Manuel Busto

After the successful premiere of his chamber opera The woman tigre in a new production of Teatro de la Maestranza and the Lope de Vega Theater, Manuel Busto returns to the capital of Seville next 22 July to direct The Traviata in Verdi in the David McVicar production, which has already been presented at the Scottish Opera in Glasgow, la Welsh National Opera de Cardiff, the Royal Theater in Madrid and the Liceu in Barcelona. Bust, who four years ago directed the famous title of Verdi's popular trilogy at the Teatro Lirico Giuseppe Verdi in Trieste, will lead the Royal Symphony Orchestra of Seville (ROSS), the Maestranza Theater Choir, and a cast led by soprano Ashley Galvani Bell (Violetta), Antoni Bunk (Alfredo Germont) and Carlos Arambula (Giorgio Germont).

Among the upcoming commitments of the Sevillian conductor, it is worth highlighting his debut with the City of Granada Orchestra at the Manuel de Falla Auditorium, as well as important engagements abroad, such as his return to the Teatro Comunale di Bologna and The Bohemia by Puccini at the International Festival of Opera and Ballet “María Biesu” in Kishinev. further, as a composer he will be present in the season of the Fine Arts of Mexico with his works caged e Invocation bowling alley, commissioned by the National Ballet of Spain.

Manuel Busto has become one of the most sought-after conductors of his generation, with an extensive national and international curriculum in the field of opera and ballet, collaborating with outstanding orchestras such as the Taiwan National Symphony Orchestra, the Valencian Community Orchestra (OCV), The Musical Afternoons of Milan, the BBC Symphony Orchestra, the Barenboim-Said Academy Orchestra, the Orchestra and Choir of the Community of Madrid (BARREL), the Royal Seville Symphony Orchestra (ROSS), and performing in renowned theaters such as the Palau de Les Arts Reina Sofía in Valencia, the Teatro de la Zarzuela, the Teatro de la Maestranza, and the Giuseppe Verdi Theater in Trieste, el Teatro Comunale di Bologna or the Dutch National Opera de Ámsterdam, among others.

Nabucco at the Royal Theater, almost a premiere
Giuseppe Verdi (1813-1901)
Lyrical drama in four acts
Libretto by Temistocle Solera, based on the play Nebuchadnezzar (1836)
by Auguste Anicet-Bourgeois and Francis Cornu, and in the ballet Nebuchadnezzar (1838) by Antonio Cortesi
Premiered at the Teatro Alla Scala in Milan, he 9 March 1842
Premiered at the Teatro Real 27 of January of 1853
Production of the Zürich Opernhaus, in co-production with the Teatro Real
D. musical: Nicola Luisotti – Sergio Alapont (13, 16, 20 jul)
D. scene: Andreas Homoki
Scenographer: Wolfgang Gussmann
costume designers: Wolfgang Gussmann, Susana Mendoza
illuminator: Franck Evin
Playwright: Fabio Dietsche
D. choir: Andrés Máspero
Distribution: Nabucco: Luca Salsi, George Gagnidze, Gabriele Viviani, Luis Cansino;
Ismaele: Michael Fabiano, Eduardo Aladren; Zechariah: Dmitry Belosselsky, Roberto y Tagliavini Alexander Vinogradov; Abigaille: Anna Pirozzi, Saioa Hernandez and Oksana Dyka;
Fenena: Silvia Tro Santafe, Elena Maximova y Aya Wakizono; the high priest: Simon Lim and Felipe Bou; Abdallo: Fabian Lara and Anna Maribel Ortega

Nabucco premieres at the Teatro Alla Scala in Milan, he 9 March 1842. He arrived in Spain very soon, at the Santa Creu Theater in Barcelona in 1844 (the Liceu had not yet been inaugurated). Leading the cast was Antonio Superchi, one of the most important baritones of the time.

In Madrid it opens just two months later at the Teatro Circo, with Giogio Ronconi, another big, in the role of Nabucco. Since 1844 until 1850, Nabucco was on the bill almost every season. Since the Liceu was inaugurated in 1847 and the Royal Theater in 1850, becomes one of the most performed and most successful works. Always on the bill and always hand in hand with the best performers.

