar: the home of his native Valencia with smells, flavors, words and music that are the land itself; life's essence. It will be the Friday 11 February at 8:00 p.m..
With compositions of Oscar Espla, Manuel Palau Boix, Miquel Asins Arbó, Matilde Salvador Y Angeles Lopez Artiaga, including a tribute to Fernandez-Cid, Romeu and Mariño will evoke that intimate place of family meeting, from Calm down, from security, that place where one always return to childhood, with its pros and cons, their traditions, their teachings, his music, his language, his pot aroma, oranges and orange blossom. The earth. Valencia. It's time then, to give a deep meaning to things, to lull us with life, to celebrate it for being what we are. and share it.
Notes Ambigú 21/22
In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.
After the concert Carmen Romeu Y Borja Mariño and on the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda will present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).
Matthias Goerne will be accompanied by the pianist Markus Hinterhäuser.
The last entries for this recital, with a general price 8 a 35 euros, are available at the box office of the Teatro de la Zarzuela, the National Music Auditorium, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.
He National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, will present the next Monday 7 February at 8:00 p.m. German baritone Matthias Goerne that returns to Lied –which this season celebrates its XXVIII edition-, again with a extraordinary demand and beauty program. On this occasion he will form a duo with the pianist Markus Hinterhäuser to offer a complete anthology of more than twenty lieder by Robert Schumann.
The fact of owning darker resonances allows you to disembark with poise and naturalness at intense, procellus and hyperromantic Schumannian universe to offer us the beautiful and varied group of lieder that are enclosed in the op. 39 of the Zwickau composer, that sovereign and mighty song cycle which will be accompanied by other nine pieces of the same authorship, some truly masters like do you know the country, The Lion Bride or the five contained in the op. 135, the famous writings on poems of Mary Stuart.
Versatile and global
Matthias Goerne is one of the most versatile and global singers, frequent guest at renowned festivals and concert halls. He has collaborated with orchestras, directors and the most important pianists in the world. Born in Weimar, studied with Hans-Joachim Beyer in Leipzig and, later, with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias Goerne has sung in all major opera houses, as the Metropolitan Opera House in New York, the Royal Opera House Covent Garden in London, the Teatro Real in Madrid, the Paris Opera and the Vienna State Opera. His roles include Wolfram (Tannhäuser), Amfortas (Parsifal), brand (Tristan and Isolde), Wotan (The Ring of the Nibelung), Orest (Elektra) y Jochanaan (Salome) or the main protagonists in Bluebeard's castle (Castle of the Bluebeard) de Béla Bartók y Wozzeck de Alban Berg. The art of Goerne has been documented in numerous recordings, with which he has won prestigious awards, among them, four Grammy nominations, an ICMA Award, a Gramophone Award, el BBC Music Magazine Vocal Award 2017 and a Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, He recorded a number of songs by Schubert selected twelve albums for Harmonia Mundi (The Goerne Schubert edition) with eminent pianists. His latest recordings with Christoph Eschenbach (Brahms), Markus Hinterhäuser (Schumann), la BBC Symphony (Mahler) y la Swedish Radio Symphony (Wagner) have received rave reviews. Matthias Goerne has been one of the most active artists on the international circuit during the pandemic period with concerts at festivals and cycles on the main stages of Austria, Poland, Russia, France, Germany, Spain, Switzerland, Italy and Finland. Matthias Goerne has participated in eighteen editions of the Lied Cycle: V (98-99), WE (99-00), VII (00-01), VIII (01-02), IX (02-03), X (two recitals, 03-04), XII (05-06), XIII (06-07), XIV (07-08), XV (08-09), XVI (09-10), XVII (10-11), XIX (12-13), XXI (14-15), XXIII (16-17), XXIV (three shows, 17-18), XXVI (19-20) y 28 (21-22).
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in a social moment much in need of entertainment. in a social moment much in need of entertainment, in a social moment much in need of entertainment. in a social moment much in need of entertainment, in a social moment much in need of entertainment.
in the role of Reyes and Javier Franco. in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, Between Seville and Triana at last at the Teatro de la Zarzuela, in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco; in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco, in the role of Reyes and Javier Franco
in the role of Reyes and Javier Franco. The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres.
The Andalusian location of the story allows for a varied representation of musical genres. The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres. The Andalusian location of the story allows for a varied representation of musical genres.
The Andalusian location of the story allows for a varied representation of musical genres.
Text: Paloma Sanz Images: Elena del Real
He Teatro de la Zarzuela continues the cycle ‘About…’: On this occasion, the maestro Guillermo García Calvo investigates the musical and intellectual environment of Sorozábal.
With works by Mateo Albéniz, Failure, Usandizaga, Guridi, Ravel, Margarita Blancafort and Kapustin
Guillermo García Calvo, musical director of the Teatro de la Zarzuela, will continue this coming Sunday, 30 from January (12h00) in the ambigu of the coliseum, with the cycle 'About…'. This time it will be dedicated to the musical and intellectual environment of Pablo Sorozábal, on the occasion of the premiere these days of the zarzuela 'Between Seville and Triana' directed by the master himself.
García Calvo introduce and explain the piano the relationships that exist between the musician of San Senastián, his works and those of his contemporaries, tending bridges between our most important authors and the national and international currents of each period.
In this second almost initiatory concert, to which has been added the explanatory title of 'Basque music, light music and jazz, the conductor and pianist will connect the Sorozábal universe with that of Mateo Albéniz, Manuel de Falla, José María Usandizaga, Jesus Guridi, Maurice Ravel, Margarita Blancafort and Nikolai Kapustin, arguing with words and with music.
Next appointment of the cycle:
‘About Albéniz’ Virtuosi and poets of the romantic piano, Sunday 3 April 2022
Estrella Morente will celebrate her 20 years as a unique artist in the concert cycle of the Madrid Coliseum he 31 from January.
Estrella Morente (Sacromonte, Granada, 1980), indisputable reference of flamenco and Spanish music, go back to Madrid, his "small house", where he next Monday 31 from January will offer within Cycle of Concerts of theTeatro de la Zarzuelathe best of his art. She will do it embracing the always passionate heat, wise and loyal of his public, to celebrate 20 years as a unique artist.
Surrounded by artists from the cradle, Estrella Mornte was born to sing. gather all the conditions of the memorable artists: a privileged voice, sense of rhythm, passion, the heritage of his elders and the curiosity to explore and incorporate new nuances to his style, following in the footsteps of the essential Enrique Morente, his father, from whom he inherited natural gift for music.
Deborah Garber He tells us that on this special night he will invite us to a journey in which we will go from the subtle simplicity of the festive songs of his childhood, to the depths of longed for love. "The whole picture of feelings, the entire range of sensations and colors — all the experiences of today's woman, besides the old one, are collected in the voice of Estrella”, Garber concludes.
Pablo Sorozábal is, always it was, an all-terrain musician who tackles with unusual success and apparent ease any style that comes his way and, what is more difficult, always achieving or bordering on excellence. An illustrated and wise song against musical and theatrical monotony is his work, and good proof of it is ‘Between Seville and Triana’, the “Seville zarzuela” of the master from San Sebastian who in the almost 72 years since its premiere, take the stage for the first time Teatro de la Zarzuela, temple of the genre par excellence. A lot of blame has had in this surprising absence the fact that this lyrical farce in two acts (as the sheet music itself calls it) been missing for more than 50 years. And now is the time to make amends, the public will be able to enjoy this title in all its essence with the ten performances scheduled between 26 January 6 February.
And the remedy cannot have better protagonists: the long-awaited musical direction of the maestro Guillermo García Calvo –musical director of the Teatro de la Zarzuela, Generalmusikdirektor of the Chemnitz Opera in Germany, principal conductor of the Robert-Schumann-Philharmonie and without a doubt one of our heavyweights in orchestral conducting–, the scene of Curro Carreres, dash of knowledge, meaning, consistency and poetry, as well as two casts that include many of the most acclaimed Spanish voices of the moment.
Look where you look, The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense. The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense 8 April 1950 The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense (The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense, The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense). The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense, The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense 1955. The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense. The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense, The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense, The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense 2007 The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense (SGAE) The expectation aroused by the presentation of 'Between Seville and Triana' at the Teatro de la Zarzuela makes perfect sense. It is from that moment on that Sorozábal's hidden jewel is recovered, culminating in the staging of the production now being presented at La Zarzuela.. It was in 2012 at the Arriaga Theater, co-produced with the Teatro de la Maestranza in Seville, the Canal Theaters in Madrid and the Campoamor Theater in Oviedo.
quite an event His arrival at the Teatro de la Zarzuela is therefore quite an event, and as such it will undoubtedly be lived on the stage tables and in the seats of the room. García Calvo will once again occupy the podium in the pit of the coliseum that he will share with the Orchestra of the Community of Madrid, Titular del Teatro, and he will also lead the Choir of the Teatro de la Zarzuela and a memorable double cast; but, at the time:
Ferdinand's role, that Marino who left Seville and with whom a year ago Reyes lived a love story that she is still infatuated with, baritones play it angel Ódena Y Javier Franco; las sopranos Carmen Solis Y Berna Beads embody the young Reyes, that without Fernando getting to know, gave birth to a child as a result of that relationship; tenors Andeka Gorrotxategi Y Alejandro del Cerro they act as José María, in love with Reyes and rejected over and over again for this, that spiteful publicly reveals the existence of the son of that; the tenor-actor Ángel Ruiz and mezzosoprano Anna Goma they give life to Angelillo –aspiring bullfighter–, and Micaela - Reyes's cousin -, who maintain a happy love relationship, fresh and even healthy; emotion comes like a whirlwind with cantaor Jesús Méndez, who precisely plays a singer from the neighborhood where the action takes place; the singer and actresscross Beitia the singer and actress, the singer and actress; the actorJosé Luis Martínez the singer and actress, the singer and actress; the actor the singer and actress the singer and actress, the singer and actress; actors the singer and actress Y Resu Morales, the singer and actress, the singer and actress; the singer and actress Rocío Galán, the singer and actress, the singer and actress, the singer and actress; Lara chaves, the singer and actress, the singer and actress; the singer and actress the singer and actress, the singer and actress.
the singer and actress, the singer and actress, will have fun and suffer throughout the spectacular scenery of Ricardo Sánchez Cuerda, will have fun and suffer throughout the spectacular scenery of Jesus Ruiz, will have fun and suffer throughout the spectacular scenery of Eduardo Bravo will have fun and suffer throughout the spectacular scenery of will have fun and suffer throughout the spectacular scenery of will have fun and suffer throughout the spectacular scenery of 13 will have fun and suffer throughout the spectacular scenery of.
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About the music, Guillermo García Calvo maintains that “from the first note of the prelude –a natural B in tremolo–, Sorozábal transports us to a dream Andalusia. Right after, strings and winds sing in unison the melody that Reyes will later sing with the words: "Let everyone know / the truth very clear! / that child is mine; / it's from my insides!»”. The teacher argues the fact that Sorozábal imposes his artistic and musical genius, always blending in with the environment that each libretto proposes.: in this way, the conductor explains that “if in ‘Katiuska’ we were immediately seduced by the melodic twists of Russian music interrupted by Parisian cabaret numbers, in 'La del manojo de rosa' the traditional character of Madrid becomes music and in 'La tavernera del puerto' we listen to the waves of the sea, in this new title he finds for himself an Andalusian language with flamenco rhythms and harmonies. the sevillanas, the zorongo, the farruca and the pasodoble tell us the story while dancing, with incredible poetry and authenticity, as if they had been written by a García Lorca”.
Among the greats of Sorozábal the title is, undoubtedly, among the great creations of Sorozábal. With a text by Luis Fernández de Sevilla and Luis Tejedor, With a text by Luis Fernández de Sevilla and Luis Tejedor, With a text by Luis Fernández de Sevilla and Luis Tejedor. With a text by Luis Fernández de Sevilla and Luis Tejedor. With a text by Luis Fernández de Sevilla and Luis Tejedor: With a text by Luis Fernández de Sevilla and Luis Tejedor.
The musicologist Consuelo Pérez Colodrero collects some of the chronicles of the premieres of 'Between Seville and Triana' in cities as conclusive as Madrid or Barcelona, where Sorozábal's farce was greeted with very similar words, considering the work, for example, as "a new example of the worth" of the composer for "his captivating inspiration and his strong musical temperament", that "shine again in fragments full of pomp and grace".
Ruperto Chapi Award: rise and fall The expert also extracts from those writings that both in Madrid and Barcelona «most of the numbers were repeated to great applause, of those who also participated, in strict justice, the artists". It seemed that the work marched triumphantly through the national stages. It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, Besides, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages 1949-1950, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages.
But nevertheless, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages (1953), 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, Sevilla, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada 1953 Y 1954, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, in January 1955, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada. 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, as an orchestra conductor and even making a successful foray into film with 'Marcelino, bread and wine' (Ladislao Vajda, 1955), in the company of his son.
And he signs that after the undeserved silence of more than half a century, the return of 'Between Seville and Triana' to the scene not only restores this page, composer's last farce, to the place that corresponds to him on his own merits, but it constitutes a new argument to show the sorozabalian corpus as a clear example of how to get to the heart and spirit of the popular through a deep understanding, always maintaining the narrow and difficult balance between aesthetic renewal, transgression and intelligibility for the general public.
He Teatro de la Zarzuela celebrate the start of the year with two intense proposals of the cycle Notes from the Ambigú. At Sung by José de Torres interpreted by Alberto Miguélez Rouco, Pablo Fitzgerald and Teodoro Baù on Tuesday 4 from January (20h00), joins under the suggestive title of ‘Luisa Fernanda, I already have Instagram ’the singer's new show, actor, stage director and playwright Enrique Viaand, who will be accompanied by the pianist Ramón Grau. Three sessions will be offered days 7, 8 Y 9 January at 8:00 p.m. except Sunday that will start at 6:00 p.m..
It will be an hour and a quarter of lyric, irony and criticism, from reflection and surrealism, from absurd and reality told and sung. Two characters are in the same place at different times and in different centuries. Enrique Viana has conceived a show after the "work week" show, after the «ay, please…I can't take it anymore ”and just before the“ hehehehe ”on the mobile and the live laugh.
It's about a "Lyrical cabaret", in the purest Viana style, decorated, splashed, print, silk-screened, sprayed with «Various music» of our zarzuela and nonsense of our daily history. With music from Guridi, Moreno Torroba, Penella, Serrano and Valverde, Sorozábal, Ocón, Pérez Rosillo and Martínez Faixá O Den.
No one, absolutely no one will be indifferent.
Notes Ambigú 21/22
In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.
After the show of Enrique Viana Y Ramón Grau, soprano Carmen Romeu and pianist Borja Mariño they will present the recital ‘My home’ with the intention of taking us on the wings of music to that intimate place, family reunion, calm and security, of traditions, teaching, music and aromas of childhood -a pout, oranges and orange blossom–, the throb of the earth in every note: Valencia (11 February). On the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).
The Community of Madrid Orchestra (Titular del Teatro) and the Holder Choir Theaterde la Zarzuela will join the party.
They will perform works by Barbieri, Giménez Y grandchild, Soutullo Y Vert, Chueca Y Valverde, Sorozábal, Vives, Moreno Torroba, Luna O Penella.
He Teatro de la Zarzuela will put the artistic final point to 2021 next Thursday 30 December at 20h00 with his traditional Christmas Concert. It will be a celebration in style of the genre that gives it its name, our lyrical, and that since 165 years is the raison d'être of the historic coliseum in Plazuela de Jovellanos. In a new year especially difficult for everyone due to the stubborn pandemic, desire is even greater enjoy our composers, of life and culture; and good proof of this is that, as usual, tickets "flew" in a few days.
The concert will be conducted by maestro Guillermo García Calvo – musical director of the Theater – and will feature the participation of several of the most dazzling lyrical voices of recent years: the soprano Sabina Puértolas and tenor José Bros. As is also usual in this long-awaited appointment, the celebration will be joined by Holder Choir Teatro de la Zarzuela and the Community of Madrid Orchestra, also owner of the coliseum.
The program will include works by Barbieri, Giménez and Nieto or Soutullo and Vert, compositions of Chueca and Valverde, Sorozábal O Vives, or creations of Moreno Torroba, Luna O Penella. A complete memory of masterpieces recognizable by all, as, not in vain and like it or not, we carry this implicit music in our DNA.
For more than an hour he was Lisette Oropesa waving and taking pictures with fans, who were waiting for her at the exit of the Teatro de la Zarzuela Monday 23, after his recital of "Round trip zarzuela". And it is that Oropesa has become almost a mass phenomenon wherever it acts. It is still remembered in Madrid, among other actions, his Lucia of Lammermoor at the Theatre Royal, three seasons ago, with Javier Camarena.
It was the first time that the American soprano performed at the Jovellanos Street Theater, also premiering repertoire. Nothing less than an entirely zarzuela program, and undoubtedly highlight the effort and interest of Oropesa in singing these emblematic pieces of the genre, conveniently mixed with works of a marked Hispanic-Cuban character.
He once again demonstrated the great versatility of his voice, able to tackle new genres and interpret them brilliantly. Or should I say, overwhelming. His vocal qualities are evident. There is nothing in the score, nor outside of it, that you resist. Maintains exceptional treble and treble, a homogeneous center and very consistent bass. And one of its greatest qualities, considering its lightness, a voice volume more than appreciable. Although at times it sounded a bit groggy, perfectly uses the bound and the middle voice. He maintains impeccable good diction and manages with brilliance and generosity the breath.
She was accompanied on the piano by an energetic Rubén Fernández Aguirre. And it is not easy to accompany a force as overwhelming as Lisette Oropesa on the piano. They performed works by Barbieri, Failure, Joaquin Nin, Jorge Ankermann, Sorozabal, Lecuone, Rodrigo, Carlos Imaz, Manuel Penella, Gonzalo Roig and Piazzolla at the piano by Fernández Aguirre.
Her closeness with the public led her to have very nice moments, coming to tell a joke. He also had the detail of asking that the Zarzuela be declared a World Heritage Site. Everything counts in this common endeavor.
Lisette Oropesa's success was absolute. After going out several times to greet a standing audience, they offered three tips. The first was a Cuban habanera. Later he performed "Las jaceleras", zarzuela The Daughters of Zebedee, Ruperto Chapí. And finally a little known work, a piece of The hussar of the guard, Amadeo Vives, full of difficulties, coloratures and treble that were highly appreciated and awarded by the audience who did not stop applauding.
Undoubtedly one of the great successes that have been seen in this Theater in many years. Let's hope it's not the last and that Lisette Oropesa includes the Teatro de la Zarzuela among her regulars..
Photograph: Elena del Real
The big ones are getting bigger international voices attracted by the irresistible magnetism of zarzuela. And what better place to extol the genre than the Teatro de la Zarzuela, unique in the world with a regular season dedicated to this music, created ago 165 years precisely to safeguard and promote it to the point of making it essential. And so, next week will live in this coliseum one of the highlights of the season with the American soprano Lisette Oropesa, one of today's great lyrical voices, acclaimed in each and every one of the most important theaters in the world. Inside of the Concert series of the Madrid Coliseum, the interpreter from New Orleans will present the next Monday 13 from December (20h00) a concert dedicated to extol the genre and the importance that the mutual influence of the two shores of the Ocean had for it; not in vain has he baptized it as ‘Zarzuela back and forth’, and in it she will be accompanied by the pianist Rubén Fernández Aguirre.
Lisette Oropesa thus faces for the first time a recital armed with ballads by Spanish and Cuban zarzuela, in a musical evening that promises to be one of those moments not to forget and that will serve as tribute to Cuba, the land of their fathers; its roots.
In concert it will be a exciting journey that will transit indistinctly through zarzuela ballads from here –Barbieri, Sorozábal or Penella– and Cuban zarzuela –Ankermann, Lecuona or Roig–, in addition to the beauty and sentiment of songs from both sides –Failure, Nin o Rodrigo–.
Rubén Fernández Aguirre will also pay two separate tributes in his solo piano interventions: one to Emilio Arrieta, and another to Astor Piazzolla on the bicentennial and centenary of their respective births.
After his success with the operatic ballet The Beautiful Otero, the composer and conductor Manuel Busto returns to the pit of the Teatro de la Zarzuela to lead the Orchestra of the Community of Madrid (BARREL) in Invocation, the proposal of the National Ballet of Spain that will be on the poster of the 10 al 22 from December; In addition to working as musical director, Manuel Busto signs the score for Bowling Summon, Y caged, two of the works that make up this show designed by Rubén Olmo, artistic director of the BNE, in which a global vision of Spanish Dance is offered (bowling school, stylized dance and flamenco). The program is completed with Eternal Iberia by Manuel Moreno-Buendia, Y of the flamingo, that pays homage to Mario Maya.
Bowling Summon is a contemporary vision of the traditional bowling school, that arises in the eighteenth century in Spain as a result of the combination of Andalusian popular dances with academic dances. “This is a composition designed for the corps de ballet, not for soloists, so the sound dimension is different and offers a unique opportunity to see all the essence of the National Ballet of Spain. further, to the artistic talent of the dancers, the energy of singing is added to the live music of the flamenco musicians of the BNE and the Orchestra of the Community of Madrid”, says Manuel Busto. "And the order of caged by the NBE, I was especially excited, because I think it is very innovative to mix granaína, with a cello solo, and the footwork”, concludes.
Considered one of the conductors with the greatest international projection of his generation, Manuel Busto will make his debut this month at the Teatro Comunale di Bologna, where will he lead Don Juan, produced by the National Dance Foundation / Aterballetto, with the Orchestra of the Teatro Comunale di Bologna en atriles. His next commitments also include the Palau de Les Arts Reina Sofía in Valencia and the Teatro de la Maestranza in Seville..
On Tuesday 23, not on monday, the second recital of the Lied Cycle was taking place, jointly organized by the Teatro de la Zarzuela and the National Center for Dissemination of Music (CNDM). On this occasion the soprano returned to the cycle Marlis Peterson, accompanied on piano by Stephan Matthias Lademann.
the repertoire, varied in works and authors, had a very defined and extraordinarily elaborate thread, the depth of the soul and the cascade of feelings that surround it. From the darkest and most taciturn, going through the intensity of lovers, until reaching the most transcendental and hopeful feelings.
The first part, dedicated to the night and dreams, It was made up of works by Karl Weilg, Richard Strauss, Johannes Brahms, Hugo Wolf Y Hans Sommer. It was followed by a set of works with an inside look at death and the pain of loss.. On this occasion the works belonged to Max Reger, Richard Strauss and three pieces by Johannes Brahms. After death came the explosion of love and romanticism, Hand Reynaldo Hahn, Henri Duparc Y Gabriel Fauré. The recital ended with the set of songs dedicated to the liberation and the return home, with works by Max Reger, Hugo Wolf, Richard Roessler Y Gustav Mahler.
Between each group of songs, Petersen, microphone in hand, offered the audience an explanation of each of the emotional settings that followed.
Marlis Peterson is a remarkable singer and a very good actress. Very expressive and communicative with the public, with whom he came to joke at the time of the encores. But the lied repertoire does not seem to be the most appropriate for its vocal characteristics.. Its bass is scarce and the transition from the middle zone to the treble is somewhat bland. What does not detract from a very meritorious interpretation with which he knew how to generate the appropriate atmospheres for each work.
Stephan Matthias Lademann was always attentive and helpful, facilitating Peterson's work in a perfect and harmonious understanding.
They said goodbye with two tips, after the insistent applause of the public, "Dreams" (dreams), de Wagner y “Night and Dreams” (night and dreams), Schubert, to continue with the common thread of night and dreams.
A varied and enriching recital very enjoyed and that leaves a very good taste in the mouth. Let's hope Marlis Peterson returns to this cycle soon.
Marlis Petersen will be accompanied by the pianist Stephan Matthias Lademann with whom will he perform songs from Weigl, Richard Strauss, Brahms, Wolf, summer, Reger, Hahn, Duparc, Fauré, Rössler y Mahler.
The cycle is a co-production between the National Center for Musical Diffusion and the Teatro de la Zarzuela and will run until July 2022.
He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela will present the next Tuesday 23 November at 20h00 in the XXVIII cycle of Lied the recital of the German soprano Marlis Petersen, one of the most beloved voices, required and acclaimed in the world, that intervenes for the first time in this well-known cycle.
Petersen will be accompanied by the pianist Stephan Matthias Lademann to offer a program that will investigate the universes of Karl Weigl, Richard Strauss, Johannes Brahms, Hugo Wolf, Hans Sommer, Max Reger, Reynaldo Hahn, Henri Duparc, Gabriel Fauré, Richard Rössler and Gustav Mahler. A compendium of the art of the lied and the melody.
A wide repertoire that dominates with that silky lyrical soprano timbre which makes her a artificer in the creation of chiaroscuros. The German performer perfectly controls each note in a speech rich in suggestions and at all times coherent and emotional. These are precisely the ideal conditions to enter with all the guarantees in the Liederistic universes, sometimes so hidden.
The tickets, with a General price 8 a 35 euros, are for sale at ticket office of the Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es and on the phone 91 193 93 21.
Photograph: Yiorgos Mavropoulos
What ‘La tabernera del puerto’ by Pablo Sorozábal is a masterpiece there are few who question it. Some consider it, no doubt right, something like the Traviata of the zarzuela, while others esteem her as the last great zarzuela in history. It was premiered at the Tívoli Theater in Barcelona in May 1936 despite the undisputed success, with many problems for the composer due to the convulsive times that two months later would lead to the Civil War–, and in Madrid in March 1940 –once the fight is over– at Teatro de la Zarzuela. Now, 81 years after that Madrid premiere, returns to this same stage with a emotional montage, sometimes poetic and, first of all, deeply theatrical and documented by stage director Mario Gas.
They are scheduled 8 functions between 19 and the 28 of November, of this 'seafaring romance in three acts' whose original libretto is signed by the playwrights Federico Romero Y Guillermo Fernández-Shaw.
Mario Gas has deep reasons why his work is full of a very special load of emotion and knowledge. Their family ties turn him into keen connoisseur of Sorozábal's work. Not in vain, in the cast that participated in the premiere of 'La tabernera del puerto' at the Teatro de la Zarzuela on 23 March 1940, his father, the bass Manuel Gas, who over the years came to have a close relationship with the composer, sang the role of simpson with which from that presentation he would achieve great and continuous successes.
Another of the main dishes of the proposal of the Teatro de la Zarzuela is the scenery and costumes, who sign respectively the great Ezio Frigerio and the Oscar winner ('Cyrano de Bergerac', 1991) Franca Squarciapino, whose work we have just enjoyed in his production of 'Los gavilanes' in this same Teatro de la Zarzuela, Y both living history of one of the most brilliant theatrical generations of all time, with the actor and stage director Giorgio Strehler and the actor, playwright and director Edward De Filippo as their most visible heads and references.
The combination of both arts, the scenery and the costumes, becomes dreamy at times, to which the Álvaro Luna video scene.
The programming of 'La tavernera del puerto' is always an event, but the interest rises whole if the artistic team that puts it on its feet has the height that the work demands, such as. To Mario Gas, Ezio Frigerio and Franca Squarciapino, added to this proposal is the musical direction of Oliver Diaz which will be in front of the Community of Madrid Orchestra(Titular del Teatro) and Holder Choir Teatro de la Zarzuela, as well as of a double cast that far exceeds the very special vocal attributes demanded by the composition of master Sorozábal.
