After last season's success, the Liceu once again given the opportunity to discover their most hidden spaces and emblematic as the stage, the orchestra pit and backstage, among others.

The director and playwright David Pintó is responsible for dramatize this visit "to discover the operatic characters who have gone through the Liceu during these twenty years". It has created a tour that will allow visitors to discover all "colorful and fantastic characters that still resonate in the Liceu after these 20 years and hundreds of operatic productions (Rigoletto, Aida, Carmen, Don Giovanni, Salomé…).

Invitations can be get here for free today from 4pm!
You have an appointment at the Liceu next Sunday 1 from December, from 10 at 7pm on the occasion of the open day. You can not lose this!

The groundbreaking production directed by Franc Aleu season opens 20 anniversary with the same title that was represented before the fire and reopened the Teatre in 1999.

An excellent cast will play Puccini's unfinished opera: Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The teacher Josep Pons directed the opera "delicate, rich and beautiful " which will have an Orchestra 95 musicians and a choir also 95 voices.

The new production is full of visual metaphors and makes use of the latest technologies: moving scenery Carles Berga, cobots collaborative -robots- Universal Robots and costumes LED lights Chu Uroz.

The Liceu also debuts new front under the 20 anniversary, It is including intervention on the clock, Wagnerian lighting and windows.

He 7 October 1999 the Gran Teatre del Liceu reopened its doors after the fateful fire with Turandot directed by Núria Espert. Exactly twenty years later, the Teatre again open season with Puccini's unfinished opera, production and high tech, futuristic and poetic Franc Aleu and the musical direction Josep Pons. A world premiere that will bring together of the 7 al 25 October some of the best voices of the moment, led by Irene Theorin, Lise Lindstrom, Jorge de León, Gregory customer, Ermonela Jaho and Anita Hartig among many others.

The genius of Franc Aleu born this spectacular proposal 'high-tech' full of visual metaphors and uses the latest technologies to flood the scene of colors, textures and videocreaciones: cobots (Collaborative robots Universal Robots), 3D technology, cutting-edge audiovisual…

A great pyramid chairs the stage space emulating the throne of the emperor and home Turandot. An impressive structure rotating six blocks scales and crowned by two robotic arms used to create an allegory of power and of contemporary society in its most morbid obsessions: intrusion into the private lives of others, the spectacle of lynching and fascination with the mechanisms of social control… "A world created to trap us like flies and creating us an irresistible addiction", ensures Aleu.

The three acts share the same scenery, but it is changing in every scene, "As one change in a video game screen", ensures Aleu. A virtual world that has been possible thanks to a luxury team made up of Susana Gómez, co-director of scene, the scenic space of Carles Berga, the changing room full of technological details such as led lights controlled by wifi from Chu Uroz and the complex lighting system of Marco Filibeck.

The last opera composed by Puccini and, in fact, He left unfinished, It will be one of the challenges of the season Symphony Orchestra and Chorus of the Liceu, which for this occasion will feature 95 members in each training. In front, Josep Pons will face this opera (with the end that created Franco Alfano) calling them "delicate, rich and beautiful "and is full of great musical moments like Turandot starring in the second act with its most demanding and powerful aria" In questa Reggia ", a real roller coaster difficult to sustain acute or end Liù cries before taking his own life in the third act with "Tu che di gel sei tape". But surely the climax is probably the most famous aria in the world, the "Nessun dorma" from Calaf in the act tecer.