He 9 February 1871, Nabucco is performed for the last time in Madrid. Since then, and despite the enormous popularity of this work, I hadn't been back on stage at Real until now.

When Verdi receives the commission for Nabucco, he is going through one of the worst moments of his life. His wife and children had passed away and he was considering the possibility of leaving music. At first he rejects the project but, after thinking that it may be the opportunity to get ahead, take the job. Verdi did not know that thanks to this work he would become a national hero.

With only twelve days from the first rehearsal at the piano to the day of the premiere, Verdi has to work hard with a score that introduces several novelties in its orchestration. The first is the use of numerous metals, like horns and bugles, raising the sound volume, something that was not very common in other operas. As a counterpoint to the sound volume, creates moments of great intimacy in the arias, like the cello sextet that accompanies Nabucco, or Abigaile's aria, accompanied only by a cello and an English horn, creating one of the most sublime moments of this work, along with the interventions of the choir.

For this almost revival in the Teatro Real, the production of the Zürich Opernhaus has been chosen, in co-production with Real. At the head of the orchestra Nicola Luisotti, a master of the verdian repertoire who knows how to maintain the sound balance of the orchestration of a work like this like no other.

The set design by Andreas Homoki and Wolfgang Gussmann is almost non-existent. Since the play is divided into four acts, and each act in two paintings, it becomes very difficult to assemble eight different scenery so, according to the stage directors themselves, “we decided that the best way to reflect the changes and make the scenes flow and have continuity was, simply, that there was no scenery". and so it is, under the absolute presence of an elegant float green color, on the stage there is only a kind of gigantic marble countertop that moves generating the spaces in which the action takes place. The only thing that saw the scene and set it, they are the figurines of Wolfgang Gussmann and Susana Mendoza, next to lighting, always right, although very dark (something that has become fashionable) by Franck Evin.

No effort has been spared for the voices, up to four Nabuccos participate in this production, Luca Salsi, George Gagnidze, Gabriele Viviani and Luis Cansino. For Ismaele two options, the always impeccable Michael Fabiano and Eduardo Aladrén. And Zacaria le dan vida Dmitry Belosselsky, Roberto Tagliavini and Alexander Vinogradov.
Abigaille has the participation of Anna Pirozzi, Saioa Hernandez and Oksana Dyka. Fenena is in charge of Silvia Tro Santafé, Elena Maximova y Aya Wakizono. as great priests, Simon Lim and Felipe Bou. And we cannot forget the participation of the great protagonist of this opera, the village, represented by the Titular Choir of the Theater, Chorus Intermezzo que, at the time of writing this chronicle, He has already had a first encore at the premiere with “Va pensiero”. And it is that this choir, under the direction of Andrés Máspero, shows why he is among the best in the world and deservedly so.

An impressive cast of voices to choose from in this work that has had to wait 151 years, but it was worth it.

On the occasion of Opera Week, the days 14 Y 15 of July, to 21.00 hours, Nabucco can be seen on a screen installed in the Plaza de Isabel II (Opera Square) with two different divisions. There will be 1000 chairs available for the public, first come first serve, until full capacity.

He 15 July at 21.00 hours, Nabucco will be broadcast for free on MyOperaPlayer worldwide and in places, cultural centers, museums, auditoriums and theaters throughout Spain.