The one of 'The tavern of the port' is a evocative score, Impressionist atmosphere and full of port airs, overseas, miscegenation and modern fusions. Óliver Díaz reflects on this, assuring that the music of 'La tavernera del puerto' “She is the daughter of her time, it responds to what was already being done in the rest of Europe: on the one hand there is Verismo and on the other the Impressionism. The composer masterfully employs chords, orchestral sonorities and colors for describe the seaside atmosphere of the town, recreate an accordion in one of the songs or give life to a galley on stage". The director also refers to the varied instrumentation to which Sorozábal resorts to describe the exotic overseas landscapes; “everything resolved with a great capacity for synthesis and genius that characterizes the work of the composer”.
rise to the occasion
That is what musicians and singers should transmit. and for it, so that the legitimate spirit of the work reaches the room, and from there the samples of satisfaction and joy of the public fly to the stage as a genuine response, it is necessary to count on the tables with a cast at the height of the circumstances, which in this case is a lot.
there is no danger. On this occasion, the solvency guarantee is served by any of the sides from which you look: the sopranos will form the cast María José Moreno Y Sofia Esparza in the role of Marola (the young barmaid who provokes love and envy), baritones Damian del Castillo Y Rodrigo Esteves in that of Juan de Eguía (the owner of the tavern who maintains a strange relationship with Marola, that everyone believes his wife), tenors Antonio Gandia Y Antoni Bunk, who embody Leandro (the young sailor who goes out of his way to love Marola), the short ones Rubén Amoretti e Ihor Voievodin like simpsons (tanned english sea dog, drunk and sole repository of the dark past of Juan de Eguía with whom he shares a shady interest), soprano Ruth González doing the times of Abel (young street musician who drinks the winds by Marola, singing to the seven seas its beauty and its graces), actress-singer Vicky Pena bringing Antigua to life (Sardinera married to the sailor Chinchorro, like this one very given to console herself with the bottle and jealous of her continuous visits to the tavern), the actor-singer Pep Molina like Chinchorro (sailor, very given to drink, skipper of the boat in which the young Leandro crews), the tenor-actor Ángel Ruiz, whose character is Ripalda (Vapor Cafe owner, competition of the Juan Eguía tavern and place that hosts some of the revealing moments of the plot), the bass Abel Garcia, who plays Verdier (strange sailor from Marseille, former acquaintance of Juan de Eguía, with whom he has a dark business in hand), the actor And Ruiz, the actor-singer Didier Otaola and also an actor Angel Burgos, representing respectively the sailors Fulgen and Senén and the police sergeant Valeriano. Joining them will alternate the scene 7 actors.
It is also necessary to highlight the always neat and intelligent lighting of Vinicio Cheli and the naturalness of the scenic movement created by Aixa Guerra.
“This Sailor Romance It is not a realistic work nor does it pretend to be; It's about a theatrical story tinged with a vapor of legend, the poetic element, in which a story of smuggling and love in a fishing village is explained". Mario Gas I want to be faithful to the work and that the interpreters help “tell the story with all the feeling and all the truth that the theater allows”, because here theatrical passion is combined with popular culture.
He Teatro de la Zarzuela presents Entangled, inside of the Notes cycle Ambigú, a very peculiar concert: the story of two young people from musical theater, Nuria Pérez and David Pérez Bayona, who began their career in zarzuela through the successful and award-winning Zarza Theater Project (zarzuela made by youth for youth) and discovered in this genre a treasure that, without knowing it, it belonged to them.
The next Monday, 15 of November (20h00), accompanied by pianist Alvaro Ortega Luna, will break down barriers by tracing the similarities between thepre-1990s american musical theater 60 and the zarzuela. Both genres will shake hands with songs from Cole Porter, Irving Berlin, Rodgers and Hart, Gershwin, Bernstein, Sondheim, which will alternate in a surprisingly natural way with compositions of Francisco Alonso, Pablo Sorozábal, Federico Chueca, Manuel Fernandez Caballero or Tomas Breton.
Notes Ambigú 21/22
In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.
A concert Nuria Pérez Y David Pérez Bayona, will follow that of the duo formed by the bandoneonist Claudius Constantine and pianist Louiza Hamadi that will offer a program to celebrate the centenary of the birth of Astor Piazzolla (2 from December); next it will be the countertenor Alberto Miguélez Rouco, flanked by the lute of Pablo Fitzgerald and the viola da gamba of Teodoro Baù who will address the Cantadas by José Torres, one of the crucial composers of the Baroque (4 from January). The halfway point of the cycle will be marked by the spectacle of Enrique Viana ‘Luisa Fernanda, I already have Instagram ' who in the company of the pianist Ramón Grau will offer, with the genuine style to which we are accustomed, hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung (7, 8 Y 9 from January). the soprano Carmen Romeu and pianist Borja Mariño will present, at the same time, ‘My home’ with the intention of taking us on the wings of music to that intimate place, family reunion, calm and security, of traditions, teaching, music and aromas of childhood -a pout, oranges and orange blossom–, the throb of the earth in every note: Valencia (11 February). On the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz (18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz (4 of July).
In the I Prize for Composition, the students enrolled in the specialty of Composition or Sonology at academic course 2021/2022 of the RCSMM or those who have obtained said Higher Degree in the last two academic years
the deadline of presentation of the works will be the 15 March 2022
The works will be premiered in June by the Ensemble Opus 22 at Notes cycle Ambigú
He Teatro de la Zarzuelaand the Real Conservatorio Superior de Música in Madrid have convened today first edition of his Composition Prize, which may choose students enrolled in the specialty of Composition or Sonology during the academic year 2021/2022 of the RCSMM or those who have obtained in this academic institution the Higher Degree of said discipline in the last two academic years.
Candidates must present a single work that fits the following mandatory template: clarinet (in yes b, in the, refinement / bass in b), saxo (soprano, alto, tenor, baritone), violin and piano, and the minimum duration will be 7 minutes and maximum 15 minutes. The submitted work must be unpublished and not having been released.
He submission deadline of the works will be 15 March 2022, and the place to do it Deputy director of the RCSMM anonymously and on paper.
The judge, appointed by the Composition Department of the Madrid Royal Conservatory of Music and by the Teatro de la Zarzuela, will select four works from among those presented, that heOpus set 22 will premiere on Tuesday 28 June 2022 inside of the Notes cycle Ambigú and under the title 'Contemporary Spanish Music'.
PHOTOGRAPHY: RRSS WORK 22
He Teatro de la Zarzuela will open next Thursday, 28 October (20h00) a new edition of Notes Ambigú, one of his most popular and successful cycles. the soprano Sabina Puértolas and pianist Rubén Fernández Aguirre they will render an emotional tribute to Emilio Arrieta (Queen's Bridge, Navarra 1821 – Madrid 1894), one of the most prominent Spanish composers in the theatrical field, whose contribution to the consolidation of zarzuela as a genre was decisive, whose this same month of October 200 years of his birthO.
The recital will begin with his beautiful collection of ‘Italian songs’, with letters of Pablo Milanes, Felice Romani, Adela Curti and anonymous authors, to continue with a ‘Piano suite on «Marina» themes’ according to Carlos Imaz and a selection of ‘Spanish songs’ with texts from Jose Estremera, Antonio Arnao, Antonio Fernández Grilo and from anonymous authors.
An absolute premiere of the versatile composer (pianist, singer, orchestra director, Writer, poet, actor, painter…) Alberto Garcia Demestres, whose multifaceted Renaissance soul has created for the occasion a "lyrical scene for soprano and piano" under the title 'The swans in the palace' with text of Antonio Carvajal.
It is the case that this is the second tribute that Sabina Puértolas (born in Zaragoza, although raised and educated in Navarra) and Rubén Fernández Aguirre (from Barakaldo, Biscay), Render Emilion Arrieta at the Teatro de la Zarzuela for his bicentennial. The first was last March along with two other illustrious Navarrese such as the mezzo-soprano Maite Beaumont and tenor José Luis Sola.
Notes Ambigú 21/22
In this season the Theater continues to offer the double of recitals that at the beginning of the cycle. 10 inescapable appointments of the 28 October to 4 of July.
At Sabina Puértolas Y RubenFernández Aguirre on Emilio Arrieta will continue the one of the young singers coming from the musical theater Nuria Pérez Y David Pérez Bayona, out of the winner Zarza project (zarzuela made by youth for youth), who accompanied by the pianist Alvaro Ortega Luna trace the similarities between pre-American musical theater 60 and the zarzuela in the show ‘Engazados’(15 of November); then it will be the turn of the duo formed by the bandoneon player Claudius Constantine and pianist Louiza Hamadi that will offer a program to celebrate the centenary of the birth of Astor Piazzolla(2 from December); next it will be the countertenor Alberto Miguélez Rouco, flanked by the lute of Pablo Fitzgerald and the viola da gamba of Teodoro Baù who will address the Cantadas by José Torres, one of the crucial composers of the Baroque (4 from January). The halfway point of the cycle will be marked by the spectacle of Enrique Viana ‘Luisa Fernanda, I already have Instagram ' who in the company of the pianist Ramón Grau will offer, with the genuine style to which we are accustomed, hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung (7, 8 Y 9 from January). the soprano Carmen Romeu and pianist Borja Mariño will present, at the same time, ‘My home’ with the intention of taking us on the wings of music to that intimate place, family reunion, calm and security, of traditions, teaching, music and aromas of childhood -a pout, oranges and orange blossom–, the throb of the earth in every note: Valencia (11 February). On the occasion of International Women's Day, actress and singer cross Beitia and pianist César Belda present ‘A woman in music’, recital composed of works by composers of popular music from Spain and beyond the seas (8 of March). The cycle will continue with the concert ‘Catalans around the world’ in which the tenor David Alegret and pianist Rubén Fernández Aguirre will offer works by Catalan authors who also composed in other languages such as Eduard Toldrà, Joan Manén, Pau Casals, Jaume Pahissa or Isaac Albéniz(18 of April). In order to promote the creation of new works for chamber groups, and in collaboration with Real Conservatorio Superior de Música in Madrid, he Teatro de la Zarzuela will summon a contest for young composers whose three winning works will be premiered by the Opus set 22 (28 of June). And the final touch of the cycle will be the guitar of Rafael Aguirre, who in 'The last romantics' will perform works by Francisco Tárrega e Isaac Albeniz(4 of July).
By them, by women authors whose role is “so little known and valued”, Sole Giménez take the word again to name them, bring them to light, give them the visibility that by right corresponds to them, sing them and give a new life to their works. For this and for this, the composer of such popular songs as “Alma de blues”, “How we have changed” or “My little treasure”, come back to Teatro de la Zarzuela Monday 18 October(20h00), To present ‘Women of Music – Vol.2’ with a new concert dedicated to the "invisible" songwriters and composers that today are undoubtedly immortal.
The concert will as guest artists with singer-songwriters Bely Basarte, Valeria Castro and Alba Engel (his daughter) and guitarist Borja Montenegro.
This is the live gift of the second album dedicated to the women who have been pioneers in the difficult path of music, to those who left their mark on the songs, those who broke with tradition and prejudice and began to sing, to write and compose, making his music a banner with which to wave his courage to the world, his freedom and his emotion. because they, despite having been invisible to everyone, they have been leaving a sound legacy, rich and leafy, full of deep and beautiful nuances, that he tells us and takes us into his sensitivity.
Women vertebrated by music, balanced by the rhythm, creating that sound universe that does not exist until they give it soul and voice. “With them I have been stripping away the flower of time and they have been covering and wrapping me with their songs, with their lives and their example, helping me follow in his footsteps”, reveals Sole Giménez.
This is the commitment that underlies this project, which is more than a record or a concert. It's a claim, a purpose, a goal: do justice, name them, the authors and composers behind so many well-known songs, so admired and enjoyed. Do it to find the balance that has been denied us so much, for balancing the music this time in favor of women and above all because they are also creators. "Now it's time to go outside and call them, talk about them, sing them, revive those who left us and insist on naming those who are", says the interpreter born in Paris.
'Mujeres de Música Vol.2' returns with new songs composed by women who paved the way and those who followed their trail. This time the tribute is dedicated to Maria Grever (Mexico), Eladia Blazquez (Argentina), Gabriela Mistral (Chile), Consuelo Velázquez (Mexico), Miguel Hernandez (Spain), Caroline of John (Spain), Mary Theresa Vera (Cuba), Adriana Calcanhotto (Brazil) and also includes a theme of Sole Giménez. The album features collaborations such as Bely Basarte, Rozalén And your daughter Alba Engel. But all of them are just a sample, the tip of the iceberg. The long journey continues. There is more, many more Women of Music whose existence and whose art we have the obligation to claim.
Ekaterina Semenchuk (mezzo soprano), Semyon Skigin (piano). Madrid. 4-X-2021. Teatro de la Zarzuela Madrid 4/10/21. Recital I of the Lied Cycle. Works by Mikhail Glinka (1804-1857), Modest Mussorgsky (1839-1881).
This week began 28 Ciclo de Lied They organized jointly by the CNDM and the Teatro de la Zarzuela. This time in charge of Ekaterina Semenchuk, accompanied on piano by Semyon Skigin, with a repertoire of Russian song, away from the traditional romanticism of the German lied, but of undoubted musical appeal.
Ekaterina Semenchuk demonstrated her qualities also in this repertoire, not easy, since some of the works he performed have a high technical difficulty. The first part, with the Farewell to Saint Petersburg song set (1840), by Mijail Glinka, evoked the most martial airs of Russian popular music, as in the romance of the knight, and he knew how to express the most overwhelming delicacy with The Lullaby. But the best would come from Fantasy, where Semenchuk began to feel more comfortable and began a display of dramatic nuances that enhanced and fit perfectly with the composer's work.
The second part featured the four pieces of the Songs and Dances of Death, de Modest Mussorgki. This is where Semenchuk and Skigin uncovered the essences vial.. Mussorgski's music softens the harshness of the texts, and the interpretation of Semenchuk, full of shades and color changes, takes the perfect X-ray of the work that ended with the ceremonious Field Marshal. Offered 3 Rachmaninoff's tips, Mussorgsky and Carmen's Abanera, Bizet.
A great start to this Reference Cycle.
Photograph: Rafa Martín
Time always runs longer than desired. So much, that finally the decades pass without even being able to notice it. Around this, a the tenacity that the calendar has in detaching itself from who we are and who we were, the transatlantic history of 'The hawks'. The consequences of that predictable race in the face of life: stubborn nostalgia, the deep instinct to love what is still young –which leads to doing crazy things–, the urgent need to outwit at all costs and without success the consequences of old age, what by nature has to be, all this is a leading player in this absolute classic of the genre composed by Jacinto Guerrero libretto by Jose Ramos Martin. Y twenty volatile years son, precisely, those who have elapsed since the last time the play took the stage of theTeatro de la Zarzuela. The same where he was born in 1923, almost a century ago, and to what from 8 October will return in a new production with stage director Mario Gas, whose beauty and originality will undoubtedly leave no one indifferent. They will 13 functions, until the 24 October, in which viewers will be able to enjoy a title that with all of the law is part of our deepest popular roots.
With ‘Los gavilanes’, Master Jacinto Guerrero carried out his first and happy foray into the big zarzuela. The composer from Toledo was a modern creator who stood between the great zarzuelists of the late nineteenth century and the last authors of comedies and lyrical dramas of the twentieth; his successes were abundant and continued in Spain and America, and these "hawks" have always been erected as one of his great creative assets to which over the years zarzuela companies and theaters have used as a guarantee to clean up their accounts based on successes.
The public adores her, fans await her like May water; and if the occasion comes from the hand of an artistic team and some distributions such as those of the proposal presented by the Teatro de la Zarzuela to open the stage season 2021/2022, Interest multiplies to return to the uncertain town in the southeast of France where the story takes place, or for traveling to it for the first time.
Beauty and originality
Teacher Jordi Bernàcer, resident director for three seasons at the Opera San Francisco and claimed continuously in the seasons of the prestigious international theaters and festivals, will go up to the podium of the pit in front of the Community of Madrid Orchestra, ORCAM –The Theater Owner–, of the Holder Choir Teatro de la Zarzuela whose director is Antonio Fauró and two brilliant deals featuring many of our best young and veteran lyrical voices.
He scenic approach this beautiful and original montage directed by Mario Gas, decidedly essential man in our scene of the last decades, move the action since the middle of the XIX to years 20 last century (precisely those of the premiere of the work); and Gas argues it, explaining that that time is “a aesthetically appealing time and that coincides with the return of the last waves of Indians who marched to make the Americas in the middle and late nineteenth. A troubled and foreboding time.”
Next to the set designer Ezio Frigerio, the Oscar-winning costume designer Franca Squarciapino, the illuminator Vinicio Cheli, living history and renovating all of them of the theater of the last half century, and with the audiovisual design of the famous Sergio Metalli and the scenic movement of Carlos Martos de la Vega, Mario Gas explains that he has gone through “a world away from landscape and naturalistic ruralism to delve into neo-figurative elements, pictorial, inspired by the twenties and contrasted with strongly constructivist structures. The iron, the fear behind the smile, interwar time ... fascinating!”.
Throughout the almost one hundred years since the premiere of ‘Los gavilanes’, many have been the interpreters who have dressed again and again the clothes of Juan, Adriana, Gustavo or Rosaura in that nameless village in French Provence.
And at this point, following that inexhaustible and fertile tradition, we come to those who now fill with purpose and voice the characters that emerged from the playwright's pen Jose Ramos Martin, librettist also from Chapí, Vital Aza, Arrieta O Giménez.
The play, as above has been reviewed, talk about emigration, of the passage of time, of young loves and forgotten loves. And all this will come to life again in the skin and throat of baritones Juan Jesus Rodriguez Y Javier Franco, who play the Indian Juan who returns from America to his beloved village with a great fortune after more than twenty years of hard work; the mezzosopranos Maria Jose Montiel Y Sandra Ferrández, that give life to Adriana, Juan's old love, cause of his departure and today a widow, who was forced to marry another man because of poverty and the irrepressible ambitions of Leontina, his mother; las sopranos Marina Monzó Y Leonor Bonilla, that will act as Rosaura, Adriana's daughter who Juan is captivated by seeing in her the living image of her young mother; tenors Ismael Jordi Y Alejandro del Cerro, who will play the young Gustavo, who drinks the winds for Rosaura, and who she is also in love with; the actor and singer Lander Iglesias, as mayor of the village and former companion of Juan's outings, just like Triquet's character, gendarmes sergeant who also plays the actor and singer Esteve Ferrer; the actress Ana Goya, who assumes the role of Leontina, Adriana's old mother who rekindles the wick of hatred as long as, now, take advantage of the wealth of that Juan deranged by a false and impossible love for his granddaughter; the also actress Trinidad Iglesias, that you saw Renata's skin, Camilo's wife and Juan's sister-in-law; baritone Enrique Baquerizo, in history Camilo, Juan's brother and Renata's husband; or the mezzo-soprano Was Sea and soprano Raquel del Pino, as Nita and Emma, daughters of Renata and Camilo and nieces of Juan.
All of them theatrically relive the illusions that arise when the Indian Juan returns rich and powerful. But they also reflect the fears that arise when that same individual is driven mad by an irrational desire., a madness that affects everyone. And is that little by little the lies and hypocrisies of human nature are springing up in the dialogues and songs of these villagers who, like animals, They are on the lookout for the treacherous hawk that robs and offends them.
Melodic inspiration. Freshness, simplicity, rigor
And in the musical, he finished. The teacher Jordi Bernàcer, highlights that “the outstanding value of Guerrero's music lies in its splendid melodic inspiration, in its ability to conceive simple phrases that, from the moment of the first listening, they will be fixed forever in the most intimate recesses of our memory”. Hence the formidable reception that ‘Los gavilanes’ received at its premiere almost a hundred years ago., a success that endures to this day. The conductor explains that “when putting Guerrero's score on the lectern today, we are faced with the challenge of deciphering it by highlighting its freshness and simplicity, and do it with all the rigor that he proposed to us and deserves ".
To open your mouth, can already be enjoyed in YouTube y Facebook the conference taught by the musicologist Mario Lerena and a new chapter of the series‘Trip through the zarzuela’, with a relaxed conversation between Jordi Bernàcer, Mario Gas, Juan Jesús Rodríguez and María José Montiel.
He Monday 4 October at 20 hours, National Dissemination Center Musical (CNDM) in co-production with the Teatro de La Zarzuela inaugurates the twenty-eighth edition of the Lied Cycle. With ten concerts scheduled October 2021 to July 2022, this year the most important lyrical voices of today, since Ekaterina Semenchuck a Christian Gerhaher, going by Marlis Petersen, Eva-Maria Westbroek, Matthias Goerne, Katharina Konradi, André Schuen, Mark Padmore, Julia Kleiter, Anna Lucia Richter and Josep-Ramon Olive, a wide set that groups timbres, extensions, characters and styles of various kinds and programs always loaded with interest are distributed, presenting the Madrid public Songs and songs of diverse sign.
The person in charge of inaugurating the cycle will be the Belarusian mezzo-soprano Ekaterina Semenchuk on his second visit to this musical series. Semenchuk will be accompanied by Semjon Skigin on piano to offer a monographic program of two series of Russian songs: Farewell to Saint Petersburg by Mihail Glinka and Songs and Dances of Death de Modest Mussorgski. Tickets for all the concerts of the Lied cycle scheduled for this fall, 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 and on the phone 91 193 93 21. Ekaterina_Semenchuk Russian melancholy According to musicologist Cristina Aguilar: “Melancholy never was a sign of national identity as clear as in Russia. Fyodor Dostoyevsky held: "The really great men must experience, as far as I know, great sadness ". Music is sheltered under the broad umbrella of protiazhnaya (lingering), popular genre in which Russian composers were inspired by the eighteenth to twentieth centuries. Or so they wanted us to believe, because its characteristic outline melismatic which today is more about Kyrgyzstan or Kazakhstan- had very little space. But what Russian authors craved that feeling was feeding glimpse believed in the popular song: an ancient sadness emparentaba with that "great Russian soul" of Dostoyevsky, Tolstoy the Gogol, similar to the drippings of Soviet buildings”.
Critic Santiago Martín Bermúdez comments: “Farewell to Saint Petersburg not so much a cycle as a series of songs in sequence not quite dramatic. In their Memories, Glinka says that a bolero came to his mind and that he asked Nestor Kukolnik to provide him with text for that idea., and so the cycle was emerging. British expert David Brown disdains this cycle as unworthy of Glinka. And he reproaches him for a lack of ‘Russianness’, as if asking Glinka ‘Be Russian enough’. Mussorgsky wrote more than forty songs as single pieces. Only seventeen are grouped in cycles like Los Songs and dances of death (1875-1877), which sets poems of Prince Golenshchev-Kutzov to music. Apparently, the composer was the one who suggested the poet to write the texts, that there were going to be eight, but that they remained in four due to their personal estrangement with the prince at a certain moment. It's about descriptions of death, with an undisguised dread that, for moments, can result in fascination. Throughout these sequences, death appears sly or disguised as a benefactor; looking like a seducer or puffed up by her success. Never fierce, never violent in itself, although on one occasion the war gave him a tremendous triumph”.
The excellent vocal qualities of Ekaterina Semenchuk (Minsk, 1976) have reaffirmed their reputation as a brilliant singer in the opera world for their exceptional range and unmatched technique. He has sung on stages such as the Metropolitan Opera in New York, the Paris Opera, the Mariinsky Theater, Carnegie Hall, el Suntory Hall, the Los Angeles Opera, La Scala, etc, together with teachers like Valeriy Gergiev, James Conlon, Nicola Luisotti, Zubin Mehta y James Levine, among others. In the concert field he has interpreted the Requiem by Verdi with James Gaffigan, Valeriy Gergiev, Gustavo Dudamel, James Levine, The plaintive by Mahler at the Ravinia Festival, he Requiem by Dvorak with L’Orchester de Paris and James Conlon, Giovanna D'Arco by Rossini and The Death of Cleopatra by Berlioz with the Lucerne Symphony Orchestra conducted by James Gaffigan. Ekaterina regularly collaborates with great pianists such as Semion Skigin, Julius Drake, Dmitry Efimov, Julius Drake y Helmut German. His repertoire also includes the Stabat Mater by Pergolesi and Rossini, the Missa Solemnis Beethoven, the Symphonies 2, 3 Y 8 Mahler, Pulcinella Y Oedipus Rex Stravinsky, Hour of Soul (Percussion Concerto, mezzo-soprano and orchestra) de Gubaidulina, From Jewish Folk Poetry Shostakovich, Kindertotenlieder Mahler, The summer nights by Berlioz and Scheherazade Ravel, among other. Semenchuk is a consolidated studio artist with multiple recordings, among which her Jocasta stands out. (Stravinsky: Oedipus Rex) under the direction of Valery Gergiev with the Mariinsky Orchestra and Choir for the Sony Classics label and Amneris in Aida de Verdi with Sir Antonio Pappano and the Orchestra of the National Academy of Santa Cecilia for Warner Classics, interpretation that is considered “one of the best recordings for that role” (Gramophone Magazine).
Photograph: Alexey Kostromin
The teacher Juan Udaeta and the SGAE did not have an easy task when they were commissioned to carry out this work on the score of Circe, one of the lesser known works of Ruperto Chapí, which was written for the inauguration of the Teatro Lírico in Madrid on 7 May 1902. Nothing to see this work of Chapí, that is used for the new season, with the King who raged, with which last season was concluded, Also in the Teatro de la Zarzuela.
Circe is a very peculiar work. As the maestro Casares defines it very well, "It is the most disturbing opera in all of our history". And to listen to it you have to prepare as if it were a Wagner work. If you abandon yourself to his music, There are times when it certainly seems Wagner, Of course, saving distances. Circe is a compendium of complex-inspired sounds that are familiar, not only because of Wagnerian inspiration, evoca también from Camille Saint-Saëns.
It is a score technically far above vocal writing, which is very flat and monotonous. Only in the second act, where the melody makes an appearance, and in the dramatic ending, the interpreters have a moment of greater brilliance.
For this performance in concert version, the Teatro de la Zarzuela has used safe values in the vocal aspect. Session Hernández, as Circe, faced this score, more declaimed than sung, with that wide and mighty voice that treasures. Despite not stopping singing in the almost two hours that the work lasts, saved the best for last, Circe's death, which was a display of drama and intensity.
The Ulysses of Alejandro Roy did not detract in intensity to Circe. The Asturian tenor, with a more than remarkable volume of voice, He faced the fiendish highs of his score with great solvency. Very good intervention of the always safe value Rubén Amoretti, in the role of Arsidas.
García Calvo extracts from the Orchestra a sound of extraordinary quality and cleanliness. The Theater's titular Orchestra looks like another in the hands of the Madrid maestro. It allowed the singers to show off without interfering at any time with the orchestral sound. Perfectly accompanied the voices without rivaling them. Always precise in the direction, despite communication difficulties due to the use of the mask.
This is not the most outstanding work of Chapí, although the goal of its composition was very ambitious. Listening to it, it can be understood that it was so long without programming, but it is fortunate to have had the opportunity to listen to it. Thank you, among others, to the work of the Teatro de la Zarzuela and its efforts to recover works of Spanish lyric.
Photograph: Elena del Real
Next year they will be fulfilled 120 from the premiere of ‘Circe’, the great opera by Ruperto Chapí that in 1902 inaugurated with more than twenty performances the now defunct Lyric Theater, an absolute Titanic of the genre, the largest lyrical venue ever in Madrid. Ten years later, ‘Circe’ traveled to Buenos Aires to also conquer the public of the Teatro Colón; Immense luck –whose true scope everyone ignored– that of the spectators from both shores who had the opportunity to attend one of those representations. And it is that from there, the story was very different: ‘Circe’, the work that many considered «foundation and foundation of ohpear españbe», fell into total and inconceivable oblivion -No re-enactment, was not heard again - of which now him Teatro de la Zarzuela rescues her so that the public of 2021 can also feed on that composition that turned where no one had dared (the known). To admire a Chapí to date (then and now) unknown. Lday 10 Y 12 of September (20h00 and 18h00 respectively) the Theater of the Plazuela de Jovellanos will present in concert this work today absolutely "new".
In this way, the coliseum once again complies with the inalienable requirements contained in its statutes such as the preservation, the Recovery, the revision and the diffusion of our operatic heritage. These are the obligatory tasks that the Theater meticulously fulfills each season at least twice.