Photograph: Catherine Barjau

Turandot 1


Turandot 3

Turandot 4

Turandot 5

Turandot 6


Turandor, Giacomo Puccini look and shadows (1858-1924) lyrical drama in three acts Libretto by Giuseppe Adami and Renato Simoni, based on the homonymous fable Carlo Gozzi D. musical: Nicola Luisotti D. scene and lighting: Robert Wilson Figurinista: Jacques Reynaud makeup and hair: Manu Halligan Videocreador: Tom Jeziorski Dramaturgo: José Enrique D Macián. choir: Andres Maspero D. children's choir: Ana González Cast: Oksana Diving, Raúl Giménez, Giorgi Kirof, Roberto Aronica, Miren Urbieta-Vega, Joan Martin Royo, Stephen Vincent, Juan Antonio Sanabria, Gerardo Bullón Choir and Orchestra of the Teatro Real holders November 1924, Puccini moves to Brussels, Dr. Ledoux is the only one who can deal successfully with throat cancer that has been diagnosed. It carries with it part of the score of Turandot, It aims to finish the final duet and on his return to finish what would be his last opera. Death is surprised at the 29 November and plans and the end of Turandot remain unfinished. Turandot is an opera that does not follow the same coordinates of the works written so far by Puccini. It contains too many unknowns, part of his unfinished final duet. To answer some of these questions, we must go back a 15 years ago… In 1909, Doria Manfredi is a young 24 years working at home Puccini. Elvira, woman teacher, Doria accused of having tried to seduce her husband and says haberles discovered together. Gossip and shame of the family lead to suicide young Doria. After 5 days of suffering and excruciating pain that had given him the poison he had taken, Doria Manfredi dies. The report reveals that death had Doria died a virgin. It is shown that the accusations were false Elvira, even to be arrested during police investigation for incitement to suicide. But Puccini pay a large sum of money to the Manfredi family and accusations do not go beyond. During the 15 following years, Puccini suffers from this event stormily, as it reflected in many of his letters in which he claims not to endure the death of this innocent. When Puccini knows the extent of his illness is when you decide to change the fate of Liu. The last verses of Kalaf and Timur connection with the suicide of Liu, They are the justification of the composer, Apologies throwing the world in his name and on his wife for the suicide who feels guilty. This was a public apology for an event that marked the life of Puccini and lamented just before his death. He 25 April 1926 Turandot premieres at the Teatro alla Scalla Milan with the final written by Franco Alfano, following the directions Puccini had left written. 20 years after its premiere, returns the fantastic tale of Turandot at Teatro Real. Robert Wilson is in charge of dressing, or not, this story and fill, or not, magic and fantastic element. Robert Wilson says that when you are creating a stage you're wondering what you should not do, for, precisely, do what. He considers that the corpus of the work of an artist is always the same and this must be recognized throughout his career. And Wilson's work is always perfectly recognizable. In some productions with more success than others, but is always Bob Wilson. This has Turandot will be more or less empty, escenográficamente talking, Naked scenic elements but with its distinctive and exquisite lighting holding, sometimes almost exclusively, stage drama. Another important element is Wilson scenery no movement. Nor the characters look or touch at any time and just take small steps and mechanical. Leaving orphan of passion and romanticism of some key scenes, as suicide Liu, It is passing almost unnoticed. But all these absences also produce other sensations. Statism of the characters on the extraordinary lighting Wilson, create a truly magical atmosphere, full of shadows that seem drawn and draw you into the story by projecting full attention on music. Figurines designed by Jacques Reynaud provided, the absence of expression in the characters, dramaturgy and theatricality of the work. The overall result is an extreme sophistication, both characters, as scenery, allowing, as he wants Wilson, you have large spaces, apparently empty, for the viewer to recreate their own story. Nicola Luisotti get superb performance of the Orchestra and Choir, which it plays a key role in this work and exercises with great success. Luisotti extracted from the entire orchestral score wealth and manages to recreate the oriental exoticism imagined by Puccini. Your adress, always elegant, It is full of details and colorful, especially in the treatment of ropes. Music fills the spaces that appear widowers scenic drama and puts the sentiment reflected by the composer in the score. Princess Turandot Ukrainian Oksana Dyka is quite gritona, with suspenders sharp voice and a color somewhat yellowish. Large volume of voice, as required character to not be swallowed up by the orchestra. Manages to convey the hieratic attitude and full cruelty of the protagonist, despite not move a hair. The Calaf Roberto Aronica was worthy, without further ado. He also was a bit loud and indelicate and romance. He had to choose between volume or shade and chose the first. he did not favor neither statism nor his character's wardrobe. Giorgi Kirof Timur offered a somewhat loose and dully. Something better was the Emperor Altoum Raul Gimenez, which was believable in his character and not to despise the merit sing about 10 meters high. The most applauded of the evening was the soprano donostiarra Miren Urbieta-Vega as Liu. He filled his character with a passion and feeling powerful voice, good phrasing and abundant fiato. Too bad her wardrobe also favored him. Ministers Ping Pang and Pong, given his character and almost grotesque bufo, were the only characters moving about the stage and almost compulsive exaggeratedly, If we consider that the rest did not move or eyebrows. Well interpreted vocally and, especially, in theater by Joan Martin Royo, Vicenc Esteve and Juan Antonio Sanabria. Text: Paloma Sanz Photos: Javier del Real Videos: Teatro Real

The Palau de les Arts will dedicate the functions of 'Turandot', Puccini, to the memory of the soprano Montserrat Caballé, who died last 6 October, as he announced by the president of the Board of the opera house, Susana Lloret, news conference.

"Les Arts wants and honor" La Superba ", who was a sublime interpreter of the role of Liù and excellent Turandot, besides protagonist of reference recordings of this title ", has added.

The arts center today hosted the presentation of ‘Turandot’, Puccini, main title of the preseason and fruit of the collaboration with Turisme de la Comunitat Valenciana, within the project "The silk road in music" developed by both institutions.

‘Turandot’ is, as recalled by Susana Lloret, a Valencian production that attracted to the Community the prestigious Chinese filmmaker Chen Kaige and, at the same time, was the Les Arts cover letter in China, when Canton, third city in the country, applied for the staging to open his new opera house.

For the fourth time, Puccini's latest opera hangs the “No Tickets” sign, but -as stressed by the president of the Board of Trustees- It is the first time that it can be seen with prices from 7 a 50 euros, Y, so, "Aimed at that new audience that we want to add to this great cultural space without this entailing any loss of artistic quality", has pointed.

The stable bodies of the Palau de les Arts, Cor de la Generalitat, and the Orchestra of the Valencian Community, together with Chen Kaige's award-winning montage join a significant roster of artists, that combines renowned performers with up-and-coming artists who have completed training at the Center Plácido Domingo ”.

The young British director Alpesh Chauhan debuts with the Orchestra of the Valencian Community. The owner of the Arturo Toscanini Philharmonic in Parma, that at a dizzying pace is revealing itself as one of the most promising batons, has conducted two concerts at the prestigious BBC Proms, as well as the London Symphony Orchestra in the main season of the London Barbican, or his own 'Turandot' in the Cagliari Opera House.

The stage work falls to Allex Aguilera, from Les Arts and a great connoisseur of the filmmaker's work, who has delegated to him for all his replenishments. Author of montages like ‘Opérame’, ‘Tristan und Isolde’ or ‘La Clemenza di Tito’, Aguilera also develops an important international career with 'Don Giovanni' in Trieste, ‘The clowns’ in Montecarlo ’, ‘Lucia di Lammermoor’ in Lima, and commitments in Palermo (‘The favorite’) and in Montecarlo ('Othello').

As explained by the ista regista ’, Kaige takes elements of traditional Chinese opera to pose a duality between the real and the unreal. Liu King's realistic scenery is inspired by the Forbidden City that hosted the imperial palace during the Ming and Qing dynasties, while Chen Tong Xun's wardrobe provides contrast with colorful and exaggerated elements to show that 'Turandot' is a character drama on a real stage.

