Crescendo

The second edition of Crescendo, We create Opera, program of the Friends of the Royal Theater Foundation, has successfully concluded after three months of training and artistic activities.

Twenty-three young promises of the opera, of nine different nationalities, have been the beneficiaries of the II edition of Crescendo, We create Opera, program of the Friends of the Royal Theater Foundation that has just concluded its training phase developed during three demanding months of work.

With the aim of offering top-level professional training and internships for young talent, the Crescendo program has had in this course with 37 training sessions in different disciplines such as interpretation workshops and vocal training with outstanding teachers –Carmen Santoro, Victor Dogar, Ánima May or Sabina Puértolas-, body expression, personal brand and communication, classes with repeat teachers and attendance at opera rehearsals.

All this, added to a dozen professional opportunities to perform in recitals, productions and events of the Royal Theater, they complete a training experience that promotes the career of a new generation of artists and opens the doors to the world of work.

The young singers of Crescendo have had a prominent presence in the presentation of the Season 2022-2023 The Royal Theatre, have participated in the meetings of the program approaches and is scheduled to perform in the productions of the Real Junior from next season: Ghost that sings does not scare, A.I.D.A., family musical feast Y Everyone to the Gayarre!.

The participants of this second edition are youth 23 a 35 years, from Albania, Chile, Colombia, Spain, Paraguay, Portugal, Russia, Serbia and Venezuela, selected after a rigorous audition, until setting up a group made up of 12 sopranos, 2 mezzosopranos, 1 tenor, 4 baritones, 1 bass-baritone and, for the first time, 3 repeating pianists. Total, the first two editions of the program already add 43 young people benefited.

The experience and background that these young people acquire after passing through Crescendo is reflected in the words of the Venezuelan soprano Sonia Suárez, from 28 years, one of the singers who performed in the presentation of the Teatro Real season, who assured, at the end of the course that "it has been wonderful, not only for fulfilling the dream of singing at the Real, but because they treat us like professionals and give us Job opportunities in these difficult times. thanks to the program, many agencies have set their eyes on us. In my case I just signed a contract with Iberkonzert”.

Crescendo It is a nationwide initiative, long-term, international, that is committed to artists from the beginning of their career. The next 16 July will offer a recital presented by the young talents of this second edition at the Royal Theater.

The Crescendo program is sponsored by Porosus Endowment Fund, Edmond de Rothschild Foundations and the Banco Sabadell Foundation.

The birth of the Sun King

The next sunday, 19 of June, we can enjoy the Teatro Real of the Show The birth of the Sun King, The royal ballet of the night, conceived and performed by the French company Matching set, directed by harpsichordist Sébastien Daucé, whose premiere had to be postponed last season due to difficulties in moving the artists due to the pandemic.

There are many monarchs who have starred in operatic titles, but there are very few who have the honor of having been inaugurated by a king, as is the case of The royal ballet of the night (1653), show in which Louis XIV embodied the god Apollo as a dancer with barely 14 year old. the aristocracy, present in large numbers, the European ambassadors and also the Parisian bourgeoisie acclaimed this great spectacle whose wonders created a very lasting impression.

The show, nothing innocent in political terms, sanctioned the triumph of the crown over the revolts that the aristocrats of the Fronde had instigated during the preceding five years, through an allegory in which the Sun King dispelled the darkness of the night, arranged musically throughout four vigils that alternated sung and danced numbers. For the first time in the history of the genre, a unified and carefully developed libretto appears in four watches (parts) and a great concluding ballet; all levels of performance and all the arts point to a single end, Sunrise.

the score, composed of various French and Italian authors linked to the court, slept for centuries among the archives of the Philidor collection, of the old Paris conservatory, until its rediscovery in 2004 and his musical recreation in 2016 by Sébastian Daucé and the Ensemble Correspondences. The poetry that accompanied the royal ballet was by the illustrious Isaac de Benserade, who in 1653 already enjoyed great prestige as a writer and would excel both in the genre of court ballet as in the most refined lyric.

Result, as usual, difficult to determine the authorship of the music of the court ballets in the early years of the reign of Louis XIV. In the case of the Ballet Royal de la Nuit we can be sure of the identity of Jean de Cambefort (c.1605-61), who produced the recitatives and arias that open each of the four vigils, and Antoine Boesset (1587-1643) and Louis Constantin (1586-1657),though, definitely, there were other participating composers.

THE BIRTH OF THE SUN KING

The royal ballet of the night

Semi-opera in four scenes and final dance

John of Cambefort (1605-1661), Antoine Boesset (1587-1643), Louis Constantin (1586-1657),

Michel Lambert (1610-1696), with extracts from Hercules lover (1662) from Francesco Cavalli

(1602-1676) Y Orfeo from Luigi Rossi (1597-1653)

libretto Isaac of Benserade (1613-1691)

Released at the Petit-Bourbon Palace in Paris on 23 February 1653

Premiere at the Royal Theater

Semi-opera in concert version

Director y reconstructor musical Sébastien Daucé

DISTRIBUTION

The night / Venus | Lucile Richardot

in his day protagonist of one of the most memorable recordings of the work / a grace / Beauty / a wandering soul / Cynthia | Caroline Weynants

Venus / The silence / a grace | Caroline Bardot

a french grace | Marie-Frederique Girod

an italian grace | Eva Plouvier

The moon / Deyanira / a grace / a wandering soul | Blandine de Sansal

Juno | Ilektra Platiopoulou

in his day protagonist of one of the most memorable recordings of the work / a grace / A follower of Endymion | David Tricou

The dream / A follower of Venus / A river / The aurora / a wandering soul / a zephyr | Etienne Bazola

Hercules | Renaud Bres

a zephyr / A follower of Endymion | Nicolas Brooymans

Matching set

Musical edition Critical edition by Sébastien Daucé

duration: 2 hours and 55 minutes

Photography © JM Berns

Royal Theater Awards

Jose Maria Alvarez-Pallete, José Bogas, Florentino Pérez, Nicola Luisotti, Marina Rebeka, Christof Loy, Michael Fabiano, Carlos Alvarez Y Santiago Moreno, received last night at the Royal Theater, at a gala dedicated to the mezzo Teresa Berganza and it was presented by Anne Igartiburu, the first prizes awarded by the Theater to the institutional and artistic activity carried out in the coliseum.

The award ceremony, sculptures donated by Christina Iglesias representing the embouchure of a stage, was the prelude to a concert starring the mezzo Silvia Tro Santafe, excellent interpreter and great admirer of Teresa Berganza, who died last 13 of May.

The awards Teatro Real, As explained in his speech by the president of the institution, Gregorio Maranon, they are awarded to “exceptional people” who have made a decisive contribution with their support and talent to making the Teatro Real “one of the leading opera houses in the world, recovering the prestige it had in the 19th century”. Marañón recalled that, though Teresa Berganza, Patron of Honor of the Theater, wanted to go quietly, the emotion of their interpretations will always accompany everyone.

The president of Telefonica, Jose Maria Alvarez-Pallete, assured, upon receiving his award from the vice-president of the Royal Theater Board of Trustees, Helena Revoredo, that “the gates of the Royal, unforgettable memory factory, give entrance to unique moments, moments that very few theaters in the world are capable of producing”.

For the CEO of Endesa, José Bogas, to whom the general director of the Theater gave his sculpture, Ignacio García-Belenguer, the real, has become "a world leader in management in the world of opera", a path in which your company has accompanied the institution since its reopening, in 1997, and what you now have on the coliseum's audiovisual platform, My Opera Plater, and in the Near You project, two experiences that “excite” them and that define their commitment to the sponsorship of culture.

The president of ACS, Florentino Pérez, he pointed, after receiving his award from the president of the Teatro Real, Gregorio Maranon, that "at the moment it is more evident than ever" that all efforts to promote culture and sport must be maintained, and stressed that the Real is, in that sense, “a key institution in the dissemination of Spanish culture”.

“This award is not just my award, It is the award of the people of the Royal Theater because in this Theater there are people: there is an orchestra, choir, technical, teachers, people who work every day for music, for the theater, for hope, for the future", the conductor affirmed in his turn the teacher Nicola Luisotti, to whom the Italian ambassador in Spain presented his award, Riccardo Guariglia.

"I just want to say that when the rest of the world waited to act, performed by the Royal Theater, a theater i call home, my home. It is the world leader in maintaining the culture and, because, We must remain grateful to the entire team of this wonderful company”, highlighted the American tenor Michael Fabiano, to whom the Secretary of State for Budgets and Expenditures presented his award, María José Gualda.

The artistic director of the theater, Joan Matabosch, was in charge of giving it to the Latvian soprano Marina Rebeka, who did a duet with Silvia Tro Santafe as the culmination of the concert.

“I wanted to say that this theater has always been very special to me. This Traviata –the one who sang in July 2020 with Fabiano as partner on stage and Luisotti in the pit- will always be in my memory and my heart because we were all at home, without anything, without work… The pandemic stood in the way of culture and now when I look at this room without masks I think it has been a victory”, Rebekah said.

The German stage director Christof Loy, responsible for the production of Rusalka in 2021, remembered, after giving him his sculpture the general coordinator of the Madrid Mayor's Office, Matilde Garcia Duarte, that his first production at the Theater was Capriccio, in 2019, and "it was love at first sight" because the Real is, detailed, “a wonderful mix of passion and discipline”.

baritone Carlos Alvarez, to whom the patron saint of the Real and Minister of Culture gave him his award, Tourism and Sports of the Community of Madrid, Marta Rivera de la Cruz, He confessed to being "privileged" for being lucky enough to set foot in a theater where "a great team" works. He affirmed that artists have an obligation to "continue to be an example for those who have a need for hope and culture".

The award ceremony was closed by the president of the Theater Medical Committee, the head of the Infectious Diseases service of the Ramón y Cajal hospital in Madrid, Dr. Santiago Moreno, who dedicated his award to all those who work in Health, to those who “have been watching over our health to stay a little better”.

The Royal Theatre, he said after collecting his award from the deputy director general of the Teatro, Borja Ezcurra, has been “an example of how well things can and should be done (…) The theater accepted, voluntarily, the great challenge of not interrupting its activity during the pandemic. It was the only example in the world capable of carrying out such a feat, ensuring at all costs the safety of its workers and that of the public.. The crossing has been successfully traversed and will go down in the annals of opera house history.", added.

Photograph: © Javier del Real | Teatro Real

Marion Cotillard

Between days 7 Y 17 of June, Royal Theatre offer 8 functions of a new co-production with the Frankfurt Opera, than a cantata The elected damsel (the blessed maiden), from Claude Debussy (1862-1918) -with libretto by the English poet and painter Dante Gabriel Rossetti (1828-1882)- and the dramatic oratorio Joan of Arc at the stake (Joan of Arc at the Stake), from Arthur Honegger (1892-1955), with writer's booklet Paul Claudel (1868-1955). Marion Cotillard

The two works are presented without pause, with dramaturgy and staging of Alex Olle (La Fura dels Baus), in a unique setting conceived by Alfons Flores, with figurine of Luke Castles, lighting Joachim Klein Y Urs Shönebaum and video Franc Aleu.

Created by order of the dancer, Franco-Ukrainian actress and patron Ida Rubinstein (1885-1960), Joan of Arc at the stake premiered in concert version in 1938. But nevertheless, the atrocities of Nazism and the occupation of France led to Paul Claudel Y Arthur Honegger to later add a prologue that more clearly linked the tragedy of Joan of Arc in the Hundred Years' War and the brutal German expansion in World War II.

This second version, with prologue and 11 scenes, released in 1946, It is the one that will be seen at the Royal Theater. In her, Joan of Arc (Marion Cotillard), on the pyre that will burn her, disorderly recalls moments of his life in a double flashback through which a series of distorted characters parade: a judge-pig, a prosecutor-donkey, a jury of sheep, a noisy mass of bestialized men, but also the virgin, saints and children.

Music, with an original orchestration -which includes two pianos, three saxophones, ondas martenot, etc.- it happens like a mosaic of languages, styles and influences ranging from Gregorian chant and counterpoint to folk and jazz-inspired melodies, without avoiding the dissonances, with a choral writing of great complexity and dramatic vigor.

Alex Olle conceives production as a dystopia, with a world devastated by the same dehumanized hordes that have devastated Europe in the fifteenth century of Joan of Arc, in the 20th century of Claudel and Honegger and in the 21st century, beyond us: a universe of manipulative beasts and gregarious rabble from which only death, spirituality and faith can set us free. That immaterial and transcendent plane, where the virgin and the saints live -represented, in the decoration of Alfons Flores, in the upper half of the stage- it is also the heavenly realm where The chosen damsel, the blessed maiden, wait for her lover, who still lives in the real world, for, after death, join her in the eternity of love. This intangible universe, of peace and serenity, it is the same one that awaits Joan of Arc beyond the pyre and the exterminating fire, uniting the two protagonists like the diptych of an altarpiece.

The cantata of Claude Debussy, reminiscent of the most transcendent and ethereal passages of Richard Wagner, will be starring the soprano Camilla Tilling, mezzosoprano Gérald and a choir of female voices singing fragments of the symbolist poem The Blessed Damozel, from Dante Gabriel Rossetti, who also painted the portrait of the heroine (currently in the Fogg Art Museum at Harvard University).

The evanescent end of The chosen damsel gives way to the gloomy Prologue of Joan of Arc at the stake, made by Marion Cotillard, next to the actor Sebastien Dutrieux (Fray Dominique), las sopranos Sylvia Schwartz (the virgin) Y Elena Copons (Marguerite), mezzosoprano Enkelejda Shkoza (Catherine), the tenor Charles Workman (Pig), bass-baritone Torben Jugens (Herald), he Headlines Choir and Orchestra of the Teatro Real and the Little Singers of JORCAM, under the musical direction of Juanjo Mena.

Joan of Arc at the stake performed at the Royal Theater, in concert, in 1971 -starring Claude Nollier, with the RTVE Choir and Orchestra conducted by Odón Alonso- and in 1978, with actress Lilliane Becker in the title role, together with the National Orchestra of Spain and the Orfeón Pamplonés under the direction of Pedro Pirfano. Arrive now, for the first time, with a stage version that shows how barbarism and the heat of war continue to devastate the great theater of the world.

Royal Theater Awards

the spanish baritone Carlos Alvarez and the American tenor Michael Fabiano; the italian conductor Nicola Luisotti; german stage manager Christof Loy and the Latvian soprano Marina Rebeka, are the artistic winners of the first edition of the Awards Teatro Real, that will be delivered next 6 of June in a Gala starring the Spanish mezzo-soprano Silvia Tro Santafe.

These awards join those already announced, in the institutional category, to Jose Maria Alvarez-Pallete, José Bogas Y Florentino Pérez, besides the doctor Santiago Moreno, President of the Royal Theater Medical Committee.

The awards in the artistic category are awarded to Christof Loy, Nicola Luisotti, Marina Rebeka, Carlos Alvarez Y Michael Fabiano for his great artistic season at the Teatro Real. The artists, part of the "Great Family" of the Royal Theater, with their talent they have given a trip to worlds that only they can build.

The next 6 of June, to 19.30 hours, the Royal Theater will deliver, at a special gala, the awards, whose objective is to recognize the merit of personalities and artists linked to the Real and who have stood out, in a special way, for their support of the institution throughout the season 2020-2021.

This time, the Gala will be dedicated to the late mezzo-soprano Teresa Berganza, Patron of Honor of the Theater, whose imprint will be present in some of the pieces chosen for the concert.

the distinctions, divided into two categories, institutional and artistic, born with a vocation for continuity. The award is a magnificent work by the sculptor Christina Iglesias, generously made by the great artist for the Royal Theater.

Lara Diloy
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.

Achilles new season Teatro Real

The season 2022-2023 of the Royal Theater begins under the sign of OrfeoOrpheus, de Philip Glass, HE will premiere in Spain the next 21 September at the Canal Theaters- and its spell will travel throughout the season, with the presentation of L'Orfeo, by Claudio Monteverdi and Orfeo ed Euridice, de Christoph Willibald Gluck.

Due to the complex renovation works on the floor of the stage area, after 25 years of maximum and uninterrupted use, the official opening of the season 2022-2023 will be the 24 October, with the revival of the spectacular Aida, de Giuseppe Verdi, conceived and renovated by Hugo de Ana, under the musical direction of Nicola Luisotti.

Once again, the Royal Theater Season, with a wide variety of periods and styles, tour five centuries of musical creation [see table below] and is composed of 18 works in the section OPERA, 4 Programs of DANCE, 15 CONCERTS 4 Voces del Real, 3 lyrical concerts, 2 galas and 6 cycle concerts Chamber Sundays-. It is completed with 9 shows for children and adolescents framed in THE REAL JUNIOR, Besides 9 children's workshops Everyone to the Gayarre!

Of the 18 titles of OPERA, 8 are new co-productions of the Teatro Real, 2 they are reruns; 2 they are guest productions; 2 will be in a semi-staged version and 4, in concert [see table below].

The Royal Theater will present 9 new titles that have never been presented in their history, including 3 premieres in Spain Orpheus, de Philip Glass; Nixon in China, by John Adams and Anti-formalist Rayok, Shostakovich Dmitri- Y 3 premieres in Madrid: Arabella, Richard Strauss; the stage version of Nose, Shostakovich Dmitri; Y Dialogues by Tirant and Carmesina, Joan Magrané.

Of the 8 new co-productions of the Teatro Real, 5 They are productions that are presented first in Madrid and later in the other co-producer theaters.: Orpheus, de Philip Glass; La sonnambula, de Vincenzo Bellini; Dido and Aeneas, Henry Purcell; Achilles in Skyros, Francesco Brusa; e The turkish in Italy, de Gioachino Rossini.

In his commitment to recovery of the Spanish operatic heritage, the Teatro Real will present two baroque plays from the 18th century, premiered during the reign of Philip V: the opera Achilles in Skyros, by Francesco Corselli and the zarzuela Coronis, Sebastián Durón, then Master of the Royal Chapel of Madrid.

   OPERAS OF THE SEASON

 

New co-productions

 

 

 

 

 

 

 

productions

guests

 

Reruns

 

Versions

semi-staged

 

versions of

concert

 

 

Orpheus*, de Philip Glass | Premiere in Spain

La sonnambula*, de Vincenzo Bellini

Dido and Aeneas*Henry Purcell

Arabella, Richard Strauss | Premiere in Madrid

Achilles in Skyros*, Francesco Brusa

NoseShostakovich Dmitri | Premiere in Madrid (stage version)

Nixon in China, de John Adams | Premiere in Spain

The turkish in Italy*, de Gioachino Rossini

 

L'Orfeo, de Claudio Monteverdi

Dialogues by Tirant and Carmesina, Joan Magrané | Premiere in Madrid

 

Aidade Giuseppe Verdi

Turandot, Giacomo Puccini

 

Tristán e Isolda, Richard Wagner

 Anti-formalist Rayok, Shostakovich Dmitri | Premiere in Spain

 

El retablo de Maese Pedro, Manuel de Falla 

Tolomeo, king of egyptthe Georg Friedrich Handel

Coronis, Sebastián Durón(concert version)

Orpheus and Eurydice, de Christoph Willibald Gluck

*Premiere of the production before appearing in the co-producer theaters

              OPERAS IN CHRONOLOGICAL ORDER OF CREATION

XVII century

 

 

Century XVIII

 

 

XIX century

 

 

 

Twentieth century

 

 

 

 

 

 

 XXI century

 

 

                      

1607 – L'Orfeo, de Claudio Monteverdi

1689 – Dido and AeneasHenry Purcell

16…* – Coronis, Sebastián Durón

1728 – Tolomeo, king of egypt, the Georg Friedrich Handel

1744 – Achilles in Skyros, Francesco Brusa

1762 – Orpheus and Eurydice, de Christoph Willibald Gluck

1814 – The turkish in Italy, de Gioachino Rossini

1831 – La sonnambula, de Vincenzo Bellini

1865 – Tristán e Isolda, Richard Wagner

1871 – Aidade Giuseppe Verdi

1923 – El retablo de Maese Pedro, Manuel de Falla 

1926 – Turandot, Giacomo Puccini

1930 – NoseShostakovich Dmitri

1933 – Arabella, Richard Strauss

1987 – Nixon in China, de John Adams

1989 – Anti-formalist Rayok, Shostakovich Dmitri

1993 – Orpheus, de Philip Glass

2019 – Dialogues by Tirant and Carmesina, Joan Magrané

* unknown release date

For the first time in the history of the Teatro Real

The Theaters Canal they will host 3 productions –Orpheus, de Philip Glass; Dialogues by Tirant and Carmesina, Joan Magrané; Y Dido and Aeneas, Henry Purcell- and the Circulo de Bellas Artes will present Anti-formalist Rayok, Shostakovich Dmitri.

In the stage direction highlights, the next season, the presence of 4 women: Mariame Clement (Achilles in Skyros), Barbara Lluch (La sonnambula), Sasha Waltz (L'Orfeo) Y Blanca Li (Dido and Aeneas), the last two also choreographers.

They return to the Royal Christof Loy (Arabella), Laurent Pelly (The turkish in Italy), Bob Wilson (Turandot), Barrie Kosky (Nose), John Fulljames (Nixon in China), Justin Way (Tristán e Isolda), Rafael Villalobos (Orpheus) Y Hugo de Ana (Aida) and debut Marc Rosich (Dialogues by Tirant and Carmesina) Y Johannes Stepanek (Anti-formalist Rayok), in addition to those mentioned Mariame Clement, Barbara Lluch Y Blanca Li.

Enter here musical direction have a more prominent presence, as usual, Ivor Bolton (Achilles in Skiros and Nixon in China) Y Nicola Luisotti (Aida Y Turandot).

They return to the Royal Semyon Bychkov (Tristán e Isolda), Maurizio Benini (La sonnambula), Daniel Oren (Aida), David Afkam (Arabella), Mark Wigglesworth (Nose), Diego Garcia Rodriguez (Aida), George French (Orpheus) Y Francesc Prat (Dialogues by Tirant and Carmesina) Y, with guest orchestras, Pablo Heras-Casado (El retablo de Maese Pedro), William Christie (Dido and Aeneas), René Jacobs (Orfeo ed Euridice), Vicent Dumestre (Coronis) Y Francesco Corti (Tolomeo, king of egypt).

They debut in Real Giacomo Sagripanti (The turkish in Italy) Y Leonardo García Alarcón (L'Orfeo), Este con la Freiburg Baroque Orchestra.

Six orchestras and two guest choirs will participate in the season: the Freiburger Barockorchester and the Vocalconsort Berlin in L'Orfeo, de Claudio Monteverdi; Les Arts Florissants in Dido and Aeneas, Henry Purcell; the Orquesta Barroca de Sevilla in Achilles in Skyros, Francesco Brusa; the Mahler Chamber Orchestra in  El retablo de Maese Pedro and Concerto for harpsichord, Manuel de Falla, and in the Suite Pulcinella, by Igor Stravisnki; Tomato in Tolomeo, king of egypt, the Georg Friedrich Handel; The Harmonic Poem in Coronis, Sebastián Durón; and the Freiburger Barockorchester and the RIAS Chamber Choir in Orfeo ed Euridice, de Christoph Willibald Gluck.

He Titular Choir of the Teatro Real, under the direction of Andrés Máspero, and the Head of the Royal Theatre Orchestra, with its titular director, Ivor Bolton, that enjoy a growing national and international prestige, will participate in much of the programming, cementing ties with your guest principal conductors, Nicola Luisotti Y Pablo Heras-Casado.

Parallel to the titles of the season, an ambitious program of PARALLEL ACTIVITIESfilm cycles, exhibitions, concerts, conferences, courses, mesas round, workshops, visits guided, children's activities, etc.- organized at the Teatro Real and at colaboration with 28 cultural institutions (in alphabetical order):  Víctor Espinós Music Library (Count Duke), National Library of Spain, Regional Library of Madrid Joaquín Leguina, British Council, Asia house, house of america, Circulo de Bellas Artes, Spanish Film Library Cine Doré, Shepherd Foundation, SGAE Foundation, Cervantes Institute, Italian Cultural Institute of Madrid, International Institute, National Archaeological Museum, Cerralbo Museum, Madrid History Museum, Municipal Museum of Contemporary Art of Madrid, Museo Nacional Centro de Arte Reina Sofía, National Museum of Decorative Arts, National Museum of Romanticism, Thyssen-Bornemisza National Museum, Naval museum, National Heritage, Real Conservatorio Superior de Música in Madrid, Cooperation Network Routes of Carlos V, Student's residence, Equis Hall and Nebrija University.

The Theater continues to work hard to attract and retain young audiences, with a series of initiatives framed in its program THE REAL YOUNG and facilities and privileges granted to their Young Friends, whose number continues to grow.

Next season will be organized 4 Young Previews for children 35 years and will continue the advantages and discounts in the purchase of localities through the Young armchair or the towns of Last minute.

The Opera Week, with its broadcasts and popular activities for the dissemination of opera, and the ROYAL CARRIAGE, a traveling stage always prepared to offer chamber concerts in different parts of the country, are two of the most outstanding projects framed in the program ROYAL THEATRE NEAR YOU, valid until the end of the season.

In addition to its artistic program, the Teatro Real continues to strengthen the dialogue with other types of music, co-producing in the summer months the UNIVERSAL MUSIC FESTIVAL  Y, throughout the season, dance and song performances REAL FLAMENCO, that take place on Thursdays and Fridays in its Ballroom.

The Teatro Real will increase the national and international diffusion of its programming through new recordings and live broadcasts on MY OPERA PLAYER, whose catalog continues to grow with the regular addition of new offers from more than 50 theaters and auditoriums around the world. Recently, within the platform, a space dedicated solely to flamenco, with a tab of its own, to promote the dissemination of this Spanish art to new audiences around the world.

OPERA SCHEDULE

Orpheus, de Philip Glass | Premiere in Spain | production premiere | Premiere at the Royal Theater

New production of Teatro Real and Canal Theaters.

Released in 1993, this chamber opera Philip Glass, with text of Jean Cocteau, is a farewell song from the French poet to his young lover and, half a century later, from the composer to his partner.

Rafael Villalobos, which triumphed with the world premiere of Marie, by Germán Alonso, in the past season, will stage the heartbreaking duel of Orpheus and his path to liberation, with the complicity of a mostly Spanish double cast, under the direction of George French, in front of the Head of the Royal Theatre Orchestra.

21 September – 25 September | 5 functions | 2 deliveries | Theaters Canal 

Aida, Giuseppe Verdi | Replacement

Royal Theatre production in co-production with the Abu Dhabi Music and Arts Foundation, based on the original production of the Royal Theater of 1998.

Aida inaugurates the lyrical season of the Teatro Real, preceded by a youth preview minor 35 years, he 21 October.

The renewed production conceived by Hugo de Ana in 1998 returns under the infallible baton of Nicola Luisotti, who will alternate in the pit with Daniel Oren Y Diego Garcia Rodriguez in front of Headlines Choir and Orchestra of the Teatro Real.

Three casts of Verdian stars headed, in the title role, by Krassimira Stoyanova, Maria Agresta, Roberta Mantegna Y Anna Netrebko, will alternate in the 20 representations, in which they will also participate, among others, Piotr Beczala, Jorge de León, Carlos Alvarez, Artur Ruciński, Jamie Barton Y Sonia Ganassi.

24 October – 14 November | 20 functions | 3 Department

L'Orfeo, de Claudio Monteverdi | guest production

Sasha Waltz Production & Guests, in collaboration with the Dutch National Opera Amsterdam, el Gran Théâtre du Luxemburg, the Bergen International Festival and the Opéra de Lille.

the choreographer Sasha Waltz, presented at the Teatro Real, in 2019, their version of Dido and Aeneas, Henry Purcell, returns with a new choreographic ritual ceremony, reminiscent of ancestral celebrations, in an already iconic production that triumphed in several European theaters and festivals. Argentine music director Leonardo García Alarcón debuts at the Teatro Real leading a cast of singers from the baroque universe, next to Vocalconsort Berlin Yet the Freiburger Barockorchester.

20 November – 24 November | 4 functions | 1 Department

Dialogues by Tirant and Carmesina, Joan Magrané | Premiere in Madrid | Premiere at the Royal Theater | guest production

Production of the Pocket Opera and New Creation, the Gran Teatre del Liceu in Barcelona and the Castell de Peralada Festival.

Based on the chivalric novel Tirant lo Blanc, from Joanot Martorell, the composer Joan Magrané and the librettist and stage manager Marc Rosich have created a chamber opera as a medieval 'love battle', which takes place in a light installation of Jaume Plensa, where the three protagonists gloss love and heartbreak, along with soloists from the Head of the Royal Theatre Orchestra, under the direction of Francesc Prat.

23 november - 27 November | 4 functions | 1 Department | Theaters Canal

La sonnambula, de Vincenzo Bellini | production premiere

New production of Teatro Real in co-production with the New National Theater Tokyo, the Gran Teatre del Liceu in Barcelona and the Teatro Massimo di Palermo.

Nadine Sierra Y Xabier Anduaga, Y Jessica Pratt Y Lawrence Brownlee, lead the two casts that will bring Bellini's opera to the Real's stage, romantic belcantismo icon, in lucid vision, modern and feminist Barbara Lluch, who debuts at the Teatro Real as stage director, after more than a decade of assiduous collaborations as an assistant. Maurizio Benini, in front of Headlines Choir and Orchestra of the Teatro Real, will be responsible for the musical direction of the opera, with the seriousness and elegance that this type of repertoire requires.

15 December – 6 January | 13 functions | 2 deliveries

Dido and Aeneas, Henry Purcell | production premiere

New production of Teatro Real and Canal Theaters, in co-production with the Opéra Royal de Versailles, Gran Teatre del Liceu in Barcelona, Imperial Theater of Compiegne and Les Arts Florissants.

This inconsolable song of a queen abandoned by her lover, English baroque jewel, It was released in 1689 en una ‘School for Girls’, very inspiring situation to approach the opera from the feminine universe of the great choreographer Blanca Li, who will be responsible for staging Purcell's opera, counting for this on the versatility and mastery of Les Arts Florissants, with William Christie in musical direction.

17 January – 22 January | 5 functions | 1 Department | Theaters Canal 

Arabella, Richard Strauss | premiere Madrid | Premiere at the Royal Theater

New production of Teatro Real from the Oper Frankfurt.

Come back Christof Loy with a title by Richard Strauss after the success of his Capriccio, in 2019, again with a production full of interpretive textures, that transits between the real and spectral characters, exploring the background of a glamorous and poetic comedy, but also disturbing and tragic.
David Afkham, chief director of ONE, will return to the pit of the Royal Theater, leading a choral cast headed by the soprano Sara Jakubiac and Headlines Choir and Orchestra of the Teatro Real.

24 January – 12 February | 7 functions | 1 Department

Achilles in Skyros, Francesco Brusa | production premiere | Premiere at the Royal Theater | Recovery of Spanish musical heritage

New production of Teatro Real in co-production with the Theater an der Wien.

Ivor Bolton leads the recovery of this unknown opera of the Spanish baroque, in front of the Orquesta Barroca de Sevilla, of the Titular Choir of the Teatro Real and a cast headed by the countertenor Franco Fagioli, who plays the transvestite Achilles, when his mother disguises him as a woman and sends him to the island of Skyros to prevent his participation in the Trojan War.

Mariame Clement places the plot in the court of Felipe V, with the participation of the infanta María Teresa Rafaela, whose betrothal to the Dauphin of France, son of the sun king, were celebrated with this opera.

17 february - 25 February | 5 functions | 1 Department

El retablo de Maese Pedro Y Concerto for harpsichord, Manuel de Falla| Suite Pulcinella, by Igor Stravinsky | Concert version

Pablo Heras-Casado, at the head of the prestigious Mahler Chamber Orchestra, with whom you work regularly, will evoke the popular theater of the Golden Age with the Cervantine mosaic of Manuel de Falla inspired by the misdeeds of Maese Pedro, and will explore the burlesque and pompous universe of the art commedy, via Igor Stravinsky.

18 February | 1 function

Nose, Shostakovich Dmitri | Premiere in stage version in Madrid | Premiere at the Royal Theater

New production of Teatro Real, in collaboration with the Royal Opera House, la Komische Oper Berlin and Opera Australia.

The overflowing and irreverent imagination of Barrie Kosky -known by the Real public for his successful version of The magic Flute in animated film- is evident in this surprising and acid opera by Shostakovich, for which more than 80 characters that gravitate in the grotesque world of a bitter bureaucrat, interpreted by Martin Winkler. The cast, mostly slavic, will have the participation of Anne Igartiburu in the role of TV presenter.

The musical direction will be from English Mark Wigglesworth, who will direct the Choir and Orchestra Holders of the Teatro Real after the success, in 2018, with Dead Man Walking, de Jake Heggie.

13 March – 30 March | 7 functions | 1 Department

Anti-formalist Rayok, Shostakovich Dmitri | Premiere in Spain | Premiere at the Royal Theater | Opera in semi-staged concert version

This grotesque little chamber opera, marginal y maldita intertwines fragments of supposedly grotesque speeches by Soviet authorities with folk music and evocations of military marches, in an undisguised criticism of the communist regime that led to the concealment of the score until after the death of the composer. It will be presented as a complement to Nose, in semi-staged version of Johannes Stepanek, with singers from Titular Choir of the Teatro Real, the bass Alexander Teliga and an instrumental group with Judith Jáuregui the piano.

26 March | 1 function | Circulo de Bellas Artes

Nixon in China, de John Adams | Premiere in Spain | Premiere at the Royal Theater

New production of Teatro Real in co-production with Copenhagen's Den Kongelige Opera and Scottish Opera.

The Teatro Real premieres in Spain this classic opera by John Adams, that recreates the visit of the president of the United States, Richard Nixon, a China, in 1972, under the Maoist ceremonial megalomaniac, in the middle of the cold war.

In the score arias are articulated, duos, concertantes, choir and ballet, emulating the nineteenth-century operatic tradition with a clear criticism of the paraphernalia of power, underlining the staging of John Fulljames.

The musical direction is from Ivor Bolton, in front of Headlines Choir and Orchestra of the Teatro Real and a cast of which they are part Leigh Melrose, Sarah Tynan, Jacques Imbrailo, Alfred Kim, Audrey Luna Y Maybe Borja, among others.

17 April – 2 mayo | 7 functions | 1 Department

Tolomeo, king of egypt, the Georg Friedrich Handel | Opera in concert version

The presentation of the fabulous operatic production of HändeI continues in the seasons of the Teatro Real. After Alcina (2015), Rodelinda (2017), Ariodante (2018), Agripina (2017) Y Parthenope (2021), returns

Tolomeo, king of egypt -offered in 2009- starring a cast specializing in the Baroque headed by the countertenor Jakub Jósef Orlinski, next to the orchestra Tomato, with musical direction Francesco Corti.

23 April | 1 function

Tristán e Isolda, Richard Wagner | Opera in semi-staged concert version

This masterpiece of all time, source of inexhaustible musical and philosophical analysis, and of emotional and transcendental flights, returns with a luxury cast, with Andreas Schager Y Ingela Brimberg in the title roles and acting direction of Justin Way.

Semyon Bychkov will assume the musical direction at the head of the Headlines Choir and Orchestra of the Teatro Real.

25 april and 6 mayo | 4 functions | 1 Department

The turkish in Italy, de Gioachino Rossini | production premiere | Premiere at the Royal Theater

New production of Teatro Real in co-production with the Opéra de Lyon and the New National Theater Tokyo

Laurent Pelly will be in charge of helping the poet Prosdocimo, star of The turkish in Italy, to find the plot for your literary work, unraveling the libidinous messes his characters get into, in a continuous and juicy game of disguises, under which beat the great dilemmas of the soul.

The musical direction will Giacomo Sagripanti, who debuts at the Teatro Real leading a cast that includes many singers who have never performed on its stage, along with other much loved by the public, as Lisette Oropesa, Pietro Spagnoli O Sara Blanch.

31     mayo – 12 June | 10 functions | 2 deliveries

Coronis, Sebastián Durón | Zarzuela in concert version | Premiere at the Royal Theater | Recovery of Spanish heritage

The work of Spanish musicologists is discovering surprising scores like the one for this zarzuela, entirely sung, attributed to the composer Sebastian Duron, that intertwines stories of gods and nymphs, tragic and burlesque, with a music that betrays the French and Italian influence, but also the Hispanic musical heritage that it intends to vindicate. Vincent Dumestre, great connoisseur of the baroque repertoire, will lead an international cast and the Orchestra The Harmonic Poem.

10 June | 1 function

Orfeo ed Euridice, de Christoph Willibald Gluck | Opera in concert version

René Jacobs, true patriarch in the recovery and interpretation of the baroque and classical repertoire, will bring Real a title that will show, once again, his experience in reading historicist music, counting for it with three of his usual solo singers, next to RIAS Chamber Choir and the Freiburger Barockorchester.

13 June | 1 function

Turandot, Giacomo Puccini | Replacement

Royal Theatre production in co-production with the Lithuanian National Theater, the Canadian Opera Company of Toronto, the Houston Grand Opera and the Paris Opera.

The charismatic visual and dramatic language of Bob Wilson, backlit silhouettes, masks and almost ritual movements, It has turned out to be ideal for telling the legend of the bloodthirsty Chinese princess, framed in a scenographic space that connects with the ancient oriental shadow theater.

After triumphing in Paris, Toronto and on MyOperaPlayer, this production returns to the theater where it was born, again under the direction of Nicola Luisotti, with three exceptional casts led by Anna Pirozzi, Elena Pankratova Y Session Hernández, next to Headlines Choir and Orchestra of the Teatro Real.

3 July – 22 July | 17 functions | 3 deliveries

DANCE SCHEDULE

The dance programming offers one of the most seductive proposals in recent years with the presence of 4 companies that, with different styles, they will have a special starting point at the Real. The season opens National Dance Company with a Tribute to Jiři Kylian, with choreographic works by Nacho Duato, Andrea Schermoly, sun lion, Paul Lightfoot and himself Kylian.

Sasha Waltz & Guests returns with the ambitious challenge of integrating singing, dance and music to show L'Orfeo Monteverdi from another perspective. He New York City Ballet will present at the Teatro Real two mythical choreographies by Georges Balanchine and a recent invoice from the creator Justin Peck, a whole sample of the personality of the company. And the cycle will close English National Ballet with the adaptation of the classic Raymond, With which Tamara Rojo makes her debut as a choreographer and whose international tour, to show this work, will start in Madrid.

The National Dance Company will inaugurate the dance season of the Teatro Real, with a tribute to the Czech dancer and choreographer Jiří Kylián, hand in hand with four creators with a strong artistic and personal bond with the master of contemporary dance and his reference company, el Dutch Dance Theater. They are Nacho Duato, sun lion, Paul Lightfoot Y Andrea Schermoly. With diverse music and inspirations, the recreations of the different choreographic moments will constitute a great prelude to a program that will culminate with the performance of Beautiful figure, creation of Jiří Kylian of 1995 what, already turned into a masterpiece, invites us to reflect on the art shown as «a journey through time, light and space, in reference to the ambiguity of aesthetics, stage performances and dreams».

the german choreographer Sasha Waltz returns to the Teatro Real with the ambitious challenge of integrating singing, dance and music for a delicate reading of the L'Orfeo Monteverdi. If originally the work combines the art of theater and sung music creating a model of artistic expression per se, Waltz delves into the exploration of a kind of "choreographed opera" in which sound and movement complement each other seamlessly.. As in the past with Dido & Aeneas, Sasha Waltz & Guests will have the participation of Vocalconsort Berlin accompanied, this time, by Freiburger Barockorchester.

He New York City Ballet visits Spain and will do so with the stage of the Teatro Real as the protagonist, with a program that captures the very essence of his personality. For their presentation in Madrid they have selected three choreographies full of symbolism. Two are works of George Balanchine, co-founder of the company and mythical figure of the ballet: Serenade – a milestone in history for being the first original ballet that Balanchine created in the United States-, Y Square Dance -in which the choreographer married American folk dance traditions with classical ballet-, both have become emblems of the NYCB's repertoire, Y The Times Are Racing, from Justin Peck, created in 2015 and inspired by the last four tracks of the album by 2012 de Dan Deacon, America. 

After its recent premiere in London, and the tour that will take place in the United Kingdom next autumn, he English National Ballet will present at the Royal Theater, for the first time internationally, Raymond, ballet with which Tamara Rojo debut as a choreographer. His proposal moves the original action to the Crimean War, inspired by the figure of Florence Nightingale and the work of the women who, with innovative spirit, supported the efforts of combatants in the conflict. Raymond thus becomes a young woman with a vocation as a nurse. Starring a great cast of dancers, this version, critically acclaimed, maintains the best of the 19th century original, including score by Alexander Glazunov, adapted and edited by Gavin Sutherland and Lars Payne. Functions Raymond They will include the participation of Head of the Royal Theatre Orchestra under the direction of Gavin Sutherland.

CONCERTS AND GALA

The cycle REAL VOICES is composed this season by 5 concerts starring some of the best lyrical artists in the world: Cecilia Bartoli, Gregory customer, Carlos Alvarez, Matthias Goerne, Joyce DiDonato Y Javier Camarena.

Complete the offer 6 that make up the cycle CAMERA SUNDAYS, and a concert with the finalists of the Montserrat Caballé Contest and another the winners in Tenor Viñas Competition.

The THEATER ROYAL GRAND ANNUAL GALA, for philanthropic purposes and the assistance of prominent personalities from the institutional field, cultural, artistic, business and social, will take place 13 from December next.

THE REAL JUNIOR

Children's and youth programming, fully recovered, has its space THE REAL JUNIOR with 9 shows, 4 from them new productions of Teatro Real Y 5 that will be seen here for the first time, for different ages and different formats such as musical stories, who, dramatized dance and concerts, intended for family audiences and schools.

Within this eclectic and multidisciplinary program, with artists from very different fields, highlights the participation of 4 young conductors: Rubén Gimeno, Elizabeth Rubio, José Sanchis Y Lara Diloy.