Sergio Alapont

The Spanish orchestra director Sergio Alapont returns this July to the Teatro Real in Madrid –alternating on the podium with maestro Nicola Luisotti– to take charge of Nabucco, in Verdi, in what will be his debut directing opera on that stage. “I am delighted and very excited to conduct for the first time at the Real a masterpiece by one of the composers whose different titles I have conducted the most performances of and to whom I have uttered admiration and devotion for his greatness”, comments the musician born in Benicàssim (Castellón). “I also owe Verdi the award from the Italian magazine GBOpera as the best director of 2016 by Aida”. Alapont returns to the Madrid Coliseum after making his debut on that stage directing a lyrical gala in 2018, “and the following year I returned with the Stabat Mater de Pergolesi, always leading the Madrid Symphony, an orchestra with rich sound versatility and extraordinary quality. I am very happy to return now with this opera so full of meaning for operatic literature. Verdi wrote it thanks to the insistence of the manager of La Scala since the composer had decided to leave everything because he was emotionally devastated by the loss of his two children and his wife., Margherita. In addition, he had just suffered two failures in his previous operas. With Nabucco announces the great works and roles that will complete its catalog in coming years. The work represents the beginning of Verdi's drama and that humanity so characteristic that it gives to the characters that only Verdi knew how to capture in the score and that have remained in the public's imagination. The music of Nabucco and the spectacular narration that the composer achieves is superb and directing it is one of the greatest pleasures for a director”, Add.

Sergio Alapont will be in charge of the functions scheduled on the days 13, 16 Y 20 July in a stage production signed by Andreas Homoki and with Luis Cansino in the cast (Nabucco), Oksana Diving (Abigaille), Eduardo Aladren (Ismaele), Alexander Vinogradov (Zaccaria), Aya Wakizono (Fenena), Felipe Bou (high Priest), Lara Fabian (Abdallo) and Maribel Ortega (Anna).

In recent years, the career of the director from Castellón has been consolidated on the international scene, having been named in 2022 Principal Director of the Classical Orchestra of the Center in Coimbra, Portugal, with which he has an intense activity every season.

His most recent commitments include a symphony concert at the National Concert Hall in Dublin with the RTÉ Concert Orchestra (Irish Radio Television Orchestra, on February 2022), In addition to the presentation of the CD of Bohemian for the British label Signum Classics recorded in 2021 at the Irish National Opera and with which he has received excellent reviews.

After these functions Nabucco and his activity with the Orquestra Clássica do Centro, during the summer Sergio Alapont will conduct a concert with works by Beethoven at the Festival das Artes in Coimbra (24 of July), another of Spanish music with popular singer Estrella Morente and the Espinho Classical Orchestra at the Espinho Auditorium (Portugal, 30 of July) and will open the Pollença Festival (Mallorca) with the Symphony of the Balearic Islands and pianist Kris Bezuidenhout with a program with works by Beethoven, Schumann y Dvorak (6 of August). The season will open later 2022 / 2023 of the Teatro Comunale de Sassari with a symphonic concert and with the opera Don Giovanni of Mozart –in what will be his sixth return to the Italian theater, in which he debuted in 2010 – and will perform for the first time in Canada in concert with the Orchester Symphonique de Longueuil at the Maison Symphonique de Montréal.


Between 5 and the 22 of July They will be offered 15 functions of the opera Nabucco, from Giuseppe Verdi, with musical direction Nicola Luisotti and staging of Andreas Homoki, in a new production of the Royal Theater and the Zurich Opera, where it was released in 2019 and will return in september.

Beyond the intrinsic quality of Nabucco, which still belongs to the first creative period of Giuseppe Verdi, this opera was very important in his personal life and his artistic career. The composer was going through a great existential crisis after the death of his two children and his wife and the resounding failure of A day of reign, that made him ponder the idea of ​​abandoning the composition. A chance encounter with the director of La Scala, who proposed the creation of an opera with a biblical libretto by Temistocle Solera, on the resistance of the Jewish people to the invasion of the Babylonian hosts under the aegis of Nabucco, inspired the composer, who wrote the score with little rest.

The resounding success of the premiere of Nabucco he 9 March 1842 at La Scala in Milan and the immediate association of the oppression of the Jews with that of the Italians, under the yoke of the Austro-Hungarian Empire, gave the opera enormous popularity, transforming Verdi, involuntarily, in one of the heroes of Risorgimento, which would lead to the unification of the Italian territories.

This unexpected triumph and the participation in the opera of the soprano Giuseppina Strepponi, your future partner, in the devilish role of Abigaille, It was the necessary incentive for Verdi to resume his prolific and brilliant creative career, whose germ is also in Nabucco. Although the opera is indebted to Donizetti and Rossini and to the Italian operatic tradition, in the score its wonderful melodies stand out, his enormous facility for the musical characterization of the characters (highlighting, especially, Nabucco y Abigaille) and the dramaturgical effectiveness of the orchestration, who would not stop progressing until his extraordinary Falstaff.