‘Circe’, libretto by Miguel Ramos Carrión, premiered at the Teatro Lirico in Madrid on 7 May 1902, and as the musicologist indicates Emilio Casares, one cannot approach her with the same spirit with which one goes to hear ‘La traviata’ or ‘Doña Francisquita’. "Rather you have to think about any of Wagner's dramas or in the Debussy's 'Pelléas et Mélisande'”, says the expert, who explains that ‘Circe’ is not defined by the great arias, duets or concert numbers - it has no numbers -, "But as a continuous musical drama, where music, text, and visuality work together”. As an absolute whole.
The two concerts that now do justice to the work, will be led by Guillermo García Calvo, musical director of the Teatro de la Zarzuela, who at the head of the Titular Orchestra of this, the BARREL, and its Titular Choir directed by Antonio Fauró, must face a extraordinarily demanding score, written with an unusual musical intelligence.
It will also be a unique occasion to be pleased with a cast very much in line with the needs that a work of these characteristics requests., integrated to Session Hernández, Alejandro Roy, Rubén Amoretti and Marina Pinchuk in his leading roles.
The recording than Classic Radio will perform one of the two sessions, can be considered as historical, since it will be the first sound record of the work.
In the premiere functions from ‘Circe’ the acclaim was in crescendo until achieving a unanimous enthusiasm, so what Chapí did not direct his work to attract the usual public, thought in large numbers that have to end with the usual applause. How Emilio Casares reveals to us, "The beauties are obvious but in another way, with an always rich orchestration, with numerous transitional moments, with a masterful motivational work, or for its colorism. There are no places for the greats cadenzas, o for moments of flowering”.
The teacher García Calvo points out in this regard that ‘Circe’ is “a historical opera, European in the style of Strauss's ‘Elektra’ or Enescu’s ‘Oedipus’. An opera describing the mythical setting of Homer's Odyssey in a voyage of discovery for all”. The director also shows his admiration for Chapí alluding to the versatility of your creative ability: “In every work he writes it seems like a new composer. How different is his music ". And according to this idea concludes: "The one with‘ Circe ’is an absolutely unknown Chapí”.
Carlos Alvarez, Xabier Anduaga, Robert Carsen, Riccardo Frizza, the production of Turandot del Liceu and the artistic and educational project Zarza del Teatro de la Zarzuela will be awarded next Saturday 11 September at the third edition of the Opera XXI Awards.
Next Saturday 11 of September, from 8pm., the third edition of the Opera XXI Awards will be held, the national lyrical awards, that will be carried out in person at Madrid's Teatro de la Zarzuela.
The awards that will be delivered next Saturday, in a ceremony led by the director of the Teatro de la Zarzuela, Daniel Bianco, and stage director Bárbara Lluch, recognize the best of the Spanish scenarios in the interpretation work (best singer and best young singer), musical direction (best director), operatic production (best stage director, best new production, best Latin American production) and the most prominent initiative to promote lyricism during the season 2019-2020, the cycle that interrupted the pandemic and forced the scenic spaces to close down during the worst months of Covid19.
The gala of the third Opera XXI Awards is the first reunion of the highest representatives of the theaters, festivals and lyrical seasons in our country since March 2019, date of the first edition of these awards, since the second edition had to be carried out in streaming. A good number of artists will also be present at the delivery, personalities of the cultural world, social and political and professionals of the main theaters, festivals and lyrical seasons of Spain.
"We are especially excited to meet again in person, after so many months of enormous effort on the part of all theaters, festivals and seasons; of the artists and the magnificent professional teams that we have”, says the president of Opera XXI, Oriol Aguilà. “It was a grueling few months for everyone and we hope to have left the worst of this pandemic behind.. It is a pride to be part of a sector, of a cultural activity, which has been the admiration of the world for his ability to organize and get ahead. It is necessary to value that the opera and zarzuela of our country are today international benchmarks ". In fact, the entire gala will be a tribute to the public, to artists and professionals in the lyrical sector, and will feature the performance of prominent artists from the lyrical scene of our country.
For the celebration of the ceremony, all the health prevention and control measures that the Teatro de la Zarzuela applies to its shows will be taken into account., both in the living room and backstage, to guarantee the maximum safety and comfort of both the public and the artists who will participate in the course of the gala. The show will last approximately one hour and twenty minutes, Y will be broadcast by OperaVision international platforms, ART channel, MyOperaPlayer, in addition to on the web www.operaxxi.com and on the youtube channel of the Teatro de la Zarzuela.
The edition of the awards that symbolize the stoppage due to the pandemic in the Spanish seasons is absolutely exceptional and includes an award for the Best Digital Initiative during lockdown, in order to highlight and value the activities, the generosity and effort developed in the digital and audiovisual field by theaters, seasons and festivals since March 2019, within the framework of social distancing and security measures to prevent the spread of Covid19 in our country. The award ceremony will be held in person at the Teatro de la Zarzuela next 11 September 2021.
The President of Ópera XXI acknowledges that: "It is important, remembering, remember those first closings and cancellations, the uncertainty of a completely new and unknown situation for us and the path of constant reinvention that we have traveled up to now. Once again the essential character of our activity and its social and economic dimension were revalidated. That is why we want the next 11 September be a celebration of all that, that we can finally be united and continue to strengthen ties and that it be the first step in a cycle of seasons, he 20/21, completely different and hopeful ".
The jury of this edition, that met at the Teatro Real in Madrid last 10 May 2021, It is made up of people of recognized prestige and with a deep knowledge of current national lyrical activity. It was integrated by critics and specialized journalists, representatives of the main national and international media, Gonzalo Alonso, Maricel Chavarría, José Luis Jiménez, Alejandro Martínez, Jesus Ruiz Mantilla, Richard Martet, Fernando Sans-Rivière, Eva Sandoval, Victoria Stapells, Javier Pérez Senz, Ana Vega Toscano and manager Andrés Rodríguez, representing and vice president of Opera Latin America (OLA). Also present in the deliberations were the president of Ópera XXI, Oriol Aguilà, the secretary of the association, José Monforte, and the coordinator of the awards, Nieves Pascual.
further, These awards include the granting of three honorary awards: to personal trajectory, to the cultural institution and the drive for patronage, appointed in Assembly by all members of Opera XXI.
Honors, III OPERA XXI AWARDS
He Best Singer Award it's for the baritone Carlos Alvarez (Málaga, 1966), for his portrayal of the role of Rodrigo from the opera ‘Don Carlo’, Verdi, at the Teatro Colón, September 2019, within the lyrical programming organized by the Friends of the Opera of A Coruña.
Carlos Álvarez has one of the most solid careers in the opera scene in recent times. He has sung in the most important arenas in the world, like La Scala in Milan, ROH Covent Garden, Salzburg Festival, Staatsoper de Viena o La Arena de Verona, in addition to being acclaimed year after year in the main stages of our country. Among his many awards, a Grammy Award stands out (2001), the Cannes Classical Award and the Gold Medal for Fine Arts (2003), the prestigious title of Kammersänger the Vienna Opera (2013) and holds the title of Doctor Honoris Causa from the University of Malaga. In season 2019/2020 He also played the character of Alfonso XI in the opera ‘The favorite’, Donizetti, in the Cervantes Theater in Malaga.
The jury also awarded a Special mention within this section to the bass-baritone Carlos Chausson (Zaragoza, 1950), for his portrayal of the title role in the opera ‘Don Pasquale’ in the Maestranza Theater in Seville in October 2019.
Chausson started his career in San Diego, singing the role of Masseto 'Don Giovanni’. From that moment he began to stand out in the main companies in the United States, and later in the main opera theaters in the world and in Spain, in cities like Vienna, Zurich, Milan, Berlin, Barcelona or Madrid, and at major festivals, like salzburg. Its wide repertoire includes ‘The Barber of Seville', 'The Marriage of Figaro', 'So do all of them', 'The Italian in Algiers', ‘The daughter of the regimen’ o ‘Cinderella', among others, always standing out for the enormous mastery with which he approaches the buffoon roles.
the tenor Xabier Anduaga you will receive the Best Young Singer Award for his brilliant path of success, what, their 26 years, has already established him as one of the best interpreters of today with aoutstanding national and international career.
Voice of the Orfeón Donostiarra from the 7 years, Xabier Anduaga (Saint Sebastian, 1995) participate from 2016 at the Rossini Festival in Pesaro, opened the Donizetti Festival in Bergamo with great success in 2018, was the great winner of the Operalia contest held in Prague in 2019 Y, at your age, and with just five years of career, An important gap has already been opened in several of the most prestigious national and international theaters and festivals, the result of an undeniable virtuosity. He debuted the role of Ferrando at the Teatro de la Maestranza in October 2020; that same month he participated in the concert ‘Viva el bel canto’ by Amigos de Ópera de A Coruña, participated in the ‘Christmas Stars’ gala at AGAO last December.
He Best Musical Director Award is for Riccardo Frizza, for his work leading the functions of ‘Lucia di Lammermoor’, Donizetti, in ABAO Bilbao Ópera (Euskalduna) in October 2019.
Musical director of the Donizetti Opera Festival in Bergamo since 2017, Riccardo Frizza regularly conducts in theaters, musical institutions and most important festivals on the international scene and has been in charge of several of the main orchestras in the world. His presence is also common in coliseums and festivals in our country, Where, in 2021 has directed at the Gran Teatre del Liceu The Tales of Hoffmann and the concert The three queens with the final scenes of Donizetti's Tudor trilogy (Anna Bolena, Maria Stuarda Y Roberto Devereux) with soprano Sondra Radvanovsky. In September he will return to the Royal Theater inaugurating his season with Cinderella. He specializes in the Italian repertoire of composers such as Donizetti, Bellini, Rossini, Verdi and Puccini.
He Best Stage Direction Awarda is for Robert Carsen, for his proposals for the opera Elektra, Richard Strauss, at Palau de les Arts from Valencia in January 2020, and for his work in the Teatro Real for the functions of The Valkyrie, Wagner, on February 2020.
Born in Toronto, Robert Carsen studied at the Old Vic Theater and for five years was an assistant at the Glyndebourne Festival. He has directed titles such as'The dead City'at the Komische Oper in Berlin, 'Der Rosenkavalier' in the Royal Opera House in London, ‘Don Giovanni and Katia Kabanová’ at the La Scala Theater in Milan, o ‘Wozzeck’, ‘Agrippina’ y ‘The Turn of the Screw’ en el Theater an der Wien. If something defines his style, it is the combination of visual poetry and movement., that he has brilliantly applied in his post-apocalyptic aesthetic to the Wagnerian work in the Madrid Coliseum and to reach the emotional guts of Strauss's protagonist at the Elektra in Valencia.
TURANDOT, Gran Teatre del Liceu
The award for Best New Production is for the Turandot, Puccini, programmed by the Gran Teatre del Liceu in October 2019.
Futuristic and poetic bet, this montage with which the Barcelona video artist Franc Aleu debuted as stage director, with Susana Gómez from Oviedo as co-director, filled the stage with visual metaphors, colors and textures, making use of the latest technologies. The Teatre del Liceu inaugurated the season 2019/2020 with this title, that had an important creative team in which they appear, as well as Franc Aleu and Susana Gómez, the sceneryCarles Berga (and Franc Aleu), he locker roomfrom Chu Uroz, multimedia technologiesJose Vaaliña, Marco Filibeck lighting, 3d art infographicof Nile Pond, Martina Ampuero and Romà Hereter; assistance to the stage direction of Salva Bolta, assistance to the changing room of Joana Poulastrou, lighting assistance Oscar Frosio, construction of the scenery ofDelfini Group S.R.L., making the wardrobe ofPachuco, Txu, S.L.; multimedia technologies Eyesberg Studio, robots for scene Universal Robots and its integration byIberfluid Systems and the programmerVR App Giuseppe Morittu.
ZARZA PROJECT, THEATER OF THE ZARZUELA
The Award for Best Development Initiative of the Lyric is for him Zarza project, artistic and outreach project created by the director the Teatro de la Zarzuela, Daniel Bianco, with the aim that the young generations know the Spanish lyrical heritage, to approach new audiences and to open the door to new generations of artists.
The motto of the project is "Zarzuela made by young people and for young people" and to date, in its five editions, has adapted four classics of our boy genre: 'The revoltosa', ‘The duo of the African’, ‘La Verbena de la Paloma’, and water, sugars and brandy ', and has submitted an original title, the recent ‘Amores en zarza’, whose story unfolds through a selection of musical numbers from different zarzuelas. Starring artists from between 18 Y 30 years, the works of ‘Zarza’ adapt the texts and the scene to the contemporaneity of the new public.
MY OPERA PLAYER / PERALADA LIVESTREAM FESTIVAL
The jury of the Opera XXI Awards awarded ex aequo the Best Digital Initiative Award during confinement to the plataforma My Opera Player, the video library platform of the Teatro Real, and to Peralada Livestream Festival.
After the theaters closed in March 2020, because of Covid19, and during the toughest months of the pandemic, the Teatro Real consolidated the projection of its audiovisual platform and offered all its contents to the world, so that thousands of people could enjoy its extensive catalog openly and with free access to content. further, expanded its offer of shows and incorporated new sections to offer a documentary and didactic vision and enrich the user experience.
Given the impossibility of offering their shows in person in July 2020, the Peralada International Festival reinvented itself and launched the Peralada Livestream Festival, an exceptional edition adapted to the situation and totally free that took place in the Carme area of the Peralada castle and featured artists such as bailaora María Pagés, the soprano Sabina Puértolas, the musical director Josep Pons at the head of the Liceu Symphony Orchestra; or the singer and composer Alfonso de Vilallonga. The festival developed in parallel an informative campus and an exhibition space.
OLA AWARD, in collaboration with Ópera Latinoamérica
The Award for Best New Latin American Production fell on the production of ‘The Italian in Algiers’, Rossini, that could be seen in the Municipal Theater of Santiago de Chile in October 2019, with stage direction by Rodrigo Navarrete and musical by José Miguel Pérez-Sierra.
Navarrete places the action between the end of the 60 and early 70 twentieth century, at a time that is linked and thus interspersed in its proposal with the independence of Algeria (1962), the appearance of the mini skirt (Mary Quant) and the first important female leaderships.
After reading the jury record and revealing the record of the third edition, the secretary of Opera XXI and general director of the Palau de les Arts de Valencia, José Monforte, stressed that: "They have been complicated months for lyrical. Therefore, these awards are especially important this year. They symbolize the effort of many people in the sector to overcome the uncertainty and difficulties of a season that was cut short by the pandemic. Culture is necessary and, Besides, economic motor. We are excited and eager to continue working and see our theaters again filled with 100% gauging”.
The director of the Teatro de la Zarzuela, Daniel Bianco, remarked for his part during which this time of pandemic "It has served to determine the place that corresponds to us, our ability to react to the most serious and unexpected problems ". Who are part of Ópera XXI, added, "We have been for many months a beacon of world poetry, mirror where from any corner of the world they have wanted to look at themselves. An example of how you can act in the most responsible way without giving up raising the curtain every night. And the public, that at the end of the day is the one who gives us life, that is how he understood it; he wanted it that way. We have learned, definitely, that culture is increasingly necessary and, Of course, safe".
During the first week of May, Opera XXI Assembly, held at the Teatro de la Maestranza in Seville, established the honorary awards of this third edition of the Opera XXI Awards.
Cycle About ... Ruperto Chapí ‘The 19th century piano’
Sunday 5 of September, at 12h00
The Teatro de la Zarzuela begins with sold out a new cycle dedicated to Chapí, Sorozábal and Albéniz by the hand of the master Guillermo García Calvo, the musical director of the colosseum
Teacher Guillermo García Calvo, musical director of Teatro de la Zarzuela, is the protagonist of New cycle that the colosseum starts this Sunday, 5 of September (12h00) with the sold out under the generic title of 'About ...'; in this case, ‘About Chapí’.
García Calvo introduce and explain the piano the relationships that exist between the season titles in which he is in charge of the musical direction –'Circe ', ‘Between Seville and Triana’ and ‘The Magic Opal’–, the composers of the same -Ruperto Chapí, Pablo Sorozábal and Isaac Abéniz- his works and those of his contemporaries. The teacher will tend in this way bridges between our most important authors and the national and international currents of each period.
In this first revealing concert, baptized with the significant nickname of ‘The 19th century piano’, the conductor and pianist will connect the Chapí universe with that of Enrique Granados, Cipriano Martínez Rücker, Robert Schumann and Ernesto Lecuona, arguing with words and with music.
Upcoming appointments in the cycle About…
‘About Sorozábal’· Basque music, "light" music and jazz, Sunday 30 of January of 2022
‘About Albéniz’ Virtuosi and poets of the romantic piano, Sunday 3 April 2022
Interview Manuel Busto, director and composer of La Bella Otero Folk Music, flamenco, classical… All these musical genres and different aesthetic currents are those used by Manuel Busto to compose and conduct La Bella Otero., the operatic ballet premiered by the National Dance Company at the Teatro de la Zarzuela. A challenging and ingenious aesthetic and musical proposal by this young Sevillian director, one of the most promising races on the national and international scene.Brío Clásica: La Bella Otero was one of the most influential women of her time and her life was truly exciting, What characteristics of this character have you wanted to convey through your composition?
Manuel Busto: Work as a composer, from the approach of the dramatic ballet by Rubén Olmo and Gregor Acuña's own libretto, leads us to capture the rich characteristics of the intense life of this character in a very strong way in the musical dimension. La Bella Otero was from Valga, Galicia, where the rape she suffered forced her to flee semi-repudiated by society itself together with a group of itinerant gypsies, appearing later in Barcelona where the discovery of the character of Carmen made her become a "false Andalusian". From there he went to the France of the Belle Époque to conquer the world., starting with New York, have the most powerful men of the moment at your feet being one of the stars of the Folie Bergère. got to have it all, went broke and finally hid too young, when the beauty of youth disappeared, and live with his own loneliness in the south of France until the end of his days.
all, all the aesthetics of the places he passed through, but updated and with a personal vision, they should be present without losing sight that it is a single life. Unity as a global concept was essential on a technical and artistic level as a composer.
B.C: It is a work that has musically several registers and in its elaboration they have participated 3 composers. What part have you taken care of and how has the writing process been? Has each one written their part autonomously?
M.B: My part has been the whole, the global and unitary vision as a composer assuming most of the new creations, where there are so many aesthetics present. Example can be the first number, where I use a bagpipe prelude, flamenco percussion, where there is a clear reference to the Muñeira and a base of flamenco tiento, all using contemporary compositional techniques as well as instrumentation and orchestration treatment. All this is enhanced by including songs by great musicians who come from worlds other than mine., for example, Augustine Diassera, that comes from flamenco with forays into other currents, o Alejandro Cruz related to television and theater.
B.C: How do they merge into one, proposals from composers who come from so many styles and that the final result has a coherent musical discourse?, Is this part perhaps the one that has presented the greatest difficulty?
M.B: From them I received a sound proposal, which I respected but made mine to not only treat them with an orchestral sense, as my own, but in which he transformed by adding his own material, or even using part of their proposals at a motivational or rhythmic level in their own parts. I was free to use these approaches as my own, since the main purpose was that the work as a whole was solid on a musical level, which under a giant respect for the freshness that they brought, I have tried extremely to make it cohesive, no edges in the macrostructural or microstructural plane. Perhaps this part has been the most different or challenging, and the one that should be made with more care, I respect, coherence and I must confess, that with greater skill and ingenuity.
B.C: Is there an element in a dance composition that, by rule, make it different from an operatic composition?
M.B: Without a doubt the rhythm, and even more so since it is a ballet like the National Ballet of Spain, only one in the world. As a conductor I come directly from the world of opera, and it is true that both have their own language when making, very close in many ways, but different in terms of priorities. The characteristics of the National Ballet of Spain, and the use of the Spanish school or flamenco gives it a differentiating element that puts the composer before a greater challenge, if it fits, what is it to be able to understand that language first, and then speak through music with the same language in favor of what happens on stage.
My relationship of admiration, study and research with flamenco, makes me feel in my natural habitat by working for this company, where I have it and in fact I have used it in flamenco elements at a musical level, something that I think gives the sheet music of La Bella Otero a unique personality at the timbral level, to which must be added that ballet itself is a great percussion instrument due to its sonic dimension to be taken into account in creation.
B.C: How do you define your compositions, how would you classify them?
M.B: I precisely consider myself a person who avoids cataloging, or cataloging, that is to say, falling under one's own or external yoke on an aesthetic or technical level. For me in art the most important thing is the artistic message, and then the artistic medium at a technical level (here the preparation and the job is essential) with which to ensure that the emotional impact is the greatest possible on the viewer, and therefore in society. It is true that the use of flamenco is important, but only when I think that it is essential that it is present, since for example there is nothing of him in my first chamber opera Monologue to 2: Existence or in the job I just finished for Johan Inger and the Fondazionea Nazionalle della Danza Aterballetto.
B.C: He has just been awarded the prestigious Leonardo grant from the BBVA Foundation in the category of "composition and opera", to compose an opera. Do you already have an idea for this project?, What inspires you when you write, a character, a story…?
M.B: When it comes to aspiring to obtain this recognized award, two fundamental factors are taken into account according to the bases: the trajectory and content of the project presented. The title of my project is very revealing: "Flamenco in opera as a creative need: Blood Wedding, opera on rural tragedy by Federico García Lorca. This project will be a natural step in my own production, where, though not always, flamenco is present because of the enormous capacity to generate emotions that it has, just like opera, or the development of aesthetic currents through history that lead to contemporary aesthetics and techniques. Aspiring to know the latter is relatively natural in the development of the study of any composer, but not flamenco, and maybe because I was born where I was born, Los Palacios and Vfca. in the lower Guadalquivir, I have been forced to have a feeling of guilt well into adolescence for feeling ignorant in this matter. Which led me to discover it and, especially, to perceive your potential. So I decided to thoroughly study all its wealth, so that his language became part of me and my work. I insist, with the interest that his ability to generate emotions became part of me.
The National Ballet of Spain will premiere The Beautiful Otero of the 7 al 18 July in the Teatro de la Zarzuela in Madrid. This dramatic ballet, created and directed by Ruben Olmo, tells the intense life of one of the most famous and influential dancers of the late 19th century, Carolina Otero. World famous Spanish artist, his name is known all over the world, but whose history remains hidden from many. A woman from a Galician village who invented herself from a tragic event in her childhood. With Carmen de Merimée as a guide, used men to advance her artistic career and was admired by kings across Europe, Although the only love in whose arms he fell was that of the game. The Beautiful Otero is a reflection on abuse, the ambition, the success, the inability to love and loneliness.
The director of the National Ballet of Spain, Ruben Olmo, I had been with the idea of creating a choreography about Bella Otero for many years, attracted by the fact that one of the most famous women of her time outside of a town in Pontevedra. But until he was appointed director in 2019 He did not find the opportunity he was waiting for to be able to do it as he imagined, like a large format show, both for the number of dancers and for the deployment of costumes.
“The spirit of the last two programs that we have premiered was to enjoy Spanish dance in all its styles. Instead, now I have put dance at the service of the plot to achieve the fusion that would allow me to tell the life of a surprising woman, using from folklore to contemporary dance, the stylized and flamenco ", explains Rubén Olmo. "It is a very emotional and also dramatic show, because it tells the story of a woman who reaches the top and ends up alone and forgotten ".
The person in charge of the dramaturgy has been Gregor Acuna-Pohl, regular collaborator of the choreographer Johan Inger. The actor, dance director and playwright has tried to distill the essence of the historical character to the maximum without losing the highlights of his biography, leaving out the anecdotal. “The most important thing for me was to show a person with a lot of magnetism, charisma and strength ", affects. After researching Carolina Otero in books, press clippings, audiovisual material and files, selected the most representative moments of his life that could be expressed through dance.
"By writing an argument about such a complex life, obviously we have to simplify. But we are not making a value judgment on what is right or wrong; we just try to be true to reality, while making it attractive to the viewer. Dance must excite rather than make judgments. I have tried to stick to the historical character and make it an interesting ballet for the public. After, let each one draw their conclusions about the character ", Add.
Two artists for a Bella Otero
The argument of The Beautiful Otero passes through different periods of Carolina Otero's life, so Rubén Olmo chose to play the main character at different ages to Patricia guerrero Y Maribel gallardo. “I invited Patricia Guerrero to the National Ballet of Spain because she is a dancer who gives off great strength on stage. He was part of my company and I directed it at the Andalusian Flamenco Ballet. It has the same magnetism that made Bella Otero great. Today she is one of the most relevant figures of the most avant-garde flamenco and it is a pride to be able to count on her ", explains Rubén Olmo. "As well as the former prima ballerina of the Spanish National Ballet, Maribel gallardo. Besides dancer, she is a wonderful actress, that has brought many characters to the scene, and he always commits himself to the maximum with all the projects that I propose to him ".
According to Patricia Guerrero, Bella Otero is a complex character due to the fact that she lives various conflicts that make her a dramatic hieroglyph. "She was a woman with a lot of character, a lot of self-confidence and a brutal survival instinct. He enhanced his charisma and sensuality like no one else to achieve success ". The Granada-born artist aims to bring every detail to the dance to make the public understand this woman she admires, above all for their safety and their ability to enchant, aspects in which you have clung to get under your skin. "La Bella Otero it is a hard work in its background, but it is dynamic, funny, fresh, and with a color and energy that will make us all enjoy, on and off stage ".
Maribel gallardo, who plays Bella Otero in her maturity, defines the character as a transgressive woman before a macho society, and recognizes that in all women there is something of the Bella Otero. For the repeater teacher and choreographer, who has danced with the National Ballet of Spain roles of prima ballerina as Medea O La Celestina, this character is a great motivation and a great challenge for having to face the language of a choreographer with whom I had not worked as a dancer until now, Ruben Olmo, and to achieve the physical form that every dancer requires to go on stage again.
Music and costumes
In the same way that the choreography fuses different styles of dance, the music of The Beautiful Otero integrates compositions of various forms and composers into the symphonic score. The composer and conductor Manuel Busto has coordinated the creation of the score, in which they have participated Alejandro Cruz Benavides Y Augustine Diassera. further, guitarists have collaborated with flamenco compositions Diego Losada, Victor Marquez, Enrique Bermúdez Y Pau Vallet; and the group Strange people has set the scene that takes place in Galicia with his particular psychedelic Celtic rock. Fragments of the opera have also been inserted in the work Carmen, Bizet, and the zarzuela Last year for water, of Chueca and Valverde.
"My main challenge when developing the arrangements and orchestrations was not to lose an iota of freshness and original personality., but they will be inserted as a natural part of the work ", explains Manuel Busto. The final result "is a music without prejudices in its conception and that does not renounce anything".
The Community of Madrid Orchestra (BARREL) will perform the score live at the Teatro de la Zarzuela under the direction of Manuel Busto. The original music has also been recorded by the students of the Barenboim-Said Foundation to be used in the functions of other theaters where a live orchestra is not available, as well as in rehearsals.
The designer Yaiza Pinillos has drawn the near 200 designs that require scenes from The Beautiful Otero, set in very different places and situations. The Canarian creator has used multiple sources of inspiration and research, from the photographs of José Ortiz Echagüe to the paintings of Zuloaga, Manet, Ramon Casas, Boldini or José Cardona. There is also no shortage of reworkings of Jacques Doucet and Balenciaga models, and even contemporary couturiers like Issey Miyake or Alexander McQueen who, passed through the Belle Époque filter, offer amazing results.
The centerpiece of the protagonist's wardrobe is the Byzantine-style beaded gown that Bella Otero wears in one of her most iconic portraits., signed by Reutlinger. ”I am especially proud of that design because it is a reworking of that well-known image of Otero that I think we have been able to enrich through a look that, more than emulating it, evokes her, adding effects that enrich the staging and that reflect the essence of an era ".
One of the challenges of the designer has been to combine the narrative character of the costumes with the danceability and the ease of switching between scenes., also complicated by the characterization of the characters, who wear wigs, beards, mustaches and hats to faithfully represent the time in which the story unfolds.