The youngest season opens in October with two interesting proposals in the Main Room: one for schools by the hand of the National Dance Company what, coinciding with the inaugural performances of the dance program, will dedicate three didactic sessions around two of the choreographies of its main program, Kübler Ross y Sad Case; the other, with a concert full of arias, opera duets and quartets with which, on the eve of the Halloween party, they will invoke the spirits with ghost that sings, not scary, played by the Youth Orchestra of the Community of Madrid (JORCAM) and new singers of the project Crescendo, we create opera, program to promote young talent organized by the Friends of the Royal Theater Foundation, under the direction of Rubén Gimeno, with script and presentation of Ana Hernández Sanchís.

The adventure will continue with a travel proposal that will take them to Egypt in the company of A.I.D.A. (Amistad, Equality, Diversity, Love), a reduced version of the verdian title conceived by Davide Garattini Raimondi Y Barbara Palumbo, with musical direction Elizabeth Rubio. In full Christmas festivities, Nutcracker and the Mouse King, will be the protagonists of a concert in story format with narration and animated video by Fernando Palacios Y Fran Parreño, under the musical direction of José Sanchís.

The Orchestra Hall will be the stage for ¡On the floor, Johann Sebastian Jazz!, where jazz and classical music will dialogue with interesting complexity, between the fingers of the pianists Alexis Delgado e Iñaki Salvador, next to Fernando Palacios. and in march, parallel to the functions of the New York City Ballet, the company will offer unique sessions around two very special choreographies for them: Serenade, one of his emblematic works, Y The times are Racing, young and current.

The Gayarre Hall will host two puppet shows with two very different views, Parade, the circus of the brave, with the unmistakable stamp of La Maquiné, Y I am the madness, black theater with puppets, masks and baroque music The Chiaroscuro Company. And in that same space, like every season, monthly appointments will take place Everyone to the Gayarre! for the entire family, with his lighthearted and entertaining gaze on the great opera season titles.

Programming ends as it began, with a big music party in concert form, in the Main Hall, with the Youth Orchestra of the Community of Madrid (JORCAM), new project singers Crescendo, we create opera, this time with the animation of Fernando Palacios and the musical direction of Lara Diloy.

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

TRAINING PROGRAM

He Training program consolidates its courses aimed at both university students and the general public and will address both face-to-face training and online, with 17 interesting proposals.

In section The Opera Uncovered, that reveals the assembly process of an operatic production from within, have been organized 4 workshops focused on: Aida (October), La sonnambula (November December), The turkish in Italy (mayo) Y Turandot (June July).

In this edition they will be 5 the Courses related to the season: Understand ... Bellini (La sonnambula), Strauss (Arabella), Rossini (The turkish in Italy), Puccini (Turandot) Y Opera and post modernity: Glass y Adams, Y 3 those destined to enter the history of opera: History of the performance of opera I and II, Women at the opera building, dismantling and conquering myths and The Real of memories, history of the Royal Theater from 1850 until 1925.

The number of Courses on Performing Arts and Cultural Management up to a total of 5: Scene photography; Opera and leadership, The art of working with high-performance teams; stewardship; emotional intelligence in opera Y Fundamental concepts of dance.

SEASON IN NUMBERS 

FUNCTIONS | A total of 188 functions: 113 opera performances spread over 18 Titles; 15 dance performances with 4 different shows; 13 concerts of different formats (5 concerts of Voces del Real, 2 lyrical concerts (contests) Y 6 concerts of Chamber Sundays; Y 49 functions Royal Junior.

OPERA PRODUCTIONS | Of the 18 operas, 8 are new co-productions of the Teatro Real, 2 they are reruns; 2 they are guest productions; 2 will be in a semi-staged version and 4, in concert.

The Royal Theater will present 9 new titles that have never been presented in its history, including 3 premieres in Spain –Orpheus, de Philip Glass; Nixon in China, by John Adams and Anti-formalist Rayok, Shostakovich Dmitri- Y 3 premieres in Madrid: Arabella, Richard Strauss; the stage version of Nose, Shostakovich Dmitri; Y Dialogues by Tirant and Carmesina, Joan Magrané.

SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor Aida, the BBVA Foundation sponsor L'Orfeo Y Nixon in China; Endesa sponsor La sonnambula Y Tristán e Isolda; the Foundation Friends of the Royal Theater sponsor Achilles in Skyros;  Santander Foundation sponsor The turkish in Italy; and the ACS Foundation sponsor Turandot.

WORKS BY CENTURIES OF THE OPERA SEASON | There will be 3 productions with works of the century XVII (L'Orfeo, Dido and Aeneas Y Coronis); 3 operas of the century XVIII (Tolomeo, king of egypt; Achilles in Skyros Y Orpheus and Eurydice); 4 century works XIX (The turkish in Italy, La sonnambula, Tristán e Isolda Y Aida); 7 century works XX (El retablo de Maese Pedro, Turandot, Nose, Arabella, Nixon in China, Anti-formalist Rayok Y Orpheus) Y 1 century title XXI (Dialogues by Tirant and Carmesina).

WORKS BY GEOGRAPHICAL AREAS (PLACE WHERE THE OPERA PREMIERE) | They will be presented 7 italian operas (1 of them, de Glück -German stuck in Italy-), 3 operas and1  Spanish zarzuela, 2 american operas, 2 Germanic operas, 2 Russian operas and 1 English opera by Händel -German based in England-.

DANCE | There will be 15 functions starring 4 companies: National Dance Company, Sasha Waltz & Guests, New York City Ballet y English National Ballet.

THE REAL JUNIOR | The children's and youth programming of the Teatro Real is made up of 49 functions –25 for the whole family and 24 for school centers- Y 9 workshops Everyone to the Gayarre! with 2 sessions each.

TRAINING PROGRAM | They offer 4 workshops Uncovered Opera, 5 monographic courses related to the Season, 3 courses on opera history and 1 new edition of the program The University on Stage.

LOCATIONS AND FERTILIZERS

CATEGORIES OF FERTILIZERS OF OPERA | They offered 1 subscription shift premiere of 9 operas and an exclusive concert by Cecilia Bartoli, 1 shift payment 9 operas, 3 shifts of fertilizers of 8 operas (one on the weekend), 3 turns of abonds of 7 operas, 1 shift payment 6 operas, 2 shifts of fertilizers of 5 operas (one also on weekend), 2 shifts of fertilizers of 4 operas and 2 subscription shifts (Selection I and II) from 3 popular titles (2 opera titles and 1 dance title) .

Date of renovation: of the 27 of May al 16 of June.

Opera season ticket sale date: of the 27 of May al 13 of September.

Season ticket sale date Selection: of the 9 of June al 3 of July.

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

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 27 of May al 3 of July.

soil fertilizer FROM ‘VOICES OF THE REAL’ | It is offered 1 shift payment 4 concerts.

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 27 of May al 13 of September.

FERTILIZERS FROM ‘SUNDAYS ON THE CHAMBER’ | It is offered 1 shift payment 7 concerts (includes the Viñas Concert)

Date of renovation: of the 27 of May al 16 of June.

Season ticket sale date: of the 9 of June al 3 of July.

THE REAL YOUNG | The commitment to young people is reinforced with initiatives such as thethe inaugural young preview of the season with special prices, the 21st October. For the third consecutive year,  the opportunity of Young armchair will offer locations distributed in Platea, Main and Mezzanine and a preferential sale will be enabled for Young Friends and for other young people until35 years before the sale to the public. Those under 26 will get these tickets for20 € and from that age and up to35 years 30 €. Likewise, The online Last Minute sale will open, in which minors26 years can purchase an entry for 20 € and young people between 26 Y35 years can buy tickets for35 €.

Photograph: Javier del Real

Teresa Berganza

The great mezzo-soprano from Madrid Teresa Berganza, this one has passed away 13 from May to 89 year old. He walked his voice like no other through the largest theaters in the world. In addition to singing, Berganza had studied piano, harmony, chamber music, composition, organ and cello. He left the stage 75 years, but continued linked to the lyric and dedicated to teaching. “I sang during 55 years, since the 20 to the 75. yes, progressively decreasing. But there was a time when I said: 'This is over'”.

He was born very close to the Royal Theater, and he had to live the hardest years of civil postwar. Soon he began to stand out in his music studies with the help of his former teacher, Lola Rodriguez Aragon. He debuted in 1955 at the Athenaeum of Madrid, accompanied on piano by Gerardo Combáu.

The Royal Theater will pay tribute to Berganza by dedicating Opera Week to him.

The Royal Theatre, among other institutions, deeply regret his death. “As a sign of affection and gratitude for everything we have received for so many years from Teresa Berganza, the Teatro Real has decided to dedicate this year's edition of its Opera Week, to be held in June, has announced Ignacio García-Belenguer, CEO of Royal Theater, who has expressed his deepest condolences to the family, friends and the "public of the Royal Theater, who always felt like his.

Teresa Berganza, Patron of Honor of the Royal Theater, is linked to this institution since the period in which it was a concert hall, where he triumphed with his voice and his unique performances. After the reopening of the Real as a lyrical theater, in 1997, participated in concerts and master classes within its pedagogical program.

“As a sign of affection and gratitude for everything we have received for so many years from Teresa Berganza, the Teatro Real has decided to dedicate this year's edition of its Opera Week, to be held in June, has announced Ignacio García-Belenguer, CEO of Royal Theater, who has expressed his deepest condolences to the family, friends and the "public of the Royal Theater, who always felt like his.

Giselle

The days 18, 20 Y 21 of May, he Teatro Real will offer four performances of the classical ballet Giselle played by the National Dance Company, in the choreographic version of its director, Joaquin de Luz, inspired by Spanish romanticism and the poetry of Bécquer.

Without abandoning the elements that have made this work one of the pinnacles of classical ballet, Joaquín de Luz's conception also includes the bowling school and Spanish traditions, and build one Giselle more human, more tangible, based on the dramaturgy of Borja Ortiz Gondra, that gives it more plot content, without distorting the essence of the romantic story that we all know.

The narration takes place in a village in the Sierra del Moncayo, imagined by the set designer Ana Garay next to the beautiful figurines of the designer Rosa García Andújar and lighting Pedro Chamizo. Together they take us to a place where bucolic peasants, young lovers and handsome hunks, They accompany us to the nocturnal forest where the willis, those spirits of dead girls before they got married, while the voices of the wind whisper verses of the Spanish poet.

With the teacher Oliver Diaz in front of the Head of the Royal Theatre Orchestra, and the magnificent cast of the CND, the functions will have the presence of the Ukrainian dancer Katya Khaniukova, First Soloist of the English National Ballet, as a special guest at the functions of the day 20 and 21 (to 21.00 hours), in which he will give life to the protagonist with Joaquin de Luz Y Alessandro Riga, respectively.

The performances will be special for the dancers hosted by the CND, from the National Opera Ballet of Ukraine and currently integrated into the CND Emerging Talent program, since three of them will participate in the cast that will perform at the Teatro Real: Anastasiia Hurska, who will be the main dancer and will interpret the role of Myrtha in one of the days and the passage to two of the No Peasant in two other performances, y Yelyzaveta Semenenko y Kateryna Chupina, as part of the dance corps in the role of willis.

Giada and Riga @ Alba Muriel

EDUARDO GUERRERO

Cadiz dancer Eduardo Guerrero will present in the Teatro Real, the following days 19 Y 20 of May, a review of your show Return, a simple and intimate creation in which he recalls his first steps in flamenco, the sticks where it started, the discovery of art, the inspiring guide of his grandmother Dolores.

Return It's a show without a plot. At, the bailaor lets us accompany him in a story in which memories emerge with an eye on the essence of flamenco to lead to more contemporary and personal forms.

The specialized critic has qualified Return as a brutal and radical work, in which Eduardo Guerrero shows off his prodigious technique, his mighty stomp, its perfect turns and, especially, its elegance and characteristic styles. His interpretive force, that experts define as "dancing with the viscera", and his refined style, have been, definitely, one of his greatest contributions to the evolution of flamenco art.

Return will feature the beauty of the guitar sound of Francisco Javier Ibanez, of recognized talent and interpretive capacity, accompanied by the voices of Samara Montañez Y pillar saw, two cantaoras seasoned in tablaos and stages around the world.

Warrior began to dance, with only six years, at Carmen Guerrero's school. There he secured the foundations of an art that he would build by studying Spanish dance at the Cádiz Dance Conservatory, in addition to training in contemporary and classical dance, to later move on to its in-depth development with teachers like Mario Maya, Antonio Canales and Manolo Marín, among others.

From 2002 begins to work with great artists on the national scene who value their undoubted quality, his physical capacity and his refined technique, developing leading roles in the Aida Gómez Company, Eva Yerbabuena, Rocío Molina, the National Ballet of Spain, Javier Latorre or Rafael Aguilar.

In 2011 obtained the 1st Prize of the Choreographic Competition of Professional Conservatories, with his choreography Mayo. From that moment on the recognitions follow: Desplante Award from the Union Mines Festival (2013); Jerez Festival Audience Award, show Guerrero (2017); Pata Negra Award (2018) and Fiver Award, International Dance Film Festival, with Symphony of the body (2019).

It is the moment of this great dancer who, with a current aesthetic, a deep knowledge of the essence of flamenco, his talent, his physique and his great charisma, moves and excites, triumphing where he dances.

Image © Luis Malibran

Song of the Mines

Ignacio García-Belenguer, CEO of Teatro Real, Y Pedro Lopez, president of the Cante de las Minas Foundation and mayor of La Union (Murcia), they signed this morning, in the theater, an agreement by which the audiovisual content of the prestigious flamenco festival will be included on the platform My Opera Player, the most important audiovisual platform for the performing arts in Spain. Also present at the event Juan Carlos Lopez Alfonso, director of the Cante de las Minas Festival.

This agreement, valid for two years, highlights the commitment of the Teatro Real to the dissemination of flamenco and will have a greater impact on the Festival's content, that in their 61 years of history has achieved international recognition for the quality of its contest. In this way, historical documents, the finals of the contest, the stellar performances and other activities of the Festival will be present and broadcast on the platform of the Real.

Photography © Royal Theater

The Marriage of Figaro

A different Figaro wedding at the Royal Theater

The Marriage of Figaro
The Marriage of Figaro
Wolfgang A. Mozart (1756-1791)
Opera buffa in four acts
Libreto de Lorenzo da Ponte, based on the comedy La Folle journée, or the marriage of Figaro (1784) of Pierre Beaumarchais
Canadian Opera Company production from the Salzburg Festival
Teatro Real in Madrid, 28 April 2022
D. musical: Ivor Bolton
D. scene: Claus Guth
Scenographer and costume designer: Christian Schmidt
illuminator: Olaf winter
Choreographer: Ramses Sigi
Video Designer: Andi A. Müller
D. choir: Andrés Máspero
André Schuen, María José Moreno, Julie Fuchs, Vito Priante, Rachael Wilson, Monica Pods, Fernando Rado, Christopher Mountain, Moises Marin, Alexandra Flood, Leonardo Galeazzi, and Uli Kirsch, who interprets the angel
Eleven years had passed since his last Italian comedy, La Finta Giardiniera (The fake gardener) and Mozart was concerned that he could not find a suitable story for his next comedy. He reflects it in one of the letters to his father in 1783, “I have looked at more than a hundred scripts, and I haven't found one that I was satisfied with; so many changes would have to be made here and there, that even if a poet got down to it, it would be easier for him to write a completely new text”.
Headlines Choir and Orchestra of the Teatro Real

Then come to Vienna, hand in hand with Antonio Salieri to work at the court, Italian librettist and poet Lorenzo da Ponte. A fruitful collaboration then begins between Mozart and da Ponte that will leave behind the time of Metastasio. A new operatic journey opens that will have no return.

Mozart showed some admiration for the works of the French playwright Pierre-Augustin Caron de Beaumarchais and for one of his works, the figaro trilogy, for whose first part, The Barber of Seville (1782), Giovanni Paisiello had already put music. He chose the second of this trilogy, The crazy day, or The Marriage of Figaro (1784), which explicitly deals with the class conflicts of the time.

Beaumarchais's work, whose theatrical release was full of difficulties due to the social and political criticism it contained, can be framed within the revolutionary process that culminates in 1789 with the French Revolution. After three years of fighting with censorship, Figaro's weddings could be premiered arriving at 60 representations. But the protests and intrigues of former enemies of Beaumarchais, got the play banned across Europe.

As narrated by da Ponte in his memoirs, the opera was finished in just six weeks, “As I was writing the lyrics, Mozart composed the music. It only remained to convince José II of his suitability. da Ponte took care of it, much more diplomatic than Mozart, who promised the emperor to dispense with the most controversial parts. Entire scenes were deleted, but the ideological substance remained intact.

The liberal mentality of José II, that he had already abolished censorship and authorized a civil marriage decree that abolished parental consent, facilitated the premiere of an opera that, by having a comedy format, Kind and nice, he hid his depth charge very well.

He 1 May 1786 se estrena por fin en Viena The Marriage of Figaro, preamble of Don Giovanni and, especially, de Cosi fan all, that closes the cycle of the brilliant collaboration between Mozart and da Ponte.

Le nozze di Figaro is today one of the most performed operas in the world, even though it wasn't always like that. Arrive soon at the Royal Theater, in 1903, long before other European theaters. Later it had a few years of certain decline in programming and it was not until the sixties that, shyly, returned to operatic seasons.

The Teatro Real presents this season a production that is a true classic, the one created by Claus Guth for the Salzburg Festival in 2006, which replaces the one initially announced by Lotte de Beer and which was not very well received, being generous, at the Aix-on-Provence Festival.

Guth reuses the great architectural structures that he likes so much. Features a grand staircase in a large space as the only stage. a white decor, naked, far from the eighteenth-century excesses that usually accompany the performances of this opera. Christian Schmidt's wardrobe, also very Guth-esque, as we could see in Rodelinda, in this same theater, gray tones and uniformed. The subtle scene changes are mostly due to Olaf Winter's lighting., that it generates with shadows and small projections, the atmospheres that help describe the scene.

Also on this occasion, Guth uses a character that is not in the script but that appears constantly on the scene. This time it is a kind of Cupid that, invisible to other characters, pull everyone's strings trying to alter their behavior, sowing confusion in its wake.

The characters are treated in this production in a sober way, unadorned, revealing the deepest part of his personality. But nevertheless, the end result of the scenery is that it does not help the development or the conclusion of the story.

Ivor Bolton returned to conduct Mozart at the head of the Teatro Real's Titular Orchestra. Maybe infected by the monotonous scenery, Bolton's management has not had the brilliance and spark of other occasions. Only in a few moments have those flashes that Mozart reflected so brilliantly in his score become present.

This work is distinguished from other buffa operas by the high quality of its ensembles., that express the enormous variety of loving feelings. On this occasion they are a little opaque and lacking in freshness. The variety of textures of an orchestration as detailed as that offered by The Marriage of Figaro is not appreciated, especially in the opening and the winds.
The best of the orchestra have been the recitativi secchi, harpsichord and cello, that have allowed the scenes to be more fluid.

The vocal part has presented a balanced set of voices. To face this opera the theatrical requirement is almost at the same level as the vocal. But in this case, Besides, good physical shape is necessary.

It was a joy to see the Granada-born María José Moreno embody the role of Countess at the Royal Theater. did it with great confidence, how does she do things. Is this a little special Countess, languid and lonely, and Moreno reflected her very well in those aspects to which she adds a point of sophistication that is very appropriate to the character. He had moments of great lyricism and brilliance, especially in his two most important arias, "Porgi Amor" y "Where I am". It has a powerful center and good highs..

Suzanne, the central character of the play, was interpreted by the French Julie Fuchs. His voice is light and fresh, perfect for Susan, he lacked volume and made his character more believable, maybe too childish.

Vito Priante's Figaro was also not very credible as Susana's fiancé, he looked like his father. Very static on stage, something was lost with his character, which had been stripped of its true character by the stage manager. But his voice is high quality and has a beautiful and warm tone..

Italian baritone André Schuuen plays Count Almaviva. We could already hear him at the Capriccio a few seasons ago. He feels comfortable in character, although it lacks a bit of packaging and looks like a teenager in a suit. It defended the treble quite well and its bass zone is sufficient and consistent.

Rachael Wilson's Cherubino was, with the Countess, the best of the night. Fresh and playful in the interpretive, proved to have a good singing line and a very powerful and ringing center and treble. Too bad she was dressed the same as the fake Cherubino that Guth put on stage. He skillfully developed, the same one with which he interpreted his arias “Non so più cosa son, what do I do "y" You who know ".

At a good level were the rest of the comprimarios who in this production were somewhat lackluster in the interpretive, Monica Pods, as Marceline; Fernando Rado, as Bartolo; Christopher Mountain, like basil; Moises Marin, Don Curzio; Alexandra Flood, like Barbarina; Leonardo Galeazzi, as Antonio and Uli Kirsch, who interprets the angel or cupid.

A new reading of an opera that for the first time gives the score a fundamental role in the development of the dramatic plot.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Luis Piedrahita

the versatile Luis Piedrahita writes and stars in a show about the German composer in which, with wisdom and humor, brings the power of his music closer to all viewers.

the conductor Lucia Marin Debuts in Teatro Real with music Beethoven, in front of the Youth Orchestra of the Community of Madrid.

The stage of the Real will become a peculiar building thanks to the drawings by Pablo Morales del Río that, with animation by Iñaki García, they will come to life discovering the neighbors who inhabit it.

An adventure where disaster and events find redemption through music as a healing and hopeful element

The functions, designed for a family audience, will take place on Saturday 30 of April, to 11.00 and to the 13.00 hours.

The website of the Teatro Real makes available to the public a didactic guide with detailed information about the show.

Next Saturday, 30 of April, he Teatro Real will celebrate the beautiful tribute to 250 birth anniversary Ludwig van Beethoven that the confinement left frozen and that now, Hand Luis Piedrahita, responsible for the script and interpretation, will fill your main room with music and emotion with the show ¡A la bin! to the ban! To Ludwig Van! ¡Beethoven, Beethoven and no one else! , for all audiences.

The ingenuity and the word of Piedrahita will be accompanied by an artistic team led by the orchestra director Lucia Marin who, in front of the Youth Orchestra of the Community of Madrid, will perform fragments of some of the best-known works of the German composer.

This is the story of Beethoven's neighborhood community. A kind of 13 Barnacle Street from the 18th century. Each of the inhabitants of the house has their problems: the upstairs neighbor lives with seven unruly cats that destroy her furniture, in the attic lives a poet who fights against the roof leaks, below, a mother who cannot sleep her child and even an agricultural expert who tries to feed the first vegetarian carnivorous plant in history. When the teacher rehearses, the music filters through the walls and the problems of the neighbors become bearable. Until suddenly… a fire breaks out in the building!!

Spectators will walk through the different spaces of this imaginary building, a crazy neighborhood designed by Paul Morales del Rio, with animations of Inaki Garcia, in which the music of Beethoven produces a particular… effect. a little madness, with Ximena Feijoo in art direction, and the public's complicity in an unexpected ending that will help build a better future.

Photograph: Javier del Real

Daniel Casares

Daniel Casares he was born with a duende and he proves it with his guitar, that sounds original, different, with its own personality, reflecting that inner fury, that powerfully unleashes on its ropes. Performer and composer, arrive at Teatro Real to offer a work inspired by the sea that caresses his hometown and immerses us in the world of the south, MAGITERRÁNEO.

The appointment will be on Thursday 28 of April, to 19.00 hours, and on Friday 29 of April, in double session, to 19.00 and to the 21.00 hours.

With 16 years is awarded with the prestigious mining staff of La Unión, becoming the youngest guitarist, till the date, in getting it. further, he wins the Jaén national guitar award and this opens the door for him to record his first album “Duende Flamenco” that same year.

There are countless collaborations between Daniel Casares and artists from other worlds of culture, like the mezzo-soprano Cecilia Bartoli -who asked her to accompany her, as guest artist, on his European tour on the occasion of the tribute to the diva María Malibrán- Alejandro Sanz, Dulce Pontes, toquinho, Anthony Orozco, and great flamencos like Juanito Valderrama, José Mercé or Miguel Poveda.

In MAGITERRÁNEO, the guitarist from Malaga returns to the south, where the Mediterranean and its magical poetry serve as inspiration. What matters is not the place where you leave or the port where you arrive, but the whole experience, the emotion and knowledge that one brings from the path. Beautiful melodies that bring us the perfume and essence of olive and laurel lands, joy of the palms, nuanced notes.

Some of his usual collaborators accompany him on this trip: Jesus Bachiller "Bachi", on the electric bass, Y Miguel Ortiz “Nene”, on percussion, both involved in the project Magiterraneo since its creation. With them, the dancer Peter Cordoba and the cantaor Roberto Jaén, both also to the palms.

The performances will be attended by, as guest artist, of the singer El Mati, winner of the Mining Lamp in 2019. His voice, with deep flamenco roots, It is one of the most relevant and demanded of the current panorama, and his open and multifaceted attitude has led him to participate in other disciplines, like jazz, and to explore new paths of cante with avant-garde music.

Royal Theater Awards

The Royal Theater Awards aim to recognize the merit of personalities, companies and artists that have stood out in a special way for their support of the institution throughout the season 2020-2021.

In this first edition two categories have been created: institutional and artistic.

The prize consists of a work that the great sculptress Christina Iglesias Has made, generously, for him Teatro Real.

The Awards Ceremony, starring mezzo-soprano Silvia Tro Santafe, will take place 6 June at 19.30 hours.

The Royal Theater has decided to institute the awards that bear his name, to recognize the merit of institutions, companies and personalities related to the activity of your season.

The first edition of the Teatro Real Awards was born linked to a very special season, which starts in June 2020 with La traviata and covers the entire season 2020/2021.

The awards, who are born with a vocation for continuity, they have two categories: institutional and artistic.

The awards in the institutional category are awarded on this occasion to Endesa, Telefonica and Florentino Perez, for his patronage work, as well as Dr. Santiago Moreno, for his activity leading the medical team during the pandemic. The artistic prizes will be announced later.

The award ceremony will take place on 6 of June, in a Gala starring the mezzo-soprano Silvia Tro Santafé.

Photograph: Javier del Real

The Marriage of Figaro

Le nozze di Figaro between 22 April and 12 May at the Royal Theater, in an original production of the Salzburg Festival (2006), who commissioned Claus Guth the stage direction of the three operas of Mozart libretto by Lorenzo da Ponte, of which, Don Giovanni, was offered at the Teatro Real last season.

Considered the most perfect of Mozart's operas, Le nozze di Figaro, released in 1776, was written in less than a year in a frantic and enthusiastic manner by Wolfgang Amadeus Mozart (1756-1791) and the versatile writer and librettist Lorenzo da Ponte (1749-1838), in their first and fruitful collaboration, which would continue with Così fan tutte Y Don Giovanni.

Both creators were imbued with the fervor of the new revolutionary ideas that brazenly defended the theatrical work of Pierre-Augustin de Beaumarchais (1732-1799) on which the opera is based, The crazy day, or The Marriage of Figaro, premiered to great scandal and uproar just a year before, causing the seclusion of the author and the prohibition of the work in various European courts.

With great skill Da Ponte reduces and conceals the most explicitly political content of the work, maintaining the complex relationships between the different characters, to whom Mozart's fabulous score gives an unusual psychological depth, hidden under the classical forms of comic opera.

Music, supported by a perfect framework of symmetries and structural and harmonic games, with arias and ensemble numbers of enormous beauty, suggests, they work, contradicts, hints, denies and illuminates what the words of the protagonists hide, within a seemingly comic entanglement.

In his stage proposal, Claus Guth try, precisely, explore what beats in the soul of the characters beyond comedy, listening to the unspeakable side, ambiguous, contradictory, Sinister, sadistic or lewd in love relationships.

In parallel with the classical structure of the score, Guth, together with the set designer and costume designer Christian Schmidt, sets the plot in an old and austere palace, with the characters corseted in suits that reveal their social origin and determine their way of proceeding. From there, like in an Ingmar Bergman movie, or in an August Strindberg drama, Guth is 'unmasking' what happens inside the characters with the help of a silent 'angel' who shows the viewer the unspeakable, cloudy or dark love relationships.

Two select casts bring to life the complex characters of this choral opera, that hide ties of seduction, love, desire, passion, boredom or resentment: Andre Schuen Y Joan Martin-Royo (Count of Almaviva); María José Moreno Y Miren Urbieta-Vega (Countess of Almaviva); Julie Fuchs Y Elena Sancho Pereg (Susanna); Vito Priante Y Thomas Oliemans (Figaro); Rachael Wilson Y Maite Beaumont (Cherub); Monica Pods Y Gemma Coma-Alabert (Marcellina); Y Fernando Rado Y Daniel Giulianini (Bartolo).

Ivor Bolton, musical director of the Royal Theater, redirect Le nozze di Figaro from his pit, after the success obtained with the same score in 2014. This opera will be Mozart's seventh production in which he assumes the musical direction at the head of the Headlines Choir and Orchestra of the Teatro Real, and the third in which he works side by side with Claus Guth, after Lucio Silla (2017) Y Don Giovanni (2020).

Since the reopening of the Teatro Real, Le nozze di Figaro has been featured in 5 his 25 seasons: in 1998, with Gianandrea Noseda Y Jurgen Flimm; in 2003, with Antoni Ros Marba Y Marco Arturo Marelli; in 2009, with Jesus Lopez Cobos Y Emilio Sagi, whose production was presented again in 2011 with Victor Pablo Pérez, and in 2014 with Ivor Bolton.

The scenic and dramaturgical proposal conceived by Claus Guth, which will now be seen at the Teatro Real, offers a new perspective on Mozart's masterpiece, whose wealth, complexity and depth are an inexhaustible source of interpretations.

Photography © Javier del Real | Teatro Real

Extinction

Between days 12 Y 24 of April, he Teatro Real will offer 12 functions Extinction, scenic proposal of Agrupación Señor Serrano from the Battle Mass and the Mass for the Dead by Joan Cererols, absolute premiere of this beautiful work in co-production with the Teatro La Abadía and in collaboration with the International Festival of Sacred Art (fīās). All performances of Extinction will take place in the Theater of the Abbey, in the John of the Cross Room.

The Agrupación Señor Serrano -Barcelona-based theater company that creates original productions on jarring aspects of the contemporary human experience- makes a visual and poetic scenic proposal from Battle Mass Y Mass for the Dead, from Joan Cererols, dramaturgy that unfolds through the use of a mixture of objects, text, cameras, performance, sound, projections and live videos. With the help of static and ecstatic images captured live and transformed in real time and performers who enter and exit different allegorical figures, the search of the soul is represented, coltan, of fire, of blood… Extinction

A Spanish boat descends the Amazon River for the first time, someone does scroll in the image gallery looking for a photo, the lower gallery of an illegal mine collapses, a new Instagram notification appears on the screen, the King of Spain listens stunned to a mass in his honor, golden dust drops in suspension, it rains mud, an anatomy professor searches for the place of the soul, someone find the nearest restaurant, unread messages, inside a burning jungle, a requiem resounds in a New World cathedral, someone looks at the sky, someone watches a series, someone picks up a piece of ore, someone raises a chalice, someone picks up a cell phone.

a big screen, several work tables, three performers-manipulators (Carlota Grau, Marcel Borràs Y Alex Serrano), a music director (Ulises Javier Illán), y a vocal and instrumental ensemble (Nereydas Y Titular Choir of the Teatro Real) mingle on stage.

Ulises Javier Illán, musical director, directs Nereydas, training that works a wide repertoire that covers different stylistic periods from music of the Renaissance and Baroque to symphonic-choral programs of Classicism. The greatest strength of this group, open and flexible, lies in its ability to assemble, integrate and adapt the number of musicians with extensive experience and training, instrumentalists and voices, to develop each project. In this case, in collaboration with the Titular Choir of the Teatro Real, directed by Andrés Máspero.

Joan Cererols (1618-1680), Benedictine monk who renewed the Spanish Renaissance tradition by opening it to the Baroque influences that arrived from Italy and Flanders in the mid-17th century, developed his entire career around the Montserrat Monastery, in which he became director of the choir for more than twenty years, time when he composed his Battle Mass (1648), a parody-mass composed in honor of Philip IV, in which he reflects the wave of optimism after the victory of the Castilian troops in Naples, inspired by The War or The Battle of Marignan, another mass-parody of the French Renaissance Clement Janequin. But nevertheless, three years later, reflects in Mass for the Dead (1651) a very different environment: more sober, dense and dark due to the plague epidemic in Barcelona that year, that would later spread to other parts of the Spanish Crown.

Although much of the work of Cererols It was destroyed in the fire of the Abbey of Montserrat caused by the French troops in 1811, the work that was saved was printed at the beginning of the 20th century and ended up putting Cererols in the places of honor of the Spanish Baroque. These works are testimony to a trade founded on the concerted style and open to baroque influences from Italy and Flanders.

Photograph: Javier del Real Extinction

The angel of fire

The angel of fire, premiered in Spain last 22 of March, was received with excellent reviews, both for the cast –headed by Ausrine Stundyte Y Leigh Melrose– as for the stage direction of calixto Bieito, the musical direction of Gustavo Gimeno and the interpretation of Choir Y Titulares Orchestra of the Royal Theater.

Today at 19.30 h., viewers from all over the world will be able to see the production live on the website of the ART CHANNEL, available in spanish: https://www.arte.tv/es/videos/108551-000-A/el-angel-de-fuego-de-prokofiev-en-el-teatro-real-de-madrid/

It will be a unique opportunity to discover an opera unknown to the Spanish public through an impressive and colossal production.

The angel of fire It is the sixth of the ten operas composed by Sergei Prokofiev (1891-1953), that would leave another four unfinished. The originality, irreverence and expressive freedom of previous titles, as The player O The Love for Three Oranges, had already forged their skill in operatic writing that, with The angel of fire, would get a new boost.

The play, with libretto by the composer based on the homonymous novel by the Russian symbolist writer Valeri Briúsov (1873-1924), had a long and eventful gestation (from 1919 a 1927) and a no less difficult path after the score is finished.

His satanic plot, grotesque and delirious recounts, throughout seven scenes (in five acts), Renata's tricky path, possessed by evil spirits since the supernatural appearance, in his infancy, de Madiel, the angel of fire, until its tragic end.

the libretto, than a la alquimia, the Witchery, the cabalistics, exorcism or inquisition in force in pre-Lutheran obscurantist Germany, originated a score with a language of expressionist overtones, moving away from the nationalist heritage, favoring somber tones and the incorporation of dissonant passages, harsh vocal melodies and declamations rooted in Russian prosody. the wild orchestration, vibrant, contrasting, 'obsessive', lyrical and supernatural, maintains an almost cinematic dramatic tension. (Prokofiev would be a great soundtrack composer, especially in his great collaborations with Sergei Eisenstein, from Alexander Nevsky a Ivan the Terrible).

The opera, in whose ambiguous and disconcerting script sexual violence underlies, psychic disorders, macabre practices, perversity, religious fervor, etc., caused the rejection of several theaters until its premiere in 1954, after Prokofiev's death, in a concert version, translated into french, at the Théâtre des Champs-Elysées. The next year, in 1955, the opera was finally staged, under the direction of Giorgio Strehler, and arrived, in Italian, to the Fenice of Venice. Its presentation in the original Russian version takes place, discreetly, and Perm, in 1987. In Russia, where opera was banned throughout the Soviet period, The angel of fire finally took to the stage of the Kirov Theater in Saint Petersburg as part of the Prokofiev centenary commemorations, in 1991.

The production conceived by calixto Bieito, with dramaturgy of Beate Breidenbach, avoid the esotericism of the libretto, archetype of Russian symbolism, and delves into the real drama of the protagonist. In his alienated and wounded mind, the scenes of the opera follow one another like flashes of memory, recreated in the rooms arranged in a rotating structure designed by the set designer Rebecca Ringst what, with the illumination of Franck Evin and the distressing videos of Sarah Derendinger, transforms into a real house of horrors. just a bike, freedom symbol, Renata's fragility and flight, remember the lost innocence of his childhood.

The Teatro Real finally opens in Spain The angel of fire, when, little by little, theaters around the world recover this opera misunderstood in its time, whose shadowy symbolist paths lead to the depths, unspeakable and dark of the human soul.

Photograph: Javier del Real

Pastor Galvan

SHEPHERD DANCES, the name of the new Flamenco Real show, says it all for the presentation on your stage of Pastor Galvan. Modern, restless and racial, is presented to the Madrid public as it is, which it is something, in three sessions that can be enjoyed at the Teatro Real the days 7 Y 8 of April.

Trained in Spanish Dance at the Seville Conservatory, Pastora learns from her teachers, but he is impregnated with the dance with the roots of his father, Jose Galvan, and passionately assimilates the avant-garde expressiveness of his brother, Israel Galván. From this mixture an artist is born who expresses herself as she feels, with deep dance and dramatic forms, making a flamenco that transcends and flies in his hands.

The awards endorse his career – Matilde Coral of the XVI National Contest of Flamenco Art of Córdoba, in 2001, and the Giraldillos Award at the Seville Flamenco Biennial, in editions of 2006 Y 2010-, his performance on stages around the world together with great figures of flamenco –with singers like Chano Lobato, Carmen Linares or Miguel Poveda; Dancers with trajectories as diverse as Antonio Canales, Eva Yerbabuena or Israel Galván, and musicians with great personality such as David Peña Dorantes- and his activity as a teacher, inside and outside of Spain, without ever departing from live performance.

He has taken the dance to the main Spanish theaters and tablaos, as well as many cities in Europe, Japan, U.S, middle East, Cuba, among others and, Of course, to the most important flamenco and dance festivals in the world. Seville's Bienal de Flamenco deserves special attention for having hosted Pastora's dance in all its editions since 1998.

SHEPHERD DANCES, will have the participation, as guest artist, from Ricardo Fernández del Moral, unusual singer and guitarist, winner of the Miner's Lamp, well known by the public of the Teatro Real. With them, the guitar will also sound Paco Iglesias and the voice of David el Galli, in cante.

Photograph © Luis Castilla

Prokofiev The Angel of Fire

After having finished the composition of The love of the three oranges, Prokòfiev discovers The Angel of Fire in a New York bookstore, a novel published in chapters by a reference author of Russian symbolism, Valeri Briúsov. Immediately, and without any commission, Prokòfiev begins to write the libretto for an opera that he will never see performed on stage.

From the beginning of its composition, Prokòfiev was well aware of the difficulties that his work would have to be premiered. He finished writing The Fire Angel in 1926 in Paris. At that moment, Bruno Walter, director of the Städtische Oper in Berlin, became aware of its existence and showed interest in it. But they realized the great complexity of the work and that it would not arrive in time to be scheduled for that season., So they decided to abandon the project..

The next attempt to put her on stage took place when the Metropolitan of New York contacted Prokòfiev. But nevertheless, this time, the difficulty in finding singers who wanted to face the challenge, prevented your programming.

It was not until 1954, a year after the composer's death, when The Fire Angel premiered in Paris, even if it was in concert version. Was the 14 September 1955 when it was first staged at the Venice Contemporary Music Festival, in La Fenice. Mario Nordio made an Italian version with the musical direction of Nino Sanzogno, stage direction by Giorgio Strehler, Ezio Frigerio's wardrobe, the set design by Luciano Damiani, and the lead role of Renata by Doroty Dow.

There may be two main reasons that explain the difficulties in premiering this opera. One of them was the treatment of sensitive issues, like the ones that addressed the libretto. Prokòfiev adapting the original work by Briúsov, had stripped it of the magical elements alluding to witchcraft. The composer himself describes these difficulties in a letter: “The Fire Angel can be a fascinating and powerful opera, will express drama and terror, but you have to avoid any devil or any vision that may be explicitly on stage, but, runs the risk of falling into pure theatrical masquerade”. Prokofiev was well aware that in adapting Briusov's text he had to eliminate the explicit scenes and present them ambiguously through the protagonist.. Prokòfiev went on to say in his letter: “The other great difficulty is that the entire opera is centered on the two main characters. If I don't get them off the scene at some point, we are not going to find any singer who can with these characters”.

This is the second reason why The Fire Angel could not be released. The play, whose weight falls almost exclusively on the two main characters, was of such vocal demand, that no singer was willing to interpret it.

After so many frustrated attempts and fearing that it would never be performed and the music would be lost, Prokòfiev incorporated much of the musical material from the opera in Symphony No. 3 On. 44.

The scenery of Calixto Bieito, presenting this opera for the first time in Spain, masterfully couples with the score and libretto. Not just fit the job, but it enhances the deepest psychological aspects. We need to remember, that when this opera was composed, psychoanalysis was developing throughout Europe, and set design by Rebecca Ringst, composed of a rotating construction, attends to the description of the human brain made by Freud: “The brain is like a house with many rooms”. And that's what the stage crew has done, a house with many rooms, linked together by stairs. Similar in concept to Claus Guth's creations, the apartment structure shows defined spaces and others more ambiguous, forming an architectural ensemble that fits perfectly with the psychological swarm of the protagonist.
At the end of the performance, the structure separates, decomposing the building, in the same way that the psychological labyrinth of the protagonists is diluted. The result is very sophisticated and the emotional intensity it represents, does not conflict at any time with the music.

It was the first time Gustavo Gimeno conducted an opera by Prokòfiev and the result has been satisfactory, given the complexity of the score. The orchestra maintains the dramatic tension, which is almost permanent, although some more defined orchestral plans and a cleaner sound were missing.

The choral part of this score is diabolical and the titular Choir of the Teatro, Intermezzo, has had an outstanding intervention. The patterns they use, apparently simple, by repetitive, they are highly complex, because all repetitions are different. In fact, when the opera premiered at La Fenice in the 1955, the choir stood in the pit, to be able to have the sheet music.

The Angel of Fire is conceived around the singers. The voice demand, emotionally and physically is superior to any opera that has been written so far. Renata's leading role is absolute and her performance exhausting. She is a traumatized woman trapped by the ghosts of her past and the Latvian soprano Ausrine Stundyte., reflects perfectly through his interpretation, those thoughts that harass and excite her. Stundyte does not rest for a single moment in the two long hours that the work lasts. He runs through the three floors of the stage without rest and without lowering the intensity of his tormented character. With a great central support and mighty treble, had the ability to reach the end of the performance with vocal and interpretive freshness almost intact.