Two acquaintances from the public of Les Arts lead the cast. American soprano Jennifer Wilson, unforgettable Brünnhilde in Wagner's ‘Tetralogy’ and also remembered for his forays into ‘Fidelio’ and ‘Tristan und Isolde’, Turandot stars, opera that already in 2014 recorded with Zubin Mehta and the Valencian Community Orchestra.

The Italian tenor Marco Berti is reunited with the Valencian public with the role of Calaf, who already sang with Zubin Mehta at the premiere of this montage in 2007 and a year later he repeated in Les Arts under the direction of Lorin Maazel. Recognized for its vocal quality and for its stage presence, Berti is considered one of the great interpreters of Verdi and Puccini.

Meanwhile, the Basque soprano Miren Urbieta-Vega plays the role of Liu, that earned him the revelation singer award at the Campoamor Theater Lyric Awards 2015. Artist of the Center of Perfection Plácido Domingo during the season 2010-2011 is one of the Spanish sopranos with the greatest projection.

Abraham Rosalen, who also trained at Les Arts during the course 2009-2010 of the Center of Perfection, encarna a Timur. The young bass develops an important career in Italy, where he already has jobs in Milan, Florence or Venice.

The cast of ‘Turandot is completed by two other outstanding tenors who have passed through the Center Plácido Domingo, Valentino Buzza and Pablo García López, together with the Valencian tenor Javier Agulló, Jaén baritone Damián del Castillo and César Méndez from the current promotion of artists that Plácido Domingo has selected for his Center.

further, for the day function 26, two emerging performers debut in Les Arts in the leading roles, Teresa Romano (Turandot) and Amadi Lagha (Calaf).

Total, Les Arts will offer six performances of 'Turandot' on days 17, 20, 23, 26, 28 Y 31 October. The seats are sold out, except 5 % which is reserved for sale the same day of each function.

Teatro Real 18/19

He Teatro Real will culminate the celebration of the 200 years of its founding with the Season 2018-2019, whose programming grows with a look into the past and a bold step into the future, completing a part of their artistic project and taking on new challenges and initiatives able to seduce all audiences. The dream that was born in 2016 in an effort to recover and increase the repertoire, open to new audiences and diversify the cultural offer, see fulfilled many of their expectations.

Fifteen operas the backbone of the new programming, ten of them new productions, three guests productions and two in concert. Great composers along with those who make a historical journey from the seventeenth century to the twenty-first century, accompanied by the best voices today, the most prestigious stage directors and the Choir and Orchestra of the Teatro Real Headlines, Baroque formations besides great career as the Baroque Orchestra of Seville, Akademie für Alte Musik Berlin y el Vocalconsort Berlin.

The three conductors associated with the Royal Theater: Ivor Bolton, director musical, Pablo Heras-Casado, principal guest musical director, Y Nicola Luisotti, musical associate director, will strengthen its presence in front of the Titular Orchestra of the Teatro Real. The first two titles whose composers are part of their most beloved repertoire La Calisto, de Francesco Cavalli and Idomeneo, of W. a. Mozart, and a contemporary third, Only the Sound Remains, de Kaija Saariaho. The second, After the magnificent reception obtained by his version of The Flying Dutchman R. Wagner, immersed in the tetralogy of German composer, which will begin next January with Rheingold and will continue in the next three. And Nicola Luisotti lead the probably most popular title of the season, The troubadour y junto with Faust, Turandot.

Dan Ettinger (Faust), Nacho de Paz (That voice), Christopher Moulds (Dido & Aeneas and La Calisto), Daniele Rustioni (Falstaff) y Maxim Emelyanychev (Agrippina), Asher Fisch (Capriccio), Juanjo Mena (over), Maurizio Benini (The Troubadour), James Conlon (Bow Giovanna) y Vinicius Kattah (I'm narcissistic) They are the other prominent names in musical direction.

Teatro Real return to the reference names in the scene direction. Alex Olle (La Fura dels Baus), closely with Alfons Flores, You will be responsible for opening the season 2018-2019 with his personal vision of Gounod's Faust, myth that has been addressed on numerous occasions and from different disciplines, theater and film, and whose premiere in Amsterdam was very well received by critics. Peter Sellars, loved and admired by the public of Madrid, It will show its award-winning version of the opera Only the Sound Remains, Finnish composer Kaija Saariaho, inspired by Japanese Noh. Robert Wilson will face for the first time Turandot, in a new production that will be released in the Real and that will mean the return of Pucciniano title twenty years after his debut in the first season of the reopening of the Teatro Real.

Robert Carsen will be the protagonist of programming with its participation in two productions: Idomeneo, along with Ivor Bolton, and the gigantic project of Wagnerian Ring, which will start in 2019 Das Rheingold with with Pablo Heras-Casado in musical direction. David Alden continues its close collaboration with the Real with delicious Baroque Calisto and Laurent Pelly put your sense of humor, well known and loved by the public of Teatro Real, for the last Verdi opera, Falstaff.

Oscar Garcia Villegas, Com that voice; Marta Pazos for Je suis narcissist; Christof Loy at the premiere of Capriccio at the Royal; Justin Way in The Plague and Francisco Negrin with Il trovatore, complete payroll opera stage directors in the new season.

The Royal Theater will feature two reference rooms of the theater area of ​​Madrid. On the one hand, the world premiere of the opera Je suis narcissiste, with strong feminine accent - composition Raquel Garcia-Thomas, Tornedo Helena libretto and stage director Marta Pazos- It will be held in collaboration with the Spanish Theater. For another, the premiere in Spain of that voice Com, de Stefano Gervasoni, Ships will take place at Matadero.