The stage manager Andreas Homoki, debuting at the Teatro Real, transfers the conflict between Jews and Babylonians, in the 6th century BC, to the confrontation between Italians and Austrians, in the XIX century, where "the polytheistic system of the Babylonians is opposed, like utopia, a new and modern system, embodied in the monotheistic world view of the Hebrews.. The two sisters, daughters of Nabucco, embody the background of two worlds that are opposed: “Abigaille, the firstborn, desperately tries to save the old system by overthrowing her father and assuming power herself. Fenena, the other, perceives the moment of transition in which they find themselves and wants to save themselves by changing sides. In the process of replacing the old with the new, the family also ends up breaking up”.

The drama takes place in an austere setting, minimalist and conceptual designed by the set designer Wolfgang Gussmann, who also signs the sumptuous wardrobe with Susana Mendoza.

Nabucco It was the first title from Verdi that sounded in the newly built Royal Theater, in the acoustic tests prior to its inauguration, in 1850. The opera premiered on its stage in 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 three casts of great verdian voices, who will alternate in the interpretation of the leading roles: Nabucco, baritones Luca Salsi, George Gagnidze, Gabriele Viviani Y Luis Cansino; Abigaille, las sopranos Anna Pirozzi, Session Hernández Y Oksana Diving; Ismaele, tenors Michael Fabiano Y Eduardo Aladren; Fenena, the mezzosopranos Silvia Tro Santafe, Elena Maximova Y Aya Wakizono; Zaccaria, the short ones Dmitry Belosselskiy, Roberto Tagliavini Y Alexander Vinogradov; and The High Priest, the short ones Simon Lim Y Felipe Bou.

Nicola Luisotti will direct his seventh verdiano title at the head of the Headlines Choir and Orchestra of the Teatro Real, after the enormous success obtained with The Troubadour (2007), Rigoletto (2015), Aida (2018), Don Carlo (2019), La traviata (2020) Y A masked ball (2020). Sergio Alapont will direct three of the 15 functions.

In Nabucco the choir occupies a primordial role, both from a structural and dramaturgical point of view. He Titular Choir of the Teatro Real prepared, as usual, by director, Andrés Máspero, will sing the famous choir of slaves, Va pensiero, giving voice to the oppressed, as in the mythical Babylon of the 6th century BC., 19th century Italy or Ukraine today.

Functions Nabucco are sponsored by BBVA Foundation, whose program of activities contemplates music as a priority artistic expression.

Photograph: Javier del Real

ABAO Bilbao Opera

Saturday 24 of September, a spectacular concert opens the 71º Season ABAO Bilbao Opera and says goodbye with honors to the emblematic project All Verdi, after 16 years of activity. The new season brings numerous proposals, activities cultural, social programs, and an artistic program that includes five titles at Euskalduna Bilbao y four shows at the Arriaga Theater. legendary voices, big teachers, unpublished productions and a permanent commitment to maximum quality throughout its field of action, backbone of the new opera season in Bilbao, inspired by the keys of musical Romanticism.

The 71st season offers fans and the general public, a programming exciting, different, suggestive and of unquestionable artistic quality.

ABAO Bilbao Opera and the BBVA Foundation, main sponsor of the season, contribute to promoting excellence and operatic culture and to bring the public top quality shows.

He italian repertoire stars in the season with well-known titles such as Tosca, So do all and Il Trovatore, and others less frequent as I puritani Y Anna Bolena.

Among the operas and shows scheduled, there is own production, premiere absolute: Così fan tutte and two premiere productions in Spain, The Troubadour and the ABAO international co-production: Anna Bolena.

A total of 44 functions: 26 in the general season at the Euskalduna Bilbao, 17 for children and young people in the Abao Txiki season at the Theater Arriaga, and a performance of the Tutto Verdi Concert also at the Euskalduna.