Renata was very well accompanied on stage by the Ruprecht of the British Leigh Melrose, already known in this theater for his participation in Gloriana and Death in Venice. His interpretive ability is beyond doubt.. He showed us a Ruprecht infected by Renata's hysteria and absolutely disturbed by her. His vocal part was not easy either, with the added difficulty of not having the support of the orchestra in many moments, which requires a tuning work that he solved gracefully. The fatigue caused by the histrionics and effort with which he gave his character was noticed a little at the end..
How much Prokòfiev would have liked to have counted on Stundyte and Melrose in his attempts to release The Fire Angel…

Dmitry Golovnin was in charge of giving life to Agrippa von Nettesheim, a more philosophical character and another much darker, Mephistopheles. Its timbre is sharp and penetrating and it was disturbing enough in both cases.
Dmitry Ulianov, already an old acquaintance of the Madrid public, gave a good performance with his dark and round voice and his always imposing stage presence.
Mika Kares did not know how to transfer his physical presence as an inquisitor to the projection of his voice. The Finnish bass stayed a fair bit of power.
Agnieszka Rehlis, in her dual role as seer and superior, He was very successful in his interpretation., enigmatic and unsettling. Good also in the vocal part, showing good bass registers and enough power.
The tenor Josep Fadó demonstrated an excellent sonority and presence. David Lagares also stood out in his brief speeches. They both did a good performance.. The rest of comprimarios were at a good level, complementing a very balanced cast. Nino Surguladze, as innkeeper and Anna Gomá and Estibaliz Martyn, as novices.

This production of The Fire Angel is spectacular, hypnotic. By the end, you realize that you have been immersed in a world difficult to describe and full of intensity. A work that leaves no one indifferent, even less in these moments in which, effectively, we are immersed in a world difficult to describe.

Lisette Oropesa

His voice moved us at that Traviata who rescued us from confinement, and that caused the first encore of a woman in the recent history of the Teatro Real , although he had already put us on our feet with his interpretation of Lucia de Lammermoor in 2018. Come back now, to the stage of the Plaza de Oriente, one of the most beloved sopranos by the Madrid public, Lisette Oropesa.

The appointment will take place next Wednesday., 30 of March, with a concert in which, accompanied by the Headlines Choir and Orchestra of the Teatro Real, under the direction of Corrado Rovaris, Oropesa will offer a program made up of fragments of the operas Guillaume Tell, The Siege of Corinth and Le Comte Ory de Gioacchino Rossini, and The Martyrs, Lucie de Lammermoor, Bookmark Y Daughter of the Regiment, de Gaetano Donizetti.

Lisette Oropesa is a singer with magnetism. Has stage presence, acting skills, sympathy and, the most important, a lyrical and luminous voice that, based on a perfect technique, makes her the perfect performer for bel canto heroines, as the protagonists of the works chosen for their concert at the Real, although Verdi's or Mozart's roles also have a relevant presence in his repertoire.

With the exception of Lucia de Lammermoor, all the arias chosen for this concert belong to operas originally composed in french, despite being written by two Italian authors, Rossini y Donizetti – not in vain, both composers had a close link with the Parisian stages- and all of them (except Lucia) were premiered with great success in the French capital. They are operas that require skilled singers, with high registers, of clean legato and extraordinary agility, characteristics that have elevated the protagonist of these Voices of Real.

Photograph © Javier del Real | Teatro Real

Angel G. Piñero

The passing of Angel G. Piñero, last 21 February, overshadows the concert that was going to celebrate his 90 birthday this month and which now becomes a posthumous and heartfelt tribute to the artist: memories of a life.

In addition to being a great Spanish guitar player, Piñero was a composer, teacher and explored unique technical and expressive resources in the use of the instrument to which he dedicated his life.

The guitarists Luca Romanelli and Stanislav Steshenko -prize winners at the Ángel G International Classical Guitar Competition. Piñero, soprano Martyn Estíbaliz, the Chagall Quartet, the dancer Manuel Garrido and the Santa Cecilia Classical Orchestra, under the direction of José Antonio Montaño.

The concert has been promoted and organized by Catherine Lacoste, Angel G's widow. Piñero and responsible for the Angel G Classical Guitar Association. Piñero, to remember his life and work dedicated to the Spanish guitar.

The art, the creation, is the essence of my life. mine is simple: I do something that I love and that extends my life”, said Angel G.. Piñero just a few months ago when, with 89 years he kept playing his Spanish guitar, to which he dedicated his life.

Born in Cadiz in 1932 and deceased on 21 February in Puerto de Santa María, Piñero's biography stands out for his courage and determination to pursue his dream of becoming a Spanish guitar player, overcoming countless obstacles in impoverished and fractured post-war Spain.

The life trajectory of Ángel G. Piñero is inseparable from his guitar, who accompanied him on his journey as a soloist through the corners of Spain and cities around the world -more than 250 recitals-, while expanding his repertoire and exploring the expressive possibilities of the instrument.

With that concern he tried to perfect the technique of both hands with the same precision and dexterity, being able to place the neck of the guitar to the right or to the left, which allowed him to interpret the pieces, in the same concert, with fingertips or fingernails, depending on the expressive needs and the time of each work.

To use this unique technique, he created a prototype guitar that he perfected over the years., until achieving the unique instrument with which he offered concerts around the world.

In addition to being a tireless interpreter, Piñero felt the need to compose and leave his mark on the classical guitar repertoire as well.. His catalog includes six works for guitar and symphony orchestra, eight for guitar and string quartet and twenty-two for solo guitar.

Music owes a historical debt to the Spanish classical guitar. My intention is to contribute a grain of sand to reduce this debt”. This commitment made Angel G. Piñero promote training, guitar education and performance, creating, with his second wife, muse and mentor, Catherine Lacostea, the Angel G Classical Guitar Association. Piñero, which develops a series of initiatives such as: competitions for young talents, publication of interpretation methods, organization of recitals, etc.

The concert memories of a life, in which the guitarists will alternate Luca Romanelli and Stanislav Steshenko, is divided into two parts: the first, for solo guitar, it is introspective in nature: Meditation It is a tribute to the victims of the pandemic; blue prelude, a tribute to the composer's mother, civil war victim; Y Evocation, a memory of his brother, who stimulated and supported his studies. after the pieces music murmur, the wind of life Y whims, is presented the World Premiere from I sing to the late Francisco, funeral piece for guitar and dance dedicated by Ángel G. Piñero to his father, disappeared in the Civil War. The dancer from Jerez participates Manuel Garrido.

Then, we will have another World Premiere, that of Ballad to a stranger, for voice and guitar, inspired by Catherine Lacostea, which will be performed by the soprano Martyn Estíbaliz and the Chagall Quartet -with Christina Pascual (fiddle), Javier Lopez (fiddle), Abel Nafee Rosch (viola) Y Victor Esteban (cello)-. The first part will conclude with night trip, for guitar and string quartet

King-Arthur_Theatre-Royal

The next 27 March will be heard, first in the Teatro Real, the work of Henry Purcell (1659-1695) King Arthur, English semi-opera that will be attended by the Belgian ensemble The voice of the Light, under the artistic and musical direction of Lionel Meunier, in the dramaturgical version of Isaline Claeys In collaboration with Simon Robson, with the participation of the actor José Luis Martínez.

This musical oddity, rare on stage, belonging to the dramatic-musical genre, tells us about the struggle between Arthur –Christian king of the Britons– and Oswald –pagan king of the Saxons– for the hand of Princess Emmeline and, with her, of the kingdom of England. The story emanates from the legend and in it literary characters are cited, Greek deities and Germanic mythology, building a story, by its length and the relationship between the sung and spoken parts, makes it very difficult to stage.

The sheet music contains, but nevertheless, beautiful and moving moments in which the solo voices barely take center stage – this falls on the declamation of the actors- giving choral parts, the set, a presence very close to the compositions of a religious nature. Purcell's evocative musical part reinforces or highlights the dramatic content of the text of John Dryden, establishing a fruitful relationship between the two.

The dramaturgical version created by Isaline Claeys, In collaboration with Simon Robson, premiered at Condette's Théatre Hardelot, France. The spoken texts have been translated into Spanish and will be recited by the actor José Luis Martínez in the role of narrator. The musical part will be performed by the formation The voice of the Light, led by bass Lionel Meunier, specialized in the English repertoire, 17th and early 18th century Italian and German, recognized on the international scene for its unique sound and its ability to bring to life both renowned masterpieces and rare gems of composition from the aforementioned periods.

The voice of the Light, with residence at the Concertgebouw in Bruges, has been awarded the Gramophone Awards (2012), Diapason d'Or (2015), el BBC Music Magazine Choral Award (2018) y varios price of the German record critics, to name a few.

The angel of fire

Between days 22 March and 5 of April, Royal Theatre offer 10 functions from The angel of fire, from Sergei Prokofiev, in a production with stage direction by calixto Bieito, released in 2017, with great success, at the Zurich Opera and musical direction of Gustavo Gimeno.

The angel of fire It is the sixth of the ten operas composed by Sergei Prokofiev (1891-1953), that would leave another four unfinished. The originality, irreverence and expressive freedom of previous titles, as The player O The Love for Three Oranges, had already forged their skill in operatic writing that, with The angel of fire, would get a new boost.

The play, with libretto by the composer based on the homonymous novel by the Russian symbolist writer Valeri Briúsov (1873-1924), had a long and eventful gestation (from 1919 a 1927) and a no less difficult path after the score is finished.

His satanic plot, grotesque and delirious recounts, throughout seven scenes (in five acts), Renata's tricky path, possessed by evil spirits since the supernatural appearance, in his infancy, de Madiel, the angel of fire, until its tragic end.

the libretto, than a la alquimia, the Witchery, the cabalistics, exorcism or inquisition in force in pre-Lutheran obscurantist Germany, originated a score with a language of expressionist overtones, moving away from the nationalist heritage, favoring somber tones and the incorporation of dissonant passages, harsh vocal melodies and declamations rooted in Russian prosody. the wild orchestration, vibrant, contrasting, 'obsessive', lyrical and supernatural, maintains an almost cinematic dramatic tension. (Prokofiev would be a great soundtrack composer, especially in his great collaborations with Sergei Eisenstein, from Alexander Nevsky a Ivan the Terrible).

The opera, in whose ambiguous and disconcerting script sexual violence underlies, psychic disorders, macabre practices, perversity, religious fervor, etc., caused the rejection of several theaters until its premiere in 1954, after Prokofiev's death, in a concert version, translated into french, at the Théâtre des Champs-Elysées. The next year, in 1955, the opera was finally staged, under the direction of Giorgio Strehler, and arrived, in Italian, to the Fenice of Venice. Its presentation in the original Russian version takes place, discreetly, and Perm, in 1987. In Russia, where opera was banned throughout the Soviet period, The angel of fire finally took to the stage of the Kirov Theater in Saint Petersburg as part of the Prokofiev centenary commemorations, in 1991.

The production conceived by calixto Bieito, with dramaturgy of Beate Breidenbach, avoid the esotericism of the libretto, archetype of Russian symbolism, and delves into the real drama of the protagonist. In his alienated and wounded mind, the scenes of the opera follow one another like flashes of memory, recreated in the rooms arranged in a rotating structure designed by the set designer Rebecca Ringst what, with the illumination of Franck Evin and the distressing videos of Sarah Derendinger, transforms into a real house of horrors. just a bike, freedom symbol, Renata's fragility and flight, remember the lost innocence of his childhood.

The musical direction will be in charge of Gustavo Gimeno, Valencian director of recognized national and international prestige, which will debut in the pit of the Real, leading a double cast led by the sopranos Ausrine Stundyte Y Elena Popovskaya (Renata), baritones Leigh Melrose Y Dimitris Tiliakos (Ruprecht), tenors Dmitry Golovnin Y Vsevolod Grivnov (Agrippa of Nettesheim / Mephistopheles), the mezzosopranos Agnieszka Rehlis Y Olesya Petrova (The Mother Superior / Seer), the short ones Mika Kares Y Pavel Daniluk (the inquisitor), who will act together with Choir and Orchestra of the Teatro Real Headlines.

Since the reopening of the Teatro Real, in 1997, three operas by Sergei Prokofiev have been presented on its stage: War and peace, in 2001, in a Mariinsky Theater production, with musical direction by Valery Gergiev and stage direction by Andréi Konchalovski; The Love for Three Oranges, in 2006, in a co-production of the Royal Theater with the Aix-en-Provence Festival, with musical direction by Tugan Sokhiev and stage direction by Philippe Calvario; Y, In that same year, Semyon Kotko, with the Mariinsky Theater Orchestra and Choir, under the direction of Valery Gergiev.

The Teatro Real finally opens in Spain The angel of fire, when, little by little, theaters around the world recover this opera misunderstood in its time, whose shadowy symbolist paths lead to the depths, unspeakable and dark of the human soul.

Photograph © Monika Rittershaus

Alba Heredia

Heir to the most flamenco tradition, born into one of the most important dynasties of this art, Alba Heredia communicates with his own personality the essence of his feelings through an impeccable and refined technique that is, both, spontaneous and natural, as his show shows RIDING, that can be seen in the Teatro Real the days 17 Y 18 of March in the cycle Real Flamenco.

His first public appearance took place, when I was only four years old, in 1999, at the Sports Palace of Granada in the show tribute to his uncle Juan Maya Marote, sharing the stage with figures like Niña Pastori, José Mercé and Eva la Yerbabuena, among others. What was to be an endearing appearance by the youngest of the family became the announcement of the future great bailaora and caused, since then, I would no longer abandon the tables.

Alba Heredia learns and assimilates the hallmarks of her lineage, while continuing his training with great flamenco dancers such as Belén Maya, Rafaela Carrasco or Iván Vargas, without stopping performing in tablaos and festivals. In 2005 comes the most important role of his short career, starring in the show Passion of Christ, of his uncle Juan Andrés Maya. Two years later he performed as a soloist at the prestigious La Chumbera del Sacromonte auditorium in Granada, and in 2015 wins the Desplante award at the International Festival of Cante de las Minas.

In RIDING, his art will be the center of a show in which he will have the participation of some of the most renowned names in current flamenco, real stars like Gabriel de la Tomasa Y Saúl Quirós to the cante, the palms of Rober ‘El Moreno’ and the percussion of Ivan Losada.

The show will feature, as guest artist, from Rafael Riqueni, honda thrill performer, with a very personal touch and a neat execution, in whose art the new generations already look. Riqueni's presence at these evenings provides a moment of sublime music that surrounds a great dancer.

Despite his youth, Alba Heredia's dance is already recognized in its own right. An art that enriches and reaffirms the genuine way of expressing dance. An opportunity to contemplate the heiress of one of the most emblematic dynasties in the flamenco world.

Götterdämmerung

He Teatro Real has decided to cancel the performances of the Bolshoi Ballet, scheduled for next May, in the face of the war unleashed by Russia in Ukraine, which is causing a serious crisis in the world and a painful humanitarian emergency.

The Royal Theater regrets not being able to count on this prestigious company, whose director, Vladimir Urin, has publicly spoken out in favor of Ukraine and against the war.

The Royal Theatre, shocked and dismayed by the dramatic situation that Ukraine is experiencing, and as an expression of deep respect and solidarity with its people, last 27 February, in the last screening of Twilight of the Gods, Siegfried's body was wrapped in the Ukrainian flag, integrating the symbolic homage of the Royal Theater in Wagner's visionary and sublime opera.

The Royal Theater will reimburse, throughout the month of March, the amount of seats purchased for this show.

Image © Javier del Real / Teatro Real

letter opener

the letter opener

Luis de Pablo (1930-2021)

Opera in a prologue and six acts. Libretto by Vicente Molina Foix, based on his homonymous novel /2006)

New production of Teatro Real. D. musical: Fabián Panisello. D. scene: Xavier Albertí. Scenographer: Max Glaenzel. Costume designer: its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. illuminator: Juan Gomez Cornejo. Choreographer: Roberto G. Alonso. Video Designer: Álvaro Luna. D. choir: André Máspero. D. children's choir: Ana González

It premiered in Teatro Real, posthumously, one of the lyrical works of the recently deceased Luis de Pablo. This was a well-deserved tribute to the Bilbao composer. This work, composed of a prologue and six scenes, It is almost an artistic and philosophical compilation of his vast work.. The letter opener is not without its full of musical complexity, house brand, and abundant avant-garde influences. But he is also seduced by traditional music, like the pasodoble or the choral piece with which it ends. The music of Luis de Pablo has always been characterized by its strength and creativity and the letter opener is no exception.

The author of the novel, Vicente Molina Foix, has been in charge of making the adaptation for the libretto. But the result is not the most suitable for an opera. His recitative style, somewhat disjointed, does not exactly fit with poetic lyrics that requires an opera. At no time did he leave his flat line, not only because of the lack of theatricality, but because of the little strength or emotion of the text itself.

It was not the first time that Luis de Pablo put music to libretti by Molina Foix. already did it with The indiscreet traveler and The mother invites to eat.

The work revolves around the letters passed between some of the most important characters in Spanish cultural life. In it appear García Lorca, Vicente Aleixandre, Miguel Hernandez or Eugenio d'Ors. Maybe that's why, because they are letters and documents foreign to each other, the scenes are a bit disjointed.

The set designer Xavier Albertí I didn't have an easy task, given the eclecticism, both music and text. The work begins with a children's scene by Lorca in Fuentevaqueros, all this in the midst of a great scenic austerity. Just a few mobile filing cabinets that perform different functions throughout the representation. Dim lighting and the absence of any color other than gray, they adorn each of the scenes with small movements, appearance of large paintings or characters whose costumes are intended to illustrate the scene.

Is this a choral work, with a good number of characters, and the voices are what I liked most about this production. Despite the static nature of the characters on stage, it is necessary to emphasize his good interpretation, despite being such a declaimed text.

Airam Hernández has given voice to García Lorca, proving once again that it has a beautiful timbre. Sing with taste and elegance, characteristics very appropriate to the character.

Maybe Borja, as Vicente Aleixandre, did you have a problem with bass, but overall, he resolved his ballot well. very well, as usual, Mikeldi Atxalandabaso, as Alfonso, like the rest of the cast formed by José Antonio López, in the role of Miguel Hernandez, It is essential to understand the musical language itself used by, Rafael, Jorge Rodríguez-Norton, As Andre Steel, Ana Ibarra, in the roles of Salvador and Setefilla, Stephen Vincent, as Ramiro, Gabriel Diaz, like the commissioner, David Sanchez, as Eugenio d'Ors, Laura Vila, as Sombra and Magdalena Aizpurua, as Manuela.

pictures: Javier del Real

by Léo Delibes

by Léo Delibes, season Teatro Real by Léo Delibes, by Léo Delibes, by Léo Delibes, of the French composer by Léo Delibes (1836-1891), Lakmé, by Léo Delibes, in concert, the following days 1 Y 3 of March.

Lakmé by Léo Delibes. by Léo Delibes 14 April 1883 by Léo Delibes, in November 1898, by Léo Delibes. by Léo Delibes.

by Léo Delibes, unknown and exotic place, unknown and exotic place- unknown and exotic place. unknown and exotic place, unknown and exotic place, unknown and exotic place Madama Butterfly Y Turandot, Puccini; The Pearl Fishers, Bizet; Thaïs, Massenet; unknown and exotic place, Saint-Saëns, unknown and exotic place, Lakmé.

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Lakmé hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices, hidden before the invader's prohibition to celebrate their religious practices.

hidden before the invader's prohibition to celebrate their religious practices Sabine Devieilhe (Lakmé), Xabier Anduaga (Gérald) Y Stéphane Diverting (Gérald), in the lead roles; David Menendez (Gérald), Gérald (Gérald), Gerardo López (Gérald), Inés Ballesteros (Gérald), Cristina Toledo (Gérald), Gérald (Gérald) e Isaac Galan (Gérald).

Gérald, under the expert baton of Leo Hussain, he Choir and Orchestra of the Teatro Real holders.

Gérald

Antonio Lizana

Antonio Lizana is one of the most restless artists, complete and original of its generation, jazz saxophonist, flamenco singer and composer of all his music and his presentation in Real Flamenco, the days 24 Y 25 February, invites you to enjoy music without prejudice, like an ever-evolving art.

The title of your show, the secret of the world, it is quite a declaration of intentions. In it he presents his own compositions rooted in his native Cádiz, wrapped in rhythms and melodies from other places and accompanied by the paths of jazz that emerge from her soprano sax. There is no lack of bulerías, the tanguillos, soleá, but with another look, that of the musician who is not afraid to express himself, to seek complicity, to unite and untangle, to improvise and return to the center.

Antonio Lizana studied saxophone at the San Fernando Conservatory, Cádiz, after participating in various jazz seminars given by prominent artists of the genre -Jerry Bergonzi, Dick Oatts, Miguel Blanco or Perico Sambeat- he moved to San Sebastián to complete his training at the Superior Center of Music of the Basque Country. As a professional artist, he has visited places as diverse as New York, Japan, Turkey or Morocco, where he soaks up its rhythms and cultural essences that he incorporates into his own idiosyncrasy. He has collaborated with artists such as Arturo O'Farrill and Alejandro Sanz -in works that received Grammy awards.- Chano Dominguez, Ari Hoenig, Jorge Drexler, India Martinez, Jose Merce or Carmen Linares, to name a few.

For your evenings at the Real, Lizana will have the special participation of the young dancer from Cádiz Claudia Cruz; flamenco guitar Jose Manuel Badger and the percussion of Adrian Trujillo, musicians with whom he regularly collaborates and with whom he has seen the birth the secret of the world.

Sala Gayarre

The Royal Theater will broadcast live opera in its Gayarre Hall

He Teatro Real The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall 19 The Royal Theater will broadcast live opera in its Gayarre Hall, under the title The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall.

The Royal Theater will broadcast live opera in its Gayarre Hall, The Royal Theater will broadcast live opera in its Gayarre Hall, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio 19 February, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio Götterdämmerung, last journey of Der Ring des Nibelungen, Richard Wagner (1813-1883), sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, 11 soloists, 115 musicians -who will be, as it happened last season in Siegfried, located in the pit and in 8 boxes on both sides of the stage to maintain the proper health safety distance-, 62 choir members and 17 extra actors.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio (www.teatroreal.es), sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio.

sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio Lakmé -sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio 3 sharing spaces in the intervals and with the possibility of attending the gastronomic space of the Café de Palacio, Le nozze di Figaro, Joan of Arc at the stake O Nabucco.

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca. Airam Hernández returns to the Teatro Real in the role of Federico García Lorca (day functions 16, 18, 20, 22, 24 Y 26 February).

Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García Lorca, Airam Hernández returns to the Teatro Real in the role of Federico García LorcaAiram Hernández returns to the Teatro Real in the role of Federico García Lorca. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York, I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York: I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I was always fascinated by his poetry after having read Gypsy Ballads or Poet in New York. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it. I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it, I approach it without having many audiovisual testimonies of it”, states.

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The season 2021-2022 has taken the singer from Tenerife to the Euskalduna in Bilbao, has taken the singer from Tenerife to the Euskalduna in Bilbao. C. has taken the singer from Tenerife to the Euskalduna in Bilbao Ninth Symphony Beethoven; has taken the singer from Tenerife to the Euskalduna in Bilbao The magic Flute Mozart; has taken the singer from Tenerife to the Euskalduna in Bilbao; has taken the singer from Tenerife to the Euskalduna in Bilbao I Capuleti e i Montecchi Bellini; has taken the singer from Tenerife to the Euskalduna in Bilbao, has taken the singer from Tenerife to the Euskalduna in Bilbao.

has taken the singer from Tenerife to the Euskalduna in Bilbao the letter opener has taken the singer from Tenerife to the Euskalduna in Bilbao Florencia en el Amazonas has taken the singer from Tenerife to the Euskalduna in Bilbao has taken the singer from Tenerife to the Euskalduna in Bilbao, by César Franck; will be Alfredo from La Traviata at the Calderón Theater in Valladolid; has taken the singer from Tenerife to the Euskalduna in Bilbao has taken the singer from Tenerife to the Euskalduna in Bilbao, but Liszt, in Weimar (Germany) and will return to the Gran Teatre del Liceu in Barcelona as Pollione de Rule Bellini.

the letter opener

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who share the same dark and disturbing world that forces them to hide their thoughts Xavier Albertí who share the same dark and disturbing world that forces them to hide their thoughts. who share the same dark and disturbing world that forces them to hide their thoughts, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of Juan Gomez Cornejo– its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of Max Glaenzel, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of. The wardrobe its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of suggests, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of, its dramaturgy evokes the 'mental spaces' of the protagonists -emphasized with the lighting atmospheres of.

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Photographer: © Javier del Real | Teatro Real

A piano without limits

The Royal Theater has prepared a new event at sunset in its emblematic Orchestra Hall, where a grand piano lives that hides infinite melodies and will be the main protagonist of the new show by Royal Junior in an adventure titled Piano without limits.

Aimed at an audience from 10 years, the pianist Karina Azizova and the multi-talented Fernando Palacios, responsible for the script and presentation, they will travel through the history of music discovering the ways of understanding and expressing themselves with this instrument, in the company of composers such as Liszt, Chopin, Satie, Rachmaninov ¡o Bruce Springsteen!

The appointment will take place on 11, 12, 18 Y 19 February, to 20.00 hours, Y 13 Y 20, to 20.00 hours, when the moon enters its brightest phase, accomplice and mysterious, romantic or frivolous, seductive gamberra, according to the compass marked by the piano keys.

As on other occasions, The website of the Teatro Real has a didactic guide, with free access, in which viewers can find information on the composers and works that make up the show, listening lists and videos, suggestions for reading and recreational activities that, on the whole, complement the viewer's experience before and after immersing himself in a Piano without limits.

Karina Azizova was born in a remote place in the Caucasus, Turkmenistan, and studied piano in Moscow. Soon it would win important prizes in Italy and Russia, although its final destination, where do you currently reside, it was Madrid. He has performed in the most prestigious concert halls in Spain: National Auditorium, Juan March Foundation, Monumental theater, Palace of Catalan Music, Palace of Festivals of Santander and gives recitals in various countries of the world. He is the titular pianist of the Orchestra of the Community of Madrid. He loves difficult challenges and playing quality and demanding piano works.. Her enormous capacity for work and her interest in proving herself on stage make her a pianist without limits..

illustration design : © Monica Carter

Butterfly en Dubai

"Live" one of the iconic productions of Aida; enjoy the love of Bohemian; discover the splendid fusion of opera and jazz of Street Scene or tour the backstage of the Teatro Real These are some of the immersive experiences proposed by the Madrid Coliseum at the Universal Exhibition in Dubai, in which its visitors can see first-hand what its stage and its artists are like.

Spain is one of the 192 countries present at this universal exhibition that aims to strengthen foreign relations and work for a future of sustainability, mobility and opportunities. The Royal Theatre, only cultural institution present in the pavilion, stands out as an example of innovation and cultural icon of the country.

The president of the Government, Pedro Sánchez, will visit the Spanish pavilion next Wednesday, 2 February, and will start the Week of Honor of Spain, during which the national pavilion will receive hundreds of visitors, representatives of Emirati institutions and other government guests.

The Royal Theater was installed last October in the Spanish pavilion in Dubai with an immersive technological commitment that opens some of its most important productions to the enjoyment of visitors.

During 15 minutes, the public that visits the Spanish pavilion can enjoy, thanks to virtual reality glasses, of a vision of 360 degrees of fragments of the production of Aida, in Verdi; Madama Butterfly Y Bohemian, both by Puccini, and the production of Street Scene, from Kurt Weil, all recorded on stage.

These four videos are joined by a fifth that allows visitors to tour the stage, the tailoring and characterization workshops of the Theater.

Visitors can also access a projection room where you can see a selection of the most famous arias performed at the Royal Theater in HD quality.

The videos are part of the My Opera Player project, the largest platform for disseminating the audiovisual content of the Teatro Real.

The Theater joins the motto of the Spanish pavilion in the creation of a more sustainable future, one of the objectives of its strategic plan for the next five years, with the promotion of projects that revolve around reducing their impact on the environment with proposals for technological innovation and improvement in the use of resources.

The Dubai Expo 2020 opened its doors in October 2021 –one year later than planned- the presence of 192 countries that are distributed not by region, but through three districts that make up a small city with architectural structures, technological innovations, exhibitions and interactive spaces.

occupies 428 hectares – some 600 football stadiums- and wait 25 million visitors to 31 of March, when will it close its doors.

David Palomar

The essence, the spell, the grace and art of Cádiz will envelop the tables of Real Flamenco with the presence of one of the singers who, own right, best represent the art of this cradle of flamenco, David Palomar, who will offer two shows to the Madrid public on the days 3 February, to 19.00 hours, and the 4, in double session, to 19.00 and to the 21.00 hours, under the title Cadiz is Real.

For this occasion, David Palomar will be accompanied by the guitar of Juan José Alba, the choirs and palms of Anabel Rivera Y Roberto Jaén, with the special collaboration of Juan Jose Jaen, El Junco, in the dance.

Palomar takes her first steps on stage with bailaor Javier Barón, to continue his journey along with other great dance figures -Carmen Cortés, Cristina Hoyos or Javier Latorre- and prestigious musicians -such as Vicente Amigo and Gerardo Núñez- before formalizing his solo career with the premiere of the show Cádiz, in 2017, where the expression of his cante draws the model of the pure feeling of Cadiz.

The voice of Palomar she is flamenco. long, contained, flexible… it sprouts to the beat required by each cante, with authentic sound and defined colors, and the unmistakable air of the bay where he was born, because that is the hallmark of an artist who is committed to the studio, the recovery and defense of the Cadiz school of flamenco singing. In this sense, his work has not only received recognition from the public and from his peers, It has also been rewarded with the "Flag of Andalusia" award., for his work "Promotion of Cádiz abroad", and the “Andalucía Excelent 2016” award for the best album of the year, for his album “Denomination of Origin.

His concern has led him to collaborate with musical figures such as Lluís Llach, Passion Vega, Alejandro Sanz or Javier Ruibal who, in commemoration of their 25 years on stage, count on him to share the stage with Martirio, Miguel Rios, Juan Echanove, Gabino Diego and Kiko Veneno, among others.

Cadiz is Real is part of the programming REAL FLAMENCO what, in this fourth edition, has the 100% capacity and recovers its original format, like a tablao, in the Ballroom of the Royal Theater.

Götterdämmerung

They offer 9 functions Götterdämmerung, between 26 January 27 February, which will start the 18.30 hours (17.00 Sundays) due to the long duration of the opera.

The next 26 January will take place in the Teatro Real the premiere of Götterdämmerung, last journey of Der Ring des Nibelungen, from Richard Wagner (1813-1883), that puts an end to the colossal project of the tetralogy that has been presented on this stage in four successive seasons and that has had the musical direction of Pablo Heras-Casado and the iconic staging of Robert Carsen created for the Cologne Opera in 2000 and answered numerous times.

The nine functions of the opera will begin at 18.30 hours, except for sundays, whose start will be at 17.00 hours, to adapt the schedule to the long extension of the work (five hours and a half).

The performance of this colossal score will feature 11 soloists, 115 musicians -who will be, as it happened last season in Siegfried, located in the pit and in 8 boxes on both sides of the stage to maintain the proper health safety distance-, 62 choir members and 17 extra actors.

Götterdämmerung, closing of this great story, It was, curiously, the first of the four operas that make up The ring... to be conceived by the composer. In it we witness the tragic death of Siegfried, to Brunhilda's sacrifice, to the end of the tyranny of the gods and the destruction of Valhalla. Destiny, the curse of the ring and the ambition of the gods lead the protagonists to an irreversible end in which, as opposed, a glimmer of hope lies in returning the ring to the daughters of the rhine and restoring the natural order.

The structure of the work resembles that of the Greek tragedies and in it, musical development runs parallel to the evolution of the drama, turning the orchestra into a kind of character or choir that anticipates, explains or narrates the action, advancing among the many leitmotivs until reaching the transformative expression of Siegfried's death in the "Funeral March"-with a tonal structure that goes beyond the formal limits of music, associated with a profound philosophical reflection, and to the redemption of the world after the immolation of Brunilda.

Robert Carsen performs here one of his most brilliant works, performed with great success in numerous theaters, conceived in close collaboration with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss. Throughout four seasons they have developed the idea that transfers the Wagnerian allegory to the present in a contaminated world, that we destroyed among all, but that will give us the opportunity to resurface after a healing fire.

Once again, the Royal Theater has had some of the most recognized Wagnerian voices of the moment: Andreas Schager (Siegfried), Lauri Vasar (Gunther), Martin Winkler (Alberich), Stephen Milling (Hagen), Ricarda Menzer (Brünnhilde), Amanda Majeski (Gutrune / norna), Michaela Schuster (Waltraute), Elizabeth Bailey (Woglinde), Maria Miró (Wellgunde), Claudia Huckle (Flosshilde / norna) Y Kai Rüütel (norna).

The Royal Theater will complete, in these functions, audiovisual recording of Tetralogy for international distribution and broadcast on My Opera Player.

Photograph ©Javier del Real / Teatro Real

Strategic plan

The stability of the Royal Theater, materialized in the ratification, in recent months, of its president, Gregorio Maranon, and its CEOs, artistic and musicalIgnacio García-Belenguer, Joan Matabosch e Ivor Bolton, respectivamente­, will allow the Madrid Coliseum to carry out an ambitious Strategic plan for the next 5 years (2021-2026).

its effective management model (with which he was able to face the pandemic), the independence of its governing bodies, the accumulated experience and the support of public administrations, sponsors and civil society have allowed it to design a project that consolidates the roadmap started in recent years and opens up new growth paths, especially in the field of digitization, Resource Optimization, expansion and loyalty of the public, education, inclusion, sustainability, accessibility and internationalization.

He artistic project directed Joan Matabosch, Widely supported and recognized nationally and internationally, will continue to expand the Teatro Real's repertoire with a wide-ranging program starring prestigious artists and favoring co-productions with the most important opera houses in the world. The articulation of repertoire operas with lesser-known masterpieces, world premieres and recovery of Spanish musical heritage, will continue to bring to the Real stage the interpreters, musical directors and stage teams most suitable for each artistic proposal.

Ivor Bolton, in the musical direction of the institution, seconded by Nicola Luisotti Y Pablo Heras-Casado, next to Andrés Máspero, in front of the choir, will continue their work together to the Choir and Orchestra Headlines of the Royal Theater, in a permanent and tenacious search for excellence, that unanimously praises national and foreign critics.

The public service vocation of the Teatro Real and its commitment to an ever-widening public, different, decentralized and inclusive, in which children and young people occupy a privileged place, backbone their five-year plan.

After the recovery of free visits to the Royal Theater after the break caused by COVID 19, the Guided visits will be reactivated with new models and routes, more attractive and diversified.

The Real Joven -with the last minute tickets, the Young armchair and the Youth Committee­, as well as the Young Friends of the Royal Theater, will also grow with the creation of the International Youth Council, that will unite opera lovers of different nationalities until 35 years, fostering fruitful links and synergies.

LÓVA (The opera, Learning Vehicle), project that was born in the Royal Theater in 2007 and which is already developing in more than 200 schools throughout Spain, returns to be supervised by the Royal Theater, that will give him a new impetus after the break caused by the pandemic and the death of his great mentor, Peter Sarmiento.

In the field of Training, supply will be increased courses for the public, university students, and professionals from the artistic world, highlighting the launch of a Online Teaching Platform of the Royal Theater.

Crescendo, created in collaboration with the Foundation Friends of the Royal Theater in the midst of a pandemic to facilitate the access of young singers to the professional world, will continue to consolidate with opera-studio projects that will integrate the programming of Royal Junior (Like the recent production of ashen) and launching other initiatives, as the training of repetitive pianists, which will start this season.

Within the framework of the Cerca de Ti program -approved by the Council of Ministers as an Event of Exceptional Public Interest and valid until 2023- different initiatives will be developed to spread opera and music, highlighting the roaming of the Royal Theater float, in coordination with the autonomous communities throughout Spain, and the installation of a screen, permanently, on the façade of the Plaza de Isabel II, which will divulge the cultural and artistic programming of Madrid (similar to those existing in the Plaza de Callao or Coliseum), giving special relevance to the contents and retransmissions of the Teatro Real.

It will continue the commitment of the Royal Theater with the accessibility of their shows, perfecting its 'Accessible Real Theater' app for viewers with visual and hearing disabilities, its magnetic loop system installed in the main hall and improving the mobility of wheelchairs inside the building.

One of the great challenges for the coming years is the environmental sustainability of the Royal Theater, based on energy efficiency, decarbonization, digitization of maintenance operations, Resource Optimization, modernization of equipment and implementation of renewable energies, with the aim of becoming a zero consumption building 4.0.

In the field of improvement of facilities and infrastructures, will be carried out renovation of the floor of the stage box of the Royal Theater, after 25 years of maximum and uninterrupted use.

He Arganda logistics center, that gives shelter to the productions and co-productions of the Teatro Real, will be modernized with digitization and automation of storage processes.

The use of new technologies will affect all areas and services of the Teatro Real for more efficient management, highlighting the creation of a digital historical archive, with the compilation and cataloging of all the material of historical and musicological interest, which will be available to scholars and researchers.

Hard work will be done on the international projection of the Royal Theater in its many aspects: co-productions with foreign theaters, rental of own productions, expansion of the catalog MyOperaPlayer, retransmissions and broadcasts in co-production with prestigious international television and platforms and communication campaigns to consolidate the notoriety of the Theater among the most important in the world.

The programming of the Real in 2019, recognized with the prestigious International Opera Award (one year late caused by the pandemic), had significant media coverage, which will continue with Gala to be held next 28 November on your stage. It will be the first time the awards ceremony has been held outside of England..

Real's work during the pandemic, only one in the world, has attracted the attention of the international press and has given great visibility to the Theater beyond the musical field, with a prominent presence in foreign media.

Photography © Javier del Real | Teatro Real

Miguel Muñiz

Born in Ourense in 1939, Miguel Muñiz He had a degree in Economic Sciences from the Complutense University of Madrid and in his long professional career he was linked to various institutions and public and private companies.. In 1982 was appointed General Secretary of Economy and Planning in the Ministry of Economy and Finance and in 1986, President of the Official Credit Institute (ICO), position he held until 1996. He was part of the National Institute of Statistics and Telefónica, where he was framed in his cabinet of studies, in a first stage, and later in its Executive Committee.

He 27 September 2004 is appointed CEO of Teatro Real, position that he would hold until 2012. Under his mandate, initiatives were carried out such as the launch of Last Minute Tickets, the Audiovisual Project and the first opera recordings on DVD, the Social Project – whose music in prison initiative, obtained the Medal of Penitentiary Social Merit two consecutive years-, the creation of jazz and flamenco festivals in the Sala Principal or the first days of Open Doors, to name just a few; Actions, All of them, who contributed to modernizing and promoting the opening of the Royal Theater.

About his work at the head of the institution, Gregorio Maranon, president of the Royal Theater, has declared: “I met Miguel Muñiz many years ago and, at 2004, I proposed him as general director of the Royal Theater to the Minister of Culture Carmen Calvo. retired in 2012 having done an extraordinary job in the difficult times of the economic crisis in 2008. In addition to being a very good professional, as he had shown in the presidency of the ICO, Miguel has been an excellent person”.

Photography © Javier de Real / Teatro Real

Magic piano

The magic of the Christmas holidays, in which children always have a leading role, could not miss in the programming of Royal Junior, which will open the Main Hall to a show for the whole family full of imagination and fantasy woven with the piano and the music of Frédéric Chopin, the following days 27 Y 30 December and 3 Y 4 from January, to 12.00 hours.

Entitled Magic Chopin will be presented, for the first time in Spain, this proposal from the Oscar winners BreakThru Films –whose creation, Peter and the Wolf, winner of several awards, could be seen at the Teatro Real last season - now we are invited to an animated film concert that will feature the pianist Mariana Gurkova, performing live the music of the Polish composer, and the participation of Fernando Palacios, as a scriptwriter and presenter.

Magic Chopin presents Chopin's music with a set of unique animations, composed of a main feature film, Magic Piano, of some 30 minutes long, in which the adventure of

Anna and her cousin Chip-Chip aboard a magical flying piano, and various animated shorts, The Chopin Shorts (Chopin's shorts), in which four stories of 2 a 3 minutes, each one.

The different narratives surround the viewer who, From the first moment, empathize with adventures, emotions and attitudes of the protagonists without ceasing to be surprised until the last moment, taking away, Upon leaving, the memory of an unforgettable experience and many reflections on the moments lived.

BreakThru Films, founded in 2001 by producer Hugh Welchman, is a polish animation company, known around the world for its innovative projects of extraordinary artistic quality. His first major production, Peter and the Wolf, Oscar winner for best animated short film, pioneered the format of films shown in concert halls accompanied by live orchestras, and attract more and more public and younger ! BreakThru Films has built a great reputation for its short films, endorsed by more than 20 international awards and nominations, including two BAFTA nominations, the official selection of Cannes, the Chicago Canal + award and the TCM award, to name a few.

MAGIC CHOPIN – SYNOPSIS

MAGIC PIANO

Studies by Frédéric Chopin (1810-1849)

Opus 25 Nº5, Opus 10 Nº3, Opus 10 Nº1, Opus 10 Nº7, Opus 25 N6, Opus 25 Nº1, Opus 25 N12, Opus 10 N9 Y Opus 25 N11

Address: Martin Clapp

Magic Piano tells the story of Anna, a girl of 10 years whose father has left her in Poland with her aunt and her cousin Chip-Chip, while he works abroad, in London. Anna, that he misses his father, decide to run away. Seeing her go, Chip-Chip follows her. To get rid of him, he hides in a trash heap and stumbles upon an old piano, which transforms into a magical flying machine in which both are transported through the air, as if they were traveling in a giant sailboat or a spaceship.

Anna decides to use the contraption to find her father and bring him back home.. Chip chip, despite feeling terrifying vertigo, decides to accompany her as she desperately wants her cousin to like her.

They both start the adventure but, upon reaching the rooftops of Paris, they meet a young man with whom Anna seems to connect very well. Chip chip, suspicious, riot and try to spin the flying machine in the air. They both start an argument and, in the course of the fight, they break the steering gear, and drift in the wind through stormy seas into impenetrable mists.

When the fog clears, they discover to their surprise that they are in London even though, with the broken machine, they can't take the last little step towards dad.