The dance season grows with the presence of five companies in its programming: el Ballet de am Rhein Dusseldorf y Duisburg, will make its presentation at the Royal Theater with choreography that explores and risks, huge visual and musical force, inspired by Brahms German Requiem; National Dance Company, He will return to show us his more classical side with a new adaptation of The Nutcracker from the perspective of José Carlos Martínez; the Ballet de l'Opéra national de Paris will offer a program composed of five choreographies, between tradition and modernity, signed by George Balanchine and Jerome Robbins. Sasha Waltz & Guests, He twinned music, opera and dance, transgressing the conventional limits, to make an inspiring version of the opera Dido & Aeneas, Victor Ullate Ballet and celebrated the 30th anniversary of the company with the presence of large dance figures formed by the Aragonese master.

Commitment to the younger, collected in programming 'Real Junior', it strengthens both the playfulness and training. Seven shows will be offered, one more than in the current season, five of which are new productions, with the participation of big names like the versatile Luis Piedrahita, the puppet company La Maquiné -winner a Max Award- or the renowned stage director Tomás Muñoz, in addition to the collaboration of the Titular Orchestra of the Royal Theater and the Youth Orchestra of the Community of Madrid. It also continues the collaboration with Fernando Palacios, both in presenting concerts in the series 'All the Gayarre'. Some of these shows can be seen through Digital Palco centers of the six autonomous communities with which the Teatro Real has signed cooperation agreements: Cantabria, Castilla y León, Castilla la Mancha, Murcia, Andalusia and Madrid.

Summer Workshops for children are inaugurated the Real Junior, LOVA project continues (Opera learning a vehicle) and course consolidates 'college scene'. Alongside these courses, and the growing demand for new audiences, born two new introductory courses to the opera to be added to existing: 'Opera exposed' and 'case Courses'.

stage Digital, the internet platform of the Royal Theater, expands horizons and develops new projects. In the new season will be held major co-productions for television and DVD with titles featured programming: Faust, Turandot, Rheingold, Idomeneo and Falstaff, besides broadcasting in cinemas in Spain, Europe and Latin America title in other seasons as The Flying Dutchman, Madama Butterfly, La traviata, Billy Budd, a Nueva Faust. Not forgetting the cycles of retransmissions to municipalities, autonomous communities and cultural institutions nationwide and expected internationally in countries like China and Japan.

The Teatro Real strengthens its project to bring opera more and more public thanks to broadcasts of popular titles in squares, auditoriums, museums, cultural centers and town halls throughout the Spanish geography and, with the support of new technologies, throught social media. It will be held a new edition of the Week of opera and close the season, one more year, the celebration of Universal Music Fesival in what will be its fifth edition.


La Calisto, from Francesco Cavalli (1602-1676).

One of the funniest works of the baroque, Satirical and full of entanglement, redescubierta today, will be headed by Ivor Bolton, specialist in Baroque music and music director of the Teatro Real. Performed by the Baroque Orchestra of Seville with a double cast that highlight the voices of sopranos Anna Devin and Louise Alder, Bacelli the mezzosopranos Monica and Teresa Iervolino and countertenor Xavier Sabata Time and Mead, in a production from the Bayerische Staatsoper in Munich designed by David Alden.

Dido & Eneas, from Henry Purcell (1659-1695). It will be the first full version of this title staged at the Royal Theater. Music and dance coexist in a show designed by Sasha Waltz for your company, whose musical direction is by Christopher Molds in front of the Akademie für Alte Musik Berlin and Berlin Vocalconsort.

Capriccio, from Richard Strauss (1864-1949).

Asher Fisch in musical direction and Christof Loy in stage direction, will conduct the premiere at the Royal Theater last opera by German composer with a new production that will be presented in Madrid scenario in co-production with Opernhaus Zurich and Gothenburg Opera.

over, from Roberto Gerhard (1896-1970).

Based on the novel by Albert Camus, the Spanish author composes an oratory in which he is responsible for music and libretto, and which it makes a dark reflection on human nature. The work will be preceded by two scores of Benjamin Britten: Sinfonia da Requiem and the song cycle the iluminations. British tenor Toby Spence will be the only solo voice by the Choir and Orchestra of the Teatro Real under the musical direction of Juanjo Mena.

That voice, from Stefano Gervasoni (1962).

Spain premiere of this musical experience that unites opera and fado, Baritone intertwining voices and Frank Wörner Cristina Branco, Reference interpreter in the current fado: Luis de Camões's sonnets, fado Amalia Rodrigues and collaboration of the Titular Orchestra of the Teatro Real.

Only the Sound Remains, from Kaija Saariaho (1952)

The winning score of Finnish composer meet in Madrid two acclaimed artists, Peter Sellars, in the direction of scene, and countertenor Philippe Jaroussky. Mysticism, deep and mysterious, opera pushes us to an inner search through two different stories: Always Strong Y Feather Mantle.

I'm narcissistic, Raquel Garcia-Thomas (1984)

First collaboration with Teatro Real Teatro Spanish, in whose room will place the premiere of this new composition with libretto by Helena Tornedo and stage direction by Marta Pazos. A funny satire told and sung in an atmosphere of pure actuality.


Faust, Charles Gounod (1818-1893)

Director musical: Dan Ettinger

Stage direction: Alex Olle

Set designer and video: Alfons Flores

Costume designer: Luke Castles

IIuminador: Urs Schönebaum

Only the Sound Remains, from Kaija Saariaho (1952)

Director musical: Ivor Bolton

Stage direction: Peter Sellars

scenographer: Julie Mehretu

Costume designer: Robby Duivemann

illuminator: James F. Ingalls

That voice, from Stefano Gervasoni (1962).