Six grandes trampoline visit the new season: Daniel Oren, Giacomo Sagripanti, jordi benacer, Oliver Diaz, Pedro Halffter Y Francesco Ivan Ciampa to lead the Bilbao Symphony Orchestra and the Basque National Orchestra, that next to opera choir Bilbao, expand their repertoire by reinforcing the artistic prestige of collaborators ABAO stables.

Debut 9 singers along with important and outstanding interpreters who triumph in the world's leading opera houses.

ABAO Small offers 4 shows for different ages. Three of them will have school sessions revalidating the ABAO's commitment to training and the children and youth.

three premieres in the ABAO Txiki season: Story of a seed, Hansel & Gretel e From the sea.

He educational and training program offers a multitude of free activities in distinct programs from performance what include charlas pedagogical, workshops, colloquia Y cycles from conferences for collective from different ages Y origins.

Continues successfully Gazteam program with economic activities and incentives for the minor 25 Y 30 years.

The program “Opera and +” at Cruces University Hospital consolidate its activity with activities both inside and outside the Hospital, for patients, relatives and healthcare professionals from Nephrology units, Day hospital, Digestive, Pediatrics and Neonatology. The program has the collaboration of the Foundation EDP, “la Caixa” Foundation Y Zabalgarbi.

71Th Opera Season
The new season includes five titles, more a great concert and is inspired by postulates of musical Romanticism, between the years 1810 and the first decade of the 20th century and the appearance of truth. The operas and the artistic proposals highlight the quality of the expression of intimate and personal feelings and emotions in an imaginative style, romantic and full of musical chromatism.

five composers: Verdi, Bellini, Donizetti, Mozart Y Puccini bring to the Bilbao scene well-known titles from the Italian repertoire such as Tosca, Così fan tutte e The Troubadour, and others less frequent as I puritani Y Anna boleyn. He Concierto Tutto Verdi presents some of the composer's best-known passages with pieces by
Macbeth, The Troubadour, Don Carlos, A masked ball, Aida Y Nabucco, and an unpublished piece in ABAO: he Anthem of the Nations.

A new season in which nine singers and two stage directors make their debut And six great batons will be at the head of the Bilbao Symphony Orchestra and the Basque National Orchestra. He Bilbao Opera Choir, directed by Boris Dujin, deals with the choral part of the season.

Showing off its well-deserved fame as an institution of great voices, ABAO brings together some of the plus requested in the main theaters of the world as: Jessica Pratt, Xabier Anduaga, Silvia Tro Santafe, Marko Mimica, Vanessa Goikoetxea, Oksana Diving, Roberto Aronica, Mikeldi Atxalandabaso, Anna Pirozzi, Ekaterina Semenchuk O Celso Albelo, between others.

The BBVA Foundation whose distinguishing feature is the impulse to scientific knowledge and the cultural creation, collaborates with ABAO Bilbao Opera as main sponsor of the season.


He Palau de les Arts opens next 31 of March ‘Macbeth’, from Giuseppe Verdi, with musical direction Michele Mariotti and scenic Benedict Andrews.

Jesus Iglesias Noriega, artistic director of Les Arts, presented this production today at a press conference, accompanied by its two directors, Michele Mariotti y Benedict Andrews, and by the leading performers, baritone Luca Salsi and soprano Anna Pirozzi.

"From a masterpiece like 'Macbeth', Verdi signed one of his great operas. Composed in his ‘galley years’, It would be a prelude to benchmark hits like 'Rigoletto', 'The troubadour' y 'La traviata', as well as a preview of his other celebrated Shakespearean operas 'Falstaff' and 'Otello'", says the artistic director of Les Arts.

“Our purpose is to seek actions, collaborations and initiatives so that everyone finds their place in Les Arts. Therefore, today, within our transversal proposal for ‘Macbeth’, We have come to the Valencia Public Library to value the multiple links that allow a genre like opera to be created and I want to thank its director, Roman Seguí, your welcome”.