Behind them a gigantic storm forms that drags them away from the magic piano and, inexplicably, suddenly returns them to Warsaw, next to the pile of garbage, where there are no old piano but ... where they find dad walking towards them.

THE CHOPIN SHORTS (THE CHOPIN SHORTS)

THE FAT HAMSTER

Opus Study 25. No. 8

Address: Adam Wyrwas

The protagonists are a couple of adorable and fluffy hamsters. One of them is terribly gluttonous, but his partner does not want him to be fat and forces him to exercise on the cage wheel. The monotony of the movement leaves you in a deep sleep, moment that his gluttonous companion takes the opportunity to gorge himself on food… with comical consequences ...

PL.INK!

Opus Study 10. No. 4

Address: Anne-Kristin Berge

A minimalist painter loses his young son in one of his paintings. By accessing the inside of the painting to rescue the mischievous boy from the ink monsters, they find help from a flying machine.

HAMSTER'S SKY

Opus Study 10. No. 11

Address: Paul Bolger

The beautiful love story of a couple of these friendly rodents in which the male will do everything possible to never separate from the hamster he loves..

DAD'S CHILD

Opus Study 25. No. 9

Address: Leevi Leemetty

A little mouse that wants to be a ballet dancer. His father, a former boxing champion, can't understand her passion for dance, But when the little boy uses his skills as a dancer to fool a cat that has trapped his father, he proudly watches his little one doing pirouettes to help him escape.

Marco Flores

I come deep is the name of the show with which Marco Flores go back to Real Flamenco and with which the Cádiz-born bailaor will fill every corner of the tablao with rhythm and tradition, showing, intimately and sincerely, the cultural and family legacy on which he has forged his art and that have always been present in his professional career.

The appointments with the Madrid public will take place on days 22 from December, to 19.00 hours, Y 23 from December, in double session, to 19.00 and to the 21.00 hours, and in them he will be accompanied by Quini, in cante, Y José Tomás Jiménez, to the guitar.

Born in Arcos de la Frontera, Marco Flores he began to dance from a very young age in a self-taught way, although it did not take long to train with teachers like Antonio Canales and Javier Latorre. To the 18 years he was already part of prestigious companies such as Rafaela Carrasco or Sara Baras, in addition to participating as a guest artist in those of Miguel Ángel Berna and Mercedes Ruiz.

Flores is an artist with an impressive track record: in 2007 obtains four prizes in the National Contest of Córdoba –Mario Maya Awards, Carmen Amaya, Antonio Gades and Dance Special-, in 2012 wins the Specialized Critics Award at the Festival de Jerez, in 2019 is awarded the Critical Eye Award for Dance and in 2020 is recognized with the Max Award for Best Dance Performer, among others. But its greatest value lies in the purity of its art, the defense of values, the incorporation of tradition to the new creation, the prodigious click of his feet…

In I come deep, the dancer wants to approach flamenco from the most naked way, more intimate, recreating in the essence, and for this he relies on the two elements that have always been present in his creative aspect, singing and playing, represented in these Real Flamenco evenings by Quini, tanned in the family of the Pastillas and owner of a compás and a purely gypsy interpretation, Y José Tomás Jiménez, recognized for the profoundly flamenco character of his guitar and his extraordinary skill in accompanying, that has taken him to important stages.

This fourth edition of REAL FLAMENCO has the 100% capacity and recovers its original format, like a tablao, in the Ballroom of the Royal Theater.

Photography © Juanlu Vela

Interview Michael Fabiano

Michael Fabiano returns to Madrid, city ​​where you feel at home, after having starred last season in some of the most exciting moments on the stage of the Teatro Real after the pandemic, and returns with one of his fetish characters, Rodolfo, in La Bohéme directed by Nicola Luisotti. A new opportunity to enjoy the sensitivity and strength that the New Jersey singer brings to the romantic character created by Pucinni.

Fabiano is one of the most outstanding bel canto interpreters of the moment. In this interview he tells us about the evolution of his career, of some of the most special moments on stage and their plans for the future.

Eleonora Buratto

The Italian soprano Eleonora Buratto, considered one of the best interpreters of the Puccinian character, returns to the Madrid Coliseum to perform six performances of Bohemian in a season in which he will also sing it in New York.

Eleonora Buratto's career does not stop conquering stages and gaining followers all over the world. Not for less: His schedule points out commitments in the most important theaters of the international lyrical scene thanks to a voice of impressive beauty and a temperament that leaves critics and audiences breathless wherever he performs..

The singer arrives in Madrid with her acclaimed Mimì de Bohemian after having triumphed with the popular character of Puccini at the Metropolitan Opera in New York, reaping impressive public and critical success, scenario in which she will play the Parisian seamstress again this year. In the Royal Theater he has already sung, since his debut in 2012 with The two Figaro, titles like Don Pasquale, L'elisir d'amore, The Marriage of Figaro, Carmen e Idomeneo. Now come back with Bohemian, who will interpret the days 13, 16, 19, 27 Y 30 December and 3 from January, in a montage staged by Richard Jones and with Nicola Luisotti on the podium in front of the Madrid Symphony Orchestra. It is a co-production of the Teatro Real, the Royal Opera of London and the Lyric Opera of Chicago. “I am excited to face new artistic adventures, but, this time, to the joy I add the emotion of singing for a theater with him 100% of its capacity ", affirms the singer born in Mantua. "I am in Madrid in full rehearsals of Bohemian embodying Mimì, one of my distinctive roles. It is also the last character I sang at the beginning of 2020, before confinement, at the Royal Opera in London. And none of us could imagine at that moment that the entire world and the world of opera were on the verge of paralyzing because of the pandemic.. I hope that the circle is finally closed and that, although with all the necessary precautions, we are resuming life as before”.

Already in the summer of 2020 Eleonora Buratto was able to restart artistic activity with the Requiem Donizetti and Verdi. “I also debuted two exciting Verdi roles as Elvira and Desdemona, in addition to the Mozartian Fiordiligi in Così fan tutte, first at La Scala and then in Turin –with Riccardo Muti–, and Anaïs in Moses and Pharaoh at the Rossini Opera Festival, but rehearsing now with a true spirit of normality like the one we are experiencing at the Teatro Real is a wonderful gift. I have been linked to this theater since 2012; here I have made important debuts like Elettra's in Idomeneo, among others. Now it's Mimì's turn. I hope to convey to the Spanish public the emotions of a role and a work that for more than a century has spoken to audiences around the world of love, joy, the illness, the pain and, especially, the infinite melancholy that brings the end of youth. I think today, more than ever, Bohemian is capable of giving us the truest and most shared emotions”, concludes the soprano.

After his commitment to Madrid, he will travel to Rome to participate in three Rossini concerts with the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia conducted by Antonio Pappano, to Paris to sing the Requiem by Verdi directed by Daniele Gatti at the Théâtre des Champs-Élysées and will return to New York, this time to debut Madama Butterfly and again embody Mimì from Bohemian, both engagements at the Metropolitan Opera House during March, April and May 2022

Christmas with La bohème

This Christmas, between 12 December and 4 from January Royal Theatre offer 15 functions from Bohemian, from Giacomo Puccini, in a Theater Royal co-production with London's Royal Opera House and Chicago's Lyric Opera, who performed on his stage in 2017.

Genesis Bohemian, and also the development of their creative process until the premiere of the opera at the Teatro Regio in Turin 1 February 1896, They are thoroughly documented thanks to the extensive correspondence between Giacomo Puccini, his editor and mentor Giulio Ricordi, and librettists Giuseppe Giacosa Y Luigi Illica, who began their stormy and fruitful collaboration in this opera, later writing the librettos of Tosca Y Madama Butterfly.

Based on the book Scenes of Bohemian Life, from Henri Murger (1822-1861), It born as a series of autobiographical stories published as folletín, the two librettists, always jealously led by Puccini, They built a coral libretto, in which four young bohemians - a writer (Rodolfo), a painter (Marcello), a musician (Schaunard) and a philosopher (Colline)- they overcome economic difficulties and inclement weather with humor and enthusiasm, looking for its place in a Paris effervescent, bustling and winter.

The tragic love story between one, Rodolfo, aspiring poet, y la sastrecilla Mimi, whose death from tuberculosis, inexorable, the sorprende, articulates a kind of initiatory path Bouncing debauchery and dreams of youth and reveals the real life, with all its forcefulness and significance.

With his brilliant orchestral palette, his mastery of prosody and its huge dramatic talent, Puccini is building the personality of young people with their ability to articulate the most characteristic and amusing anecdotal glimpses of everyday life with the deepest feelings, passionate and sweeping. A) Yes, Interlace your sentences short "conversation" with other huge melodic breath and dramatic. His orchestration suggests, with great effectiveness tímbrica, from details as trivial as the flames snaking or the clinking of coins, until 'ambiences' the film almost bare garret, from the bustle of Christmas Paris or from the loneliness and deprivation of poverty.

The evocation of moments past, as if they were flashes that memory revives and updates, it is masterfully recreated with the use of musical motifs associated with emotions, feelings, or even objects that Puccini gives an enormous symbolic power, like the sail of Mimì, the rose cofia que buys Rodolfo, Colline greatcoat, or the muff that warms the cold hands of the protagonist on her deathbed.

It is these moments that come and go back to memory, that they are hidden and show with the experiences that add up and build the way life, those who backbone the production of Bohemian which can be seen at the Royal Theater.

In its dramaturgical proposal, the prestigious British director Richard Jones and set and costume designer Stewart Laing opera presented as a succession of Scenes of Bohemian Life presented to the viewer without concealing jobs backstage which normally develop technical backstage. A) Yes, the audience sees how the sets are changed, how different devices are used to achieve theatrical effects and how props pile up in the wings, as if they were pieces of life crammed into memory.

Placing yourself in a privileged place, the viewer constantly contemplates the past and present of the characters, unable to dive into the cold and fizzy Paris of the young bohemians because it will always represented on stage.

But this artifice of 'play within a play', that the real time and the theater are confused, public space and artist, the drama of the opera and its metaphors, will take the viewer to a richer interpretation of Puccini's work, enhanced by the view from different angles, but also with their reflections.

Two deals give life to this popular choral opera, which highlights, in the lead roles, las sopranos Jaho Ermonela Y Eleonora Buratto (Mimi) and tenors Michael Fabiano Y Andeka Gorrotxategi (Rodolfo), seconded by the sopranos Ruth Iniesta Y Raquel Lojendio (Musetta); baritones Joan Martin-Royo Y Esteve Manel (Schaunard), tenors Stephen Vincent Y Pablo García López (Benedict); baritones Lucas Meachem Y Andrzej Filonczyk (Marcello); and low Krzysztof Baczyk Y Solomon Howard (Colline) Y Roberto Accurso (Alcindoro).

The musical direction will be borne by Nicola Luisotti, except for the days 30 December and 3 from January, in which the opera will be directed by Luis Miguel Mendez.

Bohemian will be the tenth title that Nicola Luisotti will direct at the Teatro Real, after The Troubadour (2007), The Damnation of Faust (2009), Rigoletto (2015), Aida Y Turandot (2018), Don Carlo (2019), La traviata Y A masked ball (2020) Y Tosca (2021).

Besides of Titular Choir of the Teatro Real, directed by Andrés Máspero, the children's choir participates in the production Little Singers of JORCAM, prepared by Ana González.

Bohemian returns to the Royal Theater on Christmas dates, bringing joy to your stage, complicity and dreams of four young people who meet real life, paradoxically, meeting death.

Photography © Javier del Real | Teatro Real

Maping Real Theater

From the hand of the French firm Moët & Chandon, Royal Theatre will participate in a unique event, to anticipate the Christmas holidays, in which emblematic buildings and places from different countries will participate.

The event will start at 18.00 hours with the projection of an imaginative mapping on the main façade of the Royal Theater, Plaza de Oriente, and will be repeated throughout the afternoon, every five minutes, until 23.00 hours.

This event is part of the initiative Toast for a Cause (Toast for a cause), with which Moët & Chandon collects donations for charity.

The night will culminate with a party in the Plaza de Oriente that will bring together personalities from the art world, culture and politics

With the desire to recover the warmth and joy of the Christmas holidays, and the purpose of sharing these moments of hope, he Teatro Real The countdown begins towards the most important days of winter, offering all audiences a show of light and imagination, that will turn the emblematic building of culture and the city into a meeting point for fantasy hand in hand with the firm Moët & Chandon.

morning, 2 from December, to 18.00 hours, will screen a mapping on the main façade of the Royal Theater, in the Plaza de Oriente, in which, three projectors –located in three towers of more than 6 meters high- they will draw on a bubbly play of light and shadow throughout that will recreate part of the festive spirit in which Madrid is immersed. A magical show that will repeat, during that afternoon, every five minutes, until 23.00 hours.

Its architecture, art and joy will go beyond the walls in a celebration that will take place in emblematic places and buildings of 17 places of the world, including Times Square in New York, the Paris Stock Exchange building or the Sydney Opera House.

This international event is part of the charity initiative Toast for a Cause (Toast for a cause), with which the prestigious French firm Moët & Chandon collects donations for various philanthropic organizations in different countries.

MyOperaPlayer

Coinciding with the commemorative events of the 30º Anniversary of the Ibero-American Summits of Heads of State and Government, he Teatro Real, the Spanish Agency for International Development Cooperation (aecidia) and the Ibero-American General Secretariat (SEGIB), come together to offer free access, Worldwide, to ten productions available on the platform My Opera Player: four operas and one ballet come from Ibero-American theaters and five titles are operas presented and recorded at the Teatro Real.

Ibero-American artists have been privileged in the choice of titles for the Teatro Real, like the Argentine Hugo de Ana or the Spanish stage directors Emilio Sagi, Lluís Pasqual and Paco Azorín; and interpreters such as the Peruvian Juan Diego Flórez, the Mexican Javier Camarena or the Spanish María Bayo, Carlos Álvarez and José Bros, in addition to the selection of two Spanish-themed operas, as The Barber of Seville Y Don Giovanni.

This initiative reinforces the strong ties of the Royal Theater with the opera public of Latin American countries, with whom he is in permanent and active contact through his presence on the steering committee of OLA (LATIN AMERICA OPERA), founded in 2007 in Santiago de Chile, and whose main mission is to promote lyrical art, organizing thematic seminars, debates and joint initiatives, in addition to facilitating the sale, leasing and co-production between Ibero-American theaters.

Five Latin American lyrical institutions participate in the commemorative acts of the 30th Anniversary of the Ibero-American Summits, allowing free access to their productions: the Colón Theater in Buenos Aires with The Tales of Hoffmann, Jacques Offenbach; the Great National Theater of Peru with Alzira, de Giuseppe Verdi; the Fine Arts Opera of Mexico, with Le nozze di Figaro, Wolfgang Amadeus Mozart; the Amazon Festival of Opera of Brazil, with Motorbike, by Piero Schlochauer; and Municipal of Santiago de Chile, with the ballet Trilogy + 1.

In line with the principles defended in the Ibero-American Summits, Spanish Cooperation understands culture as a key factor for sustainable human development, the eradication of poverty, the active construction of peace and the full exercise of the rights of a global citizenship. From this perspective, AECID contributes with various programs so that culture changes people's lives, considering the music, for its value and universal language, a development vehicle and a key tool to reach all parties, breaking down borders and building joint roads.

SELECTED SHOWS

(Chronological order of creation)

Le nozze di Figaro, Wolfgang Amadeus Mozart
Production of the Opera de Bellas Artes de México
Recording: 2018
Director musical: Srba Dinic
Stage-manager: Mauricio Garcia Lozano
Leading roles: Denis Sedov, Armando Piña, Narine Yeghiyan, Letitia Vitelaru, Jacinta Barbachano, Gabriela Thierry, Arturo Lopez, Juan Carlos Lopez
Choir and Orchestra of the Theater of Fine Arts

Don Giovanni, Wolfgang Amadeus Mozart
Royal Theatre production
Recording: 2005
Director musical: Victor Pablo Pérez
Stage-manager: Lluis Pasqual
Leading roles: Carlos Alvarez, Sonia Ganassi, Maria Bayo, José Bros, Lorenzo Boy
Headlines Choir and Orchestra of the Teatro Real

The Barber of Seville, de Gioacchino Rossini
Royal Theatre production, in co-production with the São Carlos Theater in Lisbon
Recording: 2005
Director musical: Gianluigi Gelmetti
Stage-manager: Emilio Sagi
Leading roles: Juan Diego Florez, Maria Bayo, Pietro Spagnoli, Ruggero Raimondi, Bruno Practico
Headlines Choir and Orchestra of the Teatro Real

I puritani, de Vincenzo Bellini
Royal Theatre production, in co-production with the Municipal de Santiago de Chile
Recording: 2016
Director musical: Evelino pido
Stage-manager: Emilio Sagi
Leading roles: Diana Damrau, Javier Camarena, Ludovic Tézier, Annalisa Stroppa, Antonio Lozano
Headlines Choir and Orchestra of the Teatro Real

Alzira, de Giuseppe Verdi
Production by the Gran Teatro Nacional de Perú in co-production with the Asociación Bilbaína de Amigos de la Ópera (ABAO) from Spain and Opera Royal de Wallonie-Liége from Belgium
Recording: 2018
Director musical: Oliver Diaz
Stage-manager: Jean Pierre Gamarra
Leading roles: Jaquelina Livieri, Juan Antonio de Dompablo, Jorge Tello, Xavier Fernandez
National Choir of Peru and National Symphony Orchestra of Peru

Aida, de Giuseppe Verdi
Royal Theatre production, in co-production with the Lyric Opera of Chicago and the Municipal Theater of Santiago de Chile, based on the original of the Royal Theater of 1998
Recording: 2018
Director musical: Nicola Luisotti
Stage-manager: Hugo de Ana
Leading roles: Violeta Urmana, Gregory customer, Ludmyla monastyrska, George Gagnidze, Roberto Tagliavini
Headlines Choir and Orchestra of the Teatro Real

The Tales of Hoffmann, Jacques Offenbach
Production of the Teatro Colón in Buenos Aires
Recording: 2019
Director musical: Enrique Arturo Diemecke
Stage-manager: Eugenio Zanetti
Leading roles: Ramón Vargas, Sophie Koch, Virginia Tola, Rachel Gilmore, Milijana Nikolic, Rubén Amoretti
Stable Choir and Orchestra of the Teatro Colón

Tosca, Giacomo Puccini
Co-production with the Liceu de Barcelona and the Teatro de la Maestranza in Seville.
Recording: 2021
Director musical: Nicola Luisotti
Stage-manager: Paco Azorín
Leading roles: Sondra Radvanovsky, Joseph Calleja and Carlos Álvarez
Headlines Choir and Orchestra of the Teatro Real

Motorbike by Piero Schlochauer
Libretto Beatriz Porto, Isabela Pretti and Piero Schlochauer
Commissioned and produced by the 23rd Amazonas Brazilian Opera Festival
Recording: 2021
Director musical: Otávio Simões
Stage-manager: William Pereira
Leading roles: Juliana Taino, erick souza
Amazon Philharmonic

Trilogy +1, ballet
Production of the Municipal of Santiago de Chile
Recording: 2021
Choreographies:
Requiem for a rose, by Annabelle López-Ochoa
Three preludes, by Ben Stevenson in a Sara Nieto comeback
Pas de deux from Carmen, by Marcia Haydée
The 5th, by Esdras Hernández
Santiago ballet
Santiago Philharmonic Orchestra

Dorantes in Royal Flamenco

Sevillian pianist and composer Dorantes comes to Real Flamenco, the next 2 Y 3 from December, to show another way of seeing music, to listen to flamenco, to express oneself through an instrument as rare in this art as the piano.

In this appointment, that the artist has named Interaction, will be accompanied by the dancer Leonor Leal, Who have you collaborated with before?, and in which both will establish a singular dialogue of rhythms, improvisations, complicity and interpretation of flamenco, giving him new wings. An interesting concept from the hand of an innovative and overwhelming artist in his passion for what he does, with virtuosity as a common denominator with his guest.

Son Dorantes Y Leal two artists with careful academic training. First, with strong gypsy family roots -in which names like El Lebrijano shine, La Perrata or Fernanda and Bernarda de Utrera- discovered the piano at his grandmother's house, where he learned to play it in a self-taught way before enrolling in the Royal Superior Conservatory of Music of Seville, being the first gypsy to carry out these studies, as he claims. Then a new world of possibilities opens up., not only in the interpretation, also in the composition and in the discovery of the many paths along which flamenco can travel with the heritage of its elders as a starting point.

It is from this moment that Dorantes becomes the renowned artist that he is today.. Then came the prizes - more than a hundred, among them 5 Giraldillos of the Seville Flamenco Biennial, Andalusian Musical Arts Award Joaquin de la Orden, two Demophile awards, various national critics awards, among others-, emblematic settings -The Albert Hall, The Philarmonie, NDR Berlin, Dubai Opera, The City of Paris-, the big festivals-International Montreal Jazz, Paris Jazz Fest, Jazz at Lincon Center, Istanbul jazz festival, Read Sea Jazz- and collaborations with big names in cante and baile.

With Interaction, show by the Sevillian pianist for his presentation at the Teatro Real, wants to wink at the origins of flamenco "full of striking rhythms and expressions that capture the soul and strength" of its art.

The chords of the piano will have the replica in the dance of Leonor Leal, intense dancer, versatile, only. Like Dorantes, has a solid academic career. Trained in Classical and Spanish Dance, it is in flamenco where he finds the center to express himself and develop and where, As the, will look for new forms of creation. Leal has participated in various projects, like musical theater, baroque and contemporary music, classical dance or avant-garde conceptual creations.

Leonor Leal's career has also been recognized with numerous awards and her presence alongside great figures of flamenco or in important companies, it's constant. He knows the piano and the soul of Dorantes well because they both come from a common place and use the same language, and because both have already gone through this proposal, which is, al fin, a dialogue about life, the feelings and the look that wants to see everything.

The writer, poet and critic Jorge Fernandez Bustos states: Although he doesn't admit it., the flamenco piano is called Dorantes. It's been a long time since this instrument entered through the big door and to stay in this world of feelings and compass. Dorantes' fingers fly to the beat, continually approaches the bulería, to soleá and tango, although it also points to guajiras. He returns to his previous albums as if everything were a continuum since he started; you look so much in jazz, as in the classic and in the new age; it is shown alone or in company, rounding off the instants. Dorantes scratches the strings of the open piano showing the chordophonic dimension of the instrument, Leonor tackles the issue with pants earning (later, with blue tail, will illustrate the theme that gives the album its name, a whole gypsy anthem). flapping wings is a piece dedicated to his mother belonging to On, which has incursions that can remind us of Wim Mertens. The piano rests in his strength, in his rage we could say, in its transmission capacity that never falls, in a hypnotic power that creates addiction”.

This fourth edition of REAL FLAMENCO has the 100% capacity and recovers its original format, like a tablao, in the Ballroom of the Royal Theater.

BIOGRAPHIES

DAVID PEÑA DORANTES

Born in Lebrija in 1969, David Pena Dorantes he's flamenco since he was born (their surnames endorse it), but he is also a jazz player since he discovered the freedom of this music, their bases, his obsessions. is self-taught, but it is also academic; It is original, but drinks from the well of the wisdom of his elders, of your complaint, of your party, of its clarity and its brandy. Dorantes is, Really, brand of something else. no music walls, nor social, nor border, Dorantes, mix and match, kindly and cleverly, something more than three worlds: classical music, the flamenco, the Jazz, plus a few related. Dorantes is not a flamenco that plays the piano… is a musician who has immersed himself from his soul to his hands in the universe of the instrument to discover all its secrets and, In return, has revealed to him the marvelous fabric of flamenco music.

Dorantes currently has 6 albums: Orobroy, On, no walls, walk to two, Time by Witness and the newly edited The Wheel of the Wind, a great musical flamenco epic written for Choir and Orchestra for the V Centenary of the First Tour of the World. He is currently preparing the launch of his new work, Identity.

LOYAL LEONOR

Leonor Leal (Jerez de la Frontera, 1980) she is a restless dancer, curious and somewhat atypical in flamenco. Its versatility allows it to respond to any challenge and adapt to any type of context, keeping in constant evolution.

After a solid training in Classical and Spanish Dance, finds in Flamenco the vehicle for his artistic and personal development. After several years forming part of flamenco companies such as Antonio "El Pipa", Andres Marin, Javier Barón or the Andalusian Flamenco Ballet directed by Cristina Hoyos, from 2008 approaches the world of choreographic creation presenting his own shows : “Leoleolé” (2008), “he he" (2011), “Mosaics” (2012), “bitter orange” (2013) Y "Fragile” (2015).

His career is consolidated with various awards such as Outstanding Dancer of the Madrid Spanish Dance and Flamenco Choreographic Contest 2008 or the Award for Best New Artist of the Jerez Festival 2011. He shows his pieces in the main European flamenco exhibitions such as the Seville and Holland Biennials or the Jerez festivals., Dusseldorf, Nîmes, Mont de Marsan and Toulouse. He currently complements his artistic career with university studies on Scenic practice and visual culture within the Master offered by the Reina Sofía Museum in Madrid.

He studied Music Teaching at university and has combined his artistic career with teaching since its inception., continually being required as a teacher in international flamenco schools and festivals around the world.

Photography © Antonio Barce

Real June

Next weekend, 20 Y 21 of November, to 11.00 and to the 13.00 hours, he Teatro Real will offer in its main room a fun lyrical jewel for the whole family.

Next Saturday, 21 of November, the Royal Theater will premiere the ‘salon opera’ Cinderella (Cinderella), from Pauline Viardot (1821-1910), in a new co-production with the Teatro de la Maestranza in Seville, the Cervantes Theater in Malaga and the Opera Foundation in Oviedo, With which it is intended to pay tribute to the great mezzo-soprano and also French composer who this year is commemorating the bicentennial of her birth.

Pauline Viardot belongs to one of the most important families of opera and belcanthus in the 19th century. His father, Seville Manuel García (1775-1832), was an influential and recognized tenor, composer, teacher and producer, whose path was brilliantly followed by his three sons, among which also stand out the great soprano María Malibrán and the baritone (and inventor of the laryngoscope) Manuel Patricio Rodriguez Garcia.

Pauline Viardot was a student of Franz Liszt and Anton Reicha, powerful and ravishing performer of 19th century heroines, dedicate of songs by Frédéric Chopin, driving the career of French composers like Massenet, Gounod o Faure, disseminator of Italian opera in Russia, wife of hispanist Louis Viardot, lover and muse of the writer Ivan Turgenev (librettist of several of his operas), protagonist character of the novel Comfort, the George Sand, and inspiring of The Europeans, by Orlando Figes. But, she was also a composer, professor at the Paris Conservatoire, mother and teacher of four children, and entertainer of cultural and artistic gatherings in the effervescent and romantic nineteenth-century Paris. For these social gatherings he composed several small chamber operas, usually accompanied on the piano, as Cinderella, released in 1904, many years after its creation, when the composer had already 83 years.

The plot is inspired by the fairy tale of Charles Perrault, with booklet in French (adapted into Spanish for the Teatro Real production) and divided into three short acts in which the sung and spoken parts alternate.

Seven soloists of different nationalities perform the opera, with almost cartoonish papers, in which the maleficent stepmother is replaced by a reckless father and the fairy godmother enchants everyone with her song.

The stage manager Guillermo Amaya -also author of the Spanish version and illuminator of the production-, take the action to the halls of a museum, where visitors get lost and transform into the characters of the opera.

Several singers who participated in the first edition of the program will give life to this surprising score Crescendo The Royal Theatre: Juliane Stolzenbach Ramos (Cinderella), Francisco Grace (The charming prince), Ramiro Maturana placeholder image (The Baron of Pictordú), Juan Ramos (Count Barrigulo), Vanessa Cera (Miguelona), Paola Leguizamón (Armelinda) Y Miriam Silva (El hada). They will be led and accompanied by the pianist Francisco Soriano, great connoisseur of the work of Pauline Viardot.

Jaho Ermonela 4 (c) Fadil Berisha

Next Thursday, 18 of November, will take place the fourth edition of the Grand Annual Royal Theater Gala what, this time, will be starring two women with different artistic languages, but with the same charisma and sensitivity: soprano Jaho Ermonela and the singer Rocío Márquez.

Their voices, his personality and his deserved prestige will merge in a night in which opera and flamenco will bring emotion to all corners of the Theater in an event that has been called Fusion.

Jaho Ermonela, one of the most acclaimed lyrical singers in the world, has left in the memory of the Teatro Real some of the most moving performances in its recent history. His ability to identify with each character he gives voice to, passionate, empathetic and close, they have managed to make us see in it the protagonists of Puccini's operas, Gave it Gounod, composers who will be present in the program offered at the Gala. Accompanied on piano by Pantasilena Jaho, Ermonela will also give voice, in a clear wink at his stage partner, to Nana de Sevilla Federico García Lorca.

It is not the first time that the cantaora Rocío Márquez links flamenco art with other musical disciplines. His clear voice, full of nuances and with a coloratura that makes it very special in flamenco singing, They have made her a benchmark for her generation.. Seguiriyas, guajira, romance or cuplé por bulerías will make their way from the depths of her being in a performance in which she will be accompanied by the guitarist Manuel Herrera and clapping and chorus of the Mellis.

Donations from the Gala will be destined, on the one hand, to the Social Program of the Teatro Real and, for another, will cover the economic needs of the Theater itself caused by the pandemic.

Firmly committed to minors in disadvantaged situations and groups with disabilities, the Teatro Real has launched different initiatives in its Social Program aimed at promoting its approach to music and culture, like the project Inclusive Musical Group. Composed of young musicians between the 10 and the 24 years, with different cognitive levels, the Group bases its activity on the autonomy and creativity of these special artists, promoting all their talent and developing their abilities.

Despite international recognition for the quality of its programming and the determined support of the public and sponsors, the Theater has had to face the harsh closure during the pandemic, the significant investment in health security and Covid protocols and the long period with capacity reduced by almost one 40%, which has caused a significant economic loss. In order to continue being the generator of the artistic and economic activity that has made it a benchmark, a part of these donations will be destined to its necessary recovery.

The Royal Theater has told, this time, with the special participation, as Ambassadors of the Gala, from: Gregorio Maranon, Pilar Solís-Beaumont, Jeronimo Bremer Villasenor, Juan Antonio Perez-Simon, Fernando Encinar, Jesus Encinar, Claudio Aguirre Peman and Luis Furnells, together with the ambassador companies: Endesa, ACS Foundation, The English Court, Sagardoy Lawyers, Idealista, Mastercard and the sponsoring companies: Telefónica, Foundation “the box”, Huawei, Oesia Group, Globant, BAT, Iberia, Sesé Group, Index Group, Management Solutions, Chaumet and BMW, together with members of civil society.

PROGRAM

Jaho Ermonela, soprano

Pantasilena Jaho, piano

GIUSEPPE VERDI (1813-1901)

You are Romance: Brindisi

FEDERICO GARCIA LORCA (1898-1936)

Nana de Sevilla (o nana del galapaguito)

GIACOMO PUCCINI (1858-1924)

Bohemian: Sun and Love

PAOLO TOSTI (1846-1916)

Sadness

CHARLES GOUNOD (1818-1893)

Serenade

UMBERTO GIORDANO (1867-1948)

Siberia: “No! If a pensier…In his revived love "

FRANCESCO CILEA (1866-1950)

Adriana Lecouvreur: "There: I hardly breathe…I am the humble handmaid ",

part II

Rocío Márquez, sing

Manuel Herrera, guitar

the Mellis, clapping and choir

For this Annual Gala 2021, Rocio presents a flamenco style recital (palos) traditional with which he lands and looks head-on at the tradition from which his music is born.

It's so familiar to sing with guitar (Manuel Herrera) and palms and choirs (the Mellis), that the repertoire itself sprouts in an improvised way according to its intuitive sensitivity. Seguiriyas, guajira, romance or cuplé por bulerías.

ERMONELA JAHO

Soprano

He was born in Albania and began his singing studies at the age of six.. To the 19 was awarded a scholarship to study with Katia Ricciarelli in Mantua, before completing his studies at the Accademia Nazionale di Santa Cecilia in Rome. Her first international milestones include the roles of Mimì de Bohemian, Teatro Comunale in Bologna; Susanna de The Marriage of Figaro at the Teatro La Fenice in Venice and Micaëla de Carmen at the Verdi Theater in Trieste. Recognized interpreter of Violetta de La traviata and the title roles of Madama Butterfly – who has sung at the Metropolitan Opera House in New York and the Théâtre des Champs-Elysées in Paris- Y Suor Angelica, staged alongside Kirill Petrenko at the Bayerische Staatsoper in Munich. Recently she has sung Desdemona from Otello in the Royal Opera House in London, Liu de Turandot at the Gran Teatre del Liceu in Barcelona and the title role of Adriana Lecouvreur in the Vienna Staatsoper. At the Teatro Real he has participated in La traviata (2015), Otello (2016), Madama Butterfly (2017) Y Thaïs (2018).

PANTESILENA JAHO

Pianist

Born in Albania, Pantesilena Jaho began her musical studies in Tirana and continued them at the prestigious Cherubini Conservatory in Florence., Italy, before arriving at the Royal Conservatory of Music of Madrid. has taken part, and has been awarded, in different contests, concerts, masterclasses and productions in Greece, Italy, Germany and Spain. His solo repertoire ranges from classical to impressionism and contemporary, and includes, Likewise, chamber music repertoire.

ROCIO MARQUEZ

singer

Exalted by the press as "the voice of the new generation of cante jondo", Rocío Márquez (Huelva,

1985) He has been building an artistic career for more than a decade that today overflows the flamenco scene, where it is already a clear reference. His restless personality is evident in his discography, that in a transversal way shows us both his great love for the flamenco tradition and his urgent need to expand the limits of that same tradition, exploring and experimenting with melodies, instrumentation, arrangements and lyrics.

A) Yes, since that DVD recorded live from Here and now (2009) until Love conquers all (2020), the digital EP around Amor brujo that he records together with Enrike Solinís and the Euskal Barrokensemble, we find a bouquet of albums with which he has been strengthening his artistic discourse and reaping the recognition of the fans. Clarity (2012), The boy (2014), Firmament (2017), Dialogues of old and new sones (2018) –together with Fahmi Alqhai– and Seen on Thursday (2019) are his discographic works published to date. For the latter, gets the prize Jazz Victories for the best music album in the world, being the first Spanish artist to achieve it.

MANUELA HERRERA

Guitarist

This flamenco guitarist (Sevilla, 1976) started playing the 9 years of his father's hand. From the beginning he showed his interest in learning about the different styles of cante, turning him into a refined and classic accompaniment guitarist. He has participated in numerous guitar festivals as important as the one in Córdoba and in different editions of the Seville Flamenco Biennial., as well as in television and film programs.

In his career he has accompanied artists of the stature of Jesús Heredia, Miguel Ortega, Dew Safe, Jose Menese or El Cabrero, among many others. Since 2010 teaches Flamenco Guitar classes in different institutions in Jerez de la Frontera and Huelva, and currently teaches at the Seville Conservatory of Music.

THE MELLIS

Showgirls and clappers

Brothers Antonio Lucas and Manuel Jesus Montes Saavedra (Huelva, 1982) they were born into a humble gypsy family, where music and community celebrations are part of everyday life. They began their professional career with Los Activos and the Sevillanas group Manguara. Since then they have accompanied such renowned artists as Arcángel, Rocío Márquez, Miguel Poveda, Rosalía, Ketama, Vincent Friend, El Cigala, The Pele, Duquende or Estrella Morente, among others.

Jaho Ermonela (c) Fadil Berisha

Royal Junior

The programming of El Real Junior this season will be made up of eight shows, four of them new productions, for young viewers between four and twelve years old

As in previous editions, in El Real Junior family and school functions of each title will be offered, that may be supplemented with the information contained in the didactic guides, available free of charge on the website Teatro Real

Puppetry, music stories, dance, projections, cinema and opera will be the artistic expressions that will serve as a ludic vehicle, but also educational, for each title

The first new opera production will premiere next 20 November with the premiere of The Cinderella, of the composer Pauline Viardot, a delicate work with which we will pay homage to one of the most important composers of the 19th century.

On April, Luis Piedrahita will mess up to the beat of Beethoven, with the Youth Orchestra of the Community of Madrid conducted by Lucia Marin

Sunday workshops. ¡All the Gayarre!, with his lighthearted and entertaining gaze on the great opera season titles, will continue one more year with eighteen appointments between the months of October to June, directed and presented by Fernando Palacios

Other initiatives, like the real one in your class, the friendly school, the LÓVA project or the Carroza del Real, complete our educational program, bringing the theater closer to the youngest

A new season begins. It will surely be one of the most special due to the exceptional moment that we all have had to live. Therefore, music, the literature, Dance, the tales, cinema, the puppets, the circus, the opera… they offer us more than ever the possibility of a recreation for the emotions, to connect with ourselves and thus give a new meaning to our world.

we need to laugh again, hear your voices, share that magical moment when the lights go down to start the show… Definitely, get excited together again and continue learning to discover new stories, unpublished sound universes and get closer to the best composers in the history of music.

After opening the season with the concert Mozart revolution, dance and music show A catless smile and the fun master class of Acosta Danza (Learning to fly), we are preparing a new opera production for the whole family: Cinderella by composer Pauline Viardot. Yes! a woman composer, Spanish and very famous! (as much as his sister, opera singer Maria Malibrán), whose beautiful music will tell us in a very particular way the eternal tale seen with today's eyes.

Christmas will be accompanied by the animated film with live music Magic Chopin, from Oscar winners BreakThru Films. During the month of February 2022, Let's explore the possibilities of 88 keys of a grand piano with musical experience Piano without limits.

Since it's never too late to celebrate Beethoven's birthday, that colossus of music from which you always learn, arrives in April 2022 ¡A la bin, to the ban, a la Ludwig van! ¡Beethoven, Beethoven and no one else! A didactic concert with animated projections and a presentation by Luis Piedrahita who will tell us a curious story with Beethoven as the protagonist.

Y, by last, for the little ones, arrives Kids' games of the composer George Bizet, that proposes a musical journey through the usual games of childhood, a path that will make us understand and listen to music better while we play, presented by Fernando Palacios.

All shows will count, as usual, with a teaching guide, accessible free of charge through the Teatro Real website for parents and teachers, in which detailed information about the show and, fundamentally, practical exercises for teachers and parents to help small to get a broader view of the world that will know.

The Royal Theater continues its partnership program with schools across Spain, beyond the pedagogical functions that take place in the theater itself, rebroadcasting shows Real Junior in schools throughout Spain, thanks to the collaboration agreements signed with autonomous communities.

The Colegio Amigo program makes it possible to strengthen a more direct and continuous relationship with educational institutions and offers advantages related to the access of students and their families to El Real Junior's programming.

from this season, The Opera project, Learning Vehicle (LÓVA), becomes part of the organizational structure of the Teatro Real, that supports the initiative since its inception. With that, your business will be enhanced, making it extensible to as many centers as possible. LÓVA turns a class into a theater company, who dedicates the course to creating, produce and premiere their own opera, a vital experience of development and personal and group growth.

By last, the Teatro Real will approach audiences outside of Madrid with its Carroza. Created for the parade of the Three Kings Parade of Madrid in 2020, the float of the Teatro Real measures 16 meters long and almost 6 meters high, it is two stories high and weighs about five and a half tons. Simulates the stage of a theater - with its embouchure, curtains and frames – and it has been built from the transformation of a trailer truck like the ones usually used for the transport and storage of scenery, theatrical props and costumes. Its interior can be adapted for small format productions, recitals, screenings or exhibitions, according to the needs of each event or performance.

This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish territory, is one of the initiatives framed in the Teatro Real program – Close to You approved by the Council of Ministers as an Event of Exceptional Public Interest, valid from the season 2021-2022.

MasterCard _0021

Mastercard and the Royal Theater have presented "One by one" today, a new initiative in Spain that promotes economic donations to finance four projects, promoting the involvement of civil society in the promotion of music and the performing arts, inclusive education, support for young people, affordability and environmental protection.

For this, six terminals have been installed in different areas of the Royal Theater, created and configured for the service of direct donations from individuals, which will be operational from 13 November and for one year, coinciding with the premiere of the opera Parthenope, the Georg Friedrich Handel.

Through a quick procedure, simple and intuitive, economic donations can be made through payment contactless, with bank card or mobile device. Viewers can donate from €1 and choose the amount they prefer to contribute, as well as benefit from the corresponding tax relief. This project has the commitment of Mastercard to match each donation (up to a maximum of 30.000 euros), to be carried out. This design of creative citizen sponsorship concepts can be applied to a wide variety of initiatives in the future.

The four projects proposed on this occasion are:

Social Program-Inclusive Musical Group

Created in 2020, the Inclusive Musical Group of the Royal Theater is an initiative of national and international reference that shows how the inclusion of neurodiversity is possible in a space of artistic and musical excellence. through research, development and innovation, a group of young people of different cognitive levels come together through joint musical practice, developing their faculties, motivation, individual responsibility and social habits.

Young Talent Program

Within the framework of its commitment to young people as a fundamental lever to promote the sustainability of opera, the Royal Theater and the Foundation Friends of the Royal Theater, develop the program Crescendo, that seeks to promote the talent and training of young people for their integration into the world of work. The initiative aims to offer professional experiences and make young artists known in order to prevent the brain drain and offer them opportunities at the beginning of their careers.

Royal Theater Accessible

Over the last few years, the Teatro Real has reaffirmed its commitment to the inclusion of the most vulnerable groups with different initiatives aimed at promoting their approach to music and culture. Since 2015, its accessible mobile application allows you to download the subtitles of the work being performed to follow it in a synchronized way. This initiative has the support of the Royal Board of Disability.

Priceless Planet Coalition

Priceless Planet Coalition is a global platform launched by Mastercard in 2020 with the aim of uniting the sustainability efforts of its global network of clients, consumers and collaborators to preserve the environment. Together with this group of companies and people, Priceless Planet Coalition se ha comprometido a plantar 100 million trees in 5 years.