Scenography and lighting
The challenge for the set designer Eduardo Moreno In his first job for the National Ballet of Spain, he has been to promote the rhythm in the succession of scenes because the dramaturgy of the work requires great agility when going through many moments in the life of Bella Otero. Its design vertebrates the space through a great architectural element, a dome, that frames the whole show and hosts the different scenes, differentiated by some simple ones that identify the time and place. It also meets the requirement that the production can easily rotate through different theaters., to adapt to the itinerant vocation of the National Ballet of Spain.
Meanwhile, Juan Gómez-Cornejo, National Theater Award, I had the difficult task of wrapping Bella Otero with light. "The light must accompany, clothe, help and, if this would be possible, caress those dancers and dancers so that the story reaches the stalls with the greatest clarity and the same emotion with which it was created ". Lighting travels through the character's story to help recreate the places and situations they lived through, from rural Galicia reminiscent of Goya's black paintings to the Portuguese countryside illuminated by the full moon or the bright lights of theaters and casinos.
After its premiere in Madrid, the National Ballet of Spain will represent The Beautiful Otero the days 26 Y 27 May 2022 at Teatro de la Maestranza in Seville. Before, as the closing of the season 2020/2021, will participate the 7 August at the Santander International Festival, With the program Invocation. This year, in an unusual way, there will be three occasions in which the National Ballet of Spain will perform in Madrid. After the absolute premiere of La Bella Otero, are scheduled Centennial Antonio Ruiz Soler at Teatro Real of the 13 al 16 October, e Invocation, at Teatro de la Zarzuela, of the 10 al 22 from December.
About the National Ballet of Spain
The National Ballet of Spain (BNE) is the benchmark public company of Spanish dance since it was founded in 1978 under the name of Spanish National Ballet, with Antonio Gades as first director. It is part of the production units of the National Institute of Performing Arts and Music (INAEM), under the Ministry of Culture and Sports. The purpose of the BNE is focused on preserving, disseminate and transmit the rich Spanish choreographic heritage, collecting its stylistic plurality and traditions, represented by their different forms: academic, stylized, folklore, bowling and flamenco. Likewise, works to facilitate the approach to new audiences and promote their national and international projection within a framework of full artistic and creative autonomy.
Ruben Olmo, director of the National Ballet of Spain
Ruben Olmo, National Dance Award 2015, has joined the National Ballet of Spain in September 2019 with the intention of working for the preservation, the dissemination and mobility of the traditional repertoire of Spanish Dance, also incorporating new creations and opening the doors to the avant-garde and experimentation. This is his second stage at the BNE, company was part of it as a dancer between 1998 Y 2002.
Since 2011 He served as director of the Andalusian Flamenco Ballet, Institution dependent on the Junta de Andalucía, with which he premiered his own productions such as Cry for Ignacio Sánchez Mejías O The death of a minotaur. Previously, formed his own company, for which he created shows like Once upon a time, Belmonte, Poe's temptations, Hours with you, Naturally flamenco Y Navigator Dialog. He has also collaborated as a choreographer or dancer with leading figures of Spanish Dance such as Aída Gómez, Antonio Najarro, Eva Yerbabuena, Victor Ullate, Antonio Canales, Rafael Amargo, Isabel Bayón and Rafaela Carrasco.
Florian Boesch has been during this season resident artist of the Lied cycle performed by the Teatro de la Zarzuela and the National Center for Dissemination of Music. Boesch ha sido, so, the one in charge of opening and closing the cycle. This time, interpreting a work that he knows well and that we could already hear in 2015 at the Juan March Foundation.
Is about Travel book from the Austrian Alps, op.62 (1929) (Austrian Alps travel book) composer Ernst Krenek (1900-1991), work composed in the last blows of romanticism and before Krenek entered twelve-tone.
Krenek was one of the most significant representatives of the call Entartete Musik (degenerate music), that started in 1938 as a clear consequence of the Entartete Kunsy (Degenerate art), which started a year earlier in Düsseldorf. He was strongly linked to the cultural world of Weimar Germany and influenced by the great musicians of his time, becoming one of the enemies of the Nazi regime.
On this peculiar journey through the Alps, Krenek expresses his love for Austria and its cultural and natural heritage. But it is also an advanced critique of what mass tourism will be later and the effects it has on natural spaces.. The texts, written by Krenek himself, are loaded with irony and criticism of manners that are fully topical.
Florian Boesch addresses this repertoire, perfect for your instrument, with freshness and expressiveness. With that way of hers to say and accentuate each phrase. Articulating the sound in a recitative sung which he accompanies with descriptive gestures. His sympathy on stage brought a more casual and appropriate touch to this trip to the Alps.
The piano score described by Krenek is full of originality. Walk parallel to the vocal score, accompanying her with great fluency. What creates a unique and curious atmosphere, with a differentiating pattern within the lied. Its interpretation has been in charge of Malcolm Martineau, Boesch's regular companion who made clear his knowledge of this repertoire and the generous mastery of reading he made of writing.
An excellent end to the XXVII Cycle of Lied in a complicated season but resolved in an extraordinary way by its two organizers. We look forward to immersing ourselves soon in the XXVIII that is, definitely, the best Lied cycle you can attend.
Photograph (c) Rafa Martin
There are music that from listening to them so much, to accompany us so much, they end up coloring our existence to their liking. Some years, some hours, some moments. They stay, they stayed to live inside us like a vital organ. Essential. This is precisely the essence of the trip that they propose to us the tenor and actor Ángel Ruiz and the pianist César Belda in the recital that they will offer tomorrow Tuesday, 15 of June (20h00), to culminate the Notes from the Ambigú Cycle from the Teatro de la Zarzuela.
Compositions that marked the careers of their authors and performers, and that became essential hymns, in personal belongings of the public's emotional baggage. Songs that fly from Argentina with Caesar Illera,Ariel ramirez, Juan Carlos Cobian, Chestnut Chub O Fito Paez; to Peru with Chabuca Granda; to Venezuela with Simon Diaz; to Cuba with Snowball O Pablo Milanes; to Chile with Violeta Parra O Victor Jara; to Brazil with Vinicius de Moraes.
And so, in full flight of evocation and delight, Notes from Ambigú cycle will be dismissed this season. With the unalterable complicity between audience and performers. With the intimacy that turns music into a sacred heritage.
He Monday 14 of June, the Austrian baritone Florian Boesch will offer the last recital of the season of Lied Cycle of the National Center for Musical Diffusion (CNDM) coproduced with Teatro de la Zarzuela. With this concert, Florian Boesch culminates his stage as resident artist in the cycle, which has resulted in 3 concerts throughout the season 20/21. In this his third and last recital, the singer will put his vocal versatility and extensive expressive resources at the service of the post-Romantic cycle of the Austrian composer Ernst Krenek, Travel book from the Austrian Alps (Travel book through the Austrian Alps), a demanding vocal and emotional tour de force for any opera singer. Concert tickets have a general price of 4 a 35 euros, and they are for sale in www.entradasinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.
Ernst Krenek's "Travel Book" (1900-1991) is one of his most famous works and reflects the composer's love for the landscapes of his native land and its nature. It is also a product of the decade of 1920, when memories of the horror of World War I were still hot and the impending catastrophe of World War II was anticipated. According to the critics, the work offers clear resonances of Schubert, whose work greatly influenced Krenek during his early creative period. He will accompany the piano to Florian Boesch the prestigious Malcolm Martineau.
In his first concert as a resident artist in the cycle of lied the past 28 September and accompanied on piano by Justus Zeyen, Boesch performed a selection of lieder by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In the second recital, held on 25 from January, and again with Zeyen, Boesch gave life to the essential Winterreise Schubert.
With ten concerts scheduled between September 2020 and June 2021, along the XXVII Cycle of Lied Some of the most important lyrical voices of today have stepped on the stage of the Teatro de la Zarzuela, as the Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien Y Nuria Rial. Different styles, timbres and colors for an edition that has brought together some of the voices that resonate in the best music venues in the world.
Florian Boesch, strength and emotion
Born in Saarbrücken in 1971, Florian Boesch He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, State Chapel of Dresde, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues from "Jedermann" (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.
Daniel Bianco, director of Teatro de la Zarzuela: "A new season is a new illusion that promises a future, it is a horizon that offers hope, something we all need now more than ever "
They will be presented 10 musical theater titles, 4 recoveries lyrical heritage, 6 large repertoire productions and 5 new productions
They offer 164 functions, maintaining the average of recent years
One of the main lines of programming is once again the figure of women in Spanish music, expanding and dedicating the cycle Chamber Sundays Women with Ñ in full and for the second consecutive year to Spanish composers, as well as the recital of “Notes from the Ambigú " A Woman in Music –On the occasion of International Women's Day– and the concerts Zarzuela has a woman's name by Rosa Torres-Pardo and Nancy Fabiola Herrera based on romances that have the woman as the protagonist and Women of Music by Sole Giménez
He Zarza project –Strap made by young people for young people– recently awarded the Opera XXI Award forBest Development Initiativeof the Lyric, will again be a fundamental piece of the season, and the didactic projects they will again surpass the 20% programming
He Concerts cycle will offer 8 proposals some of the leading voices of lyric, he flamenco, he pop and popular music
The cycle 'Notes from the ambigu', that continues its incessant public success, offers 10 recitals
The cycle, "About…", hand in hand with the musical director of the Theater, Guillermo García Calvo
They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM
Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.
He Teatro de la Zarzuela presents Season 2021/2022 whose 164 functions scheduled, what maintain the average of recent years, will be the embodiment of a new horizon in sight. This is what he points out Daniel Bianco, colosseum director, that labels the new course as "the season of illusion". And the confidence and the good tuning is not for less, since in the season that we are still the fierce threat of the covid has not been able to with this Theater: “We can proudly say that we have not delayed a single performance or canceled a single day due to covid ", points, and indicates that "all the productions of the theater, concerts and recitals have been carried out to this day ".
And he does not want to fail to mention anyone in this arduous task that has involved carrying out an entire program with the hostile circumstances that the entire society still faces.: “It has been an effort of all. Technicians, Choir, Singers, dancers, actresses, Actors and Artists who love and arm the Theater with the mission of raising the curtain every night. And so we did, mission accomplished", affirms with an undisguised satisfaction.
This explains the illusion to which the director alludes as the motto of the season in the headline of the presentation.; illusion because the music, zarzuela, will continue to play on this stage in the next season. "I firmly believe that music and scene are capable of changing the world and together improving it, and that its miracle is present when the public and artists participate in the same rhythm, the same song, the same dream, the same breath ".
And complacency transforms into deep emotion when he alludes to the public. "When we started the season we didn't know how he was going to react, if he would accompany us on this path, if I would be afraid to return ... But the response has been excellent: has once again demonstrated its loyalty by going to all our functions, following our broadcasts by streaming, our conferences and online meetings with artists. Being part of life, of the day to day of this theater ". And with a categorical statement, supports the certainty that there is only room for excitement and gratitude: "Without the audience this theater would not exist".
And Daniel Bianco wants to remember that extreme caution to which at the beginning of the season that now ends, alluded to as the only possible way to function: “As a public theater this is our first responsibility and our commitment: prudence has guided our steps and we have completed the entire season rigorously complying with all the recommendations and regulations that protect us from the coronavirus dictated in the INAEM protocol ".
This that is presented is the sixth season since Daniel Bianco arrived at the Theater (although it could also be presented as the season 162 Since its founding in 1856): "This is one more stage of a long-range project whose objective pursues a specific purpose: that the Teatro de la Zarzuela continue to fulfill the mission with which it was born, which is none other than be the privileged setting of Spanish musical theater, with the inalienable vocation of being a public theater, accessible and affordable, open to anyone who wants to discover and enjoy the Spanish lyrical heritage. These are the reasons why - as our statutes say - we are and will continue to be the National Lyric Theater ".
Thus, and under that maxim, in the next season they will be presented 164 functions, maintaining the average of functions of the last years; 10 musical theater titles, of which 4 They are recoveries of the Spanish lyrical heritage: two of them in concert and two on stage; in addition to 6 lyrical titles of the great Zarzuelistic repertoire. The concert cycle with 8 proposals ranging from lyric, flamenco, pop or popular music and the cycle notes of the ambigu with 10 recitals. further, The Sunday Chamber series dedicated to Spanish female creators is extended he starts walking a new cycle by the musical director of the Theater, Guillermo García Calvo.
Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.
Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.
The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, the season will begin with the recovery of one of the capital titles of Spanish opera. We talk about ‘Circe’, work of great significance in the history of Spanish opera because in it Ruperto Chapí develops to its last consequences its own style that the Wagnerian avant-gardes assume and transpose them to the Spanish lyric. Not in vain, ‘Circe’ was (together with ‘Farinelli’ from Bretón and ‘María del Pilar’ from Giménez, both also recently recovered by the Teatro de la Zarzuela) one of the titles of the opening season of the Teatro Lírico de Madrid, Coliseum that was built precisely to give space and opportunities to Spanish opera, in contrast to the Italian and French opera that dominated the city's lyrical billboard. It will be directed by Guillermo García Calvo and will feature the voices of Session Hernández, Alejandro Roy, Rubén Amoretti and Pilar Vázquez. They will 2 functions in concert version the days 10 Y 12 of September.
After 20 years without performing at the Teatro de la Zarzuela, one of the most beloved and celebrated titles by the public faithful to the genre and its theater returns to its stage: ‘Los Gavilanes’. This was precisely the first foray of the Master Jacinto Guerrero in the big zarzuela, and it has remained until today in the repertoire and in the sentimental memory of fans. The play talks about immigration, of the passage of time, of young loves and forgotten loves. This new production of the Teatro de la Zarzuela will have as musical director Jordi Bernàcer and as stage director to Mario Gas. Have been scheduled 13 functions 8 al 24 October, and will have the participation of Juan Jesus Rodriguez, Javier Franco, Maria Jose Montiel, Sandra Ferrández, Marina Monzó, Leonor Bonilla, Ismael Jordi, Alejandro del Cerro, Lander Iglesias, Esteve Ferrer, Ana Goya, Trinidad Iglesias, Enrique Baquerizo, Mar Esteve and Raquel del Pin. The scenography will be Ezio Frigerio, your wardrobe Franca Squarciapino and lighting Vinicio Cheli.
Now a year ago, when we were still coming out of confinement, the Teatro de la Zarzuela promised to relocate all the shows that were affected between March and June 2020. During this season, all the concerts and recitals that had to be postponed have been rescheduled., and last January the new production of ‘Luisa Fernanda’ scheduled for May 2020. In November 2021 he will get over ‘La Tabernera del puerto’, a production that was not only affected by the confinement, but also by the strikes of 2018 against the merger of the Teatro Real and the Teatro de la Zarzuela. On that occasion, only five functions could be held. In november of this year, the public can enjoy, between 19 and the 28 of November from 8 functions of this essential title of Pablo Sorozábal, with musical direction by Óliver Díaz, scenic of Mario Gas, scenery Ezio Frigerio, wardrobe Franca Squarciapino and lighting Vinicio Cheli. In the distributions they will participate María José Moreno, Sofia Esparza, Damian del Castillo, Rodrigo Esteves, Antonio Gandia, Antoni Bunk, Rubén Amoretti, Ruth González, Vicky Pena, Pep Molina, Ángel Ruiz, Abel García and Agus Ruiz.
If ‘La Tabernera del puerto’ is one of the most popular works of our genre, he Master Sorozábal has not so well known jewelry, as is the case of ‘Between Seville and Triana’, lyrical sainete in two acts premiered in 1950. Between 26 January 6 February They will be offered 10 functions stories of this work that arrives for the first time on the stage of La Zarzuela. As usually happens in all the works of the San Sebastian composer, no one will be indifferent: this time, the dignity of women is vindicated (in the figure of a single mother) against the customs and morality of a time that fortunately is already history. In it we will be dazzled by the most Andalusian Sorozábal that exists, with melodies full of light and others of deep drama. It is a production of 2012 of the Arriaga Theater in Bilbao, the Maestranza Theater in Seville, the Canal Theaters in Madrid and the Campoamor Theater in Oviedo. The musical director will be Guillermo García Calvo, musical director of the house, and the scene Curro Carreras. The scenography is by Ricardo Sánchez Cuerda, the costumes of Jesús Ruiz and the choreography of Antonio Perea. The two casts will have Carlos Alvarez, Javier Franco, Ainhoa Arteta, Carmen Solis, Andeka Gorrotxategi, Alejandro del Cerro, Anna Goma, Jesus Mendez, cross Beitia, Pedro Bachura, Antonio Martinez, Rocío Galán, Nathan Segado Y Lara chaves.
The days 4 Y 6 of March, and again following the policy of recovery of the Spanish lyrical heritage of the Theater, will be rescued from oblivion ‘Tabaré’, magnificent work like all of Tomas Breton. Premiered in its day by the tenor Francisco Viñas in 1913 at the Theatre Royal, It could only be heard in three unique performances and to this day it has never been performed again.. It is a mature composition that synthesizes the melodic lyricism of the Italian tradition, the harmonic treatment of Wagnerian opera and sounds typical of impressionism. Breton himself considered it his most personal and independent work. And the subject on which the argument is developed could not be more particular: the fight between Charruas Indians (that populated what is now Uruguay in the 16th century) and the spanish. An unconventional theme with a libretto by Tomás Bretón himself based on the homonymous epic poem by Juan Zorrilla de San Martín. It will be directed by the teacher Ramón Tebar in front of the Titular Theater orchestra, Community of Madrid Orchestra, BARREL, and the Titular Choir of the Teatro de la Zarzuela, and a cast that has Andeka Gorrotxategi, Maribel Ortega and Juan Jesús Rodríguez.
Another especially important moment will be lived in the month of April: the stage recovery of the musical comedy of Isaac Albeniz‘The Magic Opal’. It is the first stage work that Albéniz composed for the English public. Premiered in London, in English, in 1893, was quickly translated into Spanish and presented in 1894 at the Teatro de la Zarzuela. In that occasion, the public did not understand the work because it was far from the Spanish musical tradition. But nevertheless, it is a colorful work, suggestive and fresh: a different Albéniz. The translation of the libretto of 1894 –Titled then ‘The Ring ’– has not been preserved, and that is the reason why for this representation that recovers the title a new translation into Spanish has been commissioned by Javier L. Ibarz Y Pachi Turmo. The musical direction will Guillermo García Calvo, the stage direction and scenography of Paco Azorín, your wardrobe Juan Sebastian Dominguez, lighting Pedro Yagüe and the audiovisual design of Pedro Chamizo. They will lead the deals Ruth Iniesta, Carmen Romeu, Santiago Ballerini, Leonardo Sánchez, Luis Cansino, Rodrigo Esteves, Damián del Castillo and César San Martín. They are scheduled 8 functions 1 al 10 of April.
The following title is an example of great mastery: with just one orchestra composed of the string sections and two harps, Manuel Penella manages to write one of the most beautiful titles in the repertoire. Speaking of ‘Don Gil de Alcalá’, an opera set in the Viceroyalty of New Spain in the 18th century, which will be presented in a production of the Spanish Lyrical Theater Festival of Oviedo signed by Emilio Sagi in 2017. They offer 14 functions 5 al 22 of May, the musical direction will be Lucas Macías and in the distributions they will intervene Celso Albelo, José Luis Sola, Sabina Puértolas, Irene Palazón, Carlos Cosías, Facundo Munoz, Carol Garcia, Lidia Vineyards-Curtis, Esteve Manel, Eleomar Neck, Stefano Palatchi, Simon Orfila, Mary Jose Suarez, David Sanchez, Ricardo Muñiz and Miguel Sola. The scenery is Daniel Bianco, your wardrobe Pepa Ojanguren, lighting Eduardo Bravo and choreography Nuria Castejohn.
And to top off the lyrical season, one of the unavoidable titles of zarzuela, of those who make the genre great and create fans, The barberillo Lavapies' from Francisco Asenjo Barbieri, who will hit the stage in the coliseum production which premiered with thunderous success in 2019, and that he has traveled with the same luck to Sevilla, Oviedo and Valencia. Signed by Alfredo Sanzol, one of our most prominent playwrights and directors, National Dramatic Literature Award in 2017, in the musical he will direct it again José Miguel Pérez-Sierra; the scenery and costumes are by Alejandro Andújar, lighting Pedro Yagüe and choreography Antonio Ruz. Maybe Borja, David Oller, Cristina Faus, Carol Garcia, María Miró, Cristina Toledo, Javier Tomé, Francisco Corujo, Gerardo Bullón and Abel garcia will make up the casts in the 10 functions to go of the 15 al 26 of June.
With the introduction of these 8 titles the theater will continue to be one more year unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.
CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED
After the success of its first five seasons, he CONCERT SERIES in the main room presents 8 new proposals with some of the leading voices of lyric, the popular song, he flamenco and the pop. This makes the Theater a fundamental space in our theater because there is room for the plurality of Spanish music, without prejudice and with a spirit open to all audiences. The singer will open the cycle Sole Giménez presenting ‘Women of Music’, continuation of the concert that already offered last season as part of a broad project that brings together great songs composed and written by women with the intention of making visible the work of women as authors in the world of music (18 October); soprano Lisette Oropesa, internationally acclaimed, He makes his debut at the Teatro de la Zarzuela and will sing for the first time in his career a recital of Spanish and Cuban zarzuela romances: ‘Zarzuela back and forth’. A very special concert with which the singer wants to pay a heartfelt tribute to Cuba, the land of their fathers, and in which she will be accompanied on the piano by Rubén Fernández Aguirre (13 from December); the traditional Christmas Concert, with the teacher Guillermo García Calvo as musical director, who will the soprano accompany Ainhoa Arteta with the Community of Madrid Orchestra and the Holder Choir Teatro de la Zarzuela (30 from December); Estrella Morente, with his privileged voice, unique sense of rhythm, passion and heritage of his elders, This undisputed benchmark of flamenco and Spanish music returns to his home in Madrid to celebrate 20 years as a unique artist. (31 from January); and from one star of the flamenco firmament to another: Archangel, one of the leading singers in the current flamenco scene with an extensive career characterized by the balance between tradition and the avant-garde, it show us 'Bel cante'. With that tireless search for new paths, will immerse the public in a journey through zarzuela, flamenco and opera next to Quintet Tottem Ensemble (5 of March); then the show will come ‘Zarzuela has a woman’s name’ in which two essential artists, the pianist Rosa Torres-Pardo and mezzosoprano Nancy Fabiola Herrera they meet in a recital in which they will “converse” through different romances that have women as the main character (5 of April); Silvia Pérez Cruz. 'Farce (impossible gender)’. Alone: the renowned artist from Palafrugell returns to this stage, alone, with his guitar, creating an intimate space to present their latest album project. (9 Y 10 of May); Xabier Anduaga. 'Our music'. The San Sebastian tenor, brilliant winner of the International Opera Award and the Opera XXI Award for best young singer and before the Zarzuela Operalia Award and also for the Best Young Singer of the International Opera World Competition, will sing for the first time in this Theater a recital of zarzuela and songs by Spanish composers. further, will seduce the public with romanzas and zarzuela arias (21 of June).
Since its inception, five seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign of ‘sold out places’ and have left a sweet and different taste to any musical experience due to the proximity of the artist with the public that creates an exciting and happy atmosphere. This time, the protagonists will be the soprano Sabina Puértolas with pianist Rubén Fernández Aguirre, who will offer a recital entirely dedicated to Emilio Arrieta (1821-1894) in commemoration of the bicentennial of his birth (28 October); the singers and actors Nuria Pérez and David Pérez Bayona, that accompanied by the pianist Alvaro Ortega Luna, will present ‘Engaged. From musical theater to zarzuela ’. The story of two young people from musical theater who began their career in the Zarza Project and discovered in zarzuela a genre that, without knowing it, it belonged to them (20 October); the bandoneon player Claudius Constantine and pianist Louiza Hamadithat will commemorate the centenary of the birth of Astor Piazzolla (1921-1992) (2 from December); countertenor Alberto Miguélez Rouco with Pablo Fitzgerald (lute) Y Theodore Chest (viola da gamba) will offer us a program dedicated to Cantadas by Jose de Torres (1670-1738), one of the most important composers of the Spanish Baroque; choirmaster, editor musical, organist and composer of zarzuela (4 from January); the tenor Enrique Viana, accompanied by pianist Ramón Grau, will give the public an hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung. A ≪cabaret lirico≫ with music from our zarzuela under the title 'Luisa Fernanda, I already have Instagram’ (7, 8 Y 9 from January); the soprano Carmen Romeu and pianist Borja Mariño will present 'My home ’, a program with which we will discover music by Valencian composers such as Oscar Esplá, Manuel Palau Boix, Miquel Asins Arbó, Angeles Lopez Artiaga Y Matilde Salvador, among others (11 February); on the occasion of International Women's Day, actress-singer cross Beitia will offer the recital ‘A woman in music’ dedicated to women composers of popular music such as Chabuca Granda, Mercedes Sosa, Violeta Parra, Consuelo Velázquez O Cecilia, and with César Belda the piano (8 of March); the tenor David Alegret and pianist Rubén Fernández Aguirre they will offer the recital ‘Catalans around the world’ with works by Catalan composers who also composed in other languages: in Catalan, Eduard Toldrà; in German, Joan Manen; in French, Pau Casals; in Spanish, Jaume Pahissa; or in italian, Isaac Albeniz; among others (18 of April); 'Contemporary Spanish Music'. In order to promote the creation of new works for chamber groups, the Teatro de la Zarzuela, in collaboration with the Real Conservatorio Superior de Música in Madrid, summons a composition contest for young composers. The three winning works will be premiered at this concert by the Ensemble Opus 22 (28 of June); and to close the cycle the guitarist Rafael Aguirre will dedicate his recital 'The last romantics' to the music of Francisco Tárrega e Isaac Albeniz (4 of July).
He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ. Third edition of the cycle of Spanish chamber music that for the second year in a row she will be fully dedicated to the role of women in music in her role as a composer. With this cycle the Theater wants to continue with the dissemination of these works, many unpublished, and discover to the public the excellent quality of the creations of these Spanish composers who rarely had or have due recognition for their creations. In this way, some of our 20th and 21st century composers will be valued as Maria Teresa Prieto, Rachel Garcia-Tomas, Claudia montero, Diana Perez Custodio, Illuminated Perez Frutos, Laura Vega, Maria Jose Arenas, Mercedes Zavala, Dolores Serrano, Marisa Manchado, Sonia Magías, Cruz Lopez de Rego, Zulema de la Cruz, Maria Rosa Ribas, Emma Chacon, Elena Mendoza, Emiliana de Zubeldia, Gabriela Ortiz, Nuria Núñez O Teresa Catalán, among other. And the commitment of the Teatro de la Zarzuela is also with the future of the authors, so that each concert will feature an absolute premiere by young female composers, students of the Royal Conservatory of Music Superior of Madrid. The five appointments of this edition will be: Breton Quartet (7 of November), Cristina Montes, barley (20 February), Sax-Ensemble Quartet (20 of March), trio Arbós (24 of April) Y mario Prisuelos, piano (5 of June). The absolute premieres will be of the students AGarrido sends, Adela Rodríguez Yus, Laura de las Heras, Miriam Sanz Ortega and Nuria M. Sanchez Sanchez.
On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVIII edition with 10 recitals: the mezzosoprano Ekaterina Semenchuck (4 October), soprano Marlis Petersen (23 of November), soprano Eva-Maria Westbroek (20 from December), baritone Matthias Goerne (7 February), baritone Josep Ramon Olive (21 of March), soprano Katharina Konradi (4 of April), baritone Andre Schuen (17 of May), the tenor Mark Padmore (20 of June), soprano Julia Kleiter with the baritone Christian Gerhaher (11 of July) and mezzosoprano Anna Lucia Richter also next to the baritone Christian Gerhaher (18 of July) and again the baritone Florian Boesch (14 of June), complete the proposal for the new season.
TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES
The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last five seasons in a decade.
In the new Season a total of 30 functions between the shows that make the didactic project.