Director musical: Nacho de Paz

Stage-manager: Oscar Garcia Villegas

Scenographer: Marco Canevacci (plastic Fantastic)

Turandot, from Giacomo Puccini (1858-1924)

Director musical: Nicola Luisotti

Stage-manager, set and lighting: Robert Wilson

Idomeneo, from W. A. Mozart (1756-1791)

Director musical: Ivor Bolton

Stage-manager: Robert Carsen

scenographers: Robert Carsen, Luis Fernando Carvalho

illuminators: Robert Carsen, Peter Van Praet

Costume designer: Petra Reinhard

I'm narcissistic, Raquel Garcia-Thomas (1984)

Director musical: Vinicius Kattah

Stage director: Marta Pazos

Scenographer: Fernando Ribeiro

illuminator: Rui Monteiro

Fasltaff, from Giuseppe Verdi (1813-191)

Director musical: Daniele Rustioni

Stage director and costume: Laurent Pelly

scenographer: Barbara de Limbourg

Illuminator: Duane Schuler

Capriccio, from Richard Strauss (1864-1949).

Director musical: Asher Fisch

Stage director: Christof Loy

Scenographer: Raimund Orfeo Voight

Costume designer: Klaus Bruns

illuminator: Franck Evin

over, from Roberto Gerhard (1896-1970).

Director musical: Juanjo Mena

Stage-manager: Justin Way

artistic concept and scenographer: Dora García

The Troubadour, from Giuseppe Verdi (1813-191)

Director musical: Maurizio Benini

Stage-manager: Francisco Negrín

Escenógrafo y costume: Louis Desiré

illuminator: Bruno Poet




Maria Agresta, Maite Alberola, Louise Alder, Yolanda Auyanet, Eleonora Buratto, Malin Bystrom, Mariella Devia, Rebecca Evans, Anett Fritsch, Karina Gauvin, fiber Gerzmava, Carmen Giannattasio, Lianna Harountounian, Ruth Iniesta, Raquel Lojendio, Marina Puértolas, Marina Rebeka, Nina Voting, Irene Theorin y Sonya Yoncheva.

Mezzo Sopranos

Monica Pods, Daniela Barcellona, Maite Beaumont, Marie-Claude Chappuis, Joyce DiDonato, Marie-Nicole Lemieux y Ekaterina Semenchuk


Piotr Beczala, José Bros, Eric Cutler, Michael Fabiano, Ismael Jordi, Gregory customer, Francesco Meli, Piero Pretti, Joel Prieto, Juan Sancho and Toby Spence; baritones as Nicola Alaimo, Nikolai Borchev, Stéphane Diverting, Placido Domingo, Christof fish eaters, Matthias Goerne, Simone Piazzola, Dimitri Platanias, Maybe Borja, Artur Rucinski y Ludovic Tézier


Ain Anger, Greer Grimsley, Luca Pisaroni, Erwin Schrott, Roberto Tagliavini, Bryn Terfel the Samuel Youn


Max Emanuel Cencic, Franco Fagioli, Philippe Jaroussky, Tim Mead and Xavier Sabata

THEATERS coproducers

Canadian Opera Company de Toronto, Opera National de Paris, national Opera & Ballet Amsterdam, Finnish National Opera de Helsinki, National Theater of Lithuania, Opera House Di Roma, Royal Theater of La Monnaie de Bruselas, Lyric Opera De Chicago, Opéra National de Bordeaux, Tokyo Nikikai Opera, Opera de Zúrich, Gothenburg Opera, Opéra de Monte-Carlo, Royal Danish Opera Copenhagen, Matadero ships – Centro Internacional De Vivas Arts, Ircam (Search for Institute and Coordination Acoustic / Music) from Paris, Casa da Musica in Porto, Pocket Opera and New Creation, Spanish Theater of Madrid and the Teatre Lliure.

Maria Katzarava

After singing in Mexico La Voix Humaine, from Poulenc, and to debut with great success in the Castell de Peralada Festival (Spain) with Liù from Turandot, from Puccini, the mexican soprano Maria Katzarava signs up for a new challenge in his career: Start the iconic role of Cio-Cio San, the star of Madama Butterfly, the dream of every lyric soprano. Will do it in the Teatro Massimo of Palermo (Italy) the days 17, 20, 23 Y 25 of September. "I am very excited and happy with this new debut", stated the interpreter, “Since it is a character that Puccini endowed with innumerable details of personality that are reflected in the score. I see Butterfly as a very strong woman, determined and who knows what to do. The music is beautiful and the dramaturgy is pure theater. It will also be a challenge and an honor to debut it before an audience of such tradition as the Italian and I am sure it will be an opera that will accompany me for many years ".

After this debut in Sicily, the winner of the Operalia Contest will return to Mexico, this time to sing La Voix Humaine again in Monterrey (30 of September) and to offer, he 4 October, a concert at the Blas Galindo Auditorium in Mexico City to benefit its recently inaugurated El Tecolote Cultural Center Foundation through which it will support young artists with limited resources from the state of Guerrero; in October (days 8, 9, 11 Y 12) will assume for the first time, always in Mexico, the leading role of Florence in the Amazon, from Daniel Catan; he 6 November will offer a charity recital within the cycle Life Victoria organized by the Victoria de los Angeles Foundation in Barcelona, then quickly change the register and get into the shoes of a character who knows very well and who also fascinates: by Violetta Valéry, the long-suffering protagonist of La Traviata, from Giuseppe Verdi. He will do it in a new production by the filmmaker Alice Rochwacher and with which, between 4 November and 19 of January of 2017, he will go on a tour of various cities in northern Italy, as Reggio Emilia, Modena, As, BERGAMO, Cremona, Brescia and Pavia. He 10 January will interrupt the Italian tour to debut in the prestigious Rosenblatt Recitals cycle in London.