The presentation of the “One by one” project took place today, at a press conference at the Teatro Real, in which its general manager has participated, Ignacio García-Belenguer; the general director of Mastercard Spain, royal pigeon; the deputy director of the Royal Theater and director of Sponsorship Borja Ezcurra; the artistic director of the Real, Joan Matabosch; the managing director of the Friends of the Royal Theater Foundation, Macarena from Figuera and two program representatives Crescendo: actor and stage director Victor Manuel Dogar and one of the participating sopranos, Vanessa Cera.

According royal pigeon, CEO of Mastercard Spain: “the relationship between Teatro Real and Mastercard goes back a long way, given that we have collaborated offering unique experiences to Mastercard cardholders through our Priceless platform. Now, we are joining forces in this technological and cultural initiative whereby anyone who comes to the Teatro Real, with a simple gesture, by approaching your card or mobile device, will be able to donate to four relevant projects that will help promote culture, to create a more inclusive society and will contribute to reforesting the planet”.

About MasterCard

Mastercard is a global technology company in the payments industry. Our mission is to connect and empower an inclusive digital economy that benefits everyone, anywhere, making transactions secure, simple, smart and accessible. Using secure data and networks, associations and passion, our innovations and solutions help people, financial institutions, governments and companies to develop their greatest potential. Our decency quotient, o DQ, drives our culture and everything we do inside and outside our company. With connections in more than 210 countries and territories, we are building a sustainable world that opens priceless possibilities for all.

Parthenope

He Teatro Real will offer, for the first time in Spain, a staged version of Parthenope, from Georg Friedrich handsl (1685-1759), in the iconic production of the English National Opera, from 2008, co-produced with San Francisco and Australian operas.

Under the guise of an eighteenth-century "serious opera", with his queen and princes of classical antiquity, this score, released in 1730 in London, It is "contaminated" by countless details of the "comic opera", like the frivolity of the subject, the erotic licenses of the libretto, morally ambiguous characters, or the "elasticity" of its musical structure, in which set numbers abound: two duets, a threesome, a quartet and a quintet.

The "unseemly" plot of the opera fits better in the freedom of the bufo genre.: Parthenope, founding queen of Naples, he has to choose one of his four suitors: the fiery Arsace (prince of corinth), shy Armindo (prince of wheels), the warrior Emilio (prince of cuma) or the seductive Eurimene, which is actually Rosmira, Arsace's jilted ex-partner, who disguises himself as a man to take revenge on his former lover whom he still loves and to compete with him in the seduction of the queen.

Arsace and Armindo are interpreted by the “feminine” voices of two countertenors, and Eurimene is Rosmira disguised as a man, who seeks the favors of another woman. Cross-dressing, sexual freedom and gender fluidity ”from the opera, whose engine is love and desire, fit perfectly with "surrealism and its vision of the erotic nature of the psyche", according to the stage manager Christopher Alden.

With the complicity of the set designer Andrew Lieberman and the costume designer Jon Morrell, the characters parade through the art deco mansion of Parténope, in full effervescence of the avant-garde, with winks to some of its protagonists, like Man Ray or André Breton. In that space of freedom, vice, creativity, glamor and pleasure, Parthenope reigns as a muse, from his bedroom, object of desire of his court of admirers.

In the Real two distributions will alternate, with prominent baroque singers, in the interpretation of the six characters of the opera, what, together, they will also assume the parts of the choir, as it usually happens in Handel's operas.

The sopranos will bring the score to life Brenda Rae Y Sabina Puértolas (Parthenope); the mezzosopranos Teresa Iervolino Y Daniela Mack (Rosmira); countertenor Iestyn Davies Y Franco Fagioli (Arsace), Y Anthony Roth Costanzo Y Christopher Lowrey (Armindo); the tenors Jeremy Ovenden Y Juan Sancho (Emilio) and baritones Nikolay Borchev Y Gabriel Bermúdez (Ormonte), Next to the Head of the Royal Theatre Orchestra, under the musical direction of Ivor Bolton, who will be responsible, as well, from the accompaniments to the harpsichord.

The premiere of Parténope, the Georg Friedrich Handel, at the Theatre Royal, will be added to the ten titles of this composer that have been offered since its reopening: Julius Caesar (2002), Ariodante (2007 Y 2018), Tamerlano (2008), The triumph of time and disappointment (2008), Tolomeo, King of Egypt (2009), Theodora (2009), Agrippina (2009 Y 2019), Alcina (2015) and Rodelinda (2017).

Parténope is unique and heterodox within Handel's operatic corpus. Perhaps today's viewer has a greater capacity to enjoy and understand the genius of this score., whose essence and values ​​enhance the ingenious dramaturgy of Christopher Alden and the mastery, musicality and delivery by Ivor Bolton.

©Javier del Real | Teatro Real

The hours at the Royal Theater

The next 10 November will take place in the Green room of Teatros del Canal, the absolute premiere of the stage version The empty hours, opera by the composer from Alicante Ricardo Llorca, author of music and libretto, that explores loneliness and isolation, imagination and memories, that fill the time of a lonely modern day woman immersed in her own world.

The opera unfolds its only main character in two voices, the soprano Sonia de Munck and that of the actress Mabel from the Well, on a score that combines motifs from traditional Spanish polyphony and contemporary musical language, mainly minimalist and post-minimalist, with special prominence for the piano, interpreted in these functions by Eduardo Fernández.

So much Alexis Soriano, director musical, as José Luis Arellano, stage-manager, they are great specialists in the work of LLorca. First, who has conducted several works by the composer in close collaboration, describe The empty hours as one of the great contributions to lyrical works for a single singer of the 20th century – Human voice, Poulenc, O Ana Frank's diary, of Grigori Frid- in which the music manages to recreate, from the first minute, that atmosphere of loneliness and isolation in which the protagonist lives.

The performances will include the participation of soloists from the Head of the Royal Theatre Orchestra and singers of Headlines chorus of the Teatro Real.

With libretto by Ricardo Llorca and Paco Gámez, The empty hours It is a new production of Teatro Real, in co-production with Teatros del Canal and High C Music, in collaboration with the New York Opera Society. The performances will take place on the days 10, 12 Y 13 of November, to 20.00 hours and the 14, to 18.00 hours.

THE EMPTY HOURS

Opera / Monodrama

Music of Ricardo Llorca (1958)

libretto Ricardo Llorca Y Paco Gamez

Premiered in concert version at the XII Sacred Music Week in Benidorm on 31 March 2007

New production of Teatro Real, in co-production with Teatros del Canal and High C Music, in collaboration with the New York Opera Society

Absolute premiere of the stage version

Original commission from the New York Opera Society, premiered in concert version at the XII Week of Sacred Music in Benidorm on 31 March 2007

ARTISTIC TEAM

Director Musical I Alexis Soriano

Stage Director I Jose Luis Arellano Garcia

Choir director | Andrés Máspero

Scenographer I Sylvia de Marta

Costume designer | Michelangelo Milan

video creator | Miquel Àngel Raió

Choreographer | Chevi Muraday

Illuminator I Juan Gomez Cornejo, AAI

Titular Choir of the Teatro Real

Soloists of the Titular Orchestra of the Teatro Real

(Coro Intermezzo / Madrid Symphony Orchestra)

Panista I Eduardo Fernández

DISTRIBUTION

The woman (singer) I Sonia de Munck

The woman (actress) | Mabel from the Well

Ricardo Llorca

Born in Alicante in 1958, Ricardo Llorca is one of the most recognizable Spanish-American composers on the international music scene. He studied at the Royal Conservatory of Music in Madrid with Román Alis and Antón García Abril., as main teachers. In 1988, at the end of his career, He traveled to New York to perfect his studies at The Juilliard School, where he currently works as a teacher.

Without ascribing to any aesthetic school, Ricardo Llorca's compositional career has evolved outside the avant-garde and has practiced historical revisionism. His works of the last decade include the opera Three hats, based on the work of Miguel Mihura (2017), Thermidor (for organ and symphony orchestra, 2014), Borderline (for batucada and orchestra, 2012) Y Handeliana (for guitar, 2012).

Photograph © Javier del Real | Teatro Real

The Amir in Royal Flemish

In full success for his participation in the musical production of the latest James Bond film, no time to die, arrives at the Teatro Real El Amir, one of the most recognized flamenco guitarists of his generation to inaugurate the fourth season of Real Flamenco and present your new job, Andalusia.

Virtuoso, creative and explorer of new flamenco airs, El Amir now travels through the eight Andalusian provinces creating a sound painting full of landscapes and feelings, portrait of people, scenes and emotions that have flamenco at the center of their culture.

Born in Freiburg, in a palestinian family, Amir John Haddad, El Amir, He has been playing the guitar since he was seven years old., he has been on stage since he was twelve and is considered one of the most talented and personality flamenco guitar soloists.

A little over three years ago, his virtuosity caught the attention of the composer Hans Zimmer, who found in him the creative and versatile musician with whom to collaborate on his work for soundtracks. Since then, has been one of the protagonists of the show The World of Hans Zimmer and is the star performer of the soundtrack of the latest film by James Bond, by becoming the first flamenco guitarist to participate in a soundtrack of the saga.

At the Teatro Real he will perform surrounded by great artists. He will be accompanied by the percussion of Israel Katumba and the bottom of Jesus Bachiller "Bachi", with the special participation of Karen Lugo, in the dance, Y Rafael de Utrera, in cante, as guest artists.

Karen Lugo is one of the new references of Spanish dance. of Mexican origin, restless and innovadora, his dance is flamenco on all four sides. As a choreographer, she has been awarded the First Prize for Flamenco dance at the Almería International Festival., the First Prize for Choreography at the Contemporary Flamenco Festival of Finland and the Third Prize for Choreography at the XVII Contest of Spanish Dance and Flamenco in Madrid.

Rafael de Utrera has, among others, the First Prize of Síguiriyas in the Cante de las Minas Contest, and has in his career known works with Paco de Lucía, Vicente Amigo or Tomatito. She has also sung for the dance of outstanding figures such as Cristina Hoyos, Joaquin Cortes, Antonio Canales, the Andalusian Dance Company, Israel Galván, Farruquito or Eva “La Yerbabuena”, to name a few.

This fourth edition of FLAMENCO REAL will feature the 100% capacity and will recover its original format, like a tablao. Each show will be offered on two consecutive days, the first at 19.00 hours and the second, with double session, to 19.00 and to the 21.00 hours.

World Opera Day

The Royal Theater joins, one more year, to the celebrations of World Opera Day, which is commemorated next monday, 25 October. That day, to 13.00 and to the 19.00 hours, there will be two performances in the Royal Theater Float installed, this time, in the Plaza de Isabel II (Opera).

soloists of the Head of the Royal Theatre Orchestra will perform the String Quartet No. 15 by Wolfgang Amadeus Mozart and the Suite water music de George Frideric Handel, in a version for brass quintet. (see program below).

The Royal Theater float, with its embouchure, curtains and wings, It is a small traveling stage created from the transformation of a trailer truck like the ones that are usually used for the transport and storage of the scenery., opera props and costumes. Its interior can adapt to different scenographies, screenings or exhibitions, according to the needs of each event or performance. This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish peninsular territory, is one of the initiatives framed in the program Teatro Real – Near you', approved by the Council of Ministers as 'Event of Exceptional Public Interest’, effective from the current season to the 2022-2023.

In anticipation of World Opera Day, the Royal Theater will offer during the weekend, from tomorrow,  free access to three titles on its platform MyOperaPlayer: morning, Friday 22 October, Lohengrin, Richard Wagner; Saturday, 23 October, Turandot, Giacomo Puccini; and Sunday, 24 October, Così Fan Tutte, Wolfgang Amadeus Mozart. (art sheets below).

The Royal Theater will join, through their social networks, to various international initiatives promoted by OPERA EUROPA, LATIN AMERICA OPERA Y OPERA AMERICA, who have decided to celebrate World Opera Day together under the title of Opera Reboot (opera reboot), to celebrate the reopening of lyrical theaters after the stoppage caused by the pandemic (Hashtags #WorldOperaDay y #DíaMundialDeLaÓpera. The three associations, Have proposed, Likewise, three topics for discussion:

  • GREEN OPERA: re-evaluated production models, considering eco-responsible options
  • EQUAL OPPORTUNITIES: recognize that the diversity of citizens can be better reflected in the sector, in the workforce, on stage and in the audience
  • EMPLOYMENT FOR THE NEXT GENERATION OF TALENT: prepare young artists and professionals at the start of their careers

WORLD OPERA DAY CELEBRATION | AGENDA

Friday, 22 October

Free access on this day to Lohengrin, Richard Wagner, in My Opera Player

Production of the Berlin Staatsoper

Recording: 2020

Director musical: Matthias Pintscher

Stage-manager: calixto Bieito

Leading roles: René Pape, Roberto Alagna, Life Miknevičiūtė, Martin Gantner, Ekaterina Gubanova y Adam Kutny

Berlin Staatsoper Choir and Orchestra

Saturday, 23 October

Free access on this day to Turandot, Giacomo Puccini, in MyOperaPlayer

Royal Theatre production, in co-production with the Canadian Opera Company of Toronto, the National Theater of Lithuania and the Houston Grand Opera

Recording: 2018

Director musical: Nicola Luisotti

Stage-manager: Bob Wilson

Leading roles: Irene Theorin, Gregory customer, Yolanda Auyanet, Andrea Mastroni, Raúl Giménez, Joan Martin-Royo, Stephen Vincent, Juan Antonio Sanabria and Gerardo Bullon

Headlines Choir and Orchestra of the Teatro Real

Little Singers of ORCAM

Sunday, 24 October

Free access on this day to Così Fan Tutte, Wolfgang Amadeus Mozart, and MyOperaPlayer

Royal Theatre production, in co-production with De Munt / Monnaie de Bruselas

Recording: 2013

Director musical: Sylvain Cambreling

Stage-manager: Michael Haneke

Leading roles: Anett Fritsch, Paola Gardina, Andreas Wolf, Juan Francisco Gatell, Kerstin Avemo y William Shimell

Headlines Choir and Orchestra of the Teatro Real

Monday, 25 October, EUROPEAN OPERA DAY

Performances in the Plaza de Isabel II, to 13.00 and to the 19.00 hours

WOLFGANG AMADEUS MOZART
String Quartet No. 15 in D minor, K. 421/417b

  1. Allegro moderato
  2. Andante

III. Menuetto and trio

  1. Allegretto but not too much

Santa Monica Mihalache and Daniel Chirilov, violins
Laure Gaudron, viola
Mikolaj Konopelski, cello

GEORG FRIEDRICH HANDEL

Suite water music, version for brass quintet by Frederic Mills

  1. Cheerful lively
  2. Air

III. Hornpipe

  1. Allegro majestic

Ricardo Garcia and Oscar L.. Martin, trumpets

George Monte, horn

Alexander Galan, trombone

Ishmael Cantos, tuba

Acosta Dance

The following days 22, 23 Y 24 October, the extraordinary dancer and versatile artist Carlos Acosta will present in the Teatro Real your company, Acosta Dance, founded in Havana in 2015 with the aim of showing the world the new artistic talent of Cuba, through a program that combines classical dance, contemporary and Cuban rhythms.

Carlos Acosta he is a legendary dancer. On innate talent, coupled with extraordinary physical ability, and a track record based on professional and personal effort, have made him one of the best dancers of his generation. Important awards, the most prestigious companies in the world and the Royal Ballet of London, where he has developed most of his career as First Dancer, they are the letter of introduction of a man who has never forgotten his origins and the heartbeat of the culture of his native country, where dance occupies a prominent place.

For this reason, after retiring from classical dance, Carlos Acosta undertakes the adventure of bringing together the best dancers in Cuba to show their talent and versatility on the great international stages: Acosta Dance. Now, for your presentation in Madrid, the company has selected works by choreographers whose works have found inspiration in the soul of the island, in their rhythms and in their dances.

Evolution will open the evening with the choreography of Raúl Reinoso, Satori. In Zen Buddhism this word refers to spiritual enlightenment; A) Yes, this creation illustrates the journey inward from various abstract scenes: the initial questions, the search, the stagnations, defeating obstacles and, Finally, the instant of knowledge, finding the truth, of beauty, the light.

Carlos Acosta will assume the interpretation of Mermaid, Belgian creation Sidi Larbi Cherkaoui to the company, on music by Woojae Park and Erik Satie. In her, contemporary dance embraces classical to tell the story of a mermaid, in which the wardrobe and the light are pointed out as fundamental references. Acosta will dance again in the second part of the program with the choreography Two, from Russel Maliphant.

With Countryside, suddenly, the night, swedish choreographer Pontus Lidberg, inspired by traditional Cuban music through the rumba and its African roots, celebrate youth, between sunsets and sunrise, taking as a starting point the score of the composer Leo Brouwer with the complicity of the artistic installation Winds (2017) by the Cuban Elizabet Cerviño.

And the night will close Twelve, from Spanish Jorge Crecis, a dance-sport piece, in a universe regulated by complex mathematical and graphical permutations, with a real risk that tests the physical and mental resistance of 12 dancers who have to do the impossible to achieve the impossible. Twelve is a combination of logic, aesthetics and emotion, a puzzle that plays with the concepts of success and failure, risk and pragmatism and that explores the limits of the human body. Twelve has been an exclusive recreation for Acosta Danza from the piece 36 created in 2011 for the company Edge and presented in 2012 in the Royal Opera House in London.

It will be precisely these two choreographies, Countryside, suddenly, the night Y Twelve, the protagonists of the family function what, under the name Learning to fly, will take place the morning of Saturday 23 October at 12.00 hours. Its great rhythmic force, luminous expression and creativity will catch the youngest. The session will have the special participation of Carlos Acosta, in a meeting with the public, in which he will reveal the secrets of dance by answering the questions of the attendees, between one choreography and another.

To coordinate this action, viewers will be able to submit their questions about the world of dance through a form available on the web until Friday 22 to 12.00 h. Among all the questions, a selection will be made that will be answered by Carlos Acosta during the performance..

BIOGRAPHIES

ACOSTA DANCE

Acosta Danza was founded on 28 September 2015 in Havana thanks to the efforts of Carlos Acosta, and made his first public appearance on 8 April 2016. Inserted in the Cuban scenic panorama under a contemporary line, the company has not neglected the technical development of classical ballet, with the clear intention of collecting the artistic and professional vision of its creator. Its creation is the result of the extensive development of dance in Cuba, country in which this art is an essential manifestation of the national idiosyncrasy, and has a recognized stage performance in the fields of ballet, contemporary dance and folklore. The choreographic repertoire includes titles by Carlos Acosta, Marianela Boan, Sidi Larbi Cherkaoui, Justin Peck, Saburo Teshigawara, Goyo Montero, Pontus Lidberg, Maria Rovira, Rafael Bonachela, Miguel Altunaga, Alexis Fernandez (Pussy), Mickael March, Jorge Crecis and Raúl Reinoso, among others.

Acosta Danza is supported by the National Council for the Performing Arts of Cuba and is co-produced by the Sadler’s Wells theater in London - one of the most important stages in Europe., associated with such renowned international dance names as Sylvie Guillem, Sidi Larbi Cherkaoui, Akram Khan– y Valid Productions, logistics company in charge of managing the company internationally.

The company defines itself as a space for renewal, research and experimentation, not only for Cuban artists, but also for creators around the world as choreographers, musicians, designers, plastic and audiovisual artists, to whom the company opens its doors. With all of them, the company performs dance shows that reflect the latest international trends both in choreographic movements and in everything related to the scene. The result is a young company, dynamic and quality that proposes to become one of the most effective letters of presentation of Cuban culture. In 2021 Acosta Danza has been nominated by the Dance Section of the Critics Circle of the United Kingdom for the National Dance Award of that country as the best independent company.

CARLOS ACOSTA

Considered one of the most famous dancers of the last decades, was born in Havana and trained at the National Ballet School of Cuba. He has danced as a leading figure in companies such as the Royal Ballet of London, the National Ballet of Cuba, the Houston Ballet, el American Ballet Theatre, the Bolshoi Theater Ballet, the Paris Opera Ballet, the English National Ballet and the Australian Ballet. Its repertoire is made up of the most significant titles of traditional and contemporary ballet. As a choreographer he has created the show Tocororo, Cuban fable, and his versions of Don Quixote and Carmen.

At 2015 founded Acosta Danza. In 2018, the director Icíar Bollaín premiered Yuli, the movie inspired by the life of the dancer. In that year, He was also the recipient of the Queen Elizabeth II Coronation Award from the Royal Academy of British Dance. From the 2020 Carlos Acosta conducts the Birmingham Royal Ballet. He is Commander of the Order of the British Empire, holds the Benois de la Danza Award and was named the National Dance Award of Cuba.

© Satori_Photo Santiel Rodriguez

ACOSTA DANCE

Director: Carlos Acosta

SATORI

Music Pepe Gavilondo (1989)

Choreography Raúl Reinoso

Musical conception Pepe Gavilondo, Raúl Reinoso

Costume designer Angelo Alberto

Lighting Fabiana Piccioli

interpreters Zeleidy Crespo, Laura Rodriguez, Patricia torres,

Arelys Hernández, Penelope Morejon, Mario Sergio Elijah,

Enrique Corrales placeholder image, Alejandro Miñoso, Yasser Dominguez,

Maikel Pons

MERMAID

Music Woojae Park (1981) Sidi Larbi Cherkaoui (1976)

Erik Satie (1866-1925)

Choreography Sidi Larbi Cherkaoui

Costume designer Hussein Chalayan

Lighting Fabiana Piccioli

interpreters Carlos Acosta, Liliana Menendez

COUNTRYSIDE, SUDDENLY, THE NIGHT

Music Leo Brouwer (1939): Cuban landscape with rumba

Stefan Levin (1964): Cuban Landscape

Choreography Pontus Lidberg

Scenography Elizabet Cerviño

Costume designer Karen Young

Lighting Patrik Bogårdh

Playwright Adrian Silver

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon, Patricia torres, Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Alejandro Miñoso, Raúl Reinoso, Maikel Pons, Javier Aguilera

TWO

Music Andy Cowton (1962)

Choreography Russell Maliphant

Lighting Michael Hulls

Interpreter Carlos Acosta

TWELVE

Music Vincenzo Lamagna (1982)

Choreographic concept and direction Jorge Crecis

Choreography assistant Fernando Balsera

Costume designer Eva Escribano

Lighting Michael Mannion, Warren Letton, Pedro Benitez

interpreters Laura Rodriguez, Liliana Menendez, Penelope Morejon,

Patricia torres, Arelys Hernández, Zeleidy Crespo,

Yasser Dominguez, Enrique Corrales placeholder image, Mario Sergio Elijah, Javier Aguilera, Raul Reinoso, Maikel Pons

PREMIERE AT THE REAL THEATER

Valid Productions and Sadler’s Wells production,

together with Ysarca Promotions

Dates 22, 23 October, 19.30 h

24 October, 18.00 h

duration 2 hours and 8 minutes

PARTE I: 1 hour

break from 25 minutes

PART II: 43 minutes

Royal Flamenco at the Royal Theater

He Teatro Real will launch the fourth season of Real Flamenco the next 4 of November, with a program in which consolidated artists and young promises of this universal art will participate, thus confirming the institution's commitment to the promotion and protection of the Flemish legacy, in which its three disciplines will have equal prominence: he sings, touch and dance.

For this reason, this edition is dedicated to three references of flamenco: the bailaora Emerald Merch, the cantaor Ramon the Portuguese and guitarist Manolo Sanlúcar, whose prestige, trajectory and personality are known and respected beyond the flamenco environment. At the presentation of the new season, received from the hands of Dancer Eva Yerbabuena the commemorative poster of this tribute that Flamenco Real wanted to pay them.

fourteen shows, with a total of 42 functions, make up this season's programming that brings together a select number of artists who, with a common bond, express their art with distinct and genuine personalities, showing the best side of flamenco and, what is even more important, the survival and evolution of a unique genre in the world.

A) Yes, since the opening of the cycle, the next 4 of November, with the versatile guitarist El Amir –known on the international scene for his close collaboration with the soundtrack composer Has Zimmer-, until the end of the season with the dance staff of The Malaga Reel, big names like Amador Rojas, Dorantes, Marco Flores, iron, david pigeon, Antonio Lizana, Alba Heredia, Pastor Galvan, Daniel Casares, Eduardo Guerrero, Patricia guerrero (recent winner of the National Dance Award 2021) Y Kiki Morente.

All of them will have the participation in their guest star shows, configuring an extraordinary mosaic of the current panorama.

After the excellent reception of the Flamenco Real cycle, since its creation in 2018, and coinciding with the start of the current season, the audiovisual platform of the Teatro Real, My Opera Player, It will have a special section in its content where you can enjoy the flamenco shows held at the Teatro Real, thus giving greater visibility to the artists who have participated in them and offering a unique opportunity to fans inside and outside our borders.

This fourth edition of FLAMENCO REAL will feature the 100% capacity and will recover its original format, like a tablao. every show will be offered on two consecutive days, the first at 19.00 hours and the second, with double session, to 19.00 and to the 21.00 hours. localities, depending on your category and location, will have prices prices ranging between 25 € and 72 €.

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Royal Theater in Puerta del Sol

He Teatro Real participates, for the first time, in the commemorations of the Columbus Day with a lyrical recital in his traveling float, starring soprano Sylvia Schwartz and tenor Ismael Jordi, Who, accompanied on the piano by Rubén Fernández Aguirre, they are interpreting an attractive program, popular and varied, conceived for the occasion, featuring well-known arias and opera and zarzuela duos.

The float is located on the facade of the headquarters of the Community of Madrid, at the Puerta del Sol, where have they been placed 200 chairs, that the spectators will be able to occupy in strict order of arrival.

Created for the parade of the Three Kings Parade of Madrid in 2020, the float of the Teatro Real measures 16 meters long by 5,80 meters high, it is two stories high and weighs about five and a half tons. Simulates the stage of a theater - with its embouchure, backdrops and backdrops - and it has been built from the transformation of a trailer truck like those usually used for the transport and storage of scenography, props and costumes for operas. Its interior can be adapted to different settings, screenings or exhibitions, according to the needs of each event or performance.

This stage alive, with the capacity to take shows and concerts of different formats to the entire Spanish peninsular territory, is one of the initiatives framed in the program 'Royal Theatre – Near you' approved by the Council of Ministers as an ‘Event of Exceptional Public Interest’, effective from the current season to the 2022-2023.

Madrilenian of the Year

The president of the Royal Theater, Gregorio Maranon, received the Madrid Award of the Year this afternoon, in its first edition, in an act held in the Theater's Ballroom and whose award has been presented by the mayor of Madrid, José Luis Martínez-Almeida.

At the meeting, in which Santiago González-Alverú participated, director of the Sganmedios group, convenor of the award, and the former minister of culture Iñigo Méndez de Vigo, among others, the work carried out by Gregorio Marañón at the head of the Teatro Real has been recognized, with special attention to the effort and achievements made during the difficult period of the pandemic.

The jury's minutes also highlight his relevant professional and personal career, his exemplarity, your dedication and your sense of commitment, that has made him always be at the service of his city and his fellow citizens, in a triple facet: business, cultural and academic, serving the general interest from civil society.

When collecting the award, Marañón has assured that Madrid is "the most open city" that he knows because "it does not distinguish its citizens by their origin" and "instantly welcomes" all who live in it.: "All those who come to Madrid and live in Madrid are from Madrid", has added.

The jury has been formed by Ladislao Azcona, President of Tressis and of Estudio de Comunicación; Javier Vega de Seoane, President of DKV; Luis Villarejo, Sports Director of the EFE Agency; Eduardo Curras, General Director of Banco Sabadell Madrid and the two Castillas; Alexander Pawn, CEO Rush News; Bernardo Gutierrez de la Roza, CEO of the law firm ONTIER; Assisi Martin de Cabiedes, President of Europa Press; Eduardo López-Puertas, General Director of IFEMA; Xandra Falcó, President of Círculo Fortuny; Angel Asensio, President of the Madrid Chamber of Commerce; Rosa Menendez, President of the CSIC; Alvaro Rengifo, Patron of Amref Africa (Princess of Asturias Award); Ximena Caraza, General Director of the Casa de México in Spain; Jesus Martinez from Rioja, journalist, and Pedro Blasco, Director of Vivir Madrid.

Bibliographic data

Gregorio Marañón joined the Board of Trustees and the Executive Commission of the Teatro Real in 1995, upon constitution of the Foundation. In 1996 resigned, being reappointed as trustee and member of the Executive Commission in 2004. In December 2007 was elected president of the Board of Trustees and its Executive Committee, being reelected in 2012, 2018 Y 2021.

Full member of the Royal Academy of Fine Arts of San Fernando and the European Academy of Sciences, Arts and Letters, presides over the Ortega-Marañon Foundation and the Teatro de la Abadía. He is a patron of the National Library, from the Real Alcázar of Seville and the Town Hall, of the National Historical Archive of Nobility and the Army Museum.

He is president of Logista and of Air City Madrid Sur. He chairs the Board of Directors of Universal Music Spain and is a member of the Board of Directors of Patrimonio Nacional.

Doctor Honoris Causa from the University of Castilla-La Mancha, is in possession of the Grand Cross of Alfonso X the Wise, the Gold Medal of the Community of Madrid and the Gold Medal of the Madrid City Council, among other decorations.

In the pictures, Gregorio Marañón receives the award from the mayor of Madrid, José Luis Martínez-Almeida

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La Cenerentola premieres the season at the Teatro Real

Cinderella
Gioachino Rossini (1792-1868)
Playful drama en dos actos
Libretto by Jacopo Ferreti, based on the tale Cendrillon (1697) by Charles Perrault
D. musical: Riccardo Frizza
D. scene and set designers: Stefan Herheim y Daniel Urgen
Costume designer: Esther Bialas
illuminator: Andreas Meier-Dörzenbang
Video Designer: Torge Moller (bold film)
D. choir: Andrés Máspero
Distribution: Michele Angelini, Maybe Borja, Nicola Alaimo, Rocío Pérez, Carol Garcia, Aigul Akhmetshina, Riccardo Fassi, Orchestra and Choir Titulares del Tratro Real

A 29 February, his birthday, Rossini signs the contract to write a new opera that will be premiered in Rome to open the season. The excess of orders and the odd problem with the censors, lead Rossini and his librettist Jacopo Ferreti, to have to improvise a new script for the taste of censorship. Born like this, and in less than 24 days, Cinderella.

Rossini's virtuosity already rides between illustration and romanticism and La Cenerentola is a great example of this.. Use structured scenes just like in serious opera, but with a marked buffo character. In Ferreti's libretto the fairy disappears and is replaced by a less magical character, Gold wings, a kind of philosopher who advises the protagonist in some way. This is a first concession to the illustration, the substitution of magical elements for rational ones.

He also uses serious characters, like Cenerentola herself, Alidoro and Prince Don Ramiro. There is an intermediate role, what is Dandini, his role is comical but he is a serious baritone. The rest of the protagonists have a marked buffo character, as Don Magnifico and stepsisters Clorinda and Thisbe.

Despite the efforts of Rossini and Ferreti, La Cenerentola could not be released on time and it did 25 of January of 1817, the season has already started. Ferreti tells in his memoirs that the premiere of Cenerentola was turbulent, but it is not very well understood what he refers to, well they offered 22 performances and programmed, that same year, in seven other Italian theaters. Its success could be due, to a large degree, that the character of Cenerentola was played by the most famous mezzo-sopranos of the moment, Isabella Colbran and Pauline Viardot. Throughout the nineteenth century, bel canto composers were very famous and highly successful., later falling into oblivion and disappearing from the repertoire, with some exceptions, as The Barber of Seville.

In the second friendship of the twentieth century, La Cenerentola is recovered and begins to be represented, more and more often, in the main opera houses. This recovery of the title and its gradual incorporation into the repertoire, has two proper names, Conchita Supervía and Teresa Berganza, both gave life to the character of Angelina. By the way, all the functions of this production of the Teatro Real are dedicated to Teresa Berganza.

The score is a masterpiece. Its writing is very simple, what gives it agility and freshness. Throughout the work there is a clear preference for ensembles over arias and he constructs them almost by accumulation.. A character begins the aria and the others are gradually incorporated, starts one and ends six. The melodies are crafted as a set of arpeggio permutations with extreme virtuosity and precision. The result is, for example, the second act sextet, This is a wrapped knot. This requires, Of course, voices of great agility.

After twenty years of absence, La Cenerentola returns to the Royal Theater in a co-production by Norske in Oslo and the Opéra National in Lyon. In the pit, one of the directors who best knows this repertoire, Riccardo Frizza.

In the direction of the scene, Norwegian Stefan Herheim, that has based its scenography on the now traditional play of the theater within the theater. He has presented a classic Cinderella which he has updated by dressing her as a Theater cleaner, with your cart of supplies included. The scenery is colorful and cheerful, especially the magnificent wardrobe of Esther Bialas and the videos of Torge Moller, that projects images of the prince's castle, very evocative of Disney castles, which helps create that fairytale atmosphere. Although the scenery is clearer and more effective, regarding the development of the story, from the second act.

Riccardo Frizza dominates this repertoire to which he prints his mark to accentuate the Rossinian style. The orchestra sounded very good for how little Rossini has played in recent years. Times were a little slow, little sparkling, but the result was full of nuances. The first act turned out to be a bit off., both on the stage and on the vocal, and a certain disconnect between stage and pit. Frizza helped the orchestra not swallow some of the rather low-volume voices that struggled on stage. And it is that Rossini's music, as Frizza himself says, he is at the height of the greats and his scores are not easy to deal with. Musical direction, like the scenery and the voices, they grew as the work progressed, creating in the second act an absolute Rossinian atmosphere. On this occasion the musical director had an active participation in the performance, intervening on stage and conversing with the singers on several occasions. A nice detail that pleased the public.

This second cast was led by a very young debutante who was a great surprise, la rusa Aigul Akhmetshina. He has a mighty voice and, but nevertheless, with great capacity for agility, that dominated at all times. A good center register and powerful bass. His Angelina was undoubtedly the one who shone the most that night, also in the interpretive part.

Prince Don Ramiro was represented by the Italian-American Michele Angelini. Its timbre is nice, but had problems with its low volume, especially in the highest parts, where it seemed his voice was strangling. It also did not have its strongest point in agility..

Nicola Alaimo's Don Magnifico was the most Rossinian character of those who participated that night. He responded with ease to his two roles, because he was also the main Rossini on stage and the only, next to the Angelina of Akhmetshina, who responded to the demanding agility of his role.

The Dandini was in charge of the Baritone Borja Quiza, with a powerful voice and great stage capacity, but this character does not fit well with such a lyrical voice. It lacked expressiveness and lightness that it supplied, partly, for his good work on stage.

Very good were Cinderella's two evil stepsisters, the sopranos Rocío Pérez and Carol García, very good in the concertantes and in their roles, in which they unfolded with great comedy.

Special mention deserves the choir, only men this time, directed by Andrés Máspero. Not only did they shine on the vocal, they also had some very inspired stage appearances.

This is how one of the most special seasons of the Royal Theater is trained, who continues to receive all kinds of congratulations for his good management in a season as difficult as last. A Royal Theater that continues to be brave and proves it by programming this Cenerentola, A declaration of intentions.

Interview with Riccardo Frizza

He started out playing the piano, until the 14 years, during an Easter holiday in Vienna, attended a concert being fascinated by the figure of the director, none other than Karajan. Why then settle for an instrument, being able to make all of them sound? Thus began the trajectory of Riccardo Frizza. He is currently director of the Donizetti Festival in Bergamo, has recently been awarded as best musical director for his Lucia de Lammermmor in ABAO and from the 23 September will be in charge of premiering one of the most special seasons of the Royal Theater. He does it with La Cenerentola, de Gioachino Rossini, and with the firm intention of showing that the genius of Pesaro is on a par with Mozart or Beethoven and that his Cenerentola is a true masterpiece. Riccardo Frizza

 

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He Teatro Real inaugurate the next 23 September Season 2021-2022 ─the twenty-fifth since the reopening and one hundredth since its inauguration─, with Cinderella, from Gioachino Rossini.

They offer 15 functions of the opera, between 20 September Youth Preview of the Season and 9 October, in a co-production of the Den Norske Opera in Oslo and the Opéra National de Lyon presented in both theaters in 2017, precisely two centuries after its premiere at the Valle Theater in Rome, in 1817.

In fact, Cinderella, that is, goodness in triumph (Cinderella, I mean, The triumph of goodness) it was composed against the clock, in record time of 24 days, with astonishing speed and synchronous coordination between librettist Jacopo Ferretti and Gioachino Rossini, that their 25 years he was already a consecrated composer, with 19 operas in your catalog, including such popular titles as Tancredi, The Italian Girl in Algiers, The turkish in Italy, Otello O The Barber of Seville…

Before the rush of time, Rossini worked piecemeal, reusing fragments from previous operas, how i used to do, in addition to having the collaboration of Luca Agolini for the writing of the recitatives.

Due to the limited technical possibilities of the Roman theater stage and the pressure of the premiere, Rossini and Ferretti decided to use a version of the story by Cinderella stripped of its fantastic elements: the wicked stepmother was replaced by the mean stepfather Don Magnifico; the fairy godmother disappears, leaving Alidoro as ‘godfather’ of the unfortunate maid, and the iconic shoe is replaced by a simple bracelet.

Both the profile of the characters and the score reveal a perfect osmosis between the tradition of the dramma giocoso and from the opera jokes with Don Magnifico and Dandini, heirs of the art commedyand elements of an already romantic ‘realism’ represented by the philosopher Alidoro or the leading couple.

With its astonishing melodic richness and brilliantly effective orchestral palette, Rossini delights in the humor of the characters and the great situations the set numbers, but also with bel canto arias of great sentimental ardor and vocal virtuosity.

The staging of Stefan Herheim returns to the tale of Cinderella its thaumaturgical elements, giving Rossini himself a ‘magic baton’ with which to bring his irreverent characters to life, in a permanent illusionist game closer to the universe of Lewis Carroll than to Charles Perrault.

Herheim recreates himself with the opera dress-up game, dressing up Rossini as Don Magnifico, in a clear nod to the famous production of Cinderella conceived by Jean Pierre Ponnelle, in which Rossini was hiding behind Alidoro, and that Teresa Berganza brilliantly starred.

A double cast will give life to the characters of Cinderella, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina. They will be accompanied by the tenors Dmitry Korchak Y Michele Angelini (Don Ramiro); baritones Renato Girolami Y Nicola Alaimo (Mr. Magnificent) Y Florian Sempey Y Maybe Borja (Dandini); the short ones Roberto Tagliavini Y Riccardo Fassi (Gold wings), las sopranos Rocío Pérez Y Natalia Labourdette (Clorinda) and mezzosoprano Carol García (Tisbe).

The musical direction will be borne by Riccardo Frizza, who already directed the two versions of Tancredi, Rossini also, in 2007. It will have the Headlines Choir and Orchestra of the Teatro Real, that they will interpret again Cinderella 20 years after the last production of this title presented at the Real, with musical direction Carlo Rizzi and stage director Jerome Savary, in 2007.

Photography © Erik Berg

Juan Diego Florez

The next sunday, 12 of September, voice Juan Diego Florez will open the cycle of concerts of the Teatro Real as a prelude to the Season 2021-2022, whose inauguration will take place two weeks later, precisely from the hand of the favorite composer of the Peruvian tenor, Gioachino Rossini.

Accompanied on piano by Vincenzo Scalera, Flórez returns to Real with a program that will begin with the beautiful song An Sylvia, from Franz Schubert, to give way to arias and songs by Italian composers who have marked his career and have made him the benchmark tenor, in recent years, for this repertoire: Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giuseppe Verdi Y Giacomo Puccini.

In the Season that now begins, the series of concerts will offer six sessions starring some of the best lyrical artists in the world; in addition to Juan Diego Florez, we can listen to Lise Davidsen (8 from January), Lisette Oropesa (30 of March), Jakub Józef Orlinski (23 of April), Bejun Metha (9 of June) Y Anna Netrebko and Yusif Eyvazov (25 of July)

Programming is completed with Chamber Sundays Cycle, the Concert of the Fundación Amigos del Teatro Real, starring the pianist Lang Lang, he 25 of April, and the Concert Contest Tenor Viñas, in which the winners of the 59th edition of the contest will take part, together with the Titular Orchestra of the Royal Theater under the direction of Daniel Montané.

He 27 October, coinciding with the functions of Cinderella, on the stage of the Real, the concert will take place at the Juan March Foundation Rossini and Spain. Isabel Colbran, the muse, played by the soprano Olga Syniakova and the conductor Lucia Marin, in front of the Head of the Royal Theatre Orchestra.

Anna Netrebko and Yusif Eyvazov

The concert starring Anna Netrebko Y Yusif Eyvazov, with the participation of Elchin Azizov, scheduled for 13 of September, is postponed to 25 of July of the next year, due to personal problems of the soprano, who has changed his schedule of performances in the coming weeks.

Tickets purchased for this concert will be valid on the new date.

The Royal Theater regrets this change and hopes that Anna Netrebko can resume its activity as soon as possible.

Teatro Real

Antonio Canales

With the show The guitar sings The Sevillian bailaor pays tribute to the king of the flamenco world instrument.

They will accompany you David del Arahal, to the guitar; David “El Galli” Y Manuel de la Tomasa, in cante, Y Lucky Losada, on percussion.

With this great appointment, a season that has been dedicated to Blanca del Rey and through which sixteen renowned artists have passed, who have represented different families, schools and currents of flamenco art.

Flamenco Real is a co-production of SOLANA Entertainment and the Royal Theater of Madrid, has the sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil, Group Corporalia.

The next 29 of July Real Flamenco will end its third season with the help of an artist who, since the creation of this space that the Teatro Real dedicated to our most universal art, has been linked to the project with his support and tutelage, the choreographer and dancer Antonio Canales.

This time, the Sevillian choreographer and dancer, wants to pay tribute to the great companion of flamenco singing and dancing, Guitar. For that, will have the presence of the guitarist David del Arahal; the cante of David “El Galli” Y Manuel de la Tomasa and the percussion of Lucky Losada.

Last November began a season dedicated to the mythical Blanca del Rey, bailaora, coreógrafa, businesswoman and muse of the Spanish dance of the last 50 years. To the beat of the Yiyo a cycle was opened that has passed through this period, marked by pandemic and restrictions, with a warm welcome from the public, that has exhausted all sessions, and a torrent of optimism and hope for all the artists who have participated leaving behind the difficult break of confinement.