Zarza PROJECT, zarzuela made by youth for youth, a project that has just received the Opera XXI Award for the Best Lyric Promotion Initiative, is a resounding success every season. In the five that it has been running, have passed through the seats of the Theater more than 35.000 spectators -of which more than 21.000 they have been school from among 12 Y 18 years- who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma', 'Water, Azucarillos y Aguardiente ’and‘ Amores en Zarza ’, and close to 100.000 who have been able to enjoy it online. How could it be otherwise, In the season 2021/2022 the project is back with force and with a record number of nominations for the Auditions: more of 800 young artists have appeared at the same. This year the project will present a new production of the musical by maestro Jacinto Guerrero 'The green envelope' the original libretto of Enrique Paradas and Joaquín Jiménez will be reviewed by the playwright Álvaro Tato. With stage director Nuria Castejón, musical of Cecilia Bercovich, scenery Ricardo Sánchez Cuerda and wardrobe Gabriela Salaverri, the cast will be formed as usual, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 12 functions They will be offered of the 21 al 26 February 2022.
And the didactic projects stand out one more year because, thanks to them, he Ambigú del Teatro once again has the function of a show space for the fifth consecutive year. After two exciting deliveries 'Lost in Bosco' and those of the overwhelming success of 'The incredible story of Juan Latino', The puppet theater with live music will return to Ambigú. The proposal will be on this occasion the premiere of the work ‘The sky of Sepharad’, co-produced by the Claroscvro Theater and Company. Will be others 18 functionsbetween 25 May and 3 June 2022.
Also framed in educational projects, soprano Nicola Beller Carbone, distinguished by a peculiar artistic profile, in which he takes care of the interpretive aspects as well as the musical ones, and what in 2019 founded LIBERAinCANTO to teach master classes for lyrical singers in which he works acting and singing from imagination and creativity, will offer of the 21 al 27 March master classes for young artists.
In the next season, dance will also be the protagonist through the two national companies, Theater residents: He National Ballet of Spain arrives with the program 'Invocation', expressly designed for the company by its director, Ruben Olmo, offers a global vision of Spanish dance, encompassing most of their styles, from bowling school to stylized dance and stylized flamenco. It also includes a special tribute to the dancer and choreographer Mario maya (1937-2008), one of the great masters of our dance. They will eleven functions 10 al 22 from December. Meanwhile, the National Dance Company directed by Joaquin de Luz will present a triple program made up of the choreographies'Polyphonia’ from Christopher Wheeldon with music György Ligeti, ‘Big gap' from Hans van Manen with music by Ludwig van Beethoven and 'DSCH concert ' from Alexei Ratmansky with music Dmitri Shostakovich. They will ten functions of the 7 al 17 of July.
CHAMBER MUSICAL THEATER
Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 26 September to 4 October They will be presented the seven functions 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, what could not premiere in its day because of the pandemic. With libretto by the Sevillian musician himself from the 18th century, based on the intermediate of Carlo Goldoni, It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Pablo Menor Palomo, your wardrobe Ikerne Giménez, lighting David Picazo, the choreography of Andoni Larrabeiti and the cast make it up Cristina Toledo, David Alegret, David Oller,Javier words Y Andoni Larrabeiti. As usual, The representations will be at the Fundación Juan March.
GREAT VOICES FOR ZARZUELA
One of the achievements that distinguishes the Teatro de la Zarzuela is that of bringing together the great lyrical voices that sing in Spanish each season. A) Yes, in the next we will have the opportunity to enjoy the art of singers such as CARLOS ÁLVAREZ, AINHOA ARTETA, SESSION HERNÁNDEZ, LISETTE OROPESA, NANCY FABIOLA HERRERA, ISMAEL JORDI, María José Montiel, JUAN JESÚS RODRÍGUEZ, SABINA PUÉRTOLAS, XABIER ANDUAGA, ANDEKA GORROTXATEGI, CELSO ALBELO, RUTH INIESTA, SIMÓN ORFILA, CARMEN ROMEU, JOSÉ LUIS SOLA, CAROL GARCIA, MARINA MONZÓ, BORJA MAYBE, CRISTINA FAUS…, and so many and so many others that only their names make the season a truly unique experience.
The King who raged Zarzuela in three acts Music by Ruperto Chapí Libretto by Miguel Ramos Carrión and Vital Aza D. musical: Ivan Lopez Reinoso D. scene: Barbara Lluch Scenography: Juan Guillermo Nova Locker room: Clara Peluffo Valentini Lighting: Vinivio Cheli Orchestra and Choir of the Community of Madrid Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.
At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.
The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.
This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.
The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.
The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.
The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.
Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.
It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.
A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.
Text: Paloma Sanz pictures: Javier de Real
Fully dedicated this season to the music composed by women, he cycle ‘Chamber Sundays’ of the Teatro de la Zarzuela will put the golden closure this next Sunday 6 June at 12:00 with the recital ‘Make the americas’.
The reason for the title ‘Make the Americas’ is geographic, cultural, historical and even sentimental. Result of that important and magical back and forth flow that permeates everything on both sides of the Atlantic and that makes it grow on each shore before starting back. This Sunday's concert will be portrait of this endless tide that combines values and tradition. Two of the composers are Ibero-American: Macarena Rosmanich, From Chile, Y Ana Lara, from Mexico, and another, Diana Pérez Custodio, Cadiz (Cádiz, crucial port on the route of the Americas). By last, as in the rest of the concerts of the cycle, the recital includes an absolute premiere by a student from the Conservatorio Superior de Música de Madrid, and in this case it will be Sofia Sainz with his work ´Yugen, for harp, cello and double bass‘.
The soloists of the Community of Madrid Orchestra (BARREL), Head of the Theater, who will participate in Sunday's concert will be Amaya barrachina (fiddle), Eva Martin (viola), Angel Garcia Jermann (cello), Luis Christmas (double bass) Y Ana Maria Reyes (barley).
This second edition of the ‘Chamber Sundays‘ cycle, that with this concert comes to an end, has meant an exciting journey through a unknown Spanish musical heritage. From the hand of soloists from ORCAM, each concert has highlighted the extraordinary value of Spanish composers of the 20th and 21st centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Mercedes Zavala, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others.
The cycle has welcomed four absolute premieres of students of the Royal Conservatory of Music of Madrid: Amanda garrido, Miriam Sanz Ortega, Laura de las Heras and Sofia Sainz.
He Zarza Project of the Zarzuela Theater He has been awarded the Opera XXI Award forBest Development Initiativeof the Lyric in the third edition of these awards, considered the National Lyric Awards, whose ruling was made public today.
Zarza is one of the star initiatives of the Teatro de la Zarzuela. It is an artistic and informative project created by the director of the Coliseum, Daniel Bianco, that under the motto "Zarzuela made by young people and for young people" has the objective that the young generations know the Spanish lyrical heritage, to approach new audiences and to open the door to new generations of artists.
In the words of Oriol Aguilà, President of ÓPERA XXI and the jury of its Awards, as well as director of Peralada Festival, The award has been granted because the Zarza Project "is a benchmark from which we all must learn a lot, for his intelligence, courage, communication skills and knowing how to reinvent and explain the Zarzuela, Opera and music to new audiences and especially young people”.
Till the date, in their five editions, has adapted four classics of our boy genre: 'The revoltosa', ‘The duo of the African’, ‘La Verbena de la Paloma’, and water, sugars and brandy ', and has submitted an original title, the recent ‘Amores en zarza’, whose story unfolds through a selection of musical numbers from different zarzuelas. Starring artists from between 18 Y 30 years, the works of ‘Zarza’ adapt the texts and the scene to the contemporaneity of the new public. To the last call for auditions (the one that will nourish the proposal of artists 2021/2022) more than 800 candidates.
Honors, III OPERA XXI AWARDS
CARLOS ÁLVAREZ. Best Singer Award for his portrayal of the role of Rodrigo from the opera ‘Don Carlo’, Verdi, at the Teatro Colón, September 2019, within the lyrical program organized by the Friends of the Opera of A Coruña.
CARLOS CHAUSSON. Special mention for his performance of the leading role in the opera ‘Don Pasquale’ at the Teatro de la Maestranza in Seville in October 2019.
XABIER ANDUAGA. Best Young Singer Award for his brilliant path of success, what, their 26 years, has already established him as one of the best interpreters of today with aoutstanding national and international career.
RICCARDO FRIZZA. Best Musical Director Award for his work leading the functions of ‘Lucia di Lammermoor’, Donizetti, at ABAO Bilbao Opera (Euskalduna) in October 2019.
ROBERT CARSEN. Best Stage Direction Awardfor his proposals for the opera ‘Elektra’, Richard Strauss, at Palau de les Arts from Valencia in January 2020, and for his work in the Teatro Real for the functions of ‘The Valkyrie’, Wagner, on February 2020.
TURANDOT, Gran Teatre del Liceu. Award toBest New Production is for the Turandot, Puccini, programmed by the Gran Teatre del Liceu in October 2019. Video artist Franc Aleu debuted as stage director, with Susana Gómez as co-director, filling the stage with visual metaphors, colors and textures, making use of the latest technologies.
ZARZA PROJECT, THEATER OF THE ZARZUELA. Award for the Best Lyric Promotion Initiative.
MY OPERA PLAYER (Teatro Real) / PERALADA LIVESTREAM FESTIVAL. Equally, Best Digital Initiative Awardduring confinement.
OLA AWARD, in collaboration with Ópera Latinoamérica. Award toBest New Latin American Production fell on the production of ‘The Italian in Algiers’, Rossini, that could be seen in the Municipal Theater of Santiago de Chile in October 2019, with stage direction by Rodrigo Navarrete and musical by José Miguel Pérez-Sierra.
EMILIO SAGI. Lifetime Achievement Award, Honorary Award to the Person, after celebrating forty years of career as a cultural manager and stage director.
TELEPHONE COMPANY. Award toBest Patronage Initiative, for their commitment to support the seasons of different theaters, festivals, educational and dissemination programs and an approach to opera, especially highlighting his sensitivity in the work of audiovisual and digitization projects.
FRIENDS OF THE BRICK WORK. He Honorary Award this time distinguishes the Maó Opera Season, organized by the Menorcan association of Friends of the Maó Opera, for its important task of promoting, promotion and diffusion of the opera during 50 uninterrupted seasons.
Opera XXI brings together 25 theaters, opera seasons and festivals stable of our country and has two honorary member theaters of enormous relevance. It is formed by:
ABAO BILBAO OPERA
CANARIAN FRIENDS OF THE OPERA
FRIENDS OF THE LA CORUÑA OPERA
FRIENDS OF THE OPERA OF MAHÓN
GAYARRE ASSOCIATION OF FRIENDS OF THE OPERA
OPERA VIGO FRIENDS ASSOCIATION
PERALADA CASTLE FESTIVAL
BALUARTE FOUNDATION OF PAMPLONA
FUNDACIÓ ÒPERA DE CATALUNYA
OPERA DE OVIEDO FOUNDATION
Gran Teatre del Liceu
GREAT THEATER OF CÓRDOBA
PALACE OF THE ARTS OF VALENCIA
ARRIAGA THEATER OF BILBAO
CALDERÓN DE VALLADOLID THEATER
CAMPOAMOR THEATER OF OVIEDO
CERVANTES THEATER OF MÁLAGA
ALBACETE CIRCUS THEATER
TEATRO DE LA MAESTRANZA DE SEVILLE
MAIN MENORCA THEATER
MAIN THEATER OF PALMA DE MALLORCA
REAL THEATER OF MADRID
VILLAMARTA DE JEREZ THEATER
THEATER OF THE ZARZUELA OF MADRID
COLÓN THEATER OF BUENOS AIRES
SAN CARLOS DE LISBOA THEATER
Sometimes the freshness and the present are not at odds with the passage of time. 130 years, It was exactly a century and three decades ago that ‘El rey que rabió’ was premiered at the Teatro de la Zarzuela -to whose stage it has not been on in 12-, and the public continues to await it with enthusiasm and enjoy it with the same implication as if it were a new creation. That is one of the most memorable secrets that make the theater a magical experience, a unique and universal manifestation. Fortunately we will be able to check it again, to savor that valuable badge, during the 14 functions what of the new production of the work Ruperto Chapí, Ramos Carrión and Vital Aza They will be offered of the 3 al 20 of June in the same theater that, amid unanimous applause and fabulous criticism, saw her born at the end of the convulsive 19th century.
‘The King who raged’, real big zarzuela, was created by Carrión, Aza and Chapí in 1891, and today is a lyrical theater milestone Y, Of course, of the unique and particular history of the Theater where he was born with the Alicante teacher himself on the podium. Because few kings, nor the most popular in history, nor the most beloved of their peoples, will have been more acclaimed, applauded and cheered that our King in this exclusive kingdom that is the Teatro de la Zarzuela.
And if this title is already a masterpiece, checking the artistic team and the casts responsible for putting it back together makes the interest of this June premiere that will close the lyrical season 2020/2021 Coliseum.
Music & Performance. Excellence and luminosity
The musical direction will be the responsibility of the teacher Ivan Lopez Reynoso, one of the most important young batons in Mexico, newly appointed artistic director of the Orquesta del Teatro de Bellas Artes and partner tenor musical Javier Camarena in so many concerts –including the one offered at the Teatro de la Zarzuela several seasons ago–. Also violinist, successful pianist and countertenor, as a conductor he is a specialist in very diverse disciplines - opera, ballet, modern dance, early music and contemporary music–, will occupy the pit in front of the Community of Madrid Orchestra, ORCAM –The Theater Owner–, of the Titular Choir of the Teatro de la Zarzuela –Which this time has as a challenge the interpretation of some of the most emblematic choral numbers of the genre– and two splendid and more than balanced deals.
The scenic proposal of this new production of ‘El rey que rabió’ it's really surprising. The dynamic and intelligent director Barbara Lluch –Responsible for resounding successes such as the award-winning Zarzuela opera ‘La casa de Bernarda Alba’ by Miquel Ortega- has launched a bright approach very much in keeping with the original spirit of the work: "Is about give the public as much freedom as possible”, explains the film director, whose intention is “that each viewer feels, empathize and interpret the characters, the place and the relationships between them from their own point of view. From his own unique perspective. " And he warns in this regard that it is for that reason that the librettists did not even name the King, nor the General, nor the Governor, nor the admiral, nor to the Mayor ... "Because there could be so many kings, general, admirals, different governors and mayors as spectators there are in the room ", reflects Lluch.
And at this point we come to those who will have to fill those with intentions and a good voice. crazy prototypes born of intellectual talent, ironic and funny of the playwright, journalist and humorist Miguel Ramos Carrión –creator also of the librettos for ‘The nephews of Captain Grant’, 'The Tempest', ‘The witch’ or ‘Water, sugar and brandy'–, and the poet, Comedy writer and comedian Vital Aza, what, as an interesting fact, it was with Chapí himself one of the founders of the Society of Authors and its first president.
This hilarious story of a king to whom the deep boredom in which he is plunged leads him to undertake an incognito trip through the country; of his powerful and closest advisers who unsuccessfully try to prevent it so that the sovereign does not discover the sad reality in which his subjects inhabit, and thus be able to continue bossing him around as you like; of all the bizarre characters that the monarch meets on the way; this funny story (a lot of) in which also love, how not, plays its crucial role, will be defended by two casts that will undoubtedly lift the public literally from their seats. They will fill the room with the best music, laughs (when not laughs) And joy.
The tenors Enrique Ferrer and Jorge Rodríguez- Norton will give life to the King - a role that was originally female, played by a mezzo-soprano or a central soprano; and it is that being the young monarch he was presented in the form of a transvestite paper, something that, how would i remember Luis Gracia Iberni, one of the most recognized experts in the work of Ruperto Chapí, beyond the historical tradition of this resource in musical theater, at that time it was mandatory due to the lack of lyrical tenors dedicated to zarzuela. Rosa's role, the young woman with whom the King by surprise falls in love with the luck of being reciprocated, the sopranos will interpret it Rocío Ignacio Y Sofia Esparza; Maria's, the labrador's wife, it will María José Suárez, and the General will be the bass Rubén Amoretti and bass-baritone Miguel Sola; Jeremiah, that nephew of the mayor in love without a prize with his cousin Rosa and to whom all imaginable adventures happen, will embody it José Manuel Zapata; Carlos Cosías, Igor Peral and José Julián Frontal they will in turn get into the Admiral's skin, the Mayor and the Governor, respectively; Alberto Frias - emerged from that fruitful pool of singer-actors that is the Zarza project of the Teatro de la Zarzuela - will recreate the sparkling comings and goings of the Captain; Y Sandro Lamb,Pep Molina, Ruth González Y Antonio Buendia, they will act as the Labrador, Mayor, the Page and the Bugle. And to all of them we will have to add three actors and three extras.
Regarding the artistic team, it's made of Juan Guillermo Nova, responsible for the dreamlike and especially beautiful scenery, the designer of the fantastic and great costumes Clara Peluffo Valentini and the master of enlightenment Vinicio Cheli.
Masterpiece of the repertoire. Theatrical music
Teacher Lopez Reynoso considers that the score of ‘El rey que rabió’ “is undoubtedly one of the masterpieces of the Spanish lyrical repertoire. Agile, expressive, refined and full of colors ", to which must be added "the wise use of theatricality in musical writing that makes the dramatic action correspond in a remarkable way with the musical discourse ". Therefore, the director believes that it is "a round work, complete, contrasting and fun what, thanks to all the above features, it always manages to become a success that is much loved by the public. "
And it is precisely in this conciliation between music and the word that the media musicologist influences Eva Sandoval, who remembers that Chapí and his librettists were key figures in the development of the musical and dramatic style of zarzuela since the decade of 1880. Sandoval also rescues a statement contained in the chronicle that the critic of the time wrote on the occasion of the premiere Joaquin Arimon who comes to emphasize this crucial characteristic: “The music is perfectly suited to the conditions of the poem and all of it is beautiful and inspired ".
Eva Sandoval argues in this regard that this adaptation and interrelation of both codes, the linguistic and the musical, can be seen throughout the nineteen numbers of which the work consists. "The brevity of all of them also helps to ensure dynamism and agility and favors the dramaturgy, so that music accompanies the action: nor the force, nor does it force her, nor does it condition it”. The author, according to the expert's words, “manages to impregnate each passage with the musical color and atmosphere that the plot requires, as, for example, in the simple but effective prelude. Written in the form of a military court march, it could perfectly serve as the national anthem of the imaginary country in which the action is set. "
It is also especially noteworthy for the musicologist the fact that ‘El rey que rabió’ uses "thesame theatrical and pedagogical tactic as the operetta: that of the "world upside down", incorporating resources and languages of the Central European operetta into our lyrics.
Undying King and online
As it is usual, one of the functions of ‘The King Who Raged’ will be broadcast live on streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 17 June at 20h00 (Spanish CET).
Likewise, can already be enjoyed in YouTube y Facebook the conference given by Eva Sandoval and a new chapter of the series‘Trip through the zarzuela’, with the teacher López Reynoso and Bárbara Lluch as protagonists.
‘The King Who Raged’ has been on stage uninterruptedly from the 20 April 1891, when premiered at the Teatro de la Zarzuela in Madrid with Chapí himself at the helm, until the 15 June of that same year. further, was revived in this same scenario in December of that year and January of 1892, and shortly after it would appear in other capital and provincial theaters. Special mention deserves his premiere in Mexico with the Spanish Zarzuela Company in mid-July of the same 1891, just a few months after its premiere in Spain. The echo that Chapí's work obtained in the media of the time was extraordinary, to the point that the composer from Villena established himself as the author of zarzuela grande.
And is that our King came to stay with us, from generation to generation, and so on for 130 years. The chronicler already noticed this after attending the premiere - in an article that after the enigmatic signature of K. it is very possible that the notorious journalist was there Jose Gutierrez Abascal–: "'The King who raged' is assured for a long time on his throne in La Zarzuela". And it was added with a certain tinkle: "There is no danger of him being dethroned." (The Herald of Madrid, 21 April 1891).
He VIII Alfredo Kraus International Singing Competition, on this occasion will have among its many attractions the historic Italian baritone Leo Nucci what will exercise as president of the jury. Summoned by the Cabildo de Gran Canaria and the Alfredo Kraus International Foundation, This eighth edition of the contest - third of the second stage - coincides with the 65 anniversary of the professional debut of Alfredo Kraus and will take place in The Gran Canarian palmsof the 20 al 25 of September.
True to the conception that the great tenor imagined in 1989, the objective of the contest is support young lyrical singers and allow their access to the international labor circuit. Such were the purposes of Alfredo Kraus when he inaugurated his first contest in 1990, organizing it up to edit 1999, year of his disappearance. Keeping these principles, Rosa Kraus Ley –Daughter of the tenor and president of the Foundation that guards his artistic legacy– and Antonio Morales Mendez –President of the Cabildo de Gran Canaria– decide to resume the contest from the edition of 2017, eighteen years after the closing of that first stage.
The postulates of the contest remained unchanged: the participation of young national and foreign singers, an artistically competent jury and based in the tenor's hometown.
To enable this ambitious project, the sponsorship of the Cabildo de Gran Canaria has been fundamental. To this, the collaboration of the City Hall of Las Palmas de Gran Canaria, of the Canary Islands Auditorium Foundation Y Theater of Las Palmas de Gran Canaria, of the Gran Canaria Philharmonic Orchestra Foundation and that of the national and european theaters who have collaborated with this contest to date.
Of course, this new edition of CICAK is conditioned by the health pandemic that affects the whole world. That has required a exceptional effort to coordinate the performances that take place in the different international theaters. Thus, both organizers and participants have been required to comply with some sanitary guidelines according to the institutional requirements of each country. The any case, faithful to the appropriate COVID protocols, the organization of VIII CICAK continues working to make this meeting a reality, convinced that there are possibilities to celebrate this cultural event in complete safety.
Will be chaired by the Italian baritone Leo Nucci, a leading figure in international poetry. As colleague by profession, friend and admirer of Kraus -Of whom he himself highlights the art, the technical-musical intelligence and the ethics of the Gran Canaria tenor–, Leo Nucci has agreed to preside over this jury, a position that you do not assume frequently. Alfredo Kraus and Leo Nucci shared the stage in theaters such as the Vienna Staatsoper, the Regio of Parma, the Lyceum of Barcelona or the Scala of Milan.
As vowels, The representatives of the collaborating theaters will intervene: Daniel Bianco, director Teatro de la Zarzuela from Madrid; Anton Gradsack, casting director of Teatro del Maggio Musicale Fiorentino from Florence and Elisabete Matos, artistic director of São Carlos Theater from lisbon. They are added Alessandro Galoppini, casting director of Teatro alla Scala in Milan; Celestino Varela, general and artistic director of the Opera Oviedo; Ulises Jaen, general and artistic director of the Opera of Las Palmas de Gran Canaria / ACO and two vowels of honor, Guillermo García-Mayor Y Jerónimo Saavedra Acevedo.
As in the last two editions, the presidency of the contest will be assumed by Rosa Kraus Ley –President of FIAK and CICAK– and the artistic direction and secretariat will be in charge of Mario Pontiggia –Artistic director of FIAK and CICAK–.
Registration and tests
The VIII CICAK 2021 is open to singers without distinction of nationality, with ages included between the 18 Y 32 years –For soprano voices, countertenor and tenor–, Y between the 18 Y 35 years –For mezzo-soprano voices, contralto, baritone, bass – baritone and bass–. Interested parties must formalize their registration using a digital form to download on the contest website (www.fiak.es).
Last 15 May has closed Madrid inscription -Where have they arrived 25 nominations- and the day 19, of Florence –That you have received 30 nominations–. There are still the closings of Lisboa (5 of June) and The Gran Canarian palms (28 of June), although for these last two tests more than 20 enrollment requests.
The preliminary tests of the VIII CICAK will be held in the Teatro de la Zarzuela from Madrid (26 Y 27 of May), at Theater of the Maggio Musicale Fiorentino de Florencia (30 Y 31 of May), at Theater of São Carlos de Lisboa (16 Y 17 of June) and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria (17 Y 18 of September). Candidates will be evaluated by a panel made up of the president and the artistic director of FIAK and CICAK., and representatives of the collaborating institutions that host each test.
The semifinal tests (20 Y 21 of September) and finally (25 of September) will take place in the Alfredo Kraus Auditorium, iconic building inaugurated by the tenor himself in 1997. In these two cases, the contestants will be evaluated by the jury. The Final test that precedes the award ceremony, will take place within the framework of a public gala, which will feature the performance of the Philharmonic Orchestra of Gran Canaria –Official training since the first contest in 1990– directed on this occasion by the teacher Oliver Diaz.
The contestants of the VIII CICAK will be able to opt for attractive prizes. The three Official Awards –of 14.000, 12.000 Y 10.000 euros respectively, more medal and diploma-, just like him Audience Award –of 2.500 euros more diploma- are part of the important financial endowment provided by the patronage of the Cabildo de Gran Canaria.
To these awards, they add up two special awards: the Las Palmas de Gran Canaria City Council –with 3.000 euros more diploma, destined for the best singer of Spanish nationality-, and that of the Martín Chirino Foundation of Las Palmas de Gran Canaria –with 2.500 euros more medal and diploma- destined for the best Canarian interpreter. The finalists will also have the possibility of being invited to auditions and / or productions, concerts or recitals by the members of the jury and the theaters they represent.
VI and VII CICAK
The recovery of the Contest, in this "second stage" it was a complete success, and the candidatures far exceeded the registration record of the five previous editions.
The VI CICAK had 105 registered of 22 nationalities. The project to retake this Gran Canaria contest had a great impact on the local media, National and international, increasing its diffusion through social networks.
After the preliminary tests - carried out at the Escuela Superior de Canto de Madrid, the Maggio Musicale Fiorentino Theater in Florence and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria-, the Final took place on 29 September 2017 in the Symphonic Hall of the Alfredo Kraus Auditorium. The 10 Finalists of the VI CICAK performed with the Gran Canaria Philharmonic Orchestra, directed by maestro José Miguel Pérez-Sierra. The judge, chaired by the Spanish tenor Jaume Aragall, gave his accolades to the baritone Carles Pachón (Spain / 1º Prize and Prize to the best singer of Spanish nationality), to the tenor Galeano Salas (Mexico - USA / 2Th award) and the soprano Leonor Bonilla (Spain / 3º Prize and Audience Award). The event was broadcast twice by the RTVC. The VII CICAK took place in 2019, and carried out his preliminary tests at the Teatro de la Zarzuela in Madrid, and the Teatro del Maggio Musicale Fiorentino de Florencia, the Teatro di San Carlo in Naples and the Alfredo Kraus Auditorium in Las Palmas de Gran Canaria.
This time, the jury was chaired by the Italian soprano Mariella Devia, having enrolled 110 candidates of 31 nationalities. At the Final Gala with an audience, carried out in the Symphonic Hall of the Alfredo Kraus Auditorium, they participated 9 finalists and the Gran Canaria Philharmonic Orchestra under the direction of maestro Oliver Díaz. After deliberation, the jury awarded the prizes to the bass-baritone Manuel Fuentes Figueira (Spain / 1º Prize, Award for the best singer of Spanish nationality and Audience Award), to the countertenor Rodrigo Sosa dal Pozo (Venezuela - Italy / 2º Prize) and the soprano Maria Caballero (Mexico / 3º Prize).
Preservation and promotion of the legacy of Alfredo Kraus
CICAK is one of the most ambitious projects of the Alfredo Kraus International Foundation and the Cabildo de Gran Canaria to preserve and promote the artistic legacy of Alfredo Kraus.
further, the Cabildo de Gran Canaria is working on another auspicious project that will value and adapt part of the former island boarding school of San Antonio, located in the Vegueta neighborhood, tenor's hometown. There the headquarters of its Foundation to house a museum, archives and a training center, research and dissemination of his artistic and educational legacy.