The Castell Peralada Festival has celebrated its thirtieth edition, highlighting in its programming the two representations of the Puccinian Turandot, which they took place last 6 Y 8 of August, with great success of audience that completely filled the Auditorium Parc del Castell. Turandot was performed for the first time at the Empordà festival.

But, go to parties, since before judging these representations of Turandot, I would like to introduce the reader to the origins, genesis and great performers of this opera, which can be considered the masterpiece of Giacomo Puccini, being his last and unfinished composition and where the great master of Lucca build a score of rabid modernity, where he is receptive to the great musical changes introduced in the first part of the 20th century, by authors like Claude Debussy, igor Stravinski, Richard Strauss and even Arnold Schoenberg. But nevertheless, reserve spaces for that fine melodism present in his previous operas.

Renato Simone Y Giuseppe Adami, they were in charge of writing the libretto, adapting the play Turandotte of the Venetian playwright Carlo Gozzi, where elements of the “art comedy”, with characters from the mask theater, and whose premiere took place in 1762, at the San Samuele Theater in Venice. Gozzi's work was translated into German by Friedrich Schiller, being represented in Germanic lands at the beginning of the XIX century. In 1917, and at the Zurich Opera House the opera premiered Turandot, from Ferruccio Busoni, who besides the musical composition, was commissioned to write the libretto in German based on the work of Carlo Gozzi. So, Puccini and his librettists were challenged to return to a theme that had already been repeatedly addressed.

Genesis Turandot it occurred very slowly, starting in 1920 and lengthening over a long period of four years. In spring 1924, Simone and Adami completed the libretto; what, regarding the work of Gozzi, presented some substantial modifications, as the creation of an essential character in the development of the work: the slave Liu, sweet woman, of great femininity and self-denial, as opposed to the beautiful and cruel princess Turandot. The masks Tartaglia, Pants Y Truffaldino that appear in the work of Carlo Gozzi and in the opera of Ferruccio Busoni, they turn into Ping, Pang Y Pong who serve as ministers of the Chinese empire. Due to throat cancer, Puccini passed away in November 1924, leaving the final part of the opera musically unfinished, after Liù's death. Arturo Toscanini took over the score, commissioning the composer Franco Alfano your conclusion. Alfano worked from a few notes left by Puccini before he died, adding some own music and picking up some previous themes from the opera, with a brilliant and triumphant conclusion. At first, Alfano's work lasted approximately twenty-two minutes, which Toscanini reduced to fifteen. This shorter ending of Alfano, It is the one that has usually been performed since the premiere of the opera, happened the 25 April 1926, Teatro alla Scala in Milan, with the direction of Arturo Toscanini and the ensemble of interpreters formed by the Polish soprano Rosa Raisa as Turandot, the Calaf of our great Miguel Fleta Y Maria Zamboni in the character of Liù. At that premiere of Turandot, and right after Liù's death, the master Toscanini left the baton, And when the curtain fell slowly, addressed the audience with these excited words “Here the opera ends, because at this point the teacher died” The second show included the ending of Franco Alfano

He 25 of January of 2002, with Riccardo Chailly conducting the Amsterdam Concertgebow Orchestra, premiered at the Las Palmas de Gran Canaria Festival, a new ending performed by the composer Luciano Berio, based on the notes left by Puccini, and also with own music, where a long musical interlude is included, as a transition from Turandot's radical change of attitude towards Calaf. Y, the final moment of the opera, poses open and meditative with piano sounds, compared with the forceful and triumphalist proposed by Franco Alfano. In new productions of Turandot, the ending composed by Luciano Berio is being adapted more and more frequently.

Turandot had a golden age between the end of the fifties and the beginning of the seventies of the last century, when two great singers came together: Birgit Nilsson like Turandot and Calaf de Franco Corelli, who not only interpreted their respective characters, but, in a rare vocal and dramatic identification, they were really Turandot and Calaf. They met on stage more than fifty times, having bequeathed us several recordings both in studio and live shots, where you can hear his extraordinary creations, in the company of alternatives and magnificent Liù, as Mirella Freni, Renata Scotto, Rossanna Carteri, Clara Petrella, Teresa Stratas, Anna Moffo, Pilar Lorengar or the russian Galina Visnevskaya. In the mid-1970s and almost in unison with Birgit Nilsson's last performances as Turandot, the Bulgarian soprano picks up the baton Ghena Dimitrova, and a few years later the Hungarian Eva Marton. Both singers will perform magnificent performances of the terrible Chinese princess, practically until the end of the last century. Placido Domingo has made numerous brilliant performances of Calaf, being the only one who has come to sing it with Birgit Nilsson, Ghena Dimitrova and Eva Marton. Swedish soprano Irene Theorin, has become the official Turandot in the last ten years, having interpreted it in more than a hundred performances. His powerful vocality and great stage presence have been the great incentive of the two functions of Turandot, represented in Peralada the past days 6 Y 8 of August.