Miguel Fernández Ribas has offered their art at the tablao of the dance hall this season, ‘The Yiyo’; Antonio Molina, Eduardo Guerrero, Alba Heredia, Amador Rojas, Andres Peña & Pilar Ogalla, Belén López, Ivan vargas, Yolanda Osuna, Maria Jose Franco, Maria Moreno, Sergio Lope, Mercedes of Cordoba, Sara Calero and Macarena Ramirez. Farruquito took the stage of the Real and Antonio Canales will give us the desire for an autumn that will present flamenco.

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Tosca shines at the Teatro Real
Tosca
Giacomo Puccini (1858-1924)
Melodramma in three acts
Libreto by Giuseppe Giacosa and Luigi Illica, based on the work La Tosca by Victorien Sardou
8 July 2021 Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: Paco Azorín
Costume designer: Isidre Prunés
Floria Tosca's wardrobe: Ulysses Merida
illuminator: Pedro Yagüe
Video: Alessandro Arcangeli
Choreographer: Carlos Martos de la Veja
D. choir: Andrés Máspero
D. Little Singers choir: Ana González
Distribution: Maria Agresta, Michael Fabiano, Gevorg Hakobyam, Gerardo Bullón, Valeriano boats, Mikeldi atxalandabaso, David Lagares and Inés Ballesteros
Titular Choir and Orchestra of the Teatro Real and Pequeños Cantores de la JORCAMA 1889, Puccini has just had a resounding failure at La Scala with the premiere of Edgar. After a few weeks he writes to his editor Giulio Ricordi, to ask you to ask Victorien Sardou for authorization to adapt his work La Tosca (1887).Sardou's work had toured the main European theaters with great public success, starring Sarah Bernhadt. Puccini, who had attended a performance, He was captivated by the scenic power of the character and the theatrical way of mixing the passion of love with the passion of the political and ecclesiastical powers. He then instructs his two librettists, who had just had a huge success with the Bohéme, that they begin the works of a new libretto that will be the envy, among others, Verdi himself, Tosca became a clear example of verismo. Not without first being suitably sweetened to please the most exquisite palates., who did not hesitate to criticize a libretto and characters not very refined. Puccini's Tosca was more sophisticated and feminine than Sardou's, but the changes were not only focused on the characters. Puccini's music made a great difference and a break with the operatic conventions that went back to the baroque. The fluidity of the plot favored the whole and the, until that moment, almighty arias, were dissolved and intertwined within the globality of the work. In Tosca the arias are reduced to three, that if, of enormous personality and beauty. "Concealed harmony", that Cavaradossi plays in the first act, “Art worms”, emblematic aria by Floria Tosca and “E lucevan le stelle”, also performed by Cavaradossi just before he died. Tosca's success, as a representative of verismo, is in his ability to create climaxes with unbearable dramatic tension. Another characteristic of Tosca is the use of leivmotivs, that without the sophistication of the Wagnerians, they were very dramatically effective and very Italian taste. The most important and constant throughout the work is the one that represents the evil Scarpia, chief of the political police and whose leivmotiv is a true musical metaphor of the political terror of the dictatorship that dominated Rome at that time, as shown in one of the sentences Tosca directs him after assassinating him, "And before him all Rome trembled!"The Tosca production that is now being presented by the Teatro Real, is a co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville. The stage direction has been in charge of Paco Azorín. You can tell that it comes from the world of theater. Perform three different scenes with a single stage, taking advantage of the mobility and resources that the Real offers and that no others have, as demonstrated in the third act, making two scenarios disappear and appear simultaneously in a spectacular way Azorín takes too many licenses during the work. Projected phrases appear on the scene that have nothing to do with the libretto and that repeat the word revolution like a tiresome mantra., those to which some have been late. Nor does it have to see or make much sense of a naked woman who appears at key moments, reducing prominence to the scenes and characters and that, according to Azorín, it is freedom leading the people, by Delacroix. Imagination is not lacking, as a whole the scenery has interesting elements, like the eyes, like a big brother, who watch Tosca. Or the impressive scene of the Te Deum and, especially, the good disposition of the singers on stage The musical direction of Nicola Luisotti greatly favors this type of work. His way of leading, full of energy and musicality, accentuated the spectacularity of the brightest scenes. It created dramatic tension and allowed moments of respite and intimacy in the right way.. He knew how to obtain from the orchestra the Italian character that breathes the work, the deliveries on this occasion are spectacular. Three are the Toscas, Anna Netrebko, who will be alone in the functions of the 21 Y 24, Sondra Radvanovky, with a homogeneous and sonorous voice whose capacity for dramatization makes this character a perfect fit and María Agresta, our protagonist today. It also has a remarkable dramatic ability. His Tosca is more subtle and sentimental, also vocally. It is a role for Tosca who has his difficulties and Agresta solved them better in the second and third acts than in the first. But he also had moments of brilliance, his “Vissì d’arte” was full of emotion. Quite a feat considering that she had to interpret it lying on the ground.For the role of Mario Cavaradossi we have four tenors. Joseph Calleja, of beautiful and warm timbre, Yusif Eyvazov, who happens to act the same days as his wife, Anna Netrebko, the mediatic Jonas Kaufmann, just two functions too, and Michael Fabiano, which was rather static on stage and lacking in naturalness. Luckily it was more inspired by the vocal. Acceptable its "hidden harmony", and quite well in "E lucevan le stelle", apianando with gusto. It was the most applauded of the night, Gevorg Hakobyan's Scarpia lacked stage presence and, at times, also vowel. Started well, but he was losing evil as the moment of his death approached. Has some good bass and baritonal, but his Scarpia lacked carats. It does not help in these cases to have Carlos Álvarez in the other deliveries, who has built a magnificent Scarpia or Luca Salsi, that accompanies the Netrebko marriage.The rest of the tablets had a good performance. Very good Gerardo Bullón in his role as Cesare Angelotti. Valeriano Lanchas played a determined and carefree sacristan. Mikeldi Atxalandabaso, como Spoletta, he complied with his usual professionalism, like David Lagares, with his Sciarrone and the beautiful voice of the shepherd boy by Inés Ballesteros.Magnificent the Intermezzo Choir, Holder of the Royal Theater, that continues to give a lesson in professionalism and effort facing and defeating the elements and masks. Well also the Choir of Little Singers of the JORCAM, under the direction of Ana González. With Tosca the lyrical season of the Teatro Real ends, a season that can be classified as historical. Where the artistic quality, who has had it, may be left in the background to a difficult and extraordinarily courageous decision that the Theater made a year ago, stay open and with your schedule, despite the global pandemic situation showing, that it was not only possible, otherwise necessary, raise the curtain text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Macarena Ramirez

His face and his name have become popular after winning the first edition of the program The Dancer, the talent show that has established her as the best dancer in Spain, but Macarena Ramirez already had a prominent place in the world of Flamenco, where your art, his technique and his style were already recognized by colleagues and fans.

Like so many dancers, Macarena Ramirez she started her professional training when she was very young. With only 6 years I was already on the stage, starting a path that would lead her, one year later, to win the Andalusian Revelation Award and, just completed the 12, to give life to a teenage Lola Flores in the movie Lola. He has perfected his technique with figures like Eva la Yerbabuena, Carmen la Talegona or Rubén Olmo, to name a few, and has worked in the companies of Sara Baras, Antonio "El Pipa" and María Pagés, among others.

Her technique stands out, of very fast feet, and the delicacy of his hands. Established in the purest flamenco, their movements denote the feminine essence, with its delicacy and its strength, and a way of turning and expressing that makes her recognizable as soon as she steps on the stage.

In Ephemeral, his latest work, will tell us a story of meeting and learning, of love with her braid of joy, strength and fragility; of intense love that happens, ephemeral, leaving a mark on the soul. A narration for two in which it will have the special participation of the bailaor Eduardo Guerrero, an artist with whom he has shared a poster and whose dances are understood and complemented.

The soundtrack will be played by the guitar of Juan Jose Alba, the cante of Ismael de la Rosa "the Ball" Y Miguel Lavi, and the percussion of Carlos Merino.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photograph © Isa de la Calle

Tosca by Giacomo Puccino at the Teatro Real

The end of an opera season that he Teatro Real has lived with special intensity, since it has been the only lyrical theater in the world that has presented a complete program in the period 2020-2021, and in which every time the curtain has risen it has felt like an artistic and human reward in defense of safe culture.

With this spirit, the Royal Theater wants to share with all these appointments, before the summer break and just one year after the reopening after confinement, broadcasting on outdoor screens, in the Plaza de Oriente and in the Plaza de Isabel II (Opera), two of his shows this season. For that, the public space has been adapted to the health safety regulations of the Community of Madrid against COVID-19, seeking a limited capacity, with safety distance, which It will be accessed with free tickets obtained with prior reservation at the Theater website from 5 July at 11.00 hours.

The same day, for those who cannot move or live outside the Community, the opera will also be broadcast free of charge, to 21.00 hours, in MyOperaPlayer (where it will become part of the catalog) and in the channels of YouTube of the Royal Theater and RTVE, co-producer of audiovisual production. The next day, 11 of July, to 23.00 hours, Tosca will be broadcast in La 2 of TV.

The great party will begin Saturday at 12.00 hours with the retransmission of the Beethoven's Ninth Symphony, symphony No. 9 in D minor, on. 125 “Coral”, performed at the Teatro Real last September to commemorate the 250 anniversary of the birth of the German composer, directed by Gustavo Dudamel in front of the Head of the Royal Theatre Orchestra.

The concert also had the participation of the Students of the Queen Sofía College of Music, he

Orfeo Català, he Chamber Choir of the Palau de la Musica Catalana, soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, and baritone José Antonio López.

At 21.00 hours, an hour and a half after the start of the opera on stage, to avoid the heat and excessive light that may occur at 19.30 hours, will start the retransmission of Tosca, from Giacomo Puccini, one of the most beautiful and popular titles in the lyrical repertoire. The play will star the voices of the soprano Sondra Radvanovsky (Floria Tosca), the tenor Joseph Calleja (Cavaradossi) and baritone Carlos Alvarez (Scarpia).

Leading the extraordinary cast and Choir Y Titulares Orchestra of the Royal Theater the teacher will be Nicola Luisotti, Principal Guest Director of the Teatro Real, whose presence has been fundamental during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement (just a year ago) and inaugurating the present temporada, last september, with A masked ball, stimulating with your dedication, trust and dedication, both artists and workers.

The stage manager Paco Azorín conceives opera as conceived as a journey from the outside to the inside of the characters, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, leading the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like incorporating a character inspired by the painting Freedom guiding the people, by Eugène Delacroix, that symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

Photograph: Javier del Real

Farruquito

The next 9 July will be presented in the Main Hall of the Royal Theater, for the first time, Sevillian bailaor Juan Fernández Montoya, Farruquito, great name of flamenco and heir to one of the lines with the most personality of this universal art, with the show Farruquito and friends, in which he will share the stage with artists such as Ketama, Antonio Canales and Pepe de Lucía, in which the bailaora will also be present Farruca, his mother, Y Juan, the Moreno, your son.

At this point of artistic maturity, the bailaor selects the most personal and identifying moments of his career, those who have built his personality and made him the figure we all know today. A biography forged in the Montoya tradition and enriched with the innovation and sensitivity of a man hungry for art, of desire, of technique and a unique way of expressing flamenco.

They will be with him great names who have accompanied him all his life and who have marked, somehow, your course. Hand in hand with Carmona, another of the great sagas of the flamenco world, debuted on Broadway with just 5 years. The paths of both families cross and run in parallel in an enriching coexistence that now, two generations after that show on the New York stage, will give a new shape to the mythical soleá of grandfather Farruco, accompanied by the music of Ketama.

Antonio Canales Y Pepe de Lucía, two great friends, They could not miss this evening at the Teatro Real either. the first, learning and dancing, depth in feet, find the way and shape the future. If young Montoya found in the teacher a source from which to learn, Canales recognized him as the great current figure and the future of dance, and he was not wrong, because the flamenco world admires and respects him like a great star. the second, Brotherhood, support for, voice and music.

In this artistic biography that Farruquito will write on stage at the Teatro Real, the presence of his mother is essential, Rosario Montoya, the Farruca, and his son, Juan, the Moreno, an extraordinary dancer only nine years old. Both make you remember where you come from and where you are going. Both with the unmistakable stamp of the Montoya: prodigious stomping and impeccable technique. The gesture, the waist and the rudeness of a saga that boasts the gypsy essence and the purest dance.

Farruquito, bailaor, choreographer, composer, award-winning and recognized artist, create with Farruquito and friends a space to share flamenco and give the viewer a little bit of everything they have experienced.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

THE SHOW, ACCORDING TO FARRUQUITO

In this meeting with my friends, with my family, I count all my concerns as a dancer and also as a musician. It is an original work in letter, music and choreography. The cante, Guitar, percussion, etc., they are not a simple accompaniment: all the musicians star in a con- certain, a musical dialogue between them, and of them with the dance.

With this show I reveal the most personal of me, I capture the traditional but I also show the most current of my flamenco. I relive the best moments of previous shows integrating new creations; yes, always keeping the essence.

I want to show improvisation as the origin of flamenco and enrich it with choreographic montage, both –improvisation and choreography– essential concepts in my learning as a child. I want to find the wonderful balance between the different periods of flamenco that I have been lucky enough to experience and enhance it with the essential influence of cante and guitar..

LIST

Home - Farruquito

Home – Farruca (Mother Farruquito)

Home – Juan "El Moreno" (Son Farruquito)

Guitar – Juan Campallo

Sing – Mari vizarraga

Sing – Maria Mix

Sing – The Chanito

Flute – Juan Parrilla

Low – Julian Heredia

Percussion – Paco Vega

GUEST ARTISTS

Home – Antonio Canales

Sing – Pepe de Lucía

Ketama (Antonio Carmona Amaya, Juan José Carmona Amaya and José Miguel Carmona Child)

TECHNICAL TEAM

Sound – Gaspar Leal

Lighting – Oscar Gomez

Production and Manager – Daliris Gutiérrez

PROGRAM

1.- Soleá

2.- Soleá por Bulerías

3.- To follow

4.- Joys

5.- Bulerías

6.- Zapateao

7.- End of party

BIOGRAPHIES

Farruquito (Home)

Juan Fernandez Montoya "Farruquito", was born in Seville in 1982. Son of the singer Juan Fernández Flores “El Moreno” and the bailaora Rosario Montoya Manzano, "La Farruca". Heir to a unique school founded by Farruco, his grandfather, he has lived since he was a child immersed in the purest flamenco art. He made his debut on the international scene at the age of five on Broadway with the show Puro, sharing the bill with the most legendary figures of flamenco and with fifteen years, after his grandfather passed away, assumes responsibility for maintaining the heritage of purity and unmistakable style of his line. Bailaor, Choreographer and Musical Composer, He has produced and directed more than ten shows, touring with his company in the best theaters at a national and international level.. Among the many awards and recognitions, Farruquito has been awarded the Public Prize for the best dancer and the prestigious APDE Prize 2004 to the worthy trustee of the gypsy dance heritage.

Farruca (Home)

Born in Seville in 1963, Rosario Montoya, daughter of the legendary dancer Farruco. He went on stage for the first time with 13 years, with Camarón de la Isla himself singing in a performance in Camas; and Sabicas played for his dance through bulerías in Los Angeles. After starring in shows like ‘Andalucía flamenca’, 'Persecution', ‘Pure flamenco’, ‘Lover’ and ‘Wedding of glory’, and share a scene with figures of the stature of El Güito, Angelita Vargas placeholder image, Manuela Carrasco and Antonio Canales, clothe the first show of Farruquito, 'Flamencas Roots'. Already with ‘Farruquito and family’, dazzles critics in the United States and, more recently, with such successful shows as ‘Gitanas’ or ‘From Farruca to Faraona’.

Juan "El Moreno" (Home)

Son of Farruquito, despite his young age, already has a long history of collaborations with his father, and together for the first time they make their debut at the Teatro Real in Madrid with the show "Farruquito y Amigos".

Juan Campallo (Guitar)

Born in Seville in 1983. In a family of flamenco artists, began to play on stage with just 12 years accompanying his brothers, dancers Rafael and Adela Campallo. With them he works on stages all over the world, from Tokyo to New York, in theaters and festivals such as the Bienal de Flamenco, the Jerez Festival, the one of Mont de Marsans, the one from Monterrey, or Santa Barbara in California, among others. In 2006 joins the companies of Antonio Canales and Javier Barón, with whom he continues to work today. In 2007 wins the prestigious "Bordón Minero" award from the Festival de la Unión.

Mari vizarraga (Sing)

Sevillian singer, gypsy woman from the Polígono Sur neighborhood, of The Three Thousand Homes, an inexhaustible pool of authentic flamenco artists with duende. Descendant of a family of artists, Juana la del Revuelo made her known professionally twenty-five years ago, and since then he has been by the side of the greatest: Joaquin Cortes, Juana Amaya, Torombo or Farruco.

Maria Mix (Sing)

Great-granddaughter of El Mezcle and descendant of María Vargas. Diploma in Musical Teaching. He has shared the bill with artists such as José Mercé, Pansequito, Juana la del Revuelo, Miguel Poveda, Gerardo Nunez, Esperanza Fernández, and many others. Winner of countless national flamenco and saetas competitions. Winner of the award of the low-Andalusian songs at the International Festival of the Mines of the Union 2013.

The Chanito (Sing)

His first steps on stage were taken with Manuel Fernández Montoya El Carpeta in Gitanas, a show headed by Rosario Montoya La Farruca, whom you consider a teacher. Since then he has been part of the El Carpeta company. With this artist he has sung in Flamenco show and in A baile. He has also accompanied Raimundo Amador as a guest artist on Jazz Flamenco Nights and has been part of the cast of Manuela Carrasco and Farruquito.

Juan Parrilla (Flute)

Born in Jerez de la Frontera. He studied flute at the conservatory and later in Madrid. It comes from one of the great flamenco families, The Jerez Grill, and stands out as one of the greatest exponents of the new flamenco. He is one of the composers most required by great figures such as Aída Gómez, Antonio Canales, Joaquin Cortes, Rafael Amargo and Farruquito.

Julian Heredia (Low)

Granada, bass player, versatile and self-taught, with its gypsy roots from flamenco, but with a wide musical journey in different styles. He works and records with Enrique Morente on several albums, also simultaneously playing with almost all artists, most renowned Spanish guitarists and musicians in the flamenco field, jazz and flamenco fusion, such as José el Francés, David de maria, El Farru, Farruquito, Jerome Maya, Antonio Canales, Jorge Pardo, Remedios Amaya, Diego del Morao, Montse Cortés, Estrella Morente, with the Ketama group, Pepe Habichuela, Reuben Dantas, Raimundo Amateur, Ray Gómez, Child Josele, Tomatito, and a long etc.

Paco Vega (Percussion)

Born in Seville into a flamenco family, receiving his first lessons from his father, the bailaor Paco Vega. He has been creating his own language of flamenco percussion, which has led him to accompany such significant artists from the flamenco scene such as: Farruquito, the Lebrijano, Richard Bona, Antonio Molina "el Choro" or María Pagés.

Photograph: Javier del Real

Tosca at the Royal Theater

Between 4 and the 24 of July They will be offered 16 functions Tosca, with free broadcasts in different formats YouTube channels, MyOperaPlayer, The 2 TVE, RNE Classic Radio and outdoor screens in Plaza de Oriente and Plaza de Isabel II, that will carry the popular title of Puccini to all corners, celebrating the end of an intense and very special operatic program, since Real has been the only lyrical theater in the world to present a season 2020-2021.

Nicola Luisotti has played an important role during this long period of coexistence with the pandemic, directing the exceptional Traviata after strict confinement, inaugurating this season last September with A masked ball and stimulating, with your dedication, trust and dedication, to the artists, workers and Choir Y Titulares Orchestra of the Royal Theater during these uncertain times.

With Tosca, Luisotti He will direct his ninth opera at the Royal Theater, this time leading three deals with four Cavaradossi, working together with Paco Azorín, which has renewed for Real the production created in 2014 for the Liceu of Barcelona and the Maestranza of Seville.

Conceived as a thriller film, supported by projections and a circular set that evolves from the realism of the first act to a progressive, more conceptual and symbolic language, Azorín leads the viewer to penetrate the revolutionary atmosphere, chaotic and ruthless of the Napoleonic and counterrevolutionary struggles, germ of the movements that would lead to the unification of Italy years later.

Drawing a parallel between the tragic love story of the protagonist and the fight against a corrupt and autocratic power, Tosca fights for the man she loves to humiliation and murder, symbolically embodying the uncompromising defense of revolutionary ideals.

Paco Azorín, who began his career as a set designer at the Real have seen his sets for the operas The prisoner Y Suor Angelica (with the direction of Lluís Pasqual) and for the ballets 2 you Maestro, The love wizard Y Electra­, also assumes the stage direction in this production, adapting the guidelines of the acting performance to the idiosyncrasy of each singer.

In the production that will be seen at the Real, the original dramaturgy has been maintained, but some changes have been made, like the incorporation of an actress who symbolizes the revolution, or the new costume design of the titular character, conceived by Ulises Merida, with which it is intended to reinforce the character of Tosca's operatic diva, completing the original costume of Isidre Prunés, who died in 2014.

The opera, co-production of the Gran Teatre del Liceu in Barcelona and the Teatro de la Maestranza in Seville premiered in 2014, will star three casts led by the sopranos Sondra Radvanovsky, Maria Agresta Y Anna Netrebko; tenors Joseph Calleja, Michael Fabiano, Yusif Eyvazov Y Jonas Kaufmann; and baritones Carlos Alvarez, Gevorg Hakobyan Y Luca Salsi.

Sondra Radvanovsky, who already played Tosca in 2011, will return to Real with this role, after embodying Amelia in A masked ball at the opening of this season. The soprano also returns Maria Agresta, who starred Rule (2016), The Troubadour (2019) Y Don Carlo (2019). Anna Netrebko will perform his second opera at the Real, after your participation in War and peace, Sergey Prokofiev, in 2001.

American tenor Joseph Calleja debuts at the Teatro Real, Michael Fabiano assumes a new starring role after his participation in Cyrano de Bergerac (2012), I due Foscari (2016), Giovanna D'Arco (2019), La traviata (2020) Y A masked ball (2020), Y Yusif Eyvazov will perform an opera for the first time at the Madrid Coliseum, after having participated in a concert next to Anna Netrebko in 2019. Finally, Jonas Kaufmann, who acted in a role of La clemenza di Tito in 2009, will now play Cavaradossi in two roles.

Scarpia's role will be defended by Carlos Alvarez that completely changes registration after his recent triumph in Long live the mother­, Gevorg Hakobyan, debuting at Real, Y Luca Salsi, who appeared in Rigoletto (2015) Y Don Carlo (2019).

After the reopening of the Real, they have offered 32 functions Tosca in the seasons 2003-2004 Y 2010-2011, all with scene direction of Nuria Espert. This popular operatic title returns with a new focus, born from the musical and dramatic richness of this frenetic masterpiece by Puccini.

Photography © Antoni Bofill

Opera Week

In the scope of the celebration of European Music Day, that is commemorated, since 2016, he 21 of June, The Teatro Real will offer two “end of year” concerts in the Sala Gayarre with its INCLUSIVE MUSIC GROUPING, made up of children with special learning needs.

Born in 2020, the WHICH is an inclusive pedagogical project in which minors of different profiles develop their cognitive and social capacities through experiences provided by learning and collective musical practice.

The Inclusive Music Group is made up of 20 children and young people who meet twice a week throughout the course in a studio at the Teatro Real, where, under the direction of Francisco Borro, perform musical works created especially for the group, attending to the uniqueness of each of its members.

To that end, Francisco Borro Y Jesus Alonso they have composed the pieces Dawn of Diversity Suite, Tribute to Inclusion Y Blues-Rock from the Teatro Real, that will be released on 20 June at 19 hours and the 27 June at 12 hours in the Sala Gayarre Teatro Real.

Also in the symbolic framework of the European Music Day, the schools attached to the program THE REAL ONE IN YOUR CLASS may the 21 of June, the recording of the Ludwig van Beethoven's Ninth Symphony interpreted the past 19 September at the Teatro Real for the Head of the Royal Theatre Orchestra directed by Gustavo Dudamel, with the participation of the soprano Susanne Elmark, mezzosoprano Aigul Akhmetshina, the tenor Leonardo Capalbo, the bass José Antonio López, the Orfeó Català, the Cor de Cambra of the Palau de la Música Catalana and students of the Reina Sofía School of Music (soon available in My Opera Player).
Likewise, to extend this celebration to all of Spain, from today, 18 of June, and until monday, 21 of June, access to the entire audiovisual catalog of MyOperaPlayer with the 10% off, an excellent opportunity to get up close to the latest news on the platform, including operas, concerts and dance programs from the most important lyrical theaters around the world and jewels from the historical archive of RTVE. Users interested in taking advantage of this promotion must exchange the code MOPMUSICA when subscribing to obtain the discount.

CONCERTS BY THE INCLUSIVE MUSIC GROUP

20 of June 19:00 – 27 of June 12:00

Sala Gayarre

PROGRAM

Dawn of Diversity Suite, by Francisco Borro Y Jesús Alonso | Premiere

  1. Beginning
  2. Evolution

III. Aurora

Tribute to Inclusion, by Francisco Borro and Jesús Alonso | Premiere

Blues-Rock from the Teatro Real, by Francisco Borro and Jesús Alonso | Premiere

PERFORMERS
Darius Lloret, Javier Ruiz, Saul Perez, Miguel Angel Carrion, Alma-Martina Fernandez, Michael Imre Richli, Beatriz Alexia Cano, Irene Oriol, Raul Martinez, Samuel Aparicio, Manuel Gadea, Gabriela Good, Juan Rodriguez, Violeta de la Torre, Celia lopez, Maria Prieto, Zoë Kamila Vargas, Fernando, Nicolas Bergquist, Rachel Vazquez, Nicolas Rubira

Francisco Borro, artistic and musical director

Jesus Alonso, musical codirection.

photographer: © Purita | WHICH

Orlando Furioso

The next 17 June the stage of the Royal Theater will be filled with the music of one of the jewels of the Baroque, Orlando Furioso, by Antonio Vivaldi. Performed by the formation Harmony Athena, under the direction of the great specialist in the repertoire, George Petrou, has a cast of great voices led by the countertenor Max Emanuel Cencic in the title role.

The soprano completes the cast Julia Lezhneva (Angelica), mezzosoprano Ruxandra Donose (Alcina), the contralto Jess Dandy (Bradamante), countertenor Philipp Mathmann (Medoro) Y David D.Q. Lee (Ruggiero) and the bass baritone Pavel Kudinov (Astolfo).

Orlando Furioso is an opera in three acts by Antonio Vivaldi, with Italian libreto by Grazio Braccioli, based on the epic poem Orlando Furioso of Ludovico Ariosto. The play tells the story of Orlando, a noble knight brave and in love, although unrequited, trapped on the island of the beautiful sorceress Alcina. The scene, woven with love triangles, tangles and magic, combines various arguments from the original work and composes a love story, jealousy and madness.

The chivalric epic poem written by Ariosto in 1532 contains several main characters, even though only one gives it a name, and has inspired numerous authors, from Lully to Haydn. Years after the premiere of this Vivaldi, would see the light two of the best known titles of Händel: Alcina (1735) Y Orlando (1733).

The first performance of the title took place in Venice, at the Sant’Angelo Theater, in 1727, and it is one of the few that remain from the prolific creation of the Venetian composer. His demanding vocal writing - loaded with arias and recitatives as beautiful as they are difficult-, its complex plot –which makes the characters evolve in their dramatic color- and the extent of the work, requires a set of world-class voices, like the one that now meets at the Teatro Real.

Harmony Athena is a project of the Camerata de Atenas, founded in 1991 at the inauguration of the Megaron concert hall in Athens, where it has its headquarters since then. In autumn 2009, started a regular collaboration with the conductor George Petrou, interpreting with period instruments a wide repertoire that goes from baroque to classicism. In addition to his usual activities with period instruments, the orchestra maintains various projects in the field of opera and contemporary music.

Petrou He is considered one of the world's leading Baroque specialists, but nevertheless, his musical activity is very wide, and includes 20th century and contemporary music.

Photography design © Pep Carrió

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VivalaMamma-8

VivalaMamma-9

 

The theatrical conveniences and inconveniences
Viva la Mamma!
Gaetano Donizetti (1797-1848)
Playful drama en dos actos
Teatro Real, Madrid 5 June of 2021
Libreto by Domenico Gilardoni, based on the works Le convenienze teatrali
(1794) y The theatrical inconveniences (1800) by Antonio Simeone Sografi
Choir and Orchestra of the Teatro Real holders
D. musical: Evelino pido
D. scene: Laurent Pelly
Costume designer: Jean-Jacques Delmotte
scenographer: Chantal Thomas
illuminator: Joel Adam
D. choir: Andrés Máspero
Distribution: Sabina Puértolas, Gabriel Bermúdez, Luis Cansino, Francesca Sassu,
Alejandro del Cerro, Carol Garcia, Enric Martínez-Castignani, Piotr Micinski,
Luis López Navarro Opera is a very broad artistic expression. Total Art, Wagner was talking about. And behind the own stories that an opera tells us, there are others that are being woven between those who participate in them. To such an extent those other stories were important, that became a genre within the operatic compositional panorama towards the second half of the 18th century, in full classicism. The great animator of this new genre was Benedetto Marcello. Related to opera through its many facets as a composer, writer and businessman, in 1720 publishes a kind of satirical pamphlet entitled "Il teatro alla moda", that quickly generated a movement of critics adept at his cause and that did not leave a puppet with a head, they were already composers, singers, businessmen or simple stagehands. Marcello thought that classical opera had succumbed to the whims of the divas and the superficiality of the scenography.

The "Il teatro alla moda" actually had a lot to do with the way of doing theater at the time with great success among the public.. At that time, a kind of highly hierarchical operatic show was still taking place., where the singers had the command. The scores were at the service of the interpreters, even getting to write the works on the fly depending on the tastes or whims of the singer on duty.

A good number of works were then written on the subject, But with the passage of time the roles were reversed and it was the directors and entrepreneurs who came to take command. From that moment on, these works stopped making sense and were being forgotten..

One of these works is ¡Viva la Mamma!, whose real title is Le convenienze ed inconvenienze teatrali. It was too long a title that was replaced by ¡Viva la Mamma! when he returned to the stage. It was one of the last compositions of this genre and it is the first time that Donizetti wrote the libretto for one of his works.. A funny satire that talks about the entanglements and rivalries that occur during the staging and performance of an opera.

These popular works also had great flexibility in making changes.. Donizetti composed a first version consisting of a single act and, as if it were a zarzuela, had spoken parts that were written in Neapolitan dialect.

Four years later it opens in Milan and the composer adds a second act, removing the Neapolitan from the score so that it could reach the entire audience.

Laurent Pelly is the stage director of this new production of the Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva. scenography, using the idea of ​​forgetting this type of work, presents an old theater that is used as a parking lot. On stage, The characters that compete for the title role or to sing the best arias are parading, being the victims of these internal wars, businessmen, composers and librettists.

Pelly has turned to the theater within the theater and has created some characters, rather belonging to the past, that are fun while producing a certain melancholy. characters, as its authors wrote and Benedetto Marcello described well, they exaggerate their flaws to cause more hilarity. Characters for which singers who have a very important interpretive level are needed, apart from the vocal demands, that are not few in this score.

This second cast has been led by the soprano Sabina Puértolas and her Daria, the first woman. A candy that Puértolas embroiders thanks to its sophistication on stage and a very good execution of the first act cabaletta, full of difficulty due to its demanding agility.

Procolo is Daria's husband, played by Gabriel Bermúdez. A toxic husband pretending to be another prima donna like his wife. Bermúdez achieves a great performance, fun and with a good vocal level.

The tenor Alejandro del Cerro played Guglielmo, el first tenor, that embroidered the character stretched out and with a German accent. Had some very inspired moments, as in his aria from the second act.

Without a doubt, the winner of the night was Luis Cansino and his role as Mamma Agata. A transvestite in reverse, because until then only women dressed as men. Cansino gets into this role that can be said to be a specialist. She brilliantly recreated the twisted mamma de la seconda donna pretending to be the diva herself. He changed his register from baritonal to falsetone quite naturally in those unwritten notes and with which he played with mastery..

Luigia, the second gives, hija de Mamma Agata, was in charge of the Italian Francesca Sassu. He interpreted the timid and timid character of compresaria very well and showed the quality of his instrument., being at a very good level.

The rest of the cast had a participation at the height of the protagonists. Stage director Luis López Navarro, businessman Piort Micindki, the poet Enric Martínez-Catignani and the funny Pipeto by Carol García.

Evelino Pidó knows this repertoire well and it shows that he has a trade and experience. He solved the balance between pit and stage very well in such a sparkling play.

The performance ends with a group of workers entering the scene with their destructive machines., which is a true plea in defense of culture in a year as complicated as this. But the strength of those who, in the worst circumstances, they have defended it.

Text: Paloma Sanz
pictures: Javier del Real

Crescendo

The Royal Theater has presented this morning the first edition of a project that we hope will be long-term. Twenty singers under 35 years and eight nationalities Spain, Romania Ukraine, Colombia, Norway, Germany, Venezuela and Chile have participated in the program since last March CRESCENDO, created by Foundation Friends of the Royal Theater and driven by Porosus Endowment Fund Y Edmond de Rothschild Foundations.

This international project, with a pedagogical and inclusive vocation, aims to complement the academic training acquired by young singers in their study centers, offering them workshops, master classes, debates and different transversal activities that enrich their artistic and human development to face a highly demanding professional career, public exposure and competition.

But perhaps the most important and stimulating dimension of the project is the creation of real opportunities for the young participants to start their professional careers., with performances in different initiatives of the Royal Theater.

Through auditions with the artistic direction of the Teatro Real and the directors involved in the different productions or initiatives, singers have been selected to perform at the presentation of the Season 2021-2022 last 20 of May (issued by the YouTube channel of the Royal Theater), in the traveling float installed in Fitur with performances very well received by the attendees on the days 20, 21, 22 Y 23 of May- and in various short and medium term events:

  1. Festival Real Junior: closing concert of the Season 2020-2021 El Real Junior. Main Hall of the Royal Theater, 12 of June from 2021 to 12 hours.
  2. Week Opera Theater Royal: lyrical recital. Sala Gayarre, 9 of July

  3. Mozart Revolution: Season opening concert 2021-2022 El Real Junior. Living room, 3 October from 2021 to 12 hours.
  4. ashen: opera by Pauline Viardot. Royal Theatre production, in co-production with the Teatro de la Maestranza in Seville, the Cervantes Theater in Malaga and the Opera Foundation in Oviedo. Teatro Real, Living room, 20, 21 Y 23 of November from 2021, to 11 Y 13 hours. Subsequent performances in co-producing theaters.
  5. Everyone to the Gayarre!: workshops for the whole family that will take place throughout the season Sala Gayarrre, weekends at 12 Y 17 hours.

GROWING PARTICIPANT SINGERS (alphabetical order)

  1. Agustín Gómez Cortez, tenor (Spain)
  2. Alejandra Maria Acuña Manrique, mezzo soprano (Colombia)
  3. Beatriz Arenas Lake, soprano (Spain)
  4. Celia Cuéllar Calvín, soprano (Spain)
  5. Christian Gil Borrelli, countertenor (Spain)
  6. Cristina Van Roy Roy Rathe, soprano (Norway)
  7. Martyn Estíbaliz, soprano (Spain)
  8. Gabriel Alonso Diaz, baritone (Spain)
  9. Guiomar Cantó Gómez, soprano (Spain)
  10. Juliane Stolzenbach Ramos, soprano (Germany / Portugal)
  11. Maria de los Angeles Gomez Rojas, soprano (Venezuela)
  12. Maria Eugenia Barcia Mendiola, soprano (Spain)
  13. Mario Mendez Saavedra, tenor (Spain)
  14. Marta Briales Villalba, soprano (Spain)
  15. Miriam Silva Martinez, soprano (Spain)
  16. Olga Syniakova, mezzo soprano (Ukraine)
  17. Paola Andrea Leguizamón Santos, mezzo soprano (Colombia)
  18. Ramina Scrob, soprano (Romania)
  19. Ramiro Maturana Coronado, baritone (Chile / Argentina)
  20. Vanessa Wax Bull, soprano (Colombia)

FESTIVAL REAL JUNIOR FOR THE ENTIRE FAMILY

Main Hall of the Royal Theater

12 of June, Saturday, to 12 hours

Script and presentation by Fernando Palacios

An attractive visit, fun and surprising to unexpected corners of the world with exciting music: native songs of Amazon Indians, Malaysian and Balinese rites, dances to accompany the cocky step of a Pink Panther or from a baroque opera, frenetic rhythms from Vivaldi and Mozart, soundtracks of pirates and novels, walks through the center of Madrid ... A varied assortment of songs and dances that will be performed by young people from JORCAM Choir and Orchestra, with the participation of the mezzo-soprano Olga Syniakova under the direction of Rubén Gimeno.

THE SPONSORS OF CRESCENDO

He Porosus Endowment Fund has the mission of helping young talents that emerge in the sports and artistic fields. Their goal is to support and promote their careers. Supported sports projects include golf, The surf, riding, badminton, The artistic skating, etc. The artistic disciplines concerned are, among other, performing Arts, Dance, music, cinema… Porosus endowment fund aims for excellence and high standards to support the most deserving young talents in their sporting and artistic endeavors.

In the Edmond de Rothschild Foundations push the limits of philanthropy. They find disruptive ways to engage partners and establish unforeseen collaborations between civil society, the private sector and public institutions. By expanding the impact, promote diversity and harness business zeal, make a real change. The result is more than the sum of all the parts to create the future together.

tenor Viñas

He Teatro Real will host, one more year, concert winners International Singing Competition Tenor Viñas, that last January celebrated its 58th edition and in which the mezzo-soprano from Donostia Carmen Artaza won the First Grand Prize, in addition to obtaining the Mozart Prize and the extraordinary prize for the Best Spanish Singer.

Next to her, the public will have the opportunity to hear the voices of the Ukrainian mezzo-soprano Olga Syniakova (Second prize offered by the group Amics del Concurs Tenor Viñas); the Argentine baritone German Enrique Alcantara (Third award “Maria Esperança Salvans Piera”) and the Russian baritone Vasily Sokolov (fourth Prize).

Young singers will perform arias by Mozart, Rossini, Donizetti, Bellini, y Tchaikovsky, among others, accompanied by the Head of the Royal Theatre Orchestra, under the direction of teacher Alvaro Albiach.

This year's edition, marked by the restrictions imposed by the pandemic, held the preliminary auditions electronically from Barcelona, Madrid, London, NY, Paris, Berlin, Milan, The Angels, Beijing and Moscow, with an initial participation of 447 singers from 55 countries. The last two tests could be held in Barcelona and the winners offered the traditional concert at the Gran Teatre del Liceu.

Founded in 1963 in Barcelona, The Francisco Vinas International Singing Contest wants to keep alive the memory of one of the most important tenors of our country - it was the great Wagnerian voice in Spain and the person in charge of premiering Tristán e Isolda at the Theatre Royal- and is a springboard for many of the most important voices on the current lyrical scene, since it has become one of the most prestigious competitions in the world.

Among the names awarded throughout its history are Javier Camarena, Violeta Urmana, Marina Rebeka, Giuseppe Filianoti, Dmitri Korchak or the winner of the last International Opera Awards, Xabier Anduaga, to name just a few.

Nowadays, great lyric centers from all over the world such as the Gran Teatre del Liceu are part of the organization of the competition, the Moscow Bolshoi, the Paris Opera, the Royal Opera House Covent Garden in London, the Metropolitan Opera House in New York, the San Francisco Opera, the Teatro alla Scala in Milan, the Staatsoper Berlin, the National Center for the Performing Arts in Beijing and the Royal Theater.

Mercedes of Cordoba

Has clear things, a firm will and a spirit that was born to dance. Is Mercedes of Cordoba, the bailaora that the next 3 June will star in the two sessions of the cycle Real Flamenco, to 19.00 and to the 21.00 hours, to show the public that nothing is by chance and that what she does is flamenco, No more.

Winner of the First Prize at the Seville Biennial (2002), Second Prize in Dance at the International Festival of Cante de las Minas (2013) and the First Prize of the National Flamenco Art Contest of Córdoba (2013), among others, are only part of the recognition of an artist whose career begins at the 4 years with her training in Spanish dance, First, and in classical ballet, after.

Her early vocation leads her to participate, to the 6, in the movie Montoyas and Tarantos; the following year he joined Manuel Morao's company, and with only 11 years ago he debuted at the Lyon Biennale, with Javier Latorre and Eva Yerbabuena. Then the Andalusian Ballet would come, directed by José Antonio, with which he was part of the artistic team of the opera Life Brief, Manuel de Falla, that inaugurated the Teatro Real in 1997.

Mercedes de Córdoba dominates all the suits, with extraordinary technique and innate naturalness, with powerful and expressive presence, able to communicate and excite the public through his elegant dance and flamenco, both in her career as a dancer in the most important companies, like performing his own choreographies in front of his company.

The show he now presents at the Teatro Real, No more, reflects his passion for flamenco, without other explanation; the sign of the fight, the dedication and unconditional love for the art that has marked his life, that makes her sick and that cures her. On the Flamenco Real stage she will be accompanied by Enrique “The Extremeño”, as a guest artist in cante; Juan Campallo, to the guitar; Jesús Corbacho, singing and Paco Vega, on percussion.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, the wineries of Juan Gil, Corporalia and Caballero Ventura Group.