During 2021, the FIAK continues, just as it does since 2017, with the conference cycles that spread the artistic figure of Alfredo Kraus and the musical culture of Gran Canaria and with the educational activities for young performers, purposes these overturned by Alfredo Kraus himself in the original minutes of his Foundation.
If there is someone who deserves everything, in the artistic and the personal, that is Lucero Tena. This is how his fellow artists know, like the immense harpist Xavier de Maistre who will accompany her at the next concert Sunday 23 of May (18h00), and also the public, who adores her without conditions. Tickets for this long-awaited recital of the Cycle of Concerts of the Teatro de la Zarzuela is it so sold out for days.
The appointment will do, as for years are all his public appearances, from exciting tribute to a unique life and career, difficult to emulate even from afar.
Lucero Tena and Xavier de Maistre will offer some of the most beautiful pages of Spanish music. The passionate and bizarre ringing of her castanets, accompanied by the sweet and evocative sound of his harp, they will revive in the Coliseum of the Plazuela de Jovellanos essential works of the Father Soler, Mateo Pérez de Albéniz, Francisco Tárrega, Isaac Albeniz, Enrique Granados, Manuel de Falla or Jesús Guridi.
The Catalan soprano Nuria Rial and the prestigious German pianist Andreas Staier will be presented next Monday 17 May at 20h00 at Lied co-produced by National Dissemination Center Musical (CNDM) and the Teatro de la Zarzuela.
Nuria Rial, one of our most requested singers in the international arena, will put his crystal clear voice at the service of eight Mozart songs in addition to the five compositions that make up the cycle The Mermaid’s Songand the beautiful cantata Arianna a Naxos, works both of Joseph Haydn.
With Andreas Staier on the fortepiano, the evening acquires a special relevance when the historicist musical criterion at the service of some of the most beautiful pages of classicism.
The singer debuts in the lied cycle after reaping great worldwide successes in the field of baroque music, in his operatic appearances and in his recordings. In this last aspect it is relevant to mention his recent award as Best Vocal Album Soloist at the Opus Klassics Awards for his work with the Academy of Pleasure from Fahmi Alqhai at disc ‘Die Cupid’.
The recital tickets have a General price 8 a 35 euros and they are for sale at ticketsinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.
Nuria Rial, vocal purity and luminosity
Frequently noted for her vocal purity and brightness, the naturalness and emotionality of his singing, and the elegance of his phrasing, Núria Rial is one of the paradigmatic voices of the baroque and classical repertoire of recent years. With an activity that has its epicenter in the concert and recording field, with more than thirty albums published, Núria's broad artistic interests also include the music of Romanticism and the 20th and 21st centuries, fusion with styles such as jazz or flamenco, dialogue with other disciplines, or musical expressions like the Lied and the opera, having acted hand in hand with directors such as René Jacobs or Iván Fischer and stage directors such as Peter Sellars, en teatros como la Monnaie, State Opera Unter den Linden, Champs Elysées Theater, Grand Théâtre de Genève, Teatro Carlo Felice de Genova or Teatro Real de Madrid, playing roles of such a broad spectrum as Monteverdi's Euridice, Pamina de Mozart, o Nuria in Ainadamar by Osvaldo Golijov.
Trained in Basel with Kurt Widmar, performs regularly in major European concert halls and festivals, como el Salzburg Festival, el Lucerne Festival o el Bachfest Leipzig, with directors like Antonini, Bonizzoni, Capuano, Cummings, Currentzis, Fischer, Goodwin, Hengelbrock, Jacobs, Leonhardt, Marriner, Minkowski o Pinnock, and is regularly requested by groups such as Akademie für Alte Musik Berlin, Bach Foundation St. Gallen, Balthassar Neumann Ensemble, Bavarian Broadcasting Munich, Budapest Festival Orchestra, Café Zimmermann, Camerata Cologne, Concerto Köln, Il Giardino Armonico, Tomato, Basel Chamber Orchestra, The Arpeggio, Les Musiciens du Louvre, Orchestra of the Eighteenth Century, Stuttgart Chamber Orchestra and The English Concert.
His vast discography has been awarded with awards such as the Orphée d'Or in 2010, for his work on Handel's German arias with Michael Oman and the Austrian Baroque Company, as well as with various awards at the Echo Classical Music Awards (currently Opus Klassik Awards) in different categories, like the “female artist of the year” in 2009 or the award for the best opera album for his CD on Telemann together with the Kammerorchester Basel in 2012.
Andreas Staier, indisputable musicianship
One of the most outstanding performers in the world, Andreas Staier has left his mark on the performance of the Baroque repertoire, classic and romantic for vintage instruments.
Born in Göttingen, studied piano and harpsichord in Hannover and Amsterdam. For three years he was a harpsichordist for Musica Antiqua Köln, with whom he made numerous tours and recordings. as a soloist, Andreas Staier performs throughout Europe, United States and Asia with orchestras such as Concerto Köln, Freiburger Barockorchester, Academy for Early Music Berlin y Orchester des Champs – Elysees Paris.
Has recorded extensively for BMG, Teldec Classics, with whom he had an exclusive contract for seven years, and harmonia mundi France. Its catalog has numerous awards, including a Diapason d'or, el Prize of the German Record Critics de 2002 and the Baroque Instrumental Gramophone Award from 2011. Among his latest releases is a highly anticipated harpsichord concert CD by J.S. Bach with the Freiburger Baroque Orchestra, Schubert's music for four hands together with Alexander Melnikov, and a collection of music inspired by the Iberian Peninsula with the Casa da Música Baroque Orchestra.
He has been an Associate Artist of the Dijon Opera since September 2011 and was a resident of the Wissenschaftskolleg zu Berlin two seasons ago.
By obviousness of our own nature, few are the occasions when an artist has the opportunity to celebrate 75 year career, and even less to do it in active and full of light. This is the case, but nevertheless, of one of the most flamboyant interpreters that our music has given and beyond: universal music. He pianist Joaquín Achúcarro, that fulfills his wedding of brilliants with the stage, will commemorate it in style next Saturday 8 of May (20h00) with a recital in the Cycle of Concerts of the Teatro de la Zarzuela.
Since his debut as a concert performer being just a child of 13 years, Achúcarro's career has always been characterized by great and continuous successes, as well as for the high recognitions received together with the leading figures of each moment, but above all for his special and intimate way of understanding music and the instrument. The artist, with the curiosity of that child of extraordinary precocity, poses numerous questions to the piano itself, talk with him and also transfer to the works all the questions that they raise in him through the keys and intelligence; and it does, keep doing it, determined to know the mysteries that both entail, instrument and composition, both reunited in a single and exciting enigma. She does it to share her answer with everyone willing to listen to her..
The trip planned for such a special occasion is presumed deeply pleasant: Debussy, Mompou, Albéniz, Ravel, Godowski…, all of them life companions through their lavish creations.
Therefore, Joaquín Achúcarro returns to the Teatro de la Zarzuela, where so many successes has lived, and he does it to write this new and necessary point and followed by joy. To share with the public the celebration of an intense life shaped by music.
When one enters a field that is not his and does not know perfectly, it can be for two reasons, either he is reckless or he is very brave. And to be brave you have to have, Besides, other qualities.
The recital of Sonya Yoncheva at Teatro de la Zarzuela this past 29 of April, is a clear example of courage, among other things. You have to be brave to appear in the Theater of the genre with a zarzuela recital and you have to be even more so, to do it without knowing much about this genre.
Despite having to use the scores and having a somewhat insecure start, Sonya Yoncheva ha demostrado, not only have an instrument of indisputable quality, a bright voice, sunny, that filled the harmonics room, with a powerful central register and remarkable Spanish phrasing, but he also showed tremendous courage when interpreting with extraordinary success a repertoire of romances that made the audience vibrate. An audience that always knows how to thank and reward those who approach this genre with respect and dedication.
Yoncheva began the recital with the romance "Beautiful Night", de Katiuska de Sorozábal, as I say, something cold. But it was warming up as the recital progressed. He continued with "Three hours before the day", of the Machenera of the teacher Moreno Torroba, his favorite piece, as she herself indicated, and that he also offered as a first tip. He continued with three other romances, "My tears, where are you?", of the Iron Ring of Miquel Marqués, "The evening light is leaving", del Pájaro azul by Rafael Millán and ended this first part with "I saw myself in the world forsaken", from The Oath, Joaquín Gaztambide.
The second part began with the duet “What a beautiful night!”Of the wild cat, Manuel Penella. Here she was accompanied in the replica by an energetic Alejandro del Cerro. With a ravishing voice and a beautiful metallic timbre, put his two cents, next to the vibrant direction of Miquel Ortega, so that the public would definitely indulge in enjoyment.
He continued with "I did not cut more than a rose", by La with the bunch of roses by P. Sorozábal and “From Spain I Come” from the Jewish Child by Pablo Luna, already delivered from the stage and full of voice. He ended with "When I think about the duel of my loves", from La hija del cebedeo, by Ruperto Chapí and “I am Cecilia!”, by Cecilia Valdés de Gonzalo Roig, where he wasted great sympathy and ability to enjoy on stage. The second encore he offered, after the repetition of the Machenera, It was Carmen's habanera. Going all over the stage, including director's podium, who accompanied her to the piano. At that time the theater was surrendered to his bare feet.
Very outstanding was the work of the teacher Miquel Ortega leading the Orchestra of the Community of Madrid. Not only always attentive to Yoncheva's needs, giving you security, his direction at all times was especially outstanding and the interventions of the orchestral works raised the audience that at that time had been abandoned to the good work of the orchestra. They began with the prelude to La joy de la huerta, of Chueca, to later offer the Intermission of Los Burladores, of P. Sorozábal, The Prelude to Los Borrachos, by Gregorio Giménez and end with a masterful and electrifying interpretation of the Intermission of La Leyenda del beso by Reveriano Soutullo and Juan Vert.
A night to remember, next to the recital in this same room by Elyna Garanca, of those who come to our lyrical genre to know it, spread it out and make it even bigger.
Argentina, one of the most respected and admired cante figures by the public, critics and colleagues - not just flamenco, but of any musical genre–, will present the next Tuesday 20 of April (20h00) his fifth album in which, under the title ‘The artist's life’, vindicates art and the real artist in the especially hard times that we have to live.
And he does it from his very personal conception of flamenco and the possibilities that this art allows Intangible Cultural Heritage of Humanity by UNESCO since 2010; It does it from the purest joy to the painful and deep melancholy, transiting between one and another very different states of infinite depth.
For that, in ‘The life of the artist’ Argentina sister flamenco with song, Fado, the tango, theater, the painting, literature or classical music.
At his concert of The Zarzuela, the cantaora from Huelva will be surrounded by a group of portentous musicians. Starting with the guitarists José Quevedo ‘Bolita’ and Jesús Guerrero, passing through the choirs and palms of the already usual brothers Antonio and Manuel Montes, better known as Los Mellis, or the irresistible cello of Jose Carlos Roca, and ending with the versatile and always surprising pianist mario Prisuelos.
Argentina lives by and for flamenco, for art, for the artist in every dimension of the word. On Tuesday, at the Teatro de la Zarzuela, that's how those who have the fortune to attend the concert will feel it.
Every place has its own culture. That intrinsic value, the deep roots that make them different from the rest. But the nature of a land is the sum of the riches that throughout history it has kept as its own.. He Notes cycle Ambigú of the Teatro de la Zarzuela will present the next Monday, 19 of April, at 20h00, a recital by the soprano Maria Antunez dedicated to Uruguayan song -that of its origins-, that will make us understand that despite the ocean that limits us, those and these shores are much closer than we thought. She will be accompanied on the piano by Rubén Fernández Aguirre.
During the hour that the concert will last, will perform works by Luis Cluzeau Mortet, Alfonso Broqua, Eduardo Fabini, Jauré Lamarque Pons, Hector Tosar, Eduardo Gilardoni and Beatriz Lockhart, essential classics, Each and every one of them, of the music of those parts.
They will also take advantage of Antúnez and Fernández Aguirre, because the heart and the memory ask for it, to perform tribute to the teacher Antón García Abril, who died last 17 of March. They will offer some of their compositions such as the ‘Three Spanish songs’ with texts by Federico Garcia Lorca.
The Ambigus that come
The concert of María Antúnez and Rubén Fernández Aguirre will be followed by that of the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will close the loop with ‘Tribute to Iberoamerica’ (15 of June).
The comic opera had been premiered with great success in Germany. La Molinera, that is, the thwarted love, by Giovanni Paisiello. This event was a stimulus for some poets of the moment, who began to write about this bucolic topic. Goethe himself wrote four romances and four ballads of the miller.
Inspired by his admiration for Goethe's work, a young Müller sets out to create, with a group of friends, a dramatic development chaining Lieder in which, through its characters, a story is told. To the end result, fruit of a party game, put music by Ludwig Berger.
Years later, Schubert discovered Müller's poems and began a collaboration from which the definitive texts emerged.. Schubert found in these poems the perfect narrative description that he needed at that time, adapting the poems to your purposes and music.
The cycle was unveiled in early 1824. In 1830, publisher Anton Diabelli acquired the rights and published a revised second edition. His first known performance was in May 1856, by the baritone Julius Stockhausen in Vienna.
the beautiful Miller, initially written for tenor, is usually approached by baritones. This time, the person in charge of giving voice to Müller's poems in the Lied Cycle of the Teatro de la Zarzuela and the National Center for the Diffusion of Music has been the light lyrical tenor Christoph Prégardien, demonstrating, once again, his mastery of the Liederistic genre at the service of Schubert's work.
Prégardien has shown his virtuosity in acting. No need ornaments, the restrained form of his expression shows the elegance of his mastery of the genre. Clarity in diction, giving more importance to the text, and in his nuanced way of "saying", is above any excess in the expression.
Accompanied on piano by Roger Vignoles, they formed a perfect team that walked in unison, in a fluid and crystalline way, like the main water in some of the works they performed.
A perfect night, intense and culminated with two tips also from Schubert, equally well delineated by both interpreters and that finished off the good taste in the mouth that their performance left in the public.
Pregardian & Vignoles (c) Rafa Martin
The veteran German tenor Christoph Prégardien will put his vocal and expressive resources at the service of one of the best known and most emblematic cycles of Franz Schubert: the beautiful Miller, composed on poems by Wilhelm Müller. The appointment will be Monday 12 of April (20h00) at Teatro de la Zarzuela as part of XXVII Cycle of Lied co-produced by National Dissemination Center Musical (CNDM) and the Coliseum on Jovellanos Street.
it "Emotional journey" it will be the ideal vehicle for Christoph Prégardien to deploy the qualities of your voice, an instrument that over the years has only gained in nuances, subtlety and musicality. To the tenor, who occupies a prominent place among the most important lyrical singers on the international scene, the British pianist will accompany you Roger Vignoles, a musician with a long career and accompanist to some of the greatest figures in lyric.
Tickets for this concert have a general price of 4 a 35 euros, and they are for sale inwww.entradasinaem.es and on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.
Christoph Prégardien: vocal preciosism
Perfect vocal control, clear diction, Intelligent musicality and the ability to reach the heart with everything he sings ensure Christoph Prégardien a place among the most important lyrical tenors in the world.. He performs regularly with orchestras around the world, as the Vienna and Berlin Philharmonics, the Bavarian Radio Symphony Orchestra, the Orchestra of the Concertgebouw of Amsterdam, la Staatskapelle Dresden o la de Leipzig Gewandhaus Orchestra. His broad orchestral repertoire includes the great oratorios baroque, classical and romantic, as well as works of the seventeenth century (Claudio Monteverdi, Henry Purcell, Heinrich Schütz) and XX (Benjamin Britten, Killmayer, Wolfgang Rihm, Igor Stravinsky). His engagements last season included a US tour and recitals at Temple Church., el Wigmore Hall, the Concertgebouw, the Schubertiade Schwarzenberg and the Schubertíade de Vilabertran. It has an extensive discography of more than 150 discos, with some of the most prestigious awards, among these the Orphée d’Or, the Cannes Classical Award and the Diapason d’Or. After many years at the Hochschule für Musik und Theater in Zurich, gives master classes for young singers from all over the world and from 2004 is a professor at the Cologne Academy of Music. Christoph Prégardien has performed in previous editions of the Lied Cycle, the last of them in the previous season 19/20, accompanied on piano by Julius Drake.
Roger Vignoles: the perfect musical context
Internationally recognized as one of the most outstanding piano accompanists in the world, Over the course of his career he has collaborated with such important singers as Sir Thomas Allen, Barbara Bonney, Kathleen Battle, Christine Brewer, Brigitte Fassbaender, Bernarda Fink, Susan Graham, Thomas Hampson, Kiri Te Kanawa, Felicity Lott y Sarah Walker. Performs regularly in major venues around the world such as Wigmore Hall, Philharmonie Cologne, Konzerthaus de One, Musikverein de Viena, Royal Concertgebouw, Musee d’Orsay, Carnegie Hall, Frick Collection in New York, La Scala, Oper Frankfurt, Champs-Élysées Theater, Schubertiade Schwarzenberg, Bonn Beethovenfest, Baden-Baden Festival and Zarzuela Theater in Madrid. In season 2017-2018 played recitals with Nicky Spence, Mary Bevan, Johannes Kammler, Marie-Nicole Lemieux, Joanne Lunn, Thomas Oliemans, Roderick Williams, Louise Alder, Anne Schwanewilms, Florian Boesch y Christoph Pregardien. His multiple recordings have been acclaimed, case of the recognized Strauss: The Complete Songs (Hyperion), The hiker (Schubert) Y Songs & Ballads (Loewe) with Florian Boesch or Before Life and After (Britten) with Mark Padmore (Harmonia Mundi) who received the Diapason d'Or and Prix Caecilia awards 2009. Roger Vignoles accompanied Ainhoa Arteta in the CNDM Lied Cycle in December 2018.
‘Benamor’ by Pablo Luna premiered at the Teatro de la Zarzuela Saturday 12 May 1923. The next month, so, they will become true 98 years since that event (that it really was, and big) with the joy of having seen her return it, almost a century later, and in the same setting where she was born and to which she had never returned until now. If we stick to the chronicles of the time, The success at that Madrid premiere was such that none of those present at these memorable performances could foreshadow the unfortunate future that awaited this composition. with which the teacher from Alhama de Aragón completed the ‘Trilogy of the East’after‘The amazement of Damascus’ andThe Jewish boy '; a set of titles this, that now, with the 10 representations that between 14 and the 25 of April will rehabilitate ‘Benamor’ in the Teatro de la Zarzuela, catches up for today's audience.
Enrique Viana, that in addition to assuming the stage direction and the adaptation of the delirious libretto by Antonio Paso and Ricardo González del Toro, He has kept for himself three papers full of surprise and sarcasm - much in the way of his intelligent and intelligible way of elaborating humor., remember that the newspapers of the time describe ‘Benamor’ - "unknown title with the precedent of great triumph" - as the greatest success of master Luna. So, suggests, you have to listen to it and feel it "like in a happy dream", thus resembling it to the most valuable of therapies by stating that "a happy dream is the best medicine for the times of nightmare that we are living and that this, "our music", heals like the best of remedies. "
And the teacher is no less expressive José Miguel Pérez-Sierra, seasoned director, exciting, personal and solid international career, when referring to a work that places “between the more complex and inspired by the prolific production of Pablo Luna”. His incomprehensible disappearance from the repertoire leads him to consider “almost like a world premiere”These new performances of the Teatro de la Zarzuela.
Pérez-Sierra will be in charge of the Titular Orchestra of the Teatro de la Zarzuela –Orchestra of the Community of Madrid–, of the Titular Choir of the Teatro de La Zarzuela and two magnificent casts who will stage a play with a surprising starting point that will cause absurd and hilarious misunderstandings: The story is set in the 16th century in Isfahan, ancient capital of Persia - today Iran -, in a luck of "One Thousand and One Nights". The law determines that the first child of the betrothed must be male and the second female. If it doesn't happen this way, newborns must die in sacrifice. As well, this is exactly what happens to the sultan's wife, who, in order not to have to sacrifice his two little ones, makes his daughter pass as a boy - giving him the name of Darío -, and for a girl to her son - calling her Benamor -. Deception persists over the years, but the day comes when the so-called "princess" (the boy that) must marry. Y that's whenthe cards of the mock house of cards fly everywhere.
The two casts they combine irresistible musicality and precision with that difficult talent that tragicomedy inevitably demands. The singers that make them up are the sopranos Vanessa Goikoetxea Y Miren Urbieta-Vega (Benamor), the mezzosopranos Carol Garcia Y Cristina Faus (Darío), soprano Irene Palazón (the odalisca Nitetis), the comic soprano Amelia Font (Pantea, mother of the princess and the sultan), baritones Damian del Castillo Y César San Martín (the Spanish gentleman Juan de León), the baritone also Gerardo Bullón (Rajah-Tabla, prince of kabul), the tenor Gerardo López (Prince of Florelia / Servant / Priest), the tenor-actor Francisco J. Sánchez (guard), the tenor Emilio Sánchez (the drug dealer Babilón) and the actress-dancer Esther ruiz (Kashmir the odalisque), in addition to Enrique Viana who plays the roles of the grand vizier Birch, the confectioner and his wife the pastry chef. Rounding out the cast 4 actors-extras Y 9 dancers.
Regarding the artistic team, it's made of Daniel Bianco, responsible for the scenography, costume designer Gabriela Salaverri, the illuminator Albert Faura and the choreographer Nuria Castejón.
A desire: our crazy years 20
Teacher Pérez-Sierra defines the music of ‘Benamor’ as “extraordinarily theatrical”, in whose score reigns "that melodic vein so characteristic of the author”, who, to set us in the plot, it mixes with refined orientalizing exotic elements with fox-trots and other typical rhythms of the years 20. “All this has its culmination in the ‘Dance of fire’, the best known number of the work, with a marked Spanish flavor but reminiscent of some European composers that Pablo Luna admired, as Edvard Grieg”. So speaks the director, that does not hesitate to air a wish: "After all the bad we are experiencing, I wish this ‘Benamor’ was the starting gun for our crazy years 20. It's a breath of fresh air."
Recovering Pablo Luna
In a single month (ridden between March and April) the Teatro de la Zarzuela has done justice to Pablo Luna, one of our greatest and most prolific composers who history has not treated precisely in the way that his talent and genius deserve.
This long-awaited ‘Benamor’ was preceded by concerts that the days 12 Y 14 March served to rehabilitate ‘Las Calatravas’, last zarzuela of the composer who, after a resounding success with the public and, obtained in its premieres in Madrid and Barcelona, fell almost immediately into a intolerable and from every point incomprehensible oblivion. Not a trace of the prodigy remained. Nor was it re-enacted, nor was it recorded. Next September will be fulfilled already 80 years since that premiere of ‘Las Calatravas’ at the Alcázar Theater in Madrid, and it is now that part of this has been amended unheard, unforgivable and, Regrettably, abandonment.
As it is usual, one of the functions of ‘Benamor’ will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 22 April at 20h00 (Spanish CET).
Also in the next few days you will be able to enjoy YouTube y Facebook of the conference taught by the musicologist Ignacio Jassa Haro and a new chapter of the series‘Trip through the zarzuela’, with the teacher Pérez-Sierra and Enrique Viana as protagonists abstracted in a conversation and some interpretations that have no waste.
He Cycle of Concerts of the Teatro de la Zarzuela will live this next Sunday, 28 of March (18h00) one of its highlights with the long-awaited recital of the soprano Session Hernández and tenor Francesco Pio Galasso. With a program full of surprises and romances that augur moments of special rapture and also deeply movings –one of those that turn a musical evening into a sublime event– the two interpreters will extol the unique greatness of our lyrical heritage accompanied on the piano by Vincenzo Scalera, one of the most acclaimed repertoire pianists who in turn was the teacher of both.
With works of Barbieri, Serrano, Soutullo and Vert, Vives, Moreno Torroba, Chapí, Sorozábal, Penella, Breton, Marqués or Calleja and Barrera, the recital will review some surprising oddities along with inescapable zarzuela compositions, and it will be registered by RTVE Classic Radio what will issue it in the near future.
Student of no less than Renata Scotto Y Montserrat Caballé, who baptized her as "the diva of the XXI century", and with an infallible career, Saioa Hernández has distinguished herself on the international circuit as a new and desired star -embodying the leading opera figures in the most relevant theaters in the world– and even more since its debut, several seasons ago, at the opening of the course Teatro alla Scala in Milan, one of the largest and most historical events, if not the most, of the world lyric. It was with an ‘Attila’ directed by Riccardo Chailly Y Davide Livermore.
Meanwhile, Francesco Pio Galasso, also a student of Caballé, have a wide repertoire, admirably heterogeneous and demanding what about Bellini, Bizet, Cilea, Giordano, Gounod O Mozart, a Puccini, Spontini, Verdi O Zandonai, and what's up, how not, by Spanish music, especially the zarzuela, which has always been one of the singer's great weaknesses.
Saioa Hernández debuted on stage at the Teatro de la Zarzuela with ‘The Wild Cat’ in 2012, and later interpreted ‘Curro Vargas’ in 2014. Meanwhile, Francesco Pio Galasso we have been able to enjoy it in that intense ‘The short life’ that along with ‘La Tempranica’ was part of the show ‘Granada’ which opened the colosseum season.
He Teatro de la Zarzuela counts among its activities and achievements the recovery of the national musical heritage. And this year it has fulfilled that task through "Las Calatravas", lyrical comedy in three acts and last composition by the teacher Pablo Luna what, besides being a prolific composer, had a great business vision. He always knew how to correctly pick up the tastes of the public and the theatrical trends of the moment. the libretto, that delighted the bourgeoisie of the time, was commissioned by Luna to the prestigious Federico Romero and José Tellaeche, a great success at a time when censorship was working at full throttle.
The premiere at the Alcázar Theater in Madrid on 12 September 1941 it was a total success. The chronicles say that all the numbers of the work were repeated, the 15, something unusual. Despite the sweet moment that zarzuela was going through, was about to start its decline, when entering competition with the cinema. On the other hand, Pablo Luna complained about the demands of an audience that asked for a premiere every week. What forced him to compose without rest. This may be one of the reasons why Las Calatravas, among other, not re-enact.
For this staged version, the now traditional adaptation of the text has been used, this time by Paco Gámez, who has done an extraordinary job to perfectly narrate the plot to the public using very few interventions. For this he has used one of the characters in the work, Mrs. Aldonza, the poor aunt of the two protagonist and only character who does not sing.
Doña Aldonza has been interpreted by a masterful Emma Suarez. He has presented us with all the characters and scenes with humor and the naturalness and ingenuity of the great ladies of the interpretation.
Through Doña Aldonza it has also been tried to value all those comic and secondary actresses who always remained in the background with respect to the divas and protagonists.
Maestro Luna's music is of extraordinary quality. He uses music from different genres in Las Calatravas and matches them with the characters. European music, how much I admired, accompany the younger generation of characters, like Cristina or Carlos Alberto. And the fandangos accompany the banker José Mariani.
The voices live up to the score, closer to verismo than zarzuela. Miren Urbieta, with his powerful lyrical soprano voice, she played Cristina Calatrava without great theatrical features, but with a great sound and beautiful timbre.
the tenor Andeka Gorrochategui gave life to the libertine Carlos Alberto. He perfectly accompanied Cristina Calatrava in timbral power and seemed less exerted in the broadcast than on other occasions, which is appreciated.
Lola Casariego played the widow Calatrava, with his usual elegance, but covered on numerous occasions by the orchestra and the rest of the voices. Javier Franco, like José Mariani, dealt with the most complex paper and did it with solvency and elegance. It only lacked volume.
The rest the cast was at great height. The Isabel of Cordoba Lucia Tavira, the Pepe Hallelujah of Emmanuel Faraldo and Rodrigo del tenor Houari R. Lopez Aldama.
Teacher García Calvo has done a very good job leading the orchestra. You can see his rigor and love for the genre, who is a good connoisseur. Loudness and exquisiteness in the direction of an important score. The chorus, although far away and with a mask, rang with the same spirit.