Michele Mariotti, one of the great verdian batons, with works in the main theaters of the international circuit, debuts with ‘Macbeth’ at Les Arts. Actual musical director of the Rome Opera House, has successfully directed 'La Cenerentola' at Les Arts, Rossini, and a symphonic-choral concert with the Choir of the Generalitat and the Orchestra of the Valencian Community.

According to the director of Pesaro, In his first foray into this opera, he has sought to show, with the stable bodies of Les Arts, the colors, the environments, the darkness and corruption in which Verdi's adaptation of the Shakespearean tragedy plunges.

Benedict Andrews signs this production of the Royal Danish Opera, with scenery by Ashley Martin-Davis, Victoria Behr's wardrobe, lighting by Jon Clark and direction of choreographic movements by Ran Braun.

“Verdi has written an immense drama, powerful, hard and erotically charged about desire and need. Follow the protagonists all the way to the abyss, just like shakespeare, but in the opera we can feel that there is a kind of colossus in the music and maybe that is what Verdi really adds: his sense of destiny. That great interest in fate is what Verdi brings to 'Macbeth'", explains the director.

Les Arts presents an exceptional cast for the premiere of this work, with Luca Salsi, in the leading role he offers in València after opening the opera season with him at La Scala in Milan, to sing it later at the Vienna State Opera.

Acclaimed for his performances in Verdi and Verista opera, the Italian baritone is an internationally recognized singer, who has acted, among others, in the Metropolitan New York, the Salzburg Festival, the Paris Opera and the Bayerische Staatsoper.

Luca Salsi will give life to the Scottish nobleman the days 31 of March, 3 Y 10 of April. While the Georgian George Gagnidze, another of the essential names in the casts of the great theaters for the work of Verdi, Macbeth will sing the days 5 Y 8 of April.

After her overwhelming success with the feared role of Abigaille in 'Nabucco' in 2015 Y 2019, return to Les Arts Anna Pirozzi, one of the most sought-after sopranos today. The Neapolitan diva presents another of the most complex and demanding roles written by Verdi, Lady Macbeth, with which he has already achieved undeniable success at the Vienna Opera and at London's Covent Garden.

Croatian bass-baritone Marko Mimica (Bank) and the young Italian tenor Giovanni Sala (Macduff) round out the main roles in this cast, which also includes: Rosa Davila (Lady Macbeth's Lady), Jorge Franco (Malcom), Luis Lopez Navarro (Doctor / Sicario), Marcelo solis (Domestic) Y Juan Felipe Dura (Herald).

young public

Performances of 'Macbeth', in Verdi, benefit from the new affordable price rate for minors 35 years, a discount 50 % in all locations.

"Macbeth" and "streaming"

As explained by Iglesias Noriega, ‘Macbeth’, in addition to one of the artistic props of the season, is, in addition, the backbone of the 'Verdi Marathon', a cross-sectional and regional calendar of concerts, recitals, Opera, colloquia, who, workshops and gastronomy around the Busseto composer and his first foray into the work of William Shakespeare.

As part of its commitment to developing accessible programming for the entire territory, Les Arts will close the cycle of performances of 'Macbeth' next 10 April with the free streaming broadcast of Verdi's opera, for the municipalities and musical societies of the Valencian Community that have requested it.

this initiative, that closes the activities of the 'Verdi Marathon', It is carried out within the collaboration actions that the opera house develops with Turisme de la Comunitat Valenciana.

Mornings at Les Arts

For five euros the public can enjoy the recital and an exhibition of costumes for the operas 'Il trovatore' and 'Il corsaro'.

The artists of the Center de Perfeccionament dedicate the program to 'Verdi and the romantic song'.

He Palau de les Arts reopens its doors this Sunday, 27 of March, to 12.00 h, with a new session ‘Mornings at the Arts’, with the artists of the Center de Perfeccionament as protagonists.

The main room is, once again, the scene of this activity, with which Les Arts invites citizens to discover the building designed by Santiago Calatrava and learn about its artistic activity 'in situ' from the hand of its main assets for just five euros.

the pianists Joseph Albert Sancho e Ignacio Aparisi accompany the singers of the Center for Perfection: las sopranos Rosa Maria Davila Y Pilar Garrido, the mezzosopranos Laura Orueta Y Mariana Sofia Garcia, tenors Xavier Hetherington Y Jorge Franco and baritones Carlos Reynoso, Marcelo solis Y Alexander Sanchez.