Photography ®Beatrix Mexi Molnar

Transit

The Fernando Arrabal A Room of Naves del Español in Matadero, Culture Area space, Tourism and Sports of the Madrid City Council, welcomes from 29 of May and up 5 of June the world premiere of Transit, chamber opera with music and libretto by Jesus Torres, musical direction George French and stage director Eduardo Vasco, from the short play of the same name that Max Dog wrote in 1944 from his exile in Mexico and who tells us about the conflict, the loyalty, the commitment and obligation of the Spaniards who suffered exile after the Civil War. The cast of Transit is composed of the baritone Isaac Galan (Emilio) and soprano María Miró (Cruz) in the lead roles, together with the mezzo-soprano Anna Brull (Transit), baritone Javier Franco (Alfredo) and tenor Pablo García López (Pedro).

Transit is a commission and a new co-production of the Teatro Real and the Teatro Español that will be able to be seen in six unique performances: 29 Y 30 of May Y 1, 2, 4 Y 5 of June, to 19 hours.

In Transit, one-act play written in 1944 but set three years later, on a night of sleep 1947, Max Aub reflected the story of Emilio, a Spaniard in Mexican exile who talks, simultaneously, with cross, the wife who stayed in Spain with her children, and with Transit, his current sentimental partner. Emilio faces the complexity and doubts of building a life and love in exile that coexist with the commitment and memory of his life and his political ideals in Spain. Feelings in permanent conflict marked by insecurity, the exile, abandonment, distance, the possibility of return and guilt.

When many ex-combatants and Spanish Republican exiles still held out the hope that the allied armies contending in World War II would put an end to the Franco regime, Max Aub anticipated the total arrest of time with which history would condemn all of them in a labyrinth of found loyalties, political and personal tears and disappointments. This short theater piece constitutes an ethical testimony of that historical moment and the literary base of this chamber opera in an act divided into 12 "Instants" from Zaragoza Jesus Torres, awarded the National Music Prize 2012.

Torres' operatic debut is backed by a solid artistic career spanning more than three decades, an autonomous and versatile voice that has experienced increasing freedom over time, intensity and emotion and a passionate bond with Castilian poetry permanently reflected in his musical production. From the opening bars of the orchestral prologue, the music is dense and complex, reflection of the haunting text of Max Aub.

"The idea of ​​writing an opera has haunted me since my beginnings as a composer", Explain Jesus Torres. “The brief theater of exile by Max Aub seduced me and I thought I found a solid argument to embark on my first opera, Transit, when there was a certain opportunity to release it. It has been a challenge to put music to a text that is essentially colloquial. The melodic tracing of the voices is intimately linked to the phonetics of our language and this, in consecuense, causes the entire orchestra to be impregnated with that melodic and harmonic warmth ".

Stage direction is provided by Eduardo Vasco. “You don't always find a gift like this: be immersed in the process of staging a contemporary opera that is being written at the time, by a composer who is admired and by the hand of a prestigious teacher. But, Besides, enjoyment is multiplied when complicity begins to work from the first encounters with a common denominator as powerful as the name of Max Aub ", the stage manager points out. And continues: “We are united in a very strong way by the theme developed by the work on those Spanish republicans exiled in Mexico after the Civil War., lost in hospitable limbo, although alien, uprooted, trashed and lost in a labyrinth with no exit from which, mostly, they couldn't get out. And also that we think that this drama, like others almost forgotten already from our past, has been unceremoniously stored in the cliché drawer that feeds the simplicity of our current policy, and treat it delicately, through this montage, It seems to us a matter of national urgency.

Transit is a co-production of the Royal Theater and the Spanish Theater with music and libretto by Jesus Torres, musical direction by Jordi Francés, stage direction of Eduardo Vasco, set design of Carolina Gonzalez, lighting design by Miguel Angel Camacho and costume design by Lorenzo Caprile.

Photography © Javier del Real | Teatro Real

VivaLaMamma

Between 2 and the 13 of June, he Royal Theater will offer 11 functions of the opera Theatrical conveniences and inconveniences (The theatrical conveniences and inconveniences), from Gaetano Donizetti, which will premiere at the Teatro Real.

The new production of the Teatro Real, whose title, Long live the mother, was coined by film director Helmut Käutner, is a co-production with the Lyon and Geneva Operas, where it was presented with great success.

Laurent Pelly, that Real has directed Daughter of the Regiment (2014), Hansel and Gretel (2015), The Golden Cockerel (2017) Y Falstaff (2019), returns with another title full of humor in which it shows, once again, his genius and ingenuity in treating comedy and directing actors.

As well Evelino pido will be in front, again, of the Titular Choir and Orchestra of the Royal Theater, that he already directed in La Gioconda (2007) e I puritani (2016). Three of the 11 functions will be directed by José Miguel Pérez Sierra, director musical, Recently, from Don Fernando the Emplazado.A double cast will give life to the grotesque characters of Donizetti, in which they stand out Carlos Álvarez and Luis Cansino, Nino Machaidze and Sabina Puértolas, Xabier Anduaga and Alejandro del Cerro, Borja Quiza and Gabriel Bermúdez, Sylvia Schwartz and Francesca Sassu, seconded by Pietro di Bianco, Enric Martínez-Castignani, Piotr Micinski and Luis López Navarro.

Around Long live the mother activities have been organized at the Teatro Real, Berlanga Room, Museum of Romanticism and Regional Library of Madrid.

The performances will begin at 19.30 hours (Sundays, to 18.00 hours), will have a maximum capacity of 66% (in front of 75% authorized by the Community of Madrid) and there will be an empty seat interposed between each group of cohabitants.

Classical Radio, the RNE, will record the opera The theatrical conveniences and inconveniences - Long live the Mamma for subsequent broadcast in Spain and in the countries of the European Broadcasting Union (A CHILD).

Functions Long live the mother are sponsored by the Board of Friends of the Teatro Real.

Between 2 and the 13 of June, Royal Theatre offer 11 functions of the opera Theatrical conveniences and inconveniences (The theatrical conveniences and inconveniences), from Gaetano Donizetti, new production of Teatro Real, in co-production with the Opéra National de Lyon and the Grand Théâtre de Geneva, where it was already presented with great success.

This opera premiered in Naples in 1827, belonging to the first period of the prolific career of Gaetano Donizetti (1797-1848) and long forgotten, was rediscovered in the years 60, and since then it has captivated the audience. Your title, as serious as it is unattractive, in no way suggests the burlesque and critical plot of the libretto, the irony of the text and Donizetti's ability to mock the canons of serious opera and opera buffa that masterfully intertwines and to musically caricature the characters and situations, with spark, sharpness and great economy of means.

Title Live the Mother, coined by film director Helmut Käutner and repurposed, successfully, since then, immediately refers to the axis of the humorous plot of the opera, in which the most histrionic character is a matriarch, played by a baritone!that he is not satisfied with his singing daughter being the second woman Opera. And while fighting, with all their bad arts, to give it the prominence of a first woman, she aspires to have it herself, At whatever price, fighting for the interpretation of a role to suit.

Theatrical conveniences and inconveniences is, well, a critique of the excesses and tyranny of the divos, his pettiness, envies and power struggles; a parody of hierarchies within operatic productions, with the creators -composer and librettist- subordinate to the whims of the singers, dispositions of employers and arbitrariness of the public.

In the comic genre, the opera that looks in the mirror and laughs at its own world has occupied an important place, as would happen later with musicals and in a huge number of Hollywood films, what dreams have told, disappointments, ambitions and mirages of the world of celluloid and coated paper.

It is precisely that scintillating universe of Broadway and the modernizing fever of the years 50 that serves as inspiration to the production created by Laurent Pelly who also signs the wardrobe, with scenery Chantal Thomas, lighting Joel Adam.

Conceived as a flash-back, the plot unfolds in a parking built in a forever magical space that had previously been occupied by a provincial theater, unceremoniously demolished. The captivating and excessive characters that once shone on their stage parade through there, like specters filled with tenderness and poetry with the patina of time. A universe with clear reminiscences of the variety theater and the famous musical Follies, de Stephen Sondheim, that disguises self-criticism as fun, mockery, of reflexion, always with a hint of melancholy in the evocation of a past of lights and glitter, that the epidemic has moved even further, as Joan Matabosch recalls in her playbill article (included in the press kit).

PARALLEL ACTIVITIES

28 of May, to 20.15 hours | Teatro Real, Sala Gayarre

APPROACHES: meeting with Evelino pido Y Jose Miguel Perez Sierra (musical directors), Laurent Pelly (stage-manager), Stefano Rossomanno (musicologist) Y Joan Matabosch (artistic director of the Teatro Real).

8 Y 9 of June | SGAE Foundation, Berlanga Room

WHO projecting Mom turns one hundred -directed by Carlos Saura- Y The night my mother killed my father -Work of Inés Paris-, two Spanish comedies with black overtones, around two mothers of highly addictive personalities for the viewer.

information: www.salaberlanga.com

8 of June, to 18.30 hours | Madrid Regional Library

CONFERENCE Under the title Glass throats with concrete egos, Joaquin Turina, the best connoisseur of the history of the Royal Theater will take us on a journey through time to learn about the manias, gust, demands and whims of the divas who passed through the stage of the Plaza de Oriente.

Free activity

Information and registration: www.madrid.org/bibliotecaregional

5, 19 Y 26 of June, to 11.00 hours | Museum of Romanticism

IMPROVISATION WORKSHOPS As a tribute to the 19th century theater, the Museum proposes a fun activity for children between 8 Y 12 years graduated Coming out of the box. Improvising at the Museum. In her, participants, in addition to discovering some authors from the Spanish scene, learn techniques and tricks used on stage.

Free activity

Information and registration: www.museodelromanticismo.es

Ignacio García-Belenguer

The general director of the Royal Theater, Ignacio García-Belenguer, is the new vice president of Opera Europa, the organization that watches, within the European countries, for the development and diffusion of the lyrical genre.

Opera Europa, to which all the great lyrical theaters of the continent belong, has celebrated this morning, telematically, its general assembly and, after this, its Executive Council - highest management body- has proceeded to the appointment of Garcia-Belenguer and that of the new president, Anna Maria Meo (Teatro Regio di Parma), which replaces Birgitta Svenden.

The Board meeting also decided on the appointment, at the proposal of the Royal Theater, of the general director of the Gran Teatre del Liceu, Valenti Oviedo, as a member of that management body.

Guy Coolen (Berliner Fetspiele) Y Achim Seven (Stadtische Buehnen Frankfurt) new members of the Board have been appointed, next to Oviedo.

The chose, by 2 years, It is produced in recognition of the active support of the Royal Theater to the organization, to his determined promotion of collaboration and exchange projects with theaters around the world, your effort to open and stay open during the pandemic, to collaboration in audiovisual projects and to its active role as a bridge between the three main opera house associations in the world: Opera America, Opera Europe and Opera Latin America.

The debate in the general assembly held today focused on the recovery of activity in European theaters, that the vast majority have been closed for a year.

The new technologies, the diversity, sponsorship, the patronage and participation of the new audiences are other topics debated during this morning.

One of the main issues has been how to encourage the participation of civil society and the business sector in maintaining the activity of opera houses and creating opportunities for new creators.

The Teatro Real has been responsible for the organization in Spain of two meetings of Opera Latin America, within the framework of the annual Opera Europe convention, held in Madrid 2015, and the first meeting of the World Opera Forum (WOF), in April 2018, in which, in addition to the aforementioned associations, representatives from Africa participated, Asia and Oceania, with the assistance of more than 250 professionals from different professional fields.

Photograph: Javer del Real

Nabucco Teatro Real

Still in the midst of the social upheaval and economic consequences caused by the pandemic, the 25Season of the Teatro Real after its reopening, is presented in a more hopeful context, claiming the gradual return to normality.

It is an ambitious and eclectic program with a tour of 5 centuries, Which incorporates 10 new titles to the lyrical repertoire that the Royal Theater has been shaping throughout its history and that will reach its number season this year 100.

In addition to all the parallel activities inside and outside the Theater, of your course offer, workshops and projects with educational centers, the Season 2021-2022, with a great variety of eras and styles, is composed of 16 titles of Opera, 3 Programs of dance, 9 concerts plus the 6 that make Chamber Sundays­; 8 productions for children and adolescents framed in Royal Junior in addition to the 9 children's workshops Everyone to the Gayarre!­; Y 5 projections of Real productions within the cycle Opera in Cinema.

In the Opera program highlights the premiere from the opera of Luis de Pablo, the letter opener, from the homonymous novel by Vicente Molina Foix, librettist, once again, composer; and the premiere of the stage version chamber opera The empty hours, from Ricardo Llorca.

Along with popular titles from the lyrical repertoire, as The weddings by Figaro, Cinderella, Nabucco, He twilight of the gods, Lakmé O La bohème, Little known works of the English Baroque will be offered such as Parthenope, from georg Friedrich Handel (premiere in Spain) Y King Arthur, from Henry Purcell, Y 3 rarely performed 20th century works: Joan of Arc at the stake, from Arthur Honegger, The angel of fire, from Sergei Prokofiev (premiere in Spain) Y Siberia, from Umberto Giordano.

Five interesting dramaturgical proposals show the syncretism of the opera programming: the staging of the oratory Joan of Arc at the stake, from Arthur Honegger, and from the cantata The elected damsel, from Claude Debussy; the absolute premiere of Extinction production conceived from two masses of the Spanish baroque composer Joan Cererols­; the miscellany of fragments of opera and dance of the seventeenth century entitled The birth of the Sun King; or the hybrid proposal of the musician Rufus Wainwright, Hadrian, ‘Pop belcantism’ with photographs by Robert Mapplethorpe.

 

OPERA SCHEDULE

Cinderella, de Gioachino Rossini

Co-production of the Den Norske Opera in Oslo (2017) are the National Opera of Lyon.

The lyrical season will open on 23 of September, preceded by a youth preview minor 35 years, he 20 of September. The staging of Stefan Herheim, debuting at Real, is a delicious and fun reading of the playful drama Rossini, with the presence on stage of the composer himself, that with this score said goodbye forever to the opera buffa, genre in which it was unsurpassed.

Riccardo Frizza, specialist Italian repertoire, will have two select bel canto casts, led by mezzo-sopranos Karine Deshayes Y Aigul Akhmetshina and tenors Dmitry Korchak Y Michele Angelini.

23 September – 9 October | 14 functions | 2 deliveries

The empty hours, Ricardo Llorca | Premiere of the stage version | Premiere at the Royal Theater

New production of Teatro Real, in co-production with the Teatros del Canal and in collaboration with the New York Opera Society.

Jose Luis Arellano Garcia is responsible for the first staging of this chamber opera that investigates the loneliness of a woman addicted to the internet who confuses the real and imaginary world, starring the soprano Sonia de Munck. The musical direction is from Alexis Soriano.

9 November – 14 November | 5 functions | Theaters Canal

Parthenope, the Georg Friedrich Handel | Premiere in Spain | Premiere the Teatro Real

Co-production of the English National Opera (2008), the San Francisco Opera and the Opera Australia.

Four suitors, one of them transvestite,they fight for the same woman in a satirical opera, obscene, agile and light, unusual in the haendelian catalog.

Ivor Bolton, specialist in this repertoire, will be in charge of two casts of singers ‘from the baroque universe’ -as Brenda Rae, Sabina Puértolas, Iestyn Davies, Franco Fagioli, Anthony Roth Constanzo, Jeremy Ovenen O Juan Sancho– that will give life to this funny sitcom with which the stage director Christopher Alden won the Oliver award for the best operatic production in 2009.

13 November – 23 November | 9 functions | 2 deliveries

Bohemian, Giacomo Puccini

Co-production of the Teatro Real (2017), in co-production with the Royal Opera House in London and the Lyric Opera in Chicago.

The production conceived by Richard Jones in which the viewer, transformed into voyeur, follow the Scenes of Bohemian Life of the protagonists, but also the ins and outs of the backstage and works of backstage. Jaho Ermonela Y Michael Fabiano, Y Eleonora Buratto Y Andeka Gorrotxategi, lead two choral casts that will perform under the sure and meticulous baton of Nicola Luisotti.

12 December – 4 January | 15 functions | 2 deliveries

Götterdämmerung, Richard Wagner

Cologne Opera Production (2007).

The visionary Wagnerian Tetralogy culminates with the 'too real' ecological allegory of Robert Carsen Y Patrick Kinmonth, in which savage capitalism and consumerism lead to the devastation of the planet and the extinction of humanity.

Pablo Heras-Casado the saga will culminate next to singers like Andreas Schager, Ricarda Menzer, Martin Winkler, Lauri Vasar O Stephen Milling.

26 January – 27 February | 9 functions

The Letter Opener, by Luis de Pablo, with libretto by Vicente Molina Foix | Premiere at the Royal Theater

premiere. New production of Teatro Real.

Vicente Molina Foix transforms the first part of his novel into a libretto the letter opener, kaleidoscope of political world, social and cultural Spanish in the first half of the 20th century, that fuses the intimate and the public, the personal and the historical, through anonymous characters and real ones like Vicente Aleixandre, Federico Garcia Lorca, Miguel Hernández or Eugenio D’Ors, to whom De Pablo gives voice with a score of great orchestral richness, full of reminiscences and musical evocations that will make it closer to the viewer than its previous operas. The musical direction will Fabián Panisello and staging of Xavier Albertí –Which makes his debut at Real- with the complicity of a great cast of Spanish singers.

16 February – 26 February | 6 functions

Lakmé, by Leo Delibes

The english director Leo Hussain will be in charge of the musical direction of this opera so representative of the orientalist and tragic exoticism of the nineteenth-century French opera. Sabine Devieilhe will play the committed title role, next to Xabier Anduaga, Stéphane Diverting and the rest of the cast.

1, 3 March| 2 functions | Opera in concert version

The angel of fire, of Sergei Prokofiev | Premiere in Spain | Premiere at the Royal Theater

New production of Teatro Real, in collaboration with the Zurich Opernhaus (2017).

In this intense opera that Prokofiev could not see premiered due to the Soviet repression, Renata, very difficult role in which they will alternate Austine Stundyte Y Elena Popovskaya, look for a strange angel of fire, transformed into obsessive erotic passion, lived between a kind of love triangle, in which esotericism is not lacking, madness and exacerbated emotions, what calixto Bieito deals with brilliant dramaturgical and conceptual artifice. Spanish will be in the musical direction Gustavo Gimeno, with an unstoppable international career, which will debut at the Teatro Real in front of a great (and double) choral cast.

22 March - 5 April | 10 functions

King Arthur, Henry Purcell | Premiere at the Royal Theater

The Belgian vocal and instrumental group The voice of the Light, with its director Lionel Meunier, it is the ideal to revive this work of Purcell in an attractive way and imbued with the atmosphere of the English baroque, who know how to recreate with great care.

27 March | 1 function | Opera in a dramatized concert version

Extinction: Battle Mass Y Misa for the dead by Joan Cererols | Premiere at the Royal Theater

premiere. New production of Teatro Real, in co-production with the Teatro de la Abadía and in collaboration with the International Festival of Sacred Art (fīās).

The versatile Agrupación Señor Serrano and the Nereydas set, directed by Ulises Javier Illán, will offer the absolute premiere of a production created from two seventeenth-century masses by Joan Cererols presented with a powerful dramaturgical and audiovisual discourse, that reflects on the plunder of nature.

12 April – 24 April | 12 functions | Abbey Theater

Le nozze di Figaro, Wolfgang Amadeus Mozart | Premiere at the Royal Theater

New production of the Royal Theater in co-production with the Festival d’Aix-en-Provence.

The next 30 June this new co-production with the Royal Theater will be premiered at the Festival d'Aix-en-Provence, in which the dutch director Lotte de Beer plunges into the most invisible part of the relationships between the characters, unveiling the secrets of the score with the complicity of Ivor Bolton, Mozart's great director, and a double cast that stands out for the musical and acting quality of its singers, so necessary to the success of this great sitcom.

22 April – 12 mayo | 13 functions | 2 deliveries

Siberia, de Umberto Giordano | Premiere at the Royal Theater

The Venezuelan director on the rise Sunday Hindoyan, ‘Son’ of System by José Antonio Abreu, will be responsible for the musical direction of this forgotten opera, in which the dramaturgical force of Umberto Giordano stands out, who uses Russian melodies to reinforce the veracity of the drama.

6, 9 mayo | 2 functions | Opera in concert version

The elected damsel, Claude Debussy | Premiere at the Royal Theater

Joan of Arc at the stake, by Arthur Honegger | Premiere at the Royal Theater

New production of the Teatro Real in co-production with the Oper Frankfurt (2017).

Alex Olle unites Honegger's dramatic oratorio with text by Paul Claudel and Debussy's symbolist cantata from the homonymous poem by Dante Gabriel Rossetti through the female icon of heroine and martyr, that vertebra both scores, with almost antagonistic musical discourses.

Juanjo Mena will be responsible for creating the musical universe of each of these works, in which the participation of the soprano stands out Camilla Tilling, como La Damoiselle, in the first, and the actress Irene Escolar, as Joan of Arc, in the second.

7 June – 17 June | 8 functions

The birth of the Sun King, from various composers | Premiere at the Royal Theater

This delightful miscellany of opera and dance with works by various composers of the 17th century will be recreated by the Matching set directed by harpsichordist Sébastien Daucé.

19 June | 1 function| Semi-opera in concert version

Nabucco, de Giuseppe Verdi

New production of Teatro Real, in co-production with the Zurich Opernhaus (2019).

Nabucco It was the first Verdi title that sounded at the Royal Theater, in the acoustic tests prior to its inauguration. The opera premiered at 1853 and was presented in successive seasons, always with great success, until 1871. Since then it has not been offered in his room. Now, 151 years after the last performance, returns with scene direction of Andreas Homoki, which will debut at the Teatro Real.

Nicola Luisotti will extract all the juice from the score, enhancing its dramatic richness, in which Verdi already has traits of the genius that would flourish in later works. Three casts of great voices will give life to the popular Verdi drama set in the Italy of the resurgence, with sumptuous wardrobe by Susana Mendoza.

9 July – 14 July | 15 functions | Teatro Real

Hadrian, de Rufus Wainwright | Premiere in Spain | Premiere at the Royal Theater

The desolation of Emperor Hadrian over the death of his young lover Antinous, that inspired so many great literary and musical works, was also the source of inspiration for the Canadian singer-songwriter Rufus Wainwright for his new foray into the world of opera with the help of Jorn Weisbrodt in the direction of scene, supported by the powerful images of the legendary photographer Robert Mapplethorpe.

27 July | 1 function | Universal Music Festival | Semi-staged concert version

SEASON OPERA BY CHRONOLOGICAL ORDER OF CREATION:

The DANCE SCHEDULE will bring to the Royal Theater 3 companies representing different choreographic universes. He National Ballet of Spain will celebrate on our stage the Centennial of Antonio Ruiz Soler, ‘Antonio the Dancer’, with a program composed of choreographies of this mythical figure of Spanish dance along with other Ruben Olmo, current director of the BNE, Y Carlos Vilán. Acosta Dance, company founded by the great name of classical dance, Carlos Acosta, will pay tribute to his native Cuba through the gaze of some of the most relevant choreographers of the moment, among those listed Sidi Larbi Cherkaoui Y Russell Maliphant, among others. The finishing touch of the season will be Bolshoi Ballet, who returns to the Royal Theater with one of the most emblematic titles of classical dance, La bayadera, in the version of Yuri Grigorovich on the original of Marius Petipa.

The cycle REAL VOICES is composed this season by 6 concerts starring some of the best lyrical artists in the world: Juan Diego Florez, Ana Netrebko Y Yusif Eyvazof, Lise Davidsen Y Leif Ove Andsnes (piano), Lisette Oropesa, Jakub Józef Orlinski Y Bejun Metha.

They complete the offer of CONCERTS the 6 that make up the cycle CAMERA SUNDAYS, and others 3 interesting proposals. Under the title Rossini and Spain. Isabel Colbrán, the muse, soprano Olga Syniakova and the conductor Lucia Marin, in front of the Head of the Royal Theatre Orchestra, will perform at the Juan March Foundation. The pianist Lang Lang will be the protagonist of Concert of the Fundación Amigos del Teatro Real Y, once again, the Royal Theater will host the Concert of the Tenor Viñas Contest, in which the winners of the 59th edition of the contest will take part, Next to the Head of the Royal Theatre Orchestra under the direction of Daniel Montané.

OPERA IN CINEMA secures your space with a cycle of 5 titles that can be seen in the main room, all of them recorded on their stage: The touchstone, from Gioachino Rossini (Alberto Zedda / Pier Luigi Pizzi); Alcina, from georg Friedrich Handel (Christopher Moulds/David Alden); Idomeneo (Ivor Bolton/Robert Carsen); Rusalka, from Antonín Dvorák (Ivor Bolton/Christof Loy) Y Aida, from Giuseppe Verdi (Nicola Luisotti / Hugo de Ana).

Children's and youth programming has its space in THE REAL JUNIOR with 8 shows for different ages and different formats such as musical stories, who, dramatized dance and concerts, intended for family audiences and schools.

The youngest season opens on 3 October, in the Main Hall, with the carefree and joyful concert Mozart Revolution, played by the Youth Orchestra of the Community of Madrid (JORCAM) and new singers of the project Crescendo, we create opera, first program to promote young talents organized by the Fundación Amigos del Teatro Real, all of them under the direction of Rubén Gimeno, with script and presentation of Ana Hernández Sanchís. The piano will star in two magical dates of the young season; on the one hand, with the projection of the animated film Magic Chopin, for the first time in Spain, with live music performed by the Ukrainian pianist Mariana Gurkova, Y, for another, with Piano without limits, this time with the artist Karina Azizova to the keyboard, in the incomparable setting of the Orchestra Hall. Both shows will be scripted and presented by Fernando Palacios. And we recover the tribute to Beethoven, truncated by pandemic, Hand Luis Piedrahita and the conductor Lucia Marin, at the head of the JORCAM, to interpret his works in a didactic concert with the humor and wit of the title Alabin, pRAISE, a la Ludwig van! ¡Beethoven, Beethoven and no one else!

In parallel to the functions of Acosta Dance, the company will offer a one-time appointment, as a master class and introduction to the world of ballet, intended for all audiences, under the title Learning to fly. And the opera will have its leading role with Cinderella, from Pauline Viardot, with the participation of solo singers from the program Crescendo.

The Sala Gayarre continues to be a place of reference at Real Junior. Go back to your stage A catless smile, show conceived by Ferran Carvajal and inspired by Alice in Wonderland, which the little ones have enjoyed so much this year, and will close the season Child's play, where the work of Georges Bizet and traditional games, Hand Fernando Palacios, help to better understand and listen to music. Monthly appointments will also take place here Everyone to the Gayarre!, for the entire family, with his lighthearted and entertaining gaze on the great opera season titles.

He TRAINING PROGRAM consolidates its courses aimed at both university students and the general public and will address both face-to-face training and online.

In section The Opera Uncovered, that reveals the assembly process of an operatic production from within, have been organized 4 workshops focused on: Parthenope (November), Bohemian (December January), The angel of fire (March April), Joan of Arc at the stake (June).

The Courses related to the season will provide 4 called monographs Understand ... Rossini (Cinderella), Händel (Parthenope), Wagner (Götterdämmerung) Y Verdi (Nabucco).

The novelty of this season will be the Dance courses, divided into Fundamental concepts of dance e History and theory of flamenco. Courses for higher education students will continue within the program The University on Stage and the Training courses in performing arts and business management from culture: Opera and leadership I: the art of working with high-performance teams, Opera and leadership II: the art of transforming challenges into opportunities Y Scene photography.

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

Return to the stage of the Royal Theater, after the long hiatus forced by the pandemic, he UNIVERSAL MUSIC FESTIVAL, which will celebrate its sixth edition in summer, Y REAL FLAMENCO consolidates its cycle of performances in the Royal Theater Ballroom, for the fourth year in a row.

The Teatro Real will increase the national and international diffusion of its programming through new recordings and retransmissions and the expansion of the catalog of MyOperaPlayer.

SEASON IN NUMBERS

FUNCTIONS | A total of 272 functions: 124 opera performances spread over 16 Titles; 14 dance performances with 3 different shows; 15 concerts of different formats (6 concerts of Voces del Real; 6 concerts of Chamber Sundays, 3 extraordinary concerts); 60 functions Royal Junior Y 5 projections Opera in Cinema.

OPERA PRODUCTIONS | They offer 8 Royal Theater productions, including the world premiere of 1 an opera (the letter opener) and the premiere of 2 new productions (the letter opener Y Extinction); 10 titles that have never been performed at the Teatro Real; 3 guest productions ─The Cinderella, Parthenope, Götterdämmerung; Y 5 proposals in concert version with different variants, including 1 dramatized version (King Arthur) Y 1 semi-staged version (Hadrian).

SPONSORED OPERATIONAL PRODUCTIONS | Telefónica sponsor Cinderella; Endesa sponsor Parthenope Y Le nozze di Figaro; BBVA Foundation sponsor Bohemian Y Nabucco; Santander Foundation sponsor Joan of Arc at the stake and La damoiselle élue; and the Royal Theater Friends Meeting sponsor Götterdämmerung.

WORKS BY CENTURIES OF THE OPERA SEASON | There will be 3 productions with works of the century XVII (Extinction, The birth of the Sun King Y King Arthur); 2 operas of the century XVIII (Parthenope Y Le nozze di Figaro); 6 century works XIX (Cinderella, Nabucco, Götterdämmerung, Lakmé, The elected damsel Y Bohemian); 3 century works XX (Siberia, Joan of Arc at the stake Y The angel of fire); Y 3 century titles XXI (The empty hours, Hadrian Y The Letter Opener).

WORKS BY GEOGRAPHICAL AREAS | They will be presented 4 italian operas, 3 Spanish productions, 2 Germanic operas (1 of them, Le nozze di Figaro in Italian), 2 english operas (1 of them, from Händel -German settled in England-, in Italian), 3 productions with French works, 1 Russian opera and 1 American opera.

DANCE | There will be 14 functions starring 3 companies: National Ballet of Spain, Acosta Dance and Bolshoi Ballet.

THE REAL JUNIOR | The children's and youth programming of the Teatro Real is made up of 84 functions –60 for all audiences and 24 for school centers- with 8 programs, including 18 workshops Everyone to the Gayarre!

TRAINING PROGRAM | They offer 4 workshops Uncovered Opera, 4 monographic courses related to the Season, 3 general knowledge courses on opera, 3 courses on Fundamental concepts in the history of opera, 3 training courses in Performing arts and business management from culture, 2 dance courses and 1 new edition of the program The University on Stage.

JordiFrench

What "a passionate and committed musician”. This is how Jordi Francés defines himself (Mariola bathtubs, Alicante), the musical director who at the end of May takes command of a group of soloists from the Titular Orchestra of the Royal Theater of Madrid (Madrid Symphony) and a select cast with whom he will share the limelight at the opera's premiere Transit, with music and libretto by Jesús Torres based on the play of the same name (1944) the Max Aub. Chamber opera, a commission from the Royal Theater, joins the program of the Madrid Coliseum in co-production with the Spanish Theater and will see the light of days 29 Y 30 May and 1, 2, 4 Y 5 June at the Fernando Arrabal A Room of Naves del Español in Matadero de Madrid. “It is a very demanding work both from the vocal and instrumental point of view as well as theatrical”, affirms the director. “This is an extraordinarily well orchestrated score, in which every detail is very careful. There are some very demanding parts, as is the case with the accordion, the piano or percussion, resulting in an execution of enormous difficulty”.

Transit makes its debut in a production that Eduardo Vasco performs on stage; the costume designer is none other than the popular dressmaker Lorenzo Caprile and the cast includes Isaac Galán, María Miró, Anna Brull, Javier Franco and Pablo García López. Composed during the months of confinement, the opera puts Transit to music, a play written in 1944 when Max Aub was in exile in Mexico and sets the action in two parallel shots that are mixed, that of reality and that of fantasy that the protagonist lives in his mind. Transit, his mexican lover, and Cruz, his wife whom he leaves in Spain fleeing the Civil War, embody these two areas.

For French, “musically the opera is raised with tremendous intelligence; music and text coexist and evolve hand in hand. further, Jesus has accomplished something that not everyone achieves, some vocal lines in which Spanish works as well for singing as do other languages ​​of the operatic tradition. I've known Torres for 15 years, I have premiered several of his works and we share a very good chemistry when it comes to working. He is a creator with a strong personality and great determination to bring the ideas behind his music to the public.; this virtue places us performers in a very powerful and stimulating position”, concludes.

The Alicante teacher, which debuted in the Teatro Real's programming in 2016 with Brundibar, has behind him an ascending trajectory on podiums of important orchestras and theaters in Europe and America, facing an operatic and symphonic repertoire, classic and newly created. He has conducted ensembles such as the National Orchestra of Spain, that of the Community of Madrid, the one in Valencia, la BBC Philharmonic, the Ensemble InterContemporain or the Bilbao Symphony.

Among other commitments, Jordi Francés will return to Madrid in June to rehearse a program with works by Brahms and Schumann that he will direct that same month., in front of the Freixenet Orchestra, in Merida.

Web Jordi Francés

Royal Theater website

pablo garcía lópez

The Cordovan tenor Pablo Garcia-Lopez, in the role of Pedro, the son of the protagonist, se an al elenco of Transit, the first opera by the Zaragoza composer Jesús Torres, based on the homonymous text by Max Aub, co-production of Royal Theater and the Spanish Theater, which opens 29 May at Matadero in Madrid.

For Pablo García-López, his participation in this chamber opera represents “a unique experience not only because of the fact of singing current music but also because of the possibility of working in close collaboration with the composer himself., sharing ideas and visions that contribute to shaping the final result of an exciting world premiere ".

Transit is based on Max Aub's homonymous work of 1944 that addresses the issue of the Spanish republican exile and its conflict between the possible return or permanence in the new land. The opera takes place in an act divided into twelve "instants", in which the protagonist, Emilio, interacts with the rest of the characters during a night of sleep.

As the author of the opera himself explains, the role of Pedro, one of only five Transit, adapts perfectly to the moment and characteristics of the tenor Pablo García López,. "On 2019, when Joan Matabosch and I talked about the singers for my opera Tránsito, We agree that Pablo García López was the ideal tenor for the role of Pedro –explains Torres-. For commitments outside of Spain, it was not possible for Pablo to be at the beginning of this project. Three days before the start of the trials, and due to illness of the substitute, his participation was requested again from the Royal Theater and on this occasion he confirmed his presence. I think it was a very wise choice –continues the author-. Pablo is in a radiant moment of his career, with a beautiful timbre and ample power, and in the role of Pedro, the young son of Emilio and protagonist of the opera, brings all the expressive charge necessary for this tragic character ".

García López arrives at this premiere after his recent participation in Manon Lescaut, Puccini, in Baluarte de Pamplona, in January and, his concert "The Spanish Song", at the Gran Teatro de Córdoba the 3 of March. His next projects include his Basilio in "The Marriage of Figaro" at the Lausanne Opera in November and the presentation of his latest album, "Routes", at the Matador Club, from Madrid, he 21 of June.

TRANSIT

Chamber opera, premiere

29 May to 5 June 2021, Fernando Arrabal A Room, The Ships of the Spanish, Slaughterhouse

  • Music and libretto: Jesus Torres
  • musical direction: George French
  • Stage direction: Eduardo Vasco
  • Isaac Galan (baritone) ‐ Emilio
  • María Miró (soprano) ‐ Cruz
  • Anna Brull (mezzo soprano) - Transit
  • Javier Franco (baritone) ‐ Alfredo
  • Pablo García López (tenor) ‐ Pedro
  • Head of the Royal Theatre Orchestra
Sergio Lope

The arrival of Sergio Lope a Real Flamenco represents a turning point in a cycle dedicated to dance and in which, this time, will give music the full prominence of an evening in which the performer and his group collect the sounds of the origin, of memory and flamenco strength to awaken new emotions reminiscent of jazz.

Anabel Moreno, dancer from raigambre, will put all his flamenco art, tanned with big names like Lola Greco, Mario Maya or La Chunga, at the service of a unique and different musical concept within the cycle of this season.

They accompany you on this adventure Matías López "El Mati", in cante and electronics; David Caro with the flamenco guitar; Daniel Arjona, on electric guitar; Juanfe Pérez, electric bass, Y Javier Rabadán, in the battery.

Sergio Lope begins his saxophone studies with 8 years in the conservatory, but it is from 16 years when he decided to start on the transverse flute in a self-taught way to play flamenco, while continuing his training until graduating in Flamencology at the Superior Conservatory of Music of Córdoba. Then the recognitions would come, as the first prize of the Flamenco Instrumentalist Contest of the 57 Festival Internacional del Cante de las Minas de la Unión or the award to the Emerging Mediterranean Musician granted by the Berklee School of Music.

His restless spirit and transforming zeal, entrenched in the deepest roots, they have led him to participate, together with his group, at important international events such as the Aix en Provence Festival or the Baku Mugham Festival, from Azerbaijan, and to perform at venues such as the Lyric Theater in Johannesburg, The Concourse, and Sydney; Elisabeth Murdoch Hall en Melbourne o el Festival Flamenco de Montreal.

In December 2015, publishes his first album entitled "A night in Utrera", where classical cante walks with the chords of jazz, reinterpreting purity and exposing the most personal experiences. Your next project, that those attending Flamenco Real will enjoy, continue in this line of work, but delving even deeper into the roots and claiming them: "If music is the memory of the world, flamenco is the memory of the Andalusian people. Be light It is a plea to the musical memory of the peoples.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil's winery, Corporalia and Caballero Ventura Group.

Teatro Real

He Teatro Real has received tonight the International Opera Award 2021 to Best Opera Theater, that recognizes the quality of artistic programming throughout 2019 and has received the profession's tribute to a career that has strengthened its international projection, making it one of the reference theaters in the world.

The artistic director of the Teatro Real, Joan Matabosch, thanked the award, on behalf of the institution, and praised the effort of the organization to carry out this gala, despite today's complicated circumstances, for the support it provides for everyone and the encouragement to regain normalcy as soon as possible. His words have had an emotional recognition for the entire Teatro Real team, both for its governing bodies and for each and every one of the workers who "every day, with determination, professionalism and enthusiasm manage to raise the curtain ".

In this sense, the organization of International Opera Awards has made a special mention to Teatro Real for the work done during the pandemic - the 1 July became the first theater in the world to reopen its doors and during the following months it was the only one with uninterrupted scenic activity- what has made it a symbol of strength, creativity and effort on the international scene.

The Royal Theater competed in the category of Best Opera Company with the Royal Opera House (London), la Finnish National Opera (Helsinki), the Frankfurt Opera, comical opera (Paris) y La Monnaie / De Munt (Brussels), being the second time in which I chose as a finalist for this award (was nominated in 2018).

He Teatro Real premiere, in 2019, new productions from Idomeneo, Mozart (with Ivor Bolton in the musical and stage direction of Robert Carsen, Also nominated in this edition as Best Stage Director); Falstaff, in Verdi (with Daniele Rustioni y Laurent Pelly); Capriccio, Richard Strauss (with Asher Fish and stage direction by Christof Loy) e The pirate, Bellini (with Maurizio Benini and Emilio Sagi).

That same year he began the Wagnerian Tetralogy with Rheingold (with Pablo Heras-Casado and Robert Carsen); it premiered La Calisto, of Horses (with Ivor Bolton and David Alden); Return Dido & Aeneas, Purcell (Christopher Moulds/Sasha Waltz), and titles as popular as The Troubadour (Maurizio Benini / Francisco Negrín) Y Don Carlo (Nicola Luisotti / David McVicar) in Verdi, Y L'elisir d'amore, Donizetti (MarcPiollet/Damiano Michieletto), in addition to the absolute premiere of I'm narcissistic, by Raquel García Tomás.

In May 2018 the Teatro Real also earned four nominations: best Coro, Best Opera Company, Best Play Recovered (Bomarzo) and Best New Production for Billy Budd, getting the first prize for the latter, directed on stage by British Deborah Warner and in the ditch by Ivor Bolton, and with special mention to the excellent musical performance of the soloists, the Choir and Orchestra of the Teatro Real Headlines.

In this edition, the Teatro Real had obtained three other nominations in the categories of Best Orchestra, with the Head of the Royal Theatre Orchestra, Madrid Symphony Orchestra; Absolute Best Premiere, with opera I narcisiste, by the composer Raquel García Tomás, and Best Audiovisual Recording for the DVD of Street Scene.

Tonight we also celebrated the award for Best Young Singer, awarded to Xabier Anduaga, who is these days at the Royal Theater rehearsing the opera Long live mom, de Gaetano Donizetti, whose premiere will take place next 2 of June, in which the baritone Carlos Álvarez also participates, one of the four finalists for Best Male Singer.

The Royal Theater wants to thank everyone: public, artists, institutions, sponsors and media, their determined support for the cultural and artistic project that, throughout these almost 25 years of work since reopening, have made it one of the most important opera houses in the world.

Capriccio

Next Monday, 10 May the winners of the International Opera Awards 2021 in an exciting virtual gala, in which the candidacies of 2019 , after last year's edition was suspended due to the pandemic, in which the Teatro Real is nominated in the categories of Best Theater, best Orchestra, Absolute Best Premiere (I narcisiste) Y Best DVD Recording (Street Scene).

The format in streaming It will not detract from the excitement of the expected announcement of the winners in a ceremony that also wants to pay tribute to the resilience of the opera industry during the past months, so hard for everyone, in which the Teatro Real has become a symbol of strength, creativity and perseverance on the international scene. Its projection, inside and outside our borders, and the quality of artistic programming throughout 2019, they will make you compete in the category of Best Opera Company in front of the Royal Opera House (London), la Finnish National Opera (Helsinki), the Frankfurt Opera, comical opera (Paris) y La Monnaie / De Munt (Brussels). This is the second time that the Teatro Real opts for this award.

The Royal Theater premiered in 2019 new productions from Idomeneo, Mozart (with Ivor Bolton in the musical and stage direction of Robert Carsen, Also nominated in this edition as Best Stage Director); Falstaff, in Verdi (with Daniele Rustioni y Laurent Pelly), Capriccio, Richard Strauss (with Asher Fish and stage direction by Christof Loy) e The pirate, Bellini (with Maurizio Benini and Emilio Sagi).