The new proposal of Notes cycle Ambigú of the Teatro de la Zarzuela will present the next Monday 22 of March (20h00) a concert of the formation Music Encounter in which we can listen unknown works of the Spanish baroque, and more specifically of the Valencian school of sacred music. Under the name of "Lamentation", the recital will deal with the lamentations of the prophet Jeremías composed by the prolific master of the chapel of the Cathedral of Valencia, Pasqual Fuentes and Alcàsser (1721-1768) whose are the 300 years of his birth.
Music Encounter, which since its founding in 2009 has positioned itself as a research platform, recovery and dissemination of old and baroque music –Mainly from the Hispanic and Valencian musical heritage–, It has the address from the key of Francesc Valldecabres.
Likewise, in 'Lamentatio' they will complete the set, that has a flexible staff according to the programs addressed, las sopranos Moral Pillar Y Aurora Peña, mezzosoprano Marina Rodriguez-Cusi, as well as the violinists Enric Llorens and Víctor Yusà and the cellist Regina Fuentes.
Al justified interest that has prompted the presentation of this ‘Lamentatio’ of Música Trobada at the Teatro de la Zarzuela, the one who has originated the presentation in these days of the record version of the project.
The Ambigus that come
To the concertfrom Music found, those of the mezzo-soprano will follow Maria Antunez, accompanied by Rubén Fernández Aguirre the piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April); soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May)and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).
He Monday 15 of March to 20 hours, he National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, presents in the XXVII Cycle of Lied a Bejun Mehta, one of the most recognized countertenors, acclaimed and requested worldwide. The American singer will show his impressive mastery of coloratura and sense of musicality at the service of an ambitious program, encompassing works signed by four giants over three centuries. A) Yes, Bejun Mehta will show off its versatility by undertaking a very diverse repertoire -from classicism to the 20th century, going through romanticism-, including parts from W.A. Mozart (Happy shadow! I leave you), Joseph Haydn (Arianna a Naxos, Hob XXVIb:2), L. van Beethoven (To the Distant Beloved) and Benjamin Britten (Canticle – ‘My beloved is mine’). He will be accompanied on the piano by Jonathan Ware, for the first time in this cycle. tickets, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 91 193 93 21 Y 902 22 49 49.
Bejun Mehta, a fascinating performer
According to Opera News "perhaps the most sophisticated and musically satisfying of today's countertenors", Bejun Mehta fascinates with an incredible vocal expression, great musicality and passionate strength as a performer. He is a regular guest in the main opera houses of the world, as the Royal Opera House, La Scala in Milan, Theater in Vienna, the Berlin State Opera, the Bavarian State Opera in Munich, el Theater Royal de La Monnaie, la Dutch Opera, Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, the Zurich Opera, Paris National Opera, the Metropolitan Opera, the Chicago Lyric Opera, the Los Angeles Opera, as well as the Salzburg Festivals, Glyndebourne, Aix-en-Provence and the Wiener Festwochen. Concerts with major orchestras and solo recitals have taken Bejun Mehta to the main concert halls, where he goes through his award-winning record works and performs repertoires ranging from baroque to contemporary music. He is a frequent guest at the Amsterdam Concertgebouw, Wigmore Hall in London, the Konzerthaus and the Wiener Musikverein in Vienna, Carnegie and Zankel Hall in New York, Bruselas Palace of Fine Arts, Palace of the Arts in Valencia, Teatro de la Zarzuela in Madrid, City of Music in París, Prinzregententheater in Munich, Konzerthaus Berlin, Rudolfinum in Prague and Edinburgh festivals, Saint Sebastian, Verbier, Schleswig-Holstein y BBC Proms en Londres. In recent years, Bejun Mehta has made a name for himself as a conductor, working with the hr-Sinfonieorchester, la Philharmonie de Dresden, the Bochum Symphony Orchestra, así como the Potsdam Chamber Academy y the Württemberg Chamber Orchestra Heilbronn. In addition to his interest in working the repertoire of the baroque and classical periods with modern orchestras, his particular emphasis is on the combination of orchestra and voice, either with guest soloists or on specially developed shows featuring you as a singer and director. A) Yes, we can highlight the replacement of Rodelinda of Claus Guth (a production originally made for Bejun Mehta at the Teatro Real in Madrid) at the Dutch National Opera, Mozart Arias with the Vienna Philharmonic at the Musikverein, The dream of the song George Benjamin, a cantata composed specifically for him - with the Concertgebouw Orchestra Amsterdam, and representations of Written on the skin Benjamin in the role of Angel I / Child, also composed specifically for him - with the Mahler Chamber Orchestra. As a singer and director, Bejun Mehta has toured Germany and Austria with the Württembergisches Kammerorchester and their Mozart-The Dramatist program at venues such as the Musikverein in Vienna and the Herkulessaal Munich.. A is, has been followed by other singing and conducting programs with Hessischer Rundfunk, Bochum Symphony Orchestra y Chamber Academy Potsdam. In the fall of 2019, Bejun Mehta played the lead role in a new production of Julius Caesar by Robert Carsen at La Scala in Milan, the first countertenor to play that role at La Scala.
Jonathan Ware, solid run up
Born in texas, pianist Jonathan Ware trained at the Eastman School of Music in Rochester, at the Juilliard School in New York and at the Hochschule für Musik “Hanns Eisler” of Berlin. Ware has won major awards, including first prize in the lied contest 2014 de la International Hugo Wolf Academy in Stuttgart con el barítono Ludwig Mittelhammer, as well as the prize in the category of accompanying pianist in the Wigmore Hall International Song Contest and the "Das Lied" Contest. His career has taken him to venues such as Alice Tully Hall and the Weill Recital Hall within the iconic Carnegie Hall in New York., at Wigmore Hall in London, al Festival de Ravinia y al Berliner Festspiele, among others. For several years he has been the accompanying pianist at the Heidelberger Frühling Akademie Lied Festival, as well as coordinator of the Piano Academy at the Verbier Festival. In 2020 Jonathan Ware made his debut at La Scala in Milan alongside Bejun Mehta. Ware has performed on other European stages such as the Munich Philharmonic, the Cologne Philharmonic, the Konzerthaus Berlin, the Festival "Dialogues" at the Mozarteum in Salzburg. His musical collaborators include artists such as Dame Felicity Lott, Christiane Oelze, Golda Schultz, Robin Tritschler, Elsa Dreisig, Ludwig Mittelhammer el Vogler Quartet y Bejun Mehta. Jonathan's profesor de la College of Music “Hanns Eisler” from Berlin and is a faculty member of the Barenboim-Said Akademie.
the soprano Sabina Puértolas, mezzosoprano Maite Beaumont, the tenor Jose Luis Sola and pianist Ruben Fernandez Aguirre will be the protagonists of the concert ‘Navarra is music’ to be held in the Teatro de la Zarzuela the next Saturday 13 of March to 20h00. It is a unique musical gathering that takes advantage of a emotional tribute to the famous Navarrese composer Emilio Arrieta - with absolute premieres included and when they are fulfilled 200 years of his birth– for review more than a century of music hand in hand with other great composers of that land who have contributed so much genius to Spanish and universal music.
In the first part, a beautiful sample of songs by three outstanding Navarrese musicians of the 19th and 20th centuries: Felipe Gorriti, Jesus Garcia Leoz Y Felix lavilla, that have poems by Lope de Vega, Miguel de Fuenllana, Bilintx, Felipe Gorriti (atrib.), Juan Paredes, Federico Garcia Lorca, as well as texts arising from popular tradition.
The second stage of the concert will focus entirely on the work of Arrieta, with a meticulous selection of fragments of operas, a prayer and the premiere of two songs —One in Italian and one in Spanish—. Four important lyrical titles make up the program: ‘San Franco de Sena’ with libretto by Jose Estremera, ‘Marina’ of Francisco Camprodon Y Miguel Ramos Carrión, as well as 'El Capitan Negrero' or 'Dos Coronas', both with book of Antonio García Gutiérrez. The block is completed with a romantic ‘Religious Meditation’ with text by Adelardo López de Ayala, that the universal Navarrese interpreted for the first time Julian Gayarre.
Included in the present Cycle of Concerts of the Teatro de la Zarzuela, performers and pianist have known how to draw an ambitious but clever musical proposal what turns out simply unique.
the soprano Cristina Toledo, accompanied on piano by Aurelio Viribay, they will give visibility to women who dedicated themselves to the composition of zarzuelas and Spanish music despite the difficulties.
Especially emotional will be the recital that the next Monday 8 of March (20h00) they will offer the soprano Cristina Toledo and pianist Aurelio Viribay at Teatro de la Zarzuela inside of the Notes cycle Ambigú. Under the explicit title of ‘Zarzuela in feminine’, will be given visibilityto women what, despite the difficulties to do it and the ingratitude of I forget, they dedicated themselves to composition of zarzuelas and Spanish music.
In the concert, works by authors such as Maria Rodrigo, to whose compositions a good part of the program will be dedicated. From a couplet for solo piano (‘The intrusive couplet’), to a selection of his comic zarzuela ‘Diana the huntress or Death penalty to love’, with libretto of the Alvarez Quintero, going through the trio of verses ‘Ayes’ with text by Maria Lejárraga, or ‘Seeing this land of my loves’ from ‘His last song’ with a libretto by Carmen de Cantó, among other compositions.
This will be the second part of the recital. Before, we will hear romances of zarzuelas composed by Selva and Torres Remedies O Carmen de Cantó (Carmen Climent) –Authors also of the librettos of their works–, by Blanca Lozano, Maria de Pablos, María Teresa Prieto - also responsible for its texts -, Elena Romero or Adela Anaya Ruiz.
It will certainly be a night of magical revelations and esperanza. The one that oblivion does not return to be the inevitable destiny of these and many others sacrificed music fighters.
The Ambigus that come
A concert Cristina Toledo Y Aurelio virivay, will follow that of Shiggaion. Music found with unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), the one with the mezzo-soprano Maria Antunez with Rubén Fernández Aguirre to the piano dedicated to ‘Uruguayan music’ (19 of April), the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist's Ángel Ruiz, accompanied by pianist César Belda, what will present ‘Tribute to Iberoamerica’ (15 of June).
With ‘Loves in bush’ the fifth season of the Project Zarza delTeatro de la Zarzuela, zarzuela made by young people and for young people, that was born from the hand of its director, Daniel Bianco, with the purpose of popularize the genre among the new generations, those of the XXI century. He young audience has a decisive relevance in the current colosseum project, that in this way he intends that he approaches without fear and without prejudice to the zarzuela, thereby continuing gender and strengthen its future.
That is why the Zarza Project is one of the star initiatives of the Theater. Aimed at an audience between 12 Y 18 years, the title chosen in this Fifth edition is ‘Loves at Zarza’, with original text by the playwright and novelist Nando Lopez, youth literature specialist, among whose audience is a true star. It is a history coral that describes different ways of living love without prejudice, written around compositions of various zarzuelas by Federico Chueca, Joaquín Valverde, Jose Serrano, Pablo Serial, Ruperto Chapí and Gerónimo Giménez. And as usual, will be performed by young singers from among 18 Y 30 years chosen through a rigorous audition process in which they have participated more of 250 artists. It can be said that these singer-actors today form the young company Zarza Project, and that they also fulfill the mission of serving as a quarry for the great productions of the Theater. And is that, from your participation in the Project, a good number of them have already participated in some title of the lyrical seasons.
In this new production of Teatro de la Zarzuela, the musical and stage direction will be in charge, respectively, of the teacher Miquel Ortega (from the piano) and Rita Cosentino, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. The programmed functions will be presented in the main hall of the Teatro de la Zarzuela in the 26 February to 5 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (26, 27 Y 28 February and 4 Y 5 of March) with a total of 9sessions. As has been done in the previous four editions, after the show will be held one colloquy between the public and artists.
The role of the school Tuesday 2 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.
Zarza Project, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 viewers who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others tens of thousands who have been able to enjoy them online.
Love and magic
These ‘Loves in the bush’ are conceived in accordance with the spirit, the philosophy and intention that move this admirable Zarza Project from the beginning: bring the zarzuela genre closer to new generations, "And what better way to do it than through their own concerns ", Nando López points out. For that, this story that begins in the evening of a 15 August any of the 21st century, with a group of young people who meet in a park on the outskirts of the city ready to get on a Cercanías to La Latina to celebrate the festivities of La Paloma. From there many things happen, unexpected hopes are woven with pending dreams Y, as the author himself says, "Perhaps chance is not the real culprit of what happens in this particular - and somewhat Shakespearean - summer night in which the lives of all will end up…”. Magic is crucial in this particular tale. Real as life itself.
This new dramaturgy plays and is recreated with compositions of zarzuelas like the Pasacalle of ‘Last year for water’ Chueca and Valverde, "To a gypsy precious”From‘ The joy of the battalion ’by Serrano, “What departed have you lost, kid!”And“ La petenera ”by‘ Don Manolito ’by Sorozábal, “Hágame Nah the favor of hearing me two words ”from‘ Last year for water ’by Chueca and Valverde, "I am Spanish" from ‘La patria chica’ by Chapí, "Chinochilla de mi charniqué" and "Who is it Nah?” from ‘The one with the bunch of roses’ from Sorozábal, “Also I suffocate ”of “Luis Alonso's wedding ”by Giménez, the Fandango of ‘The Tricksters’, "I am Spanish" from ‘La patria chica’ by Chapí, ‘Dance at last we can now’ from ‘El baile de Luis Alonso’ by Giménez or the Parade of ‘La joy de la huerta’ by Chueca.
Suggestive, dynamic, fresh and powerful bet that once again celebrates the Theater's commitment to young artists and young spectators.
Friday 26 February 7:00 p.m. (open function)
Saturday 27 February 7:00 p.m. (open function)
Sunday 28 February 12h00 (open function)
Monday 1 March 12h00 (school function)
Tuesday 2 March 11h00 (school function) live on STREAMING
Wednesday 3 March 11h00 (school function)
Thursday 4 March 12:30 (school function) and 7:00 p.m. (open function)
Friday 5 March 11h00 (school function) and 7:00 p.m. (open function)
He Notes cycle Ambigú 20/21 of the Teatro de la Zarzuela proposes in his new bet a surprisingjourney from the Renaissance to the Spanish Baroque through the influences profane and sacred music exerted on each other in times when theatrical performances, formerly attached to the liturgical field, they began to take on a more profane character for, little by little, leave the temple to the theater. Hence the title of this recital of the Chapel Jerome Carrion, leadered by Alicia Lazaro. ‘From the temple to the theater. Two centuries of sacred and profane music ’, will be presented on Thursday 15 February at 7:00 p.m..
On this occasion they will accompany Alicia Lázaro -direction, baroque lute and guitar–, soprano Delia Agúndez, the tenor Ariel Hernández, the harpist Sara Águeda Y Maria Alejandra Saturn to the viola da gamba.
With an integrated program with music from Juan de Urrede, Francisco Guerrero, Juan Hidalgo O Sebastian Duron, among others composers, the interpreters will tour in their hypnotic journey two centuries of sacred and profane music.
And is that, as Alicia Lázaro remembers, in our peninsula and with the Christianization, temples replaced Roman theaters as meeting places. "The liturgy is the new form of representation: a set of rites through which the Church expresses its devotion ", Explain, and remember that "It is in the Catholic churches where the first theater shows will appear, tropes and sequences, the first dramatic signs in the Christian West”.
With this antecedents, no wonder temples and theaters soon shared their music.
The Ambigus that come
To the concert of the Chapel Jerome Carrion from Alicia Lazaro, will follow the one that the soprano Cristina Toledo, accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March); Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March); mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre the piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April); soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).
I was returning to Teatro de la Zarzuela, al Lied cycle co-produced with the CNDM, one of our favorite baritones, Christian Gerhaher, accompanied on the piano by his inseparable Gerold Huber, in what will be a short national tour. After this recital they arrive at the Palau Les Arts in Valencia on 10 February and at the Arriaga Theater in Bilbao on 12 February. All three with this same program.
On this occasion Gerhaher addresses a typically romantic repertoire with the presence of two authors, Robert Schumann y Claude Debussy. Two authors of different characters and textures that have been inserted in the programming. This requires great interpretive solvency to maintain the personality of both composers and that our baritone and his companion perform with extraordinary ease.. Another thing is to think about the success and coherence of this stylistic combination.
The 20 Schumann songs belonging to Six chants, Songs and singing Y Three chants, can be considered as of its later stage. A more relaxed Schubet, less interested in politics, unlike Wagner, that never left her, and more concerned with reaching a wider audience. This was noticed in his music that, although it preserved the quality, ceased to have the initial originality and focused on topical romantic descriptions. For this he used texts by somewhat minor poets, with which he could give prominence to simpler themes.
The nature of these songs showed, as, in the interpretation. Gerhaher outlines them masterfully and with the uniformity they express. So we miss the intensity of works with more depth load. Its emission in these repertoires requires great vocal agility, something Gerhaher owns, and a less baritonal timbre, who also knows how to drive. The result is a flatter recital than others to which the German baritone has us accustomed.
The variety of hues and colors came with Debussy's songs. Six total, Three songs from France Y Trais poemes by Stéphane Mallamé. Small musical delicacies with which Gerhaher demonstrated his vocal versatility and which Huber accompanied masterfully. Here the piano surpassed the voice. Gerhaher knows how to be accompanied by a Huber who knows him perfectly and always enhances the work of the voice.
The applause of an always enthusiastic audience led them to offer two tips. The first a lied of the protagonist of the night, Schumann, and another from Mendelssohn, to conclude this recital of one of the most notable couples in the Lied Cycle.
Photograph (c) Rafa Martin
He National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, will present the next Monday 8 February at 19:00h, Christian Gerhaher at XXVII Cycle of Lied. The German baritone will be accompanied on piano by his regular collaborator Gerold Huber.
After its successful passage through this same cycle in numerous previous editions, the last of them last season, Gerhaher will once again demonstrate to the Madrid public why his voice is one of the most requested in lied recitals around the world. According to the critics, Gerhaher owns "a lyrical baritone voice, velvety, and a commendable ability to concentrate in the interpretation to express to the maximum the beauty that poetry and music contain ".
This evening, and in perfect symbiosis with his head pianist, will face a program in which lieder of Robert Schumann (Six songs on. 107, Songs and chants op. 96 Y Songs and chants op. 83) along with chansons of Claude Debussy (Three songs from France Y Three poems by Stéphane Mallarmé).
Tickets for this concert, with a General price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, ticketsinaem.es and 902 22 49 49 | 91 193 93 21.
An upward vocal career
Christian Gerhaher studied with Paul Kuen and Raimund Grumbach at the Opera Academy of the Musikhochsule in Munich, and together with his regular companion Gerold Huber he studied lied with Friedemann Berger. While completing his medical studies he perfected his vocal technique in master classes with Fischer-Dieskau, Elisabeth Schwarzkopf e Inge Borkh. He is currently an honorary professor at the Musikhochsule in Munich.. He has received the Maximilian Order of Sciences and Arts, and title Bayerischer Kammersänger. In 2016 He was awarded the Heidelberger Spring Prize. Performs frequently on international stages, and New York, the Concertgebouw in Amsterdam, the Philharmonie in Cologne and Berlin, the Konzerthaus and Musikverein in Vienna and the Wigmore Hall in London. He is also a regular guest at festivals such as the Rheingau Music, London Proms, Festivals Edinburgh and Lucerne and Salzburg Festival. For two seasons he has focused particularly on lied recitals, with five different programs with Gerold Huber in Salzburg, Milan, Munich, Berlin, Leipzig, Vienna, Baden-Baden, Geneva, Paris, London, Madrid and Schwarzenberg, as well as a tour of the United States. The season ended with performances by Magelone the Brahms and Heidelberg, London and Munich, of which an album was recorded in the spring of 2019. In addition to its activity in concert and recital, has received several operatic awards such as the Laurence Olivier and the Der Faust. A milestone in his career was his debut in the title role of Wozzeck the mountains 2015 at the Zurich Opera House, with scenery by Andreas Homoki and direction by Fabio Luisi. In 2016/17 sang in two productions at the Bavarian Opera, as Posa in Don Carlo y como Wolfram von Eschenbach en Tannhäuser with Kirill Petrenko. In 2017/18 performed at the Munich Festival as Amfortas in Parsifal and in Zurich as Nikolaus Lenau at the premiere of Lunea, Heinz Holliger. He has acted alongside directors like Harnoncourt, Rattle, Blomstedt, Nagano, Jansons, Harding, Haitink and Thielemann in the main halls of the world. As a Sony Music exclusive artist, he has recorded with Gerold Huber several Schumann cycles and all Schubert cycles., among others. He has also recorded with orchestras such as the Berliner Philharmoniker, the Cleveland, the Bavarian Radio Symphony and the Concentus Musicus Wien.
Gerold Huber, piano rigor
Gerold Huber studied piano with Friedemann Berger at the Musikhochschule in Munich and attended lied master classes with Dietrich Fischer-Dieskau in Berlin. In 1998 was awarded the Prix International Pro Musicis with Christian Gerhaher. Gerold Huber gives master classes and, since 2013, is lied accompaniment teacher at the Hochschule für Musik in Würzburg. Gerold Huber has performed at renowned festivals and major concert halls such as: Concert Society Viena, Wigmore Hall London and Bavarian State Opera in Munich, accompanying Christian Gerhaher, Christina Landshamer, Franz-Josef Selig, Mojca Erdmann, Diana Damrau, Ruth Ziesak, Maximillian Schmitt, Christiane Karg y Rolando Villazon, among others. Gerold Huber's el director artístico de Pollinger Days of Old and New Music. All of Gerold Huber's recordings with Christian Gerhaher have been released by the Sony Classical label and have received various awards.. The CD “Schubert - Nachtviolen” won the Gramophone Award in 2015.
Luisa Fernanda, or the indomitable desire to fight for beauty Luisa Fernanda Federico Moreno Torroba record: Federico Romero and Guillermo Fernandez-Shaw Yeatro de la Zarzuela, Madrid, 28 of January of 2021 D. musical: Karel Mark Chichon D. scene: Davide Livermore Scenography: Giò Forma Locker room: Mariana Fracasso Lighting: Antonio Castro Choreography: Nuria Castejón audiovisual design: Pedro Chamizo D. choir: Antonio Fauró Titular Orchestra and Choir of the Teatro de la Zarzuela interpreters: Yolanda Auyanet, Juan Jesus Rodriguez, Rocío Ignacio, Jorge de León, María José Suárez, Nuria García-Arrés, Emilio Sánchez, Antonio Torres, Didier Otaola, Rafael Delgado, Cesar Dieguez, Julia Barbosa and Román Fernández-Cañadas. He 30 April 2020 the premiere was scheduled at the Teatro de la Zarzuela by Luisa Fernanda. But like so many things in those days, Luisa Fernanda was postponed, that not suspended. Now it comes back to a Madrid whipped, but brave, in that "indomitable desire to fight for beauty". Released in Madrid in 1932, It is one of the most popular and widely accepted zarzuelas. One of those works that could be represented in any theater in the world and that is at the level of any work in the Italian repertoire.
This time, the Teatro de la Zarzuela, following his desire to internationalize the genre, wanted to have as musical and stage directors the British Karel Mark Chichon and the Italian Davide Livermore, respectively. It is one more way of approaching the zarzuela without prejudice and showing other visions of seeing and feeling our lyrics. It is the first complete zarzuela that Chichon faces, a deep connoisseur of our lyrical repertoire who, with his wife, the mezzo-soprano Elina Garança, show their affection for this genre by playing it around the world.
Davide Livermore's knowledge of the zarzuela is more recent, dates back to his time as mayor at the Palau de Les Arts. Approaches the genre with deep respect for its principles, but with little success when choosing the elements that star in the scene. I don't know why many set designers insist on making everything turn, even, too. Apart from almost projecting poor Luisa Fernanda in one of the scenic turns, It is dizzy and distracts from the scene. A Livermore, who likes good-sized stage elements, he got a bit out of hand with the good reproduction he has made of the façade of the Cine Doré. Luckily the corps de ballet, the choir and the singers, they had a good direction of actors and well learned the staging. It wasn't easy at all, especially in some moments, move around a stage full of traps and in constant movement. The idea of the cinematograph and the projection was very romantic, like a movie, of different scenes of the protagonists and others of the time. And, Besides, the projections would have been consistent with each other, the result would have been brilliant. More successful was the scene of the vareadores, with a well-drawn meadow of Extremadura. Definitely, an exaggerated scenography that looked like a collection of elements from different works, all of them from different times. What comes to be a scenography of use.
The Orchestra of the Theater, at the command of Chichon, rang with great dignity, somewhat slow at times, but with chasticism and color. Very meritorious for a pit formed by barely 23 teachers for pandemic issues. The same occurs with a choir reduced to five male voices and five female voices.. The mask did not prevent a magnificent performance, with some small initial mismatch, and the recognition of the efforts of all these professionals who are part of the Teatro de la Zarzuela.
The work of the musical and stage director was always supported by the theatrical capacity of a good cast of actors / singers on stage..
The character of Vidal was played by Juan Jesús Rodríguez. Before the beginning of the work, it was reported that his vocal loss caused by laryngitis. His performance was very commendable, but their difficulties were noticeable, especially in renouncing the higher registers.
Luisa Fernanda was in charge of Yolanda Auyanet, that a good recitative was marked out, prior to their musical numbers. As Livermore says, "Recitatives are not a break while waiting for the musical number, they have to be well supported by a good actress ". This is the case of Auyanet, that shone in the interpretation supported by a good declamation. His voice has lost some agility, but retains a powerful center and exquisite taste in phrasing.
We are going to end up catching a mania for Jorge de León for the villainy of many of his characters. It must be by nailing them in the interpretation. Start with the romance "From this peaceful corner of Madrid", without having barely entered the matter, may be a hamdicap. De León started something out of temper to get in tune with the progress of the work. Its emission is clean and powerful, but their singing is unnatural and with engolado sounds.
The Countess Carolina was well interpreted by Rocío Ignacio. He knew how to give the point of frivolity and sophistication that this character requires. He has a powerful voice and good highs, but its excessive vibrato prevents good diction.
Maria Jose Suarez, in the role of Marisa, it's always a guarantee on stage. His stage presence and acting capacity always put that necessary histrionic point in each representation. The rest of comprimarios were at a good level. Highlight especially the revolutionary Luis Nogales, by Antonio Torres and veteran Emilio Sánchez, as Don Florito.
A night of zarzuela that rescues us from reality. Always in fear of a last minute suspension, but always maintaining this exercise of resistance in the face of reality. But beware!, that this theater is as real as everything else.
It is always a good time to hear the winter trip who composed Schubert in his last stage as a composer. And it's now, when sensitivity exceeds normal levels, when we are more exposed to the musical and dramatic intensity of a composition like this.
Schubert had decided not to associate with the aristocracy that would have recognized and valued his works. I had 31 years, he was sick with syphilis, no family and no success. He lived on the charity and hospitality of the few friends he had left. It is in that moment of absolute helplessness, when he is forced to write Winterreise. 24 lugubrious and desperate songs, as the Schubert of those moments should be.
Winterreise is an extraordinary and homogeneous set of songs that tells a continuous story with a single character as the protagonist. Not for this reason it should be thought that they cannot be interpreted independently, as it happens with Good night O The linden tree. The poems of Wilhelm Müler, the shoemaker's son, were chosen by the composer to put the music that most accurately described loneliness and hopelessness. That which he himself felt. Some poems that were always the greatest stimulus and source of inspiration for Schubert.
This has been the second of the three recitals of the Cycle that Florian Boesch will offer this year as a resident artist. In their interpretations, the german baritone always puts all the depth charge in the speech, in the word. Leaving all the interpretative force in the texts. Declaims naturally, no frills or hype. The result is only a product of the emotions of a Boesch contained a few times, and shaken to anger at other times.