Les Arts dedicates this morning of ‘Matins a Les Arts’ to ‘Verdi and the romantic song’, with pages of some of the most relevant authors, contemporaries of the Busseto composer. Works by Fauré, Chausson, Duparc, Liszt, Albéniz and Verdi himself make up the program for this session.

The recital is part of the Verdi Marathon, that will take the work of the Italian genius to all corners of the Valencian Community through participatory activities in collaboration with artists, associations and institutions throughout our geography.

In this line, and as a complement to the performance, the main hall also hosts an exhibition of costumes from the operas 'Il trovatore' and 'Il corsaro', both by Giuseppe Verdi, that can be visited before the recital.


The arts center joins the readers of the main independent bookstores in Valencia with
a draw to enjoy one of Verdi's masterpieces.

He Palau de les Arts launches a promotional action for the opera 'Macbeth' through reading, in which the main independent bookstores of the city of Valencia will participate.

'Macbeth' was Giuseppe Verdi's first foray into the work of William Shakespeare, along with one of his great masterpieces. Composed in his ‘galley years’, It would be a prelude to his great successes 'Rigoletto', 'Il trovatore' and 'La traviata' as well as a preview of his other celebrated Shakespearean operas 'Falstaff' and 'Otello'.

From Shakespeare's famous phrase: "A man's life is made up of many acts", Les Arts channels this link between two universal geniuses, two masterpieces and readers and music lovers with a raffle for ten double passes for the functions of 'Macbeth' among all those who purchase a book in any of the establishments associated with this initiative.

The promotion will be valid until 31 of March, date of the premiere of Verdi's opera in the Sala Principal, at Bartleby Bookstores, The first, Paris-Valencia, Railowsky, Soriano and Viridiana.
Les Arts has programmed 'Macbeth', de Giuseppe Verdi, of the 31 from March to 10 of April. Michele Mariotti, one of the great italian batons, assumes the musical direction of this complex score, of great dramatic force, which is performed in an acclaimed montage by Australian Benedict Andrews for its striking and powerful portrayal of the greed and ambition of Lord and Lady Macbeth.

Les Arts presents an exceptional cast for Verdi's opera, which will premiere with the Italian baritone Luca Salsi, Macbeth reference today, and the sought-after soprano Anna Pirozzi in the fearsome and demanding role of Lady Macbeth.

Maria Jose Montiel

Maria José Montiel starts 2022 with a repertoire that he loves, the verdian. It will be in the Baluarte de Pamplona and with two performances – the days 4 Y 6 February– A masked ball, playing Ulrica, a role that the mezzo from Madrid has had in her repertoire since maestro Zubin Mehta proposed it to her to make her debut in Tel-Aviv under his direction and together with the Israel Philharmonic. “It was one of those wonderful things that happen to you in life. Master Mehta invited me to sing it and from the first moment I fell in love with the vocal and dramatic strength of the character”, comments the Spanish singer. “It is a Verdian role with a serious tessitura, but at the same time it has climbs to the acute zone, and although it is not excessively long, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding, it is tremendously demanding, it is tremendously demanding, it is tremendously demanding; it is tremendously demanding, it is tremendously demanding, it is tremendously demanding cabaletta it is tremendously demanding grand opera it is tremendously demanding, yes, it is tremendously demanding; It is truly exciting”, affirms the mezzo-soprano, who since the end of 2018 She combines her professional activity on stage with teaching as professor of singing at the Universität der Künste Berlin.. “I am especially excited to bring this character to Pamplona now, where I often sing and always feel at home”, concludes.

The proposal of the popular Verdian title that will be seen in the Navarran auditorium is a co-production of the Opéra National de Lorraine, Luxembourg City Theaters, Opera Zuid and Angers-Nantes Opera, with stage direction signed by Waut Koeken and with Yves Abel conducting the Navarra Symphony and the AGAO Lyric Choir. Montiel will share the stage with the soprano Maria Pia Piscitelli as Amelia, tenor Sergio Escobar as Riccardo-Gustavo III and baritone Artur Rucinski as Renato-Conde Anckarström.