One of the attractions of this new production of Turandot made for the Peralada Festival, is the set design made by Paco Azorín, whose minimalist character does not detract an iota of visual appeal, and that raises a rotating central structure with a timber framework in the shape of a pagoda, and an internal staircase that leads to a raised platform where Princess Turandot will appear in a majestic way in Act I. Interior staircase and platform disappear as of Act II. The back of the stage is dominated by a gigantic gong, illuminated with different colors depending on the development of the dramatic action. At the ends of the stage there are two boxes, that will accommodate different actions throughout the development of the representation. Definitely, This set of simple structures made possible an interesting staging, that in the hands of Mario Gas, it was extremely static. Only, the brilliant appearance on the scene of the Ping ministers, Pang y Pong, about two Chinese carts and their theatrical performances throughout the entire performance produce a certain scenic dynamism. Those carts reappear carrying beautiful courtesans, when the ministers want to bribe Calaf in Act III. The success of Mario Gas should be noted when showing a Turandot with the presence of a goddess on a raised platform, in his first stage appearance, that is becoming a more human and insecure being, when he almost vanishes on stage when he realizes that Calaf has got the third of the enigmas right. Ping, Pang and Pong are also very well characterized, showing his ambivalent character: comical and grotesque in Act I, of extreme cruelty when they have Liù tortured in Act III; Y, in his big scene from Act II, Mario Gas presents them as authentic cheers, what do they drink, They snort coca and smoke opium. Other details of this staging, they are quite out of place, how to use, at the beginning of the opera, of one of the aforementioned side boxes, by two courtesans who translate the Mandarin edict into sign language, allowing viewers to not focus properly on the singer's performance, nor in listening to the shocking music that is being played. This is repeated in Act II, this time by Ping, Pang y Pong, when the mandarin reappears. Y, it is totally incongruous, that those two boxes be used, in Act III, by Pang and Pong, to slaughter chickens, while Ping tortures Liú, turning into grotesque and in bad taste one of the most dramatic moments of the entire work. After the death of Liù, the orchestra stops, and Mario Gas himself launches the aforementioned speech by Arturo Toscanini over the public address system, the day of the premiere of Turandot; for, then, and in a very debatable way, run the entire ending of the opera -short version by Franco Alfano- with the performers dressed in modern ball gowns, as if it were a performance in the form of a concert.

The costume design made by Antonio Belart, especially in the sumptuous dresses of Turandot, and in general of the entire noble class, resulting highly original the outfits exhibited by Ping, Pang y Pong, with purely Western ball gowns covered by typically Chinese capes. Y, as opposed, the poor clothes of the popular classes, with clear nods to the Maoist era. Excellent lighting design by Quico Gutierrez, whose wise use, complements and brightens up the simple scenery.

The performance of the Liceu Symphony Orchestra, it turned out discreet, since the director Giampaolo Bisanti failed to give sufficient prominence to the rich orchestration performed by Puccini. As well, acoustics problems that occur in an outdoor setting should be noted, especially in an opera with such contrasting sounds. The Bisanti direction achieved its best achievements in the moments of the most beautiful melodic content, as is the case of the scene of “I sing to the moon” in Act I, of clear impressionist flavor. Also in the performance of exotic music, clearly Chinese in style, that accompanies Ping's interventions, Pang y Pong, in his long scene from Act II. In the most spectacular moments, Bisanti abused sounds in fortísimo. It should be noted the good concerted work of the Italian director in the accompaniment of the singers, especially in the delicate arias performed by Liù, or in those precious phrases when Calaf urges Turandot to guess his name before dawn: “My name you don't know. Tell me my name. Tell me my name before dawn and at dawn I will die ", definitely, one of the most beautiful moments of this opera.

In regards to solo singers, note first the great performance of Irene Theorin as Turandot, exhibiting her beautiful and powerful velvety-timbre voice, with a perfect legato and great capacity in the regulations, from sounds in forte to delicate notes in pianissimi, along with a nuanced interpretation, giving authentic dramatic relief to each phrase, to every word sung. The Swedish soprano faced with strength and courage the terrifying tessitura of "In this palace", with great profusion of high notes that must be attacked vertically, some of them issued by Theorin with a certain tension. His performance was gaining in quality and intensity in the course of the enigmas scene, follower of the air "Son of Heaven", where I masterfully alternate singing piano and forte, offering this time, some high notes very well placed. His performance was truly extraordinary throughout the ending of the opera, next to the Calaf of a Roberto Aronica woody timbre and irregular emission, which had already become apparent by being unable to qualify the poetic accents of Aryan "Don't cry Liù". He had real problems at the end of the first of the riddles, and omitted the alternate Do4, what arises, in the phrase “No, no, haughty princess! I want you all burning with love ", when Calaf rebukes Turandot, after the riddle scene. His interpretation of the famous "No one sleep", it was not more than discreet, with certain mismatches with respect to the orchestral sound.

Great performance by the soprano Maria Katzarava, Liu como, with an attractive voice timbre, showing a wide and elegant phrasing, great ability to regulate the sound and good command of all registers from well emitted bass to brilliant rises to high. He showed a delicate edge line in "Sir, listen", of Act I, to end the aria by regulating the sound from pianissimi to forte and back to pianissimi in a brilliant "Voice". Already in Act III, his performance scratched high in his two consecutive arias: "The love?…So much secret and unconfessed love ", and above all, in the precious andantino "You who gel inhabitant", sung with painful expression. In sum, a great interpretation of the young Mexican soprano, destined for a magnificent career.

Good performance as Timur of the young bass Andrea Mastroni, giving noble accents to all his interventions, especially in the concertante with whom Act I ends, and in his pathetic singable before the corpse of Liù.

Another of the attractions of these performances were the magnificent performances of the baritone Manuel Esteve and tenors Francisco Vas Y Stephen Vincent, respectively as ministers Ping, Pang y Pong, especially in his big scene from Act II. Of three, Francisco Esteve shone brilliantly, who is in charge of the longest interventions. All of them combined an excellent vocality and great theatrical capacity in their changing attitudes throughout the entire performance..

The presence of the tenor is a luxury Once Josep like Emperor Altoum, giving authentic relief to a role almost always assigned to tenors in frank decline. Definitely, in his duet with Calaf from Act II "An atrocious oath forces me" his performance was even better than Roberto Aronica's. Well the interpretation of Jose Manuel Diaz like mandarin, in his two stage appearances.