However, it was not a recital in which magic and trance took over the theater, as on other occasions. There were routine moments, maybe the connection between singer and accompanist were not always full. Justus Zeyen he has us accustomed to extraordinary moments in his already numerous interventions in this theater. But this time I lacked balance in that binomial in some moments. In the next recital of the 14 of June, we will listen to Boesch again, this time accompanied on piano by Malcolm Martineau, who analyzes and accompanies the interpretive sensitivity of German like nobody else and who should have accompanied him on this occasion.
moment, and even if time changes or new adaptations have to be made due to the pandemic, We will continue to attend and celebrate these pleasures that project us to the reality that we want and that will come.
Photograph: (c) Rafa Martin
In accordance with the guidelines of the Order of the Community of Madrid that in view of the situation of the pandemic establishes the curfew at 10:00 p.m., between 25 January 6 February he start of functions programmed in the Teatro de la Zarzuela will go ahead at 7:00 p.m..
Functions Sundays do not suffer any alteration and their start is held at 6:00 p.m..
THE SHOWS THAT ARE AFFECTED ARE THE FOLLOWING:
Monday 25 from January
CICLO THE SONG, FLORIAN BOESCH
Thursday 28, Friday 29, Saturday 30 January and Wednesday 3, Thursday 4, Friday 5 and saturday 6 February
Tuesday 2 February
CONCERT SERIES, AMANCIO PRADA
With 'Luisa Fernanda' come back to Teatro de la Zarzuela a classic of Spanish and American lyrical stages. And this time it does unique and special. The genre of zarzuela should not aspire to be locked in the golden cage of "the Spanish", as an exotic lure for the public and foreign artists, but for quality, by relevance and by mere common sense, must aspire to "the universal". For this reason it is a unique occasion that at the helm of this new ship driven by the Teatro de la Zarzuela, be nothing less than the Italian Davide Livermore –Now one of the most sought-after and acclaimed directors in the most important opera houses in the world and responsible for the opening of the Teatro alla Scala in Milan in the last two seasons–, and the British Master Karel Mark Chichon, great connoisseur, lover and tireless diffuser of Spanish music. Both make the composer's masterpiece Federico Moreno Torroba and librettists Federico Romero Y Guillermo Fernández-Shaw in a surprising and exciting theater show through its intrinsic theatrical and musical language, presented to the public as a compact whole.
He Teatro de la Zarzuela will offer 14 functions, between 28 January 14 February, this total musical show around one of the greatest creations in the repertoire, defined by Livermore as “a work of art of Spanish culture and universal culture”. He film director Turinés affirms that ‘Luisa Fernanda’ “has a score that always reaches the heart of the public, and both before and now and in fifty or a hundred years, the musical beauty of this work has had, it has and will have a special attraction for all of us who come to it. "
Meanwhile, he Maestro Karel Mark Chichon, who for the first time directs a zarzuela production on this stage, maintains that ‘Luisa Fernanda’ is “the last great romantic zarzuela, and it owes much to the masterpieces of the zarzuela grande and the small genre that preceded it. " To this he adds that musically it is one of the best examples of the traditionalism with which Moreno Torroba identified so much., "Combining the grace and color of Spanish music with the elegant Viennese comedy and the verismo of Italian opera." What turns the work into a zarzuela “by memorable melodies with unerring theatrical flair.”
Chichon, which will be in front of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-, of the Titular Choir of the Theater of La Zarzuela and of two extraordinary distributions, will alternate on the podium of the pit with the Master David Gomez Ramirez who will direct the functions of the days 3, 4 Y 5 February.
The value of the deals
The two distributions that participate in this new and long-awaited presentation of ‘Luisa Fernanda’ -that was going to premiere on 30 April 2020 and that had to be postponed due to the pandemic and the consequent confinement- they are made up of especially skilled singers, energetic, effective, demanding, intense and balanced. Qualifiers that are only a small part of its virtues.
Luisa Fernanda, the daughter of a retired civil servant who keeps Javier Moreno absent, that young military man, former innkeeper and now promoted to colonel, will be performed by the sopranos Yolanda Auyanet (Luisa Fernanda par excellence) Y Maite Alberola. On the other hand, is Vidal Hernando, a rich Extremaduran farmer who disputes Luisa Fernanda's love with Javier, to whom the baritones will give life Juan Jesus Rodriguez (Vidal par excellence) Y Javier Franco. Duchess Carolina, that beautiful and persuasive young woman, will be embodied by the sopranos Rocío Ignacio Y Leonor Bonilla. And the role of Javier Moreno, that since he rose in rank he has neglected his girlfriend Luisa, the tenors will assume it Jorge de León Y Alejandro del Cerro.
Rounding out the cast María José Suárez Y Nuria García-Arrés as Mariana and Rosita, Emilio Sánchez Y Antonio Torres, like don Florito and Luis Nogales, Didier Otaola as Aníbal; actors Rafael Delgado, Cesar Dieguez Y Julia Barbosa, the members of the Titular Choir of the Theater, Roman Fernández-Cañadas, Francisco Jose Pardo, Graciela Moncloa, Daniel Huerta, Rodrigo Alvarez, Ricardo Rubio, Antonio González Y Quique Bustos; in addition to 4 extras Y 12 dancers.
Regarding the artistic team, it is completed by the study GI Shape, responsible for the scenography, costume designer Mariana Fracasso, the illuminator Antonio Castro, the choreographer Nuria Castejón and the audiovisual designer Pedro CHamizo.
Love, cinema and revolution
The stage is a recognizable architectural space in Madrid in which the feelings of love, pain and anguish, "a figurative or disfigured world that evolves into 360 degrees before our very eyes…”, as Davide Livermore himself explains, that for this he uses techniques and resources of cinematographic language inspired by works of the seventh art.
Historical facts around the Glorious (o Revolution of 1868 which culminated in the exile of Elizabeth II), that appear or are mentioned in this zarzuela, are the background of what their characters live. So, like now, the story of the young Luisa and Javier will surprise and excite the public, because this episode is combined with the life of the spectators in a movie theater - like a plaza, of meeting place and of life - in the also young Republic (the plot unfolds as it was written, but moved to the date of its happy premiere at the Calderón Theater in Madrid in 1932); and that modernist room is none other than the Cine Doré, so one of the best known in Madrid and currently the oldest active cinema in Spain.
And above political plots and revolutions, of gallantry and fancies, what in the end really matters is wanting and being loved. Love: that wheel that moves the world.
Online and on the air
As it is usual, one of the functions will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Wednesday 10 February at 8:00 p.m. (Spanish CET).
Likewise, one of the functions will be recorded byClassical Radio by Radio Televisión Española to broadcast in the near future.
Also on these days you can enjoy YouTube y Facebook of the conference taught by the musicologist Mª Luz González Peña and a new chapter of the series‘Trip through the zarzuela’, this time focused on ‘Luisa Fernanda’ with Yolanda Auyanet, Juan Jesús Rodríguez and Davide Livermore as protagonists, Y, as usual, with surprise included.
It was one of the great successes of last season, and not only for the smallest spectators - who live with enthusiasm each set of the function -, but became from day one a happy discovery for all audiences.
'The incredible story of Juan Latino', who returns these days to Ambigú Coliseum, is a bright music production, puppets and masks of the Claroscvro company and the Teatro de la Zarzuela to which no one can be indifferent. It is a true story, little known, of that fraternal friendship that we all must know and remember to understand what they are like (as we are) humans. Recommended from the 6 years, dhe 8 al 17 January are offered 9 functions open to the general public, in addition to numerous passes for schools throughout the next week.
It is a small zarzuela, with Renaissance and Baroque repertoire, about a 16th century Spanish writer and humanist. Juan Latino, that that was his name, was the first black person who obtained a degree and issued a professorship at the University of Granada. Discover in this way a true story of racial and social overcoming of a black slave in 16th century Spain is quite a surprise for the viewer.
Therefore, in this music and theater festival, which it is a sincere invitation to tolerance and respect, we want to show how miscegenation has been for centuries a constant and crucial element in the coexistence of our society. The music and the arts, as people and ideas, They have been combined in different ways in the works anonymous composers or the well known and admired Duron, Arrow, Gutierrez de Padilla, Hidalgo, Romero and Sanz.
After the also acclaimed 'Lost in Bosco' (2017 Y 2019), This is the second co-production with the Teatro de la Zarzuela that presents the Spanish-Canadian company Claroscvrotheater, one of the world references puppetry directed by Julie Vachon Y Francisco de Paula Sánchez. Claroscvro Teatro employs recreation in historicist aestheticism in order to reinforce the educational values of their works, and with the conviction that beauty is the perfect vehicle to love art.
This season is the one of premieres in the Lied who organize the CNDM and the Teatro de la Zarzuela. On this occasion the debutant has been the American tenor Matthew Polenzani, who has been accompanied on the piano by Julius Drake, considered one of the best instrumentalists in his field in the world. East end that he again demonstrated on this occasion accompanying Polenzani. An always safe value, Drake.
Polenzani did not arrive at the Teatro de la Zarzuela with an easy repertoire, neither for him nor for the public, especially in its second part. He began by performing five of the best known songs from Schubert, In the spring, Belief in spring, The lonely, Serenade y in the sunset. Perhaps this composer is not the most suitable for Polenzani's vocal characteristics, but his refined technique facilitated his accommodation at all times. Much better was in the selection of song cycle from Schumann (in this case, all nine Songs del Op. 24 from 1840), where he demonstrated his greatest interpretive abilities, its stylistic delicacy, an excellent phrasing and an extraordinary fiato which he recorded on several occasions. Even so, his voice sounds much more bel canto than liederistic to us.
In the third set of songs he surprised everyone with works by Francis Poulenc, specifically the "mélodies" of "Engagement for laughs” ("Laughter betrothal"). In this point, Polenzani, that went from less to more, it was where he was most inspired. Especially in the most theatrical and dramatic part, that in this French repertoire, it is an important question.
It ended with three works by the little-known American composer Charles Ives. Note the beautiful and delicate Field loneliness, for whose interpretation I had reserved Polenzani its greatest refinement and sensitivity. Or the funniest The World’s Highway.
After two tips and thanks to the Theater for being able to be with the public that night, concluded this fourth recital of lied that, as usual, and much more this year, It is one of the great musical events in Madrid.
Photograph: Rafa Martín
He National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, will present on monday 14 from December (20h00) at XXVIILied, to the North American tenor Matthew Polenzani. He will be accompanied on the piano by the renowned Julius Drake, collaborator of some of the most important interpreters in the world, both in recital and in record works.
This is an exceptional opportunity to hear for the first time in this cycle one of the most important tenors of today, gifted, according to the critics, a voice of exceptional musicality and a great technical mastery.
Polenzani is and has been a figure essential in the deliveries of the Metropolitan of New York in the last 15 years and a regular both in the main opera houses, as in concerts and recitals around the world.
The singer will address a program on Monday away from the usual operatic repertoire, composed of five lieder of Franz Schubert, the famous song cycle from Robert Schumann, Engagement for laughs from Francis Poulenc, and works of Charles IvesField loneliness, The world’s highway Y When stars are in the quiet skies.
Tickets for this concert, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 985 67 96 68 Y 902 22 49 49.
Matthew Polenzani, style and control
The musical mastery and stylistic sense of Matthew Polenzani has allowed his continued presence in the main opera houses, concerts and recitals from all over the world. Highlights from Matthew Polenzani's recent career at the Metropolitan Opera include premieres of Bartlett Sher's production of L'Elisir d'Amore, that opened the season of 2012, Sir David McVicar's production of Maria Stuarda, as well as McVicar's new production of Roberto Devereux Donizetti. Other highlights include his role debut as Vaudémont in Iolanta de Chaikovski, Penny Woolcock's production of The Pearl Fishers, Willy Decker's production of La Traviata, Robert Carsen's production of Der Rosenkavalier, The Magic Flute, The Tales of Hoffmann, Rigoletto, Don Pasquale, among many others. Till the date, has starred in more than 300 performances at the Met. After his debut as Gérald in Lakmé by Delibes at the Opéra National de Bordeaux in France in 1998, has performed in major European theaters in productions of Don Pasquale Y La Traviata at the Teatro Comunale in Florence, in Aix-en-Provence and on a tour of Japan; La Traviata en the Zurich Opera House; Don Giovanni e I Capuleti e i Montecchi in the Paris Opera; to Favorites, Werther, L'Elisir d'Amore, Bohemian Y The Magic Flute in the Bavarian State Opera, as well as in the Wiener Staatsoper, the San Carlo Theater, and the Teatro dell 'Opera in Rome or Covent Garden, among many others. Polenzani is a highly sought after singer at concerts with the world's most influential conductors, como James Conlon, Sir Colin Davis, Riccardo Frizza, Rafael Frühbeck de Burgos, Louis Langrée, Jesus López-Cobos, Riccardo Muti, Sir Antonio Pappano, Sir Simon Rattle, Wolfgang Sawallisch, Leonard Slatkin, Sir Jeffrey Tate, Michael Tilson Thomas, Franz Welser-Möst, David Zinman, Riccardo Chailly y Daniel Harding. He has sung with orchestras such as the Berliner Philharmoniker, Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Cleveland Orchestra, the Los Angeles Philharmonic, New York Philharmonic, the San Francisco Symphony, the Cincinnati Symphony, the Minnesota Orchestra, St. Louis Symphony, Orchestra of Santa Cecilia, French National Orchestra and Münchner Philharmonic. In season 2019/20, Polenzani starred in three productions at the Metropolitan Opera, also singing for the Met's New Year's Eve gala the first act of Bohemian with Anna Netrebko. He also returned to the Bayerische Staatsoper to sing Don José in Carmen. In July 2020, Polenzani starred in a semi-staged version of La Traviata Verdi at the Teatro Real in Madrid.
Julius Drake, a solid track record
Julius Drake enjoys an international reputation as one of the best instrumentalists in his field, collaborating with many of the world's leading artists, both in recital and in record works. Appears regularly in major venues and music festivals: Aldeburgh, Edinburgh International Festival, Munich, Schubertiade, Salzburg, Carnegie Hall and Lincoln Center (NY), el Royal Concertgebouw (Amsterdam), the Wigmore Hall and the BBC Proms (London). Among the many recordings of Julius Drake, highlights those made with the acclaimed Gerald Finley for the Hyperion label, of which Barber Songs, Schumann Heine songs Y Britten Songs and Proverbs won the Gramophone Awards 2007, 2009 Y 2011. He has also made award-winning recordings with Ian Bostridge for EMI., several recitals for the Wigmore Live label, among them, with Alice Coote, Joyce DiDonato, Lorraine Hunt Lieberson, Christopher Maltman y Matthew Polenzani; as well as recordings of the Sonatas by Kodály and Schoeck with cellists Natalie Clein and Christian Poltéra for Hyperion and Bis; He has recorded, Likewise, works by Tchaikovsky and Mahler with Christianne Stotijn for Onyx; English Songs with Bejun Mehta for Harmonia Mundi and Poetic diary of Schubert with Christoph Prégardien, que ganó el annual German Record Critics' Prize 2016. Concerts in the coming seasons include a series to celebrate Beethoven's anniversary at the 92nd Y in New York and a Mahler series at the Concertgebouw in Amsterdam; recitals at La Scala, Milan with Aleksandra Kurzak, en Wigmore Hall with Alice Coote, en Barcelona con Sarah Connolly, in Berlin with Angelika Kirchschlager, en Schubertiade, Austria with Christoph Prégardien, Ian Bostridge y Gerald Finley, and tours of Europe with Anna Prohaska and Eva-Maria Westbroek.
He Teatro de la Zarzuela is, day by day, one of the few lyrical theaters in Europe that has not suspended functionsbecause of the pandemic season 2020/2021. Since this began at the end of September, are already 329 the artists that between stage productions and concerts have passed through the Coliseum in the Plazuela de Jovellanos.
And not only the programmed functions have been maintained –many of them with sold-out seats–, but among these There is also a good part of those that last season had to be postponed (not canceled) because of the general confinement of last spring.
One of the priority objectives of this measure is protect our artists with the intention that no one is left behind, thus complying with one of the basic principles that a public theater must attend.
Among the main reasons for this happy circumstance, undoubtedly highlights the fact that the Teatro de la Zarzuela, production unit of the INAEM - National Institute of Performing Arts and Music -, strictly complies with the safety standards required by health authorities and performs periodic tests To all staff, in collusion with the #CulturaSegura campaign promoted by the Ministry of Culture and Sports. What is intended, and it is being achieved, is guarantee the securityof the public, artists and theater workers.
Spearhead of the "electrocouple ”, sex symbol of the couplet, total artist Y popular music scholar: a performing arts phenomenon.
With music by Chapí, Alonso, Guerrero, Soutullo y Vert, Sorozábal, Chueca, Giménez, Vives o Penella.
Spearhead of the "electrocouple", sex symbol of the couplet and total artist, so is Rodrigo Cuevas: a performing arts phenomenon and popular music scholar that he Monday 30 of November (20h00) will present his show ‘Barbián’ at Teatro de la Zarzuela. With dramaturgy and artistic direction by Fernando Carmena and arrangements and live music by Frank Merfort Y Richard Veenstrav, the function is built around compositions of Chapí, Alonso, Guerrero, Soutullo y Vert, Sorozábal, Chueca, Giménez, Vives O Penella.
As Fernando Carmena explains, the word barbián comes from the caló "barbán", which means "air", and in Spanish it is said of someone outgoing, gallardo, dared. “When I heard Rodrigo Cuevas for the first time - he affirms - I knew immediately that he would be a perfect zarzuela barbián. He is dark and rugged like Mari Pepa de Chapí or Don Homobono de Parada, but is above all a complete artist and scholar of popular music”.
Singer, composer, multi instrumentalist and folk shaker, your voice transits easily between tradition and underground. As Carmena says: "Discover links where others insist on creating divisions".
Merfort Y Veenstrav -composers and sound designers based in Berlin– sand related to the music of Chapí, Chueca, Giménez, Vives, Sorozábal…, with "liberating contemporary sensibility, although without losing sight of the stem cells of the starting compositions”. This is how Carmena describes the musical challenge of ‘Barbián’, and assures that “the syncretism of the zarzuela embraced the jota, el chotis, the cuplé ... and permeates both our musical commitment and the fabulous costumes designed by Constantino Menéndez (Made by Kös)”.
Between Madrid and Berlin, the orchard and cabaret, between the traditional and the cosmopolitan, 'Barbián' proposes "a heterodox journey through a genre no less heterodox ", concludes the playwright and artistic director of the show.
Will be dedicated in memory of Alfredo Kraus –That he was a teacher of the Jerez tenor and that this week he would have fulfilled 93 years - to whom the colosseum will dedicate box number 6 from the plateau.
Accompanied on piano by Ruben Fernandez Arribas, will perform works by Manuel García, Joaquin Turina, Francis Poulenc, Francis Lopez, Jacinto Guerrero, Federico Moreno Torroba, Amadeo Vives Y Soutullo and Vert, among other authors.
the tenor Ismael Jordi meets 20 year career, and will celebrate the next Saturday 28 of November (20h00) with a "very personal" concert at Teatro de la Zarzuela. the recital, in which he will accompany you on the piano Rubén Fernández Aguirre, It will be offered in memory of Alfredo Kraus, who this past Tuesday would have met 93 years, and that along with Teresa Berganza He was his singing teacher at the Reina Sofía School of Music in Madrid. The Theater of the Plazuela de Jovellanos will take advantage of such a special circumstance to dedicate to Kraus from that moment box number 6 from the plateau with a name plate.
With a repertoire composed mostly of Spanish music, Jordi will go to the music of Manuel García O Joaquin Turina, to that of Francis Poulenc Y Francis Lopez, to cross the musical Pyrenees again with Jacinto Guerrero, Federico Moreno Torroba, Amadeo Vives O Soutullo and Vert, among other authors. Compositions and high-flying composers, so, those who on this day of celebration bring in their traveling luggage this Jerez man who points out universal ways.
Ismael Jordi is a complete singer. A total artist. Not only does he possess one of the most internationally acclaimed lyrical voices, but his stage presence and his intrinsic charisma make him one of the most desired stars of the lyric that today tread the stages.
The preservation, the Recovery, the revision and the diffusion of our operatic heritage, are essential and obligatory tasks of the Teatro de la Zarzuela. This is required by its statutes and the Coliseum complies with it every season. That is why the programming of ‘Marianela’, opera in three acts of Jaime Pahissa, be one of the most musically seductive bets of the season 2020/2021, and more if you take into account that there is no recording of the composition. With libretto of two heavyweights, the Álvarez Quintero brothers –Serafín and Joaquín–, that throughout his life they came to write more than 200 works of different genres, and that on this occasion they adapt their own play on the homonymous novel by Benito Pérez Galdós, the Theater also celebrates, in this way, he Galdós Year that commemorates the centenary of the death of the Canarian writer in 1920.
‘Marianela’ premiered on 31 March 1923 the Gran Teatre del Liceu in Barcelona with Pahissa himself as director. The, not in vain, and as the illustrious musicologist indicates Emilio Casares, “He is one of the most prominent personalities in Spanish musical creation in the first half of the 20th century, and one of the most relevant opera composers ". His seven titles, almost all successful, they place it "at the peak of our lyrical history", and with ‘Marianela’ Pahissa achieves a work where “there are no ups and downs, and in each act he improves on the previous one. " Professor of aesthetics and composition at the Liceu Conservatory and director of the Municipal School of Music of Barcelona, con the arrival of the Civil War he had to go into exile. He went to Argentina, that ended up becoming his definitive homeland. As well, most likely, is this one of the keys to his forgetfulness.
For this reason, and the above mentioned, on Friday 27 (20h00) Y on Sunday 29 of November (18h00) will be holidays for our lyrics. Will be heard again ‘Marianela’, to which after its Argentine premiere of 1946 promoted by the colossal Teatro Colón in Buenos Aires he lost track. Brand new music, well, like all restitutions of the colosseum, to our ears the XXI century.
The two concerts that now do justice to the composer and the work, will be led by Oliver Diaz, who at the head of the Titular Orchestra of the Theater, the BARREL, will have to face a complex score in which the melody and the song are protagonists. The orchestra, as Casares points out, it must be bright and luminous, vigorous and expressive. And he sing, demanding for interpreters, "Especially because of the importance given to the treble", this aspect "highly valued by critics and the public."
Will be, so, a good opportunity for the showcasing of the Holder Choir Teatro de la Zarzuela under the direction of Antonio Fauró, and for the show of talent of the singers of the cast led by the Guatemalan soprano Adriana González, who will play the role of Marianela, Pablo's guide, blind from birth with whom he is deeply in love, who plays the tenor Alejandro Roy; the Colombian mezzo-soprano Paola Leguizamón will be Florentine, Pablo's cousin, whose beauty is, when regaining sight, stays on. Both fall in love and Marianela is left at the expense of a painful and cruel fate; the role of doctor Teodoro Golfín, that achieves the healing of Pablo, will be embodied by the baritone Luis Cansino. The bass Simon Orfila will give life to the Patriarch of Aldeacorba, Pablo's father; the Puerto Rican baritone César Méndez Silvagnoli to Florentina's father, and mezzosoprano María José Suárez and Mariuca, one of the daughters of the family that welcomes the unfortunate Marianela.
baritone Mario Villoria, tenors Javier Alonso and Enrique Bustos, and the baritone too José Ricardo Sánchez, members all of them of the Titular Choir of the Theater, They play the characters of Gasparuco, Pedrillo, Ramón and Pachín respectively.
Emilio Casares defines with two brushstrokes the musical significance of ‘Marianela’: "It is composed by a symphonist who never detaches himself from this condition; who has studied Debussy, to the veristas already Strauss, who works with an orchestra of the postromanticism and who believes that pure music, the instrumental, is superior to the rest of the music. Left it written several times. ‘Marianela’ pivots between what happens in the scene and what happens in the pit, and there are many moments in which the dramatic interest moves from the singers to the orchestra. "
Pahissa and Galdós
In a manuscript dated in Buenos Aires in 1946, Pahissa himself tells us about his encounter with Galdós: “I met Pérez Galdós when this great novelist had more than 80 years. It was on stage at the Teatro Novedades, during the season in which the admired Margarita Xirgu premiered in Barcelona ‘Marianela’, in the stage adaptation of this novel, one of the most beautiful in Galdós, did the Álvarez Quintero brothers. I had a desire to do a Marianela opera ". The Álvarez Quintero add: “He deeply felt the Galdosian novel long before we dramatized it. When he saw the comedy, the idea arose in him that we turn it into an opera, and it's almost done ».
The music of Jose Padilla (1889-1960), one of our composers who arouse the most admiration in the world, will be heard again in the Teatro de la Zarzuela, and will do it as a tribute in the 60 anniversary of his death. It will be tomorrow Tuesday 24 of November (20h00) within the cycle Notes from the Ambigú, in a concert in which Cecilia Bercovich (fiddle), Sergio Menem (cello and guitar) Y Claudius Constantine (piano and bandoneon) will offer a surprising repertoire of the Almeria maestro.
From the Shepherdess Follies and the Olympia Theater in Paris, until the tibet monasteries, Padilla was conquering unstoppably and irresistibly all the corners where their records were reaching, whose echoes still resonate today thanks, among other prodigies, to whom of Federico Fellini, Yasujiro Ozu, Woody Allen o Ridley Scott.
But nevertheless, the master's work goes much further of the famous 'El relicario' or 'La violetera', or its well-known pasodoble ‘Valencia’, or of that ‘Portuguese Studentina’ that put music to the Carnation Revolution of 1974. Much of its production, as inexhaustible as the episodes of his hectic life, is still unknown in our country.
The trio formed by Bercovich, Menem and Constantini will travel through one of these jewels among which the songs will sound 'Look at me' (1920), ‘The moon swaying in the rainbow ' (1931), ‘Dance on the garden’ (1927) or the essential ‘La violetera’ (1918); romances like ‘Little princess’ zarzuela ‘The court of love’ (1916) O ‘Song of“ The Spanish guitar ”’ zarzuela ‘Sun of Seville’ (1924); movie music like Un One evening prayer ’ of the film The last ride ’ (1947); musical pieces like 'Serenade' from the musical ‘Rome’, and even one prodigious collection of tangos.
The Ambigus that come
To the concert in honor of the teacher Jose Padilla, they will follow that of the soprano Berna Beads Y Rubén Fernández Aguirre, that will in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences of secular and sacred music in ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day (8 of March), Shiggaion. Music found, unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will present ‘Tribute to Iberoamerica’ (15 of June).
It was presented in the Lied cycle of CNDM and Zarzuela theater, the french Sabine Devieilhe. He did it with a varied repertoire of Debussy, Poulenc, Fauré and Ravel. With an intelligent distribution interleaving each of the authors, which requires a greater demand on the part of both interpreters. The continuous change of atmospheres and registers requires a lot of attention and adds a dynamism to the extraordinary set.
Sabine Devieilhe is a coloratura soprano who in this recital has shown that this tessitura can be explored, notably, a chamber music repertoire like the one at hand. With great expressiveness in interpretation, elegance in diction and melodic line, Devieilhe was successfully and sensitively reeling off each of the qualities of the composers, from the most romantic tints of Fauré to the contemporaneity of Poulenc.
The ease that Devieilhe demonstrates in his sophisticated way of interpreting, was perfectly accompanied by one of the best piano performers of the moment, Alexandre Tharaud, who became the protagonist in some moments, thanks to its ability to create atmospheres and the absolute elegance with which it travels the keyboard.
Generous in tips, after going out to say hello on several occasions, they offered the "Aria of fire", from The child and incantations, Ravel, where Devieilhe demonstrated her mastery of coloratura. A baroque work by Rameau, where he demonstrated the versatility of his voice and the beautiful Youkali, Kurt Weill, masterfully performed and left the audience fully satisfied.
An extraordinary night that Devieilhe appreciated being able to offer, given the circumstances and the special impact of the pandemic on the world of culture. Do not forget that Madrid is the only European city where artistic shows are being offered. It was demonstrated in this recital, where the freshness of its two interpreters provided the audience with a breath of fresh air, so thankful right now.