That same year he began the Wagnerian Tetralogy with Rheingold (with Pablo Heras-Casado and Robert Carsen); it premiered La Calisto, of Horses (with Ivor Bolton and David Alden); Return Dido & Aeneas, Purcell, and titles as popular as The Troubadour (Maurizio Benini / Francisco Negrín) Y Don Carlo (Nicola Luisotti / David McVicar) in Verdi, Y L'elisir d'amore, Donizetti, in addition to the absolute premiere of I'm narcissistic, by Raquel García Tomás.

The Head of the Royal Theatre Orchestra is, nowadays, one of the formations best valued by the great opera directors for its professionalism, versatility and delivery, whose musical values ​​have garnered critical acclaim and public applause, after demonstrating his acting skills in titles from Mozart to Wagner, de Verdi and Janáček, of the British and Zimmermann.

I'm narcissistic, It is a comic opera by the Spanish composer Raquel Garcia-Thomas, libretto by Helena Tornero, in which it is alleged, humorously, delusional narcissism prevailing in today's society. With musical direction Vinicius Kattah and scenic Marta Pazos, the opera featured the performance of the sopranos Elena Copons and María Hinojosa, the baritone Toni Marsol, the tenor Joan Ribalta and the Titular Orchestra of the Royal Theater. An exciting project with an essentially young and feminine team, who set up a story full of freshness and full of black humor in a project in which, for the first time, the Royal Theater and the Spanish Theater collaborated, in co-production with the Òpera de Butxaca and Nova Creació and the Teatro Lliure in Barcelona

The DVD recorded at the Teatro Real in Street Scene, Kurt Weill, made in co-production with Bel Air Classiques and winner of the prestigious Diamant d'Opéra Magazine award in December 2018, is one of the nominees for Best Recording of a Complete Opera. Street Scene, production by the Teatro Real in co-production with the Cologne and Monte Carlo Operas, It was premiered in Madrid with musical direction by Tim Murray and stage direction by John Fulljames, who recreated the atmosphere of the years 40 New Yorkers.

The nominations also recognize the work of great voices of the lyric - Best Female Singer and Best Male Singer- many of which have already been heard in different productions of the Royal Theater such as Maria Agresta, Lisette Oropesa, Javier Camarena, René Pape, Carlos Alvarez O George Petean, among others. Among the candidates for Best Young Singer, the presence of the Spanish tenor stands out Xabier Anduaga, who will compete with new promises of song like Teresa Iervolino, Roberta Mantegna O Adela Zaharia, also known by the Madrid public.

Both Carlos Álvarez and Xabier Anduaga are currently rehearsing the opera at the Teatro Real Long live mom, whose premiere will take place next 2 of June.

The International Opera Awards were created in 2012 by the British magazine Opera, and from the beginning they were considered the Oscars of the world of opera. With them we want to annually award the best in the world of lyric (productions, singers, directors, theaters, orchestras ...), thus publicly recognizing its protagonists, and supporting the training of new talents through scholarships financed with the profits obtained at the gala.

In May 2018 the Teatro Real also earned four nominations: best Coro, Best Opera Company, Best Play Recovered (Bomarzo) and Best New Production for Billy Budd, getting the first prize for the latter, directed on stage by British Deborah Warner and in the ditch by Ivor Bolton, and with special mention to the excellent musical performance of the soloists, the Choir and Orchestra of the Teatro Real Headlines.

Photographer: © Javier del Real / Rea Theatre

Check here all award nominations and their different categories.

Best Opera Company

– Finnish National Opera

– La Monnaie / De Munt

– Oper Frankfurt

– comical opera

– Royal Opera House

– Teatro Real

best Orchestra

– Bavarian State Opera / Bavarian State Orchestra

– The Phoenix

– The Astrée Concert

– Leipzig Opera / Gewandhausorchester

– Opera Flanders

– Teatro Real

Absolute Best Premiere

– Garcia-Thomas: I'm narcissistic (Teatro Real)

– Glanert: Oceane (German Opera Berlin)

– Kats-Chernin: Whiteley (Opera Australia)

– MacRae: Anthropocene (Scottish Opera)

– Nishimura: Asters (New National Theatre Tokyo)

– Reid: p r i s m (Beth Morrison Projects)
Schreier: Damage, that she was a whore (German Opera on the Rhine)

– Venables: Denis & Katya (Opera Philadelphia)

 

Best Audiovisual Recording

 

– Beethoven: Leonore (Harmonia Mundi)

– Gounod: Faust (Bru Zane)

– Moniuszko: Ring (Fryderyk Chopin Institute)

– Picker: Fantastic Mr Fox (Boston Modern Orchestra Project)

– Thomas: Hamlet (Naxos)

– Weill: Street Scene (Bel Air Classics)

Peter Grimes

The new production Peter Grimes, Benjamin Britten, currently on stage at the Teatro Real, with great public and critical success, can be followed throughout Spain next weekend.

My Opera Player will issue the penultimate performance of the opera, he Friday, 7 of May, to 19.00 hours. It is a unique occasion, since the opera can only be seen live, both by subscribers and by those who acquire the ‘Direct ticket ’. After the function is finished, the recording will not be part of the platform's catalog.

The next day, Saturday, 8 of May, to 19.00 hours, Peter Grimes will reach countries throughout Europe through the recording made by Classical Radio, the RNE last 24 of April, which will be issued in Spain and offered through the A CHILD (European Broadcasting Union).

The new production of the Teatro Real, co-produced with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma, and released the past 19 of April, it is having a huge national and international repercussion, not only because of its great artistic quality but also because of the challenge it entailed to carry it out in the current context of the pandemic.

Your artistic team -with Ivor Bolton in musical direction, Deborah Warner in the direction of scene, Michael Levine in the scenery and Kim Brandstrup in the choreography- is the same one that triumphed in 2017 with Billy Budd, also by Britten, become the most awarded production of the Royal Theater.

In the choral cast of this opera stand out, in their respective roles, the tenor Allan Clayton as Peter Grimes, soprano Maria Bengtsson as Ellen Orford, and baritone Christopher Purves as Captain Balstrode, seconded by Clive Bayley (Swallow), Jacques Imbrailo (Ned Keene), Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical, and the Head of the Royal Theatre Orchestra, that is immersed again in the colossal music of Benjamin Britten under the baton of its musical director, Ivor Bolton.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

© Javier del Real | Teatro Real

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Peter Grimes, from rumor to destruction
Peter Grimes
Benjamin Britten (1913-1976)
Opera in a prologue and three acts
D. musical: Ivor Bolton; D. scene: Deborah Warner; Scenographer: Michael Levine; Costume designer: Luis Carvalho; illuminator: Peter Mumford; Video Designer: Will Duke; D. choir: Andrés Máspero
Distribution: Allan Clayton, Maria Bengtsson, Christopher Purves, Catherine Why-Rogers, Hohn Graham-Hall, Clive Bayley, Rosie Aldridge, James Gilchrist, Jacques Imbrailo, Barnaby Rea, Rocío Pérez, Natalia Labourdette, Saúl Esgueva Mass theories have always been an attractive object of study for sociologists and psychologists. But they not only arouse the curiosity of researchers in the field. As a starting point for mass movements, there is an element that works as a catalyst, the rumor. Rumors are associated with the defense of social identity (Rouquette, 1997). They generally evoke negative or feared consequences or results and their circulation is a way of validating prejudices and stereotypes. When there is a critical situation, the need to build a common affective reference is born, being the rumor an effective vehicle of social cohesion. Participate in the dissemination of a rumor and validate it, increases the perception of belonging to the group.
Peter Grimes is the ideal character to launch the cohesive rumor mill of one of the protagonists of the play, Borough. The Imaginary Town of Suffolk County Coast, composer's birthplace, and whose socioeconomic situation can help explain the behavior of a society against the different, which in this case is not exactly a character with whom you can empathize. it is dark, Tormented, suspicious, lonely and bland, who lives outside all social norms and arouses the distrust of those around him.This work was commissioned by Sergei Koussevitzkt, director of the Boston Symphony Orchestra, Britten during the stay in the US, between 1939 Y 1942. It is based on the libretto by Montagu Slater, inspired in turn by the poem in the collection of The Borough (1810) George Crabbe Back to England, after his disappointing stay in the US, Britten got down to business with her new project that debuted just a month after the end of World War II., in an atmosphere of euphoria for victory. In this work Britten deals with a recurring theme in many of her operas, the drama of marginal characters who face hypocritical societies. A situation that Britten himself knew very well.

Peter Grimes does not premiere at the Royal Theater until November 1997, after its reopening. Although it is an opera that is already part of the repertoire in many theaters, your scheduling is still a brave decision, because it is an uncomfortable challenge due to the harshness of the topics it deals with.

Now Britten's best-known title comes back to Real, after having dedicated an important space to this composer in recent years, since Death in Venice, passing Gloriana and award-winning Billy Budd. And he does it scenic by the master hand of Deborah Warner.

Warner has set the scenery today. As always in the works of the Warner - Levine tandem, elegance is present even in the most seedy decorations. The opening scene of the town with its flashlights looking for Grimes is masterful. The direction of actors and the movements that take place on stage by Kim Brandstrup are very careful, they are perfect. Just like Peter Mumford's extraordinary lighting. All the atmospheres they create are emotional and disturbing. Nothing is random or frivolous or gratuitous. It all makes sense to describe the port, full of tackle and boxes in perfect disarray. Or the tavern, a messy, chaotic place where the townspeople are pouring in, to the rhythm that marks the storm and where, Of course, the protagonist who, facing the door and back to everyone, interpreta “now the great bear and pleiades”, creating one of the most emotional moments.

The famous six interludes have their leading role, both in the musical and the scenic. They serve to reflect, sometimes about the characters, sometimes about action, but always creating a special atmosphere.

Leading the Orchestra, an Ivor Bolton who, like he already did in Gloriana and Billy Budd, proves to be a great Britten specialist. He knew how to put the orchestra at the service of drama, in perfect coordination with the scenery. Perhaps that balance between pit and stage was the cause of the orchestral slowness in some moments. But the sound quality, especially in some of the interludes, it was at a very high level.

The chorus, one of the main characters in this play, has a brilliant participation in this production. In addition to the effort that he has been making when having to sing with a mask, flawlessly performs its predatory and threatening role. Has outstanding moments, as in the last scene.

The list of singers has been at a very high level. The quality of all of them has created a very balanced and compact set, combining magnificent singers with amazing actors.

Allan Clayton played an exceptional Peter Grimes. The drama of his performance built the most suitable character, without excesses or histrionics. His fresh voice accompanied with great sensitivity the moments of greatest intimacy of Grimes, which were the most outstanding. He knew how to highlight that most vulnerable and intimate part of the rude character. This lyricism may be helped by its baroque origins. He was certainly the winner of the night.

Maria Bengtsson was a moving Ellen Orford, the newcomer and also different and strange in the eyes of the people. His light voice endowed the character with great delicacy. He also stood out in the dramatic part, in love with Grimes and always attentive and tender with the ill-fated apprentice.
Another of the most prominent voices has been that of Christopher Purves. A Captain Balstrode who perfectly understands and appreciates Grimes, but he also knows that he must not cross the fine line that would make all the people go against. On the vocal plane it was at a very high level. With a homogeneous voice and a warm timbre, as your character.

Catherine Wyn-Rogers como Auntie, the irritating tavern owner whose voice was perfectly suited to the role and her performance was flawless.

Rosie Aldridge's Sedley also shone in the performance. Created the perfect town gossip character, where almost all the rumors come from. Only in some moments was it covered by the orchestra.

James Gilchrist of Life to Reverend Adams, the unpleasant representative of the church with a posed and bombastic demeanor. His tenorile timbre fit the character well.. The interpretation of John Graham-Hall as Bob Boles was also successful, the histrionic character that he knew how to impeccably characterize. Also highlight Jacques Imbrailo, which was the brand new Billy Budd from 2017 and here he played Ned Keene.

The only two Spanish women in the cast, well they were all british, you have been Rocío Pérez and Natalia Labourdette, like the nieces of the tavern owner. They both knew how to be at the level of the rest of the cast.

New success of the Teatro Real with this Peter Grimes, not an easy opera, nor for those who carry it out, nor for the public, who left the theater enthusiastic. But nothing is easy these days. And for challenges and successes, Royal Theatre.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Teatro Real and My Opera Player

He Teatro Real and the Queen Sofía College of Music have signed a collaboration agreement thanks to which the users of the audiovisual platform My Opera Player they will be able to enjoy new musical and educational content performed by those who represent the future of this universal art.

this initiative, that broadens the long-standing bond between both institutions and strengthens the joint project for the dissemination of music and the performing arts, offers a double chance to hear, on the one hand, the concerts in which the students of the Reina Sofía School of Music Y, for another, discover details of interpretive technique through master classes offered by renowned professionals such as the cellist Asier Polo (former student of the School), the violinist Oliver Wille, clarinetist Pascal Moraguès (school teacher) or great singing figures like the tenor Javier Camarena or baritone Leigh Melrose.

The Royal Theater wants to commit itself even more in its commitment to talent and young audiences, being the speaker of the teaching project of one of the most important music schools in the world through the concerts recorded in the Sony Auditorium of the Reina Sofía School, in Madrid, and in the Botín Center of Santander, among others. Symphonic concerts, chamber music, recitals and lyrical sessions will show the work of the new musicians.

The schedule is available in My Opera Player starting today, Friday 30 of April, with the presentation of two concerts performed by the students of the Reina Sofía School of Music for the Young Talents Cycle of the Banco Sabadell Foundation, with Vincenzo Bellini and Antonín Dvorák as protagonists, and a session called "Musical reunion with views of the sea" in which the extraordinary pianist Pallavi Mahidhara - former student of the School- and the young cellist Hayk Sukiasyan.

In addition to musical performances, the contents will be completed with the first two master classes; one of them by Asier Polo, in which he will reveal the essence of Brahms and its codes, and another given by the violinist and co-founder of the Kuss Quartett, Oliver Wille, who will share their knowledge about Beethoven.

The contents will increase in the coming months, with new recordings and teaching activities, that will allow to expand the musical knowledge and diversity of its interpreters.

Maria Moreno

"I like to feel, but not see me, I like to dance. I, bailo”. With this firmness the bailaora defines herself Maria Moreno, protagonist of the next session of Real Flamenco, to be held 6 of May, in which she will compose pieces of a unique and original mosaic that define her as an artist and, a little too, as a person.

Born and raised in Cádiz, at the city's Professional Dance Conservatory, Moreno is already consolidated as one of the mainstays of a generation of flamingos who have learned the technique until they have mastered it., who have sought the details of the masters to define the essence, but they have known how to find their own language without distorting what they are doing, flamenco dancing.

The Revelation Artist Award of the Jerez Festival in 2017, the Giraldillo of the Seville Biennial in 2019 and the Giraldillo Prize for the Magic Moment of the last edition of the Sevillian contest, they are the definitive endorsement of a career forged by teachers like Javier Latorre, Rafaela Carrasco, Antonio Canales and Eva Yerbabuena, being the latter its reference, inspiration and support on your solo journey. With the Yerbabuena company he participates in some of the most emblematic shows of the bailaora and choreographer, and collaborates with great flamenco artists such as Miguel Poveda, Jose Merce, Marina Heredia and Arcángel, among other figures.

In his presentation at Flamenco Real, Moreno will be accompanied by the guitar of Oscar Lago and the cante of Pepe de Pura, next to the palms of Roberto Jaén.

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

Flamenco Real has the main sponsorship of Grupo Ership and Herbert Smith Freehills and the collaboration of Grupo Index, Leaderland, Juan Gil's winery, Corporalia and Caballero Ventura Group.

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Piotr Beczala

He Teatro Real will close its cycle of Las Voces del Real with the concert starring the tenor Piotr Beczala, undoubtedly one of the great stars of the world of current lyric, which will take place next Saturday, 1 of May, to 19.30 hours, and in which it will be accompanied by the Head of the Royal Theatre Orchestra under the direction of Łucasz Borowicz.

His care in choosing the repertoire, his vocal flexibility, his mastery of the technique and the color of his voice have made him the great desired by the most important theaters in the world, through which he passes with unusual simplicity and warm treatment.

For your appointment at Madrid, Beczala has had a significant presence of composers from Poland in the program, your country of origin. Authors less known to the general public such as Stanislaw Moniuszko, father of polish opera; Władysław Żeleński, the great representative of neo-romanticism in his country, or the laureate Feliks Nowowiejski, to name a few.

Will not be missing, but nevertheless, arias from operas like Turandot, from Puccini, O Cavalleria rusticana, from Pietro Mascagni, Y Andrea Chenier, from Umberto Giordano, authors with whom the tenor enters the verista territory on the path of natural evolution of his voice, without losing the domain and brilliance of its extensive registry, but now giving it more dramatic expressiveness, as shown in the album recorded last year in which he already makes the roles that are to come his own..

Born in Warsaw, Łucasz Borowicz He has been principal conductor of the Polish Radio Symphony Orchestra between 2007 Y 2015, ensemble with which he made his debut as an opera director with Don Giovanni and has been principal guest conductor of the Poznań Philharmonic 2006.

Pictures of © Javier del Real / Teatro Real

A_Smile_Without_Cat

Inspired by the wonderful tale of Lewis Carroll, Alice in Wonderland, arrive at Real Junior a delicate and colorful proposal for the little ones: A catless smile, new production for him Teatro Real in which they will shake hands dance, theater, music and fantasy, the days 17, 18 Y 24 April 1, 2, 8 Y 9 of May, in double session, to 12.00 and to the 17.00 hours.

For almost an hour, the little ones - the show is designed for children from 4 years- they will recognize many of the characters that intervene in the mythical tale: the White Rabbit, Queen of hearts, the mad hatter and of course, Cheshire's cat, whose smile remained floating in the air when the feline had already disappeared and that surprised Alicia so much.

The show has been conceived by the versatile Ferran Carvajal, responsible for the stage direction, dramaturgy and choreography. Through her unique artistic vision we accompany the protagonist in the discovery of a new world, in which she enters driven by her curiosity and her desire to understand the world, through an overflowing fantasy.

They complete the artistic team Elisa Sanz, creator of the scenery and costumes; Eduardo Bartrina, in the lighting and the dancing performers Daniel Arancibia, Sara sanz Y Anna Serra.

The music of José Luis Greco, path and soundtrack of this story, will be played by the violinist Alejandro Gonzalez Romero, the piper Olga Ramón Chiquero and the percussionists Robert Úbeda Bordería Y Elezar Higuera Barragan, all of them soloists of the Youth Orchestra of the Community of Madrid.

Peter Grimes

Between 19 April and 10 of May, Royal Theatre offer 9 functions from Peter Grimes, Benjamin Britten, new production The Royal Theatre in co-production with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

When in 1941, during world war II, Benjamin Britten (1913-1976) and his inseparable partner, the tenor Peter Pears, they were in california, discover the work of the English poet George Crabbe (1754-1832) what, as Britten, he was born in a town on the Suffolk coast, scene of all his stories. Such was Britten's identification and empathy with that world so close and longed for, who decides to return to England driven by a revealing feeling of belonging and roots that lead him to take up residence, forever, in those lands on the shores of the North Sea. The unfortunate Peter Grimes also lives there, poem character The Borough, the Crabbe, that Britten decides to transform into an opera, sketched, with the help of Pears, during the boat trip that the two made back to their homeland.

In England, where homosexuality was penalized, A difficult life awaited them in which they would have to hide their love from the well-thought-out society. This fact underlies the opera and almost all of Britten's operatic production., starring unfathomable beings, dark, generally opposed by innocent victims.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

For this, it has a cast in which the debut stands out, in their respective roles, tenor Allan Clayton (Peter Grimes) and the soprano Maria Bengtsson (Ellen Orford), and the return to the Royal Baritone Theater Christopher Purves (Captain Balstrode), star of the world premiere of The Perfect American, de Philip Glass, in 2013 and Written on Skin, George Benjamin, in 2016.

Two interpreters who performed in Billy Budd in 2017: Jacques Imbrailo, opera protagonist in 2017 and now playing the role of Ned Keene, Y Clive Bayley como Swallow. Accompany them Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical. He will perform alongside the Head of the Royal Theatre Orchestra, under the direction of its musical director Ivor Bolton.

Benjamin Britten has occupied a privileged place in the Royal Theater's programming since its reopening. In 1997, two months after reopening, Peter Grimes got a great success, in a production with stage direction by Willy Decker from the La Monnaie Theater in Brussels, with its titular choir and orchestra conducted by Antonio Pappano. They have followed him Summer night Dream (2005/2006), The rape of Lucretia (2007/2008), Another twist (2010/2011), Death in Venice (2014/2015), Billy Budd (2016/2017), Gloriana (2017/2018) and children's works The Little Sweep (2004/2005, 2005/2006 Y 2007/2008) Y Noah's flood (2007/2008).

All these works attest to the immense musical and dramaturgical talent of Benjamin Britten as an operatic composer., who has expressed through his characters the dramas, dreams, traumas, deepest and most unspeakable passions and concerns of the individual, with deep compassion for the miseries of the human condition.

Photograph © Javier del Real | Teatro Real

Patio Armchairs

In the framework of opening to other audiences, he Teatro Real launches on his YouTube channel Adventure in the Real, an initiative for all audiences starring youtubers and popularizers Jaime Altozano Y Tue, both members of the Young Committee of the Royal Theater, Who, through an interactive video game, they will explore and discover the different areas of the theater and their secrets, offering the winners the possibility of participating in a final draw for different prizes related to the world of music and lyric. The contest will remain active until 20 of April.

This is the first initiative within the project to intensify informative content in the YouTube channel of the Royal Theater aimed at all audiences but, in a special way, to new audiences and to those who are starting in the world of opera.

One of the highlights of this project will be the broadcast on the YouTube of the Royal Theater of encounters with artists and creators and of some of the most emblematic titles in the history of the Theater such as La traviata, Lucia of Lammermoor, The Troubadour, O Madama Butterfy.

The offer of operas in streaming is part of the ambitious informative and audiovisual policy of the Teatro Real, what has in MyOperaPlayer, pioneer platform in Spain in lyrical audiovisual broadcasting, its main asset and that is sponsored by Telefónica Y Endesa. The platform allows access to a wide video library, more than 150 Titles, which is enriched with monthly releases and live broadcasts of operas.

Likewise, the Theater will launch new collections within its page at Google Arts & Culture, platform of which it is part since its launch in Spain in 2015. A new content will be developed throughout this year, images, videos and activities that will complete the online exhibition of what is considered the first Spanish institution of the performing and musical arts, and “Quiz” type initiatives in which the keys and curiosities of the creative processes that take place at the Real will be revealed., since the creation of a show (studies, essays, technical preparations) to artistic experiences or historical details.

For those who take their first steps as curious or fans of lyric and stage music, special contents have been prepared called Unwritten Concepts and Rites in the Opera Experience.

At present you can access the virtual tour that explores a large part of the 77.000 m2 of the building, thanks to Street View technology, that captures high quality 360º images, and that travels so much through public spaces (living room, salons) as for inaccessible places like the stage, the workshops, rehearsal rooms and roof, from which you can enjoy the spectacular panoramic view.

Teatro Real

After the effort of presenting simultaneously Siegfried Y Rule, arrives at the Teatro Real, the next 19 of April, the long-awaited premiere of the new production of Peter Grimes, Benjamin Britten, co-production with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

 

The change of dates of the premiere -of 8 al 19 April - has been due to different factors: the delay in the incorporation of the artists to the rehearsals caused by the mobility restrictions and the bureaucratic obstacles of Brexit (most are british) and also to a complete readjustment of all tests.

 

A) Yes, the 9 functions from Peter Grimes the days will take place 19, 22, 24, 27 Y 29 April 2, 5, 7 Y 10 of May, to 19 hours (Sundays, to 18 hours), what will affect the next opera, Lessons in Love and Violence, George Benjamin, that will be moved to another season.

 

Although during 3 weeks the trials of Peter Grimes have been developed in the staging room, the ballet hall and the choir hall, The only space that has been considered ideal to bring together all the artists and the technical production team - and to carry out as many rehearsals as possible - is the stage.

 

This fact has made it necessary to suspend rehearsals in the different rooms of the Theater until the set of the opera has been mounted on the stage., after the eviction of the scenographies of Rule Y Siegfried.

 

Once again, the Teatro Real has been forced to reorganize all its activity to adapt to the guidelines of its Medical Committee and to the mobility limitations of the artists..

 

Peter Grimes, with musical direction Ivor Bolton, stage direction of Deborah Warner and scenery of Michael Levine -The same artistic team from Billy Budd, Benjamin Britten also, which triumphed in 2017 - it is the most important new international co-production since the start of the pandemic, not only for the excellence of its artistic team, but because it is co-produced with three of the most relevant European theaters, who will present the opera later.

 

The production will star a select cast, mostly British, in which the tenor's debut stands out Allan Clayton in the title role. At his side, the Holder Choir Theater Real prepared, as usual, by director, Andrés Máspero, that will act together with the Head of the Royal Theatre Orchestra.

Yolanda Osuna

With a dance rooted in the Cordovan tradition, sincere and solemn, comes to Real Flamenco Yolanda Osuna. His dance full of color, inspired by tradition, but always in search of synergies that connect and involve the viewer, is shown full of light in IRRADIA, the new show that he now presents at the Teatro Real.

Educated at the Córdoba Dance Conservatory, where did you graduate with 18 years, He has completed his training with artists such as Matilde Coral, Milagros Mengíbar or Blanca del Rey, to which Flamenco Real paid tribute in its third season. Winner of the ‘Antonio Hidalgo’ award in the Lucena National Fandangos Contest and ‘Young flamenco’ award from the Córdoba Provincial Council, among others, and has been a finalist in the National Flamenco Art Contest of Córdoba and in the Cante de las Minas de La Unión Contest.

He has participated in the most prestigious theaters and flamenco festivals both in Spain and abroad and has been part of Javier Latorre's company in the show "Rinconete y Cortadillo". Your stop at the Teatro Real de Madrid in 2016, with the show of Las Minas Puerto Flamenco, marks the beginning of his experiments between the more traditional flamenco and other artistic disciplines, making forays into contemporary dance, plastic art, interactive technology and performance, expanding the flamenco range with multidisciplinary resources to express their art.

In IRRADIA, Yolanda Osuna will feature singing and guitar from Ricardo Fernández del Moral, as guest artist; voice Bernardo Miranda, the guitar of Miguel Perez, the palms of Beatriz and Lorena Osuna, and the touch of the percussion of Roberto Jaén.

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Rule
Vincenzo Bellini (1801-1835)
Lyrical tragedy in two acts
Libretto by Felice Romani, based on the work Norma, or infanticide (1831) Alexandre Submits
New production of Teatro Real
D. musical: Marco Armiliato
D. scene: Justin Way
Scenographer: Charles Edwards
Costume designer: Susan Willmington
illuminator: Nicolas Fischtel
Choreography: Jo meredith
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Annalisa Stroppa, John Osborn, Fernando Rado, Berna Beads, Juan Antonio Sanabria Arrives at the Teatro Real Norma, Bellini, in a new own production. He does it coinciding with Siegfried, Wagner, who did not exactly like Italian opera and who, but nevertheless, showed great admiration for the Italian master. Specifically, Norma was one of the works in which the German master showed the greatest interest. Norma transcended the bel canto, had some new elements full of romanticism and expressive capacity. The Bellinian declamato-cantato that in Norma reached its maximum expression, where arias are no less important than dialogues and manner, almost mourning, in which the different characters faced each other through duets and triplets, thus leaving aside the traditional succession of virtuous arias that defined the Italian opera tradition up to that time. The characters of this work, especially its protagonist Norma, they have multiple faces. Some even contradictory, what gives them that enigmatic halo that fills the plot with intrigues and romantic situations, with which Bellini and his librettist Felice Romani tried to make their audience cry with emotion., Justin Way's scenography repeats the now classic theater within the theater, located in pre-reunification Italy. But the scenery, which is full of originality and numerous nods to the decorations of 1831, when it premiered on the Milan Stopover, There is some confusion between the two scenes that are combined and that are not very well differentiated.Marco Armiliato has been commissioned to replace Maurizio Benini. The change may have gained in loudness and volume, but maybe it has lost nuances and delicacy. Norma is one of those operas par excellence, that define by themselves what this genre is.

The score is of great richness and, at the same time, simple. His orchestration is of great delicacy. He does not intend to accompany the singer, but to serve as a delicate mattress. This is undoubtedly one of your greatest difficulties when dealing with it, both for the orchestra and for the singers.

On this occasion the Royal Theater presents two high-rise casts. In this dress rehearsal we witness a second of extraordinary level that promises performances of great interpretive quality. It is the first Norma that the Russian Hibla Gerzmava faces and approaches it with courage. Has a good volume of voice and great drama. In addition to that lightness that the character demands, shone in the duet with Adalgisa, in which they pasted to perfection.

Annalisa Stroppa's Adalgisa is undoubtedly the most clearly bel canto voice of the cast. His singing line is very well defined, phrases delicately and with Bellinian intention. Draw an Adalgisa full of sensitivity and expressiveness. Elegant always on stage, stood out in the duet with Norma and the triplet of the second act, achieving some moments of brilliant lyricism. Not for nothing is an experienced Adalgisa.

Another of the most accurately bel canto voices is that of the Polione of the American John Osborn. His vocal characteristics are very suitable for the character and for this style of Bellinian declamation..

The rest of the cast is at high altitude. The destacar is Fernando Radó, as Orobeso. Well the Clotilde by Berna Perles and the Flavio by Juan Antonio Sanabria.
The Royal Theater is right with this work of the classical repertoire that is a respite for the amateur after having attended the endless and decontextualized Siegfried.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Teatro Real

Saturday 13, 11.00 hours: the cycleOpera in Cinema pwill project the multi-award-winning production of Billy Budd, Benjamin Britten, premiered at the Teatro Real in 2017 with enthusiastic reception from the public and the unanimous recognition of national and international critics .

With Billy Budd begins the cycle dedicated to Britten that includes the screening of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Friday 12 and saturday 13, to 19.00 hours: Two opera performances will be offered Rule, with musical direction by Marco Armiliato and scenic by Justin Way, in which the Spanish soprano Yolanda Auyanet and the Russian Hibla Gerzmava will alternate in the interpretation of the title role.

Sunday 14, to 12.00 hours and at 17.00 hours: two new family sessions of Everyone to the Gayarre! will discover The spells of a magician, whose spells revolve around Rule.

Sunday 14, to 17.30: Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons.

He Teatro Real prepares for the weekend with a program that is presented in different formats and for all audiences. Two great opera titles will alternate on stage, Rule Y Siegfried; the Sala Gayarre will be given to the family audience and the main room will start the cycle dedicated to Britten with the projection of Billy Budd, what includes the projection of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Released in January 2017, Billy Budd It has been the most awarded production of the Royal Theater and has among its awards the International Opera Award 2018 for Best New Production and the Olivier Prize for the best new operatic production 2020 in the United Kingdom, in addition to the recognitions obtained for his audiovisual recording, among which the awards from Diapason magazines stand out (Diapason d’or) y BBC Music Magazine.

Both version of Billy Budd, which will be screened next Saturday, as the new production of Peter Grimes what will we see this spring, have scene direction of Deborah Warner, scenery Michael Levine, and the musical part will be under the baton of the musical director of the Royal Theater, Ivor Bolton.

This choral opera, for which Deborah Warner creates a scenic space of great symbolism and enormous technical complexity - the tumultuous ship of Billy Budd it is transformed into an immense floating prison that reinforces the universality of the work- featured an exclusively male cast that featured the baritone Jacques Imbrailo, the tenor Toby Spence and low Brindley Sherratt, next to 60 male voices from Titular Choir of the Teatro Real and the children of the Little Singers of the Community of Madrid, who acted alongside the Head of the Royal Theatre Orchestra.

He 5 of June, also as part of the Opera in Cinema program, will be projected Gloriana, premiered and recorded at El Real in April 2018 (where it was performed for the first time in Madrid) under the careful musical direction of the teacher Ivor Bolton, present in all three productions confirming his deep knowledge of the British composer, and stage director David McVicar, who conceives a refined and conceptual scenography in which the rich Elizabethan costumes conceived by Brigitte Reiffenstuel assumes an almost theatrical character.

The cycle dedicated to Britten will be completed by the premiere of Peter Grimes, considered the most important English opera since the time of Henry Purcell. The composer builds in it a dark parable immersed in a marine environment, where the conflict between the mass and the individual, the harshness of the lives and passions of the inhabitants of this North Sea town and the complex and impenetrable character of the protagonist, make up a tragedy that ferments and explodes in the din of silences and gossip. The stage director Deborah Warner returns to the Royal to premiere this co-production made with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera in Rome.

On Friday 12 And the saturday 13, will reign on stage Rule. Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, in whose interpretation the Spanish soprano will alternate Yolanda Auyanet and Russian fiber Gerzmava. His extraordinary dramaturgy exposes the characters on different levels and bravely shows feelings and attitudes that were almost hidden until then in women., in a production conceived by Justin Way and directed musically by Marco Armiliato.

Two new family sessions of Everyone to the Gayarre!, Sunday 14, to 12.00 hours and at 17.00 hours will discover The spells of a magician, whose spells revolve around Rule. Fernando Palacios, responsible for the script and presentation, will have the complicity of the soprano Cristina Toledo and the pianist Aurelio Viribay. Together they will try to find out what the druid wants to do with "the secret herbs and aromas" that she treasures.

And that same Sunday, in the afternoon, Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle The Ring of the Nibelung, It is presented in four successive seasons.

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We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Johann Sebastian Jazz

He next weekend ­­–26, 27 Y 28 February­­–, and also him 12, 13 Y 14 of March, will take place in the Orchestra Hall Teatro Real six attractive concerts starring Alexis Delgado and Iñaki Salvador. The two pianists will play a selection of works by Johann Sebastian Bach ­(see program below) merging two interpretive languages: the orthodox reading of an 18th century score and jazz formulas based on a structural framework on which it is improvised.

The music of Johann Sebastian Bach (1685-1750) has come to us through the sheet music, but in his time, and throughout the Baroque period, improvisation occupied a very important part of the performance, so these seemingly divergent worlds are, actually, very nearby. Plus, yet, if we think that Bach has based a large part of his instrumental production on a very general concept of variation, that is to say: of a musical theme germinate ‘mutations’ of it, usually within a complex structural framework. This concept is easily applicable, as well, to the language of jazz.

But beyond these considerations, Alexis Delgado e Iñaki Salvador achieve a perfect musical osmosis, with a complicity and empathy that make their concerts a privileged ‘musical experience’ for spectators of all ages.

PROGRAM

26, 27 February (20:00 hours) Y 28 February (19:00 hours)

12, 13 of March (20:00 hours) Y 14 of March (19:00 hours)

Presentation

Well-tempered harpsichord I: Prelude 24 and If m

Parallel lives

Suite nº 3 for orchestra in D: Aria

Bach greeting

Well-tempered harpsichord I: Fuga and Do m

The pianist in the ocean

Little Prelude in Do m Goldberg Variations: 1st variation

House of mirrors

Well-tempered harpsichord I: Prelude in C M Small Prelude alla bossa in C M

French Suite no 2: German went ragtime

Pianists: Alexis Delgado and Iñaki Salvador

Presentation: Fernando Palacios

Orchestra Hall of the Royal Theater

Rule

Music, drama and emotion will be the absolute protagonists of the stage of the Royal Theater with the arrival of Rule, opera Vincenzo Bellini (1801-1835), of which will be offered 12 functions between 3 and the 19 March in a new production conceived by the stage director Justin Way, with musical direction Marco Armiliato.

Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, and with it Bellini manipulates the most fiery emotions of melodrama like no one else. Rule has, Besides, an extraordinary dramaturgy that exposes the characters on different levels and bravely shows feelings and attitudes almost hidden until then in women. Is, maybe, that strong and modern perception of the feminine world that makes this opera one of the most desired titles of the season.

Justin Way set the action inside an old Italian theater with the whole company rehearsing Norma. Abroad, XIX century, which has begun marked by the Congress of Vienna after the defeat of Napoleon, keeps northern Italy under Austrian rule, whose reactionary government provokes the birth of the first nationalist movements. Between both worlds, the two main performers of the show have a secret relationship subjected to personal and social tensions, immersed in a conflict that they do not know how to manage.

The proposal raises a parallel between the plot of the opera and the historical reality of the moment of its premiere in Milan in 1831, offering the viewer the prima donna / Norma duality, Austrians / Romans, Italian choir / patriots ... in a narrative of which he is doubly observant.

The scenery Charles Edwards reproduces the structure of a theater in decline, with old painted backdrops similar to those used by the great romantic ballets, and costumes Sue Willmington draw imaginative clothing for druids and romans, very to the taste of the time, alternating with 19th century figurines for "real" life. Nicolas Fischtel, responsible for lighting, evokes the footlights of the stages of other times, whose warm light contributes to the dreamlike game in which both realities coexist.

Teacher Marco Armiliato, whose sensitivity we could enjoy in Tosca (2004) Y Madama Butterfly (2017) returns to the moat of the Teatro Real to take charge of the Chorus and Orchestra Headlines, along with a double cast led by the Spanish soprano Yolanda Auyanet - who we listen to at Real as Vitellia in La clemenza di Tito (2016); Mimi in Bohemian (2017) and Liu in Turandot (2018)- and Russian fiber Gerzmava, interpreter of Leonora in The Troubadour del Real in 2019.

The leading trio is completed by the tenors Michael Spyres Y John Osborn, embodying the roman Pollione and the mezzo-sopranos Clementine Margaine Y Annalisa Stroppa, giving life to the virginal Adalgisa. The role of Oroveso will be in the hands of the low Roberto Tagliavini Y Fernando Rado.

Around this title, the Royal Theater will offer a new session of approaches in which the main artists of the production will participate and where the aria by Oroveso composed in 1837 by Richard Wagner "in the manner of Bellini", in complicity with the composer of Siegfried, whose performances will alternate during this month with Rule. The appointment will be next Wednesday, 24 February, to 20.15 hours in the Sala Gayarre (which can be attended with limited capacity) Y on line through Youtube channel of the Theater. And the day 14 of March, with the cheerful and carefree tone of family workshops Everyone to the Gayarre!, between potions and spells, they will discover the other side of Norma.

Due to the curfew in force in the Community of Madrid, related to Covid-19 protocols, all functions of Norma will start the 19.00 hours, except for Sunday 7 of March, what will be at 18.00 hours.

PARALLEL ACTIVITIES · NORM

National Archaeological Museum

24 of March, to 17.30 hours. Guided tour: Rule. Come, see, jokes. Conquering rome

Limited capacity. information

Come, see, jokes. This is how Julius Caesar pointed out the speed with which a success is achieved. In this itinerary we move to Roman times to learn how what would end up being one of the greatest empires was forged. A very well structured army, a common language, Roman law and other aspects will be key to the Romanization of Hispania.

National Museum of Romanticism

March. a work, an opera.

Free activity

For a work, an opera, the Museum of Romanticism has selected a set of polychrome figures from its collection, dated to 1840, reminiscent of a scene from the opera in which Norma, knife in hand, enter the room where the children sleep. Polio, meanwhile, with his right hand on his heart, he seems moved in the final scene of the play, at the moment in which Norma expresses before the people her love for Pollio and acknowledges having violated her sacred vows.

Photograph: Javier del Real

Belén López

Real Flamenco continues its journey, in a season dedicated to dance, with two representatives of the purest flamenco expression, sincere and plastic of the moment. The next 26 February, the bailaora Belén López will present his show Flamenca, and Thursday 4 of March, will do the same Ivan vargas with a proposal called Root flamingo.

Born in Tarragona, and no artistic background in his family, Belén López From a very young age, she shows an enormous sensitivity for the show and an unlimited passion for flamenco. At only five years old, she performs in a tribute to Carmen Amaya, during St. George's Day, before two historical names of dance: Antonio Ruiz Soler and Pilar López. Three years later, Ángel Corella invites her to participate in a tribute to UNICEF at the Madrid Theater and, soon, moves to live in the capital, where she regularly dances in different tablaos and begins studying at the Madrid Dance Conservatory.

From that moment on, his career is unstoppable.. For four seasons, since 2001 until 2005, is prima ballerina at the Arena di Verona, He continues as the star of the La Corrala de la danza company and for months he is the leading figure in the Corral de la Morería in Madrid. In 2004 wins the Mario Maya National Flamenco Award, in 2005 is awarded the Newcomer Artist Award granted by the Corral de la Pacheca and in 2016 obtains the Desplante Award 2016 of the Cante de las Minas de La Unión Festival.

In Flamenca, accompanied by the bailaor José Carmona "Rapico" as guest artist, the guitars by Juan Jiménez and Carlos Jiménez, the cante of Antonio Moreno Maya "El Cancu" and Saúl Quirós and the percussion of Rafael Jiménez "The sparks", Belén López will show her most genuine dance, full of strength and temperament, impeccable technique, great creativity and the mark of a youth marked on stage.

The origins of Ivan vargas mark the destiny of a child born in Sacromonte in the bosom of one of the great dynasties of flamenco art, the maya. From his stock he has acquired the knowledge, technique and discipline, established in a long and fruitful trajectory in which, despite the tradition, has known how to move freely and with its own personality.

From work in the most important tablaos in Madrid, where it already stands out with just 8 years, to shows linked to names like Estrella Morente, Niña Pastori or Rocío Molina, the bailaor has shared different artistic projects such as the one carried out in the Seville Biennial of 1992, by the hand of Miguel Bosé, or the show Death in Granada La Fura dels Baus. Then the doors of the international world would open, where his name is recognized as a great bailaor and as a teacher in important flamenco cycles.

At the Teatro Real Iván Vargas offers us Root flamingo, a show woven with own choreographies and of the masters Manolete Y Juan Andrés Maya, in which two generations of dance and cante come together and whose storyline is Granada and the foundations of flamenco in the mythical Sacromonte neighborhood. Vargas, absolute protagonist, will have the participation of the guitar of Luis Mariano, the cante of Joni Cortes Y Kiki Morente, as guest artist, and the percussion of Miguel Rodríguez Hernández "The Cheyenne".

REAL FLAMENCO, in co-production with SO-LA-NA, It is adapted to current health safety regulations, replacing the previous format. Shows take place every three weeks, Thursdays or Fridays, in double session; prices have been lowered a 15%, in relation to previous editions, and a new category of seats has been created with prices ranging between 25 and the 65 euros.

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