The choirs are fundamental in this opera, with its almost continuous stage presence, where it is underlining the changing attitudes of the people to the events that are developing. The performance of the Intermezzo choir conducted by Enrique Rueda was somewhat irregular, with truly brilliant moments, as in all the scenes of the “I sing to the moon” or in the procession towards the death of the prince of Persia, along with others of greater sound force, issued with excessive volume. It is also necessary to comment on certain imbalances in the female choir, and that the sound, at times, it won't be compact, possibly due to the dispersion of the singers all over the stage. Very good performance by the Amics de la Uniò children's choir directed by Josep Vila in his delicious intervention of Act I, taken up in the introduction to Turandot's imposing aria "In this palace".

Maria Katzarava

Despite his surname of Georgian origin, Maria Katzarava comes from Mexico. That land that gives us always powerful and expressive voices. His is, definitely, one that with greater intensity sound. It has come to Europe and established its headquarters in Barcelona, starting an international career that aims successful. He 6 August is released in one of his favorite roles, the Liú from Turandot, next to Irène Theorin Y Roberto Aronica. Between rehearsals he replied to questions Brío Clásica.

Stay with the name, Maria Katzarava, because it is here to stay.

Brío Clásica: The day 6 August is released in the Peralada Festival Turandot. Your character, Liú, It is not unknown to you, He has already played in Cagliari and in Caracalla. es Liú, next to Mimi Y Butterfly one of the most sufridoras Puccini heroines. You need a great interpretative expression. How a role is addressed like this?

Maria Katzarava: Especially the role of Liù is very lucky for us the sopranos. It is perfectly well written musically and I think Puccini It has given the psychological profile required for this role, and it is very clear. I think it's a sweet for the interpreter, because it is also very attached to public taste and it feels much closer to what you feel Liú, that what may feel Truandot.

B.C.: You've had the opportunity to perfect his technique with Mirella Freni, grandísima una Liú. Did he prepare this character with her?

M. K.: I studied some time with Mirella and one of the roles that she was more prepared with the liu. This character is one of my workhorses. It is the most interpret and, Besides, one of my favorite roles. With this character if I gave him everything with Mirella.

B. C.: His character in Turandot has two almost consecutive extraordinary arias, “L´amore?… So much love and inconfesato " and the beautiful "You who gel inhabitant", a beautiful and dramatic andantino. What are the biggest difficulties in interpreting these two arias?

M. K.: Always looking for the Liú is very expressive and has these piannissimi that the public always waiting for the interpreter. I think that's the biggest difficulty is that this character.

B. C.: We know that dominates different registers, from Desdemona in Otello, Micaela in Carmen, Antonia and Giulietta in Tales of Hoffmann, Margarita in Splendor… Even made inroads into the baroque repertoire, Where he feels more comfortable now?

M. K.: I feel more comfortable at precisely the heavier repertoire, right where I'm focusing more right now. As Madama Butterfly, Tosca O The Troubadour, Simon Boccanegra. All vocally more mature roles. For I have had to wait many years and finally I succeeded and I in them.

B. C.: What is interpreting roles in the future?

M. K.: I think those roles are going to be my best. It's where my voice can really evolve and I feel comfortable one hundred!. Where I can really feel at ease and full. They are also histriónicamente roles that I like a lot and feel a lot when I play. So everything is easier to pass it to the public.

B. C.: You, before entering fully into the lyrical, He explored other musical worlds like Pop or Rock. For an opera singer, and considering how delicate is the voice, Using different registers makes the most versatile voice or, Conversely, You can get to harm it?

M. K.: I think you have to be a sensitive and open artist at a time. I am of the idea that it is a great experience to open your horizons, your gates, also other repertoire, other genres. And always savvy about changing your chip. If you sing Pop-Rock, change the chip to not sound to an opera singer trying to sing like a poppy, which it is something terrible, and vice versa. I believe that intelligence is, in just know that when you sing pop is pop and when you sing opera is opera. I had that opportunity and headed to the opera through pop. And it's something I can still differentiate and have the facility to change the chip. And I think, definitely, that also helps a lot to attract an audience that is not always soaked opera. It's a great opportunity.

B. C.: Their mentality is very open to addressing new productions. What do you think of the latest scenes that sometimes use provocation as a fundamental element of the work?

M. K.: I am very open forever, also with stage directors to explore new facets of a character that I have often come to be interpreted in traditional way. I am very much in favor of the contemporary scene set in. When you want to present a current situation, provided they have a logic and a story that really Cuadre me, I'm always ready. I think people appreciate it too much. Not always and exclusively traditional proposals.

B. C.: His mother is Mexican violinist and his father is Georgian violinist, and perhaps are two different conceptions of performing music. Is there any difference in sound between European and American orchestras?

M. K.: I think so. The ancient culture always has also focused on the instruments and classical music. The story is oldest in Europe. I think it has a different sound. I think it can make a difference even in European orchestras Georgian to Russian, especially in technical. Even with the singers. Can be distinguished by its origin only technical. There are very marked differences.

B. C.: Mexico has always been the cradle of extraordinary singers Ramón Vargas. Now You yourself or Javier Camarena. How do you see the future of opera in his country?

M. K.: I am proud to see that go so much Mexican voices. It is very important to highlight the presence of the sopranos, not only Tenors. Sopranos and mezzos, also contraaltos which are mostly in northern Mexico and where I have found most gratifying surprises. I insist, not only men, especially women and I think you have to start giving a very important role to women who are very present. But sometimes more presence is given to the tenors and female voices are very important.