After the functions of A masked ball in Pamplona, Other commitments await María José Montiel, such as the world premiere of the Stabat Mater de Moreno-Buendía together with the Murcia Region Symphony Orchestra conducted by Manuel Hernández-Silva, a recital accompanied by the pianist Laurence Verna for the Alicante Concert Society and contemporary opera María Moliner, of Parera Fund, at the Oviedo Spanish Lyric Theater Festival.


José Miguel Pérez-Sierra

The consecrated Spanish director José Miguel Pérez-Sierra starts its course 2021-2022 he 4 September in the Metz Music City with a concert of Brazilian flavors with the virtuoso composer and mandolin player Hamilton from the Netherlands, great figure of the Brazilian art scene that moves between jazz, samba and classical music. In the program, within the Orchester national de Metz season, if you include the Saudades do Brasil, by Milhaud, las Bachiana Brasileira N°8, for orchestra, by Villa-Lobos, and the Symphonie monumentale composed by the same Hamilton of Holland.

He 11 September will return to the Lyric Program of Amigos de , in which he has directed on numerous occasions, now to take command of a concert with the Norwegian soprano Lise Davidsen in which they will perform arias and scenes from Beethoven operas, Verdi, Wagner and Strauss with the Galician Symphony. Later, the days 24 Y 26 September and always at the Colón Theater in the Galician capital, will direct the opera Pagliacci, de Leoncavallo, with a cast featuring Alejandro Roy (Canio), Vanessa Goikoetxea (Nedda), Zeljko Lucic (Tonio), Enrique Alberto Martinez (Peppe) and César San Martín (Silvio), with the Galician Symphony in the Pit and in an imaginative production of the Teatro de La Zarzuela directed the stage by Ignacio García.

Among other commitments and in the remainder of the season, the teacher José Miguel Pérez-Sierra will celebrate the bicentennial of the "Spanish Mozart", Emilio Arrieta, conducting his opera Marina at the Baluarte Auditorium in Pamplona, will return to the Opéra de Marseille (France) with Armida de Rossini, will offer a concert with the Navarra Symphony Orchestra, will make his debut at the Théâtre de La Monnaie / De Munt in Brussels conducting the popular opera Carmen, Bizet, a title that he will also conduct at the Grand Théâtre in Luxembourg. This academic year, the Madrid director will also return to the Teatro de La Zarzuela in Madrid to revisit Barbieri's comedy El Barberillo de Lavapiés, title that has already toured several Spanish lyrical stages.

Photograph: Pedro Aijon

Metz Music City

Friends of the Opera of A Coruña

ABAP Bilbao Opera

La Gala ABAO on Stage meet on saturday 24 April at the Euskalduna Bilbao at 19:00h, to eight great artists as a tribute to the culture and as an act of recognition to the singers who have been affected by the impossibility of celebrating some of the operas of the season. Carmen Solis, Itziar de Unda, Silvia Tro Santafe, Celso Albelo, Sergio Escobar, Moses Marin, Juan Jesús Rodríguez and Simón Orfila, will sing a combined opera and zarzuela program at ABAO for the first time, sponsored by the BBVA Foundation.

The Gala was born from the will to support artists who are suffering in a unique way the consequences of the pandemic, with an unequivocal message in defense of the culture and talent of the professionals who collaborate with the Association.


  • Seven duets and arias for opera and six for zarzuela.
  • An unprecedented evening at ABAO, who has only performed zarzuela on two occasions with the Caserío Y Marina, both in 1980.

Títulos de Saint-Saëns, Bellini, Bizet, Verdi y Donizetti, they put music to the first part, dedicated to opera. The extensive and varied program will begin with the delicate overture of The yellow princess Camille Saint-Saëns, performed for the first time in ABAO, and stands out for its symphonic and instrumental quality.

Carmen Solís and Silvia Tro Santafé will start with the duo “Mira o Norma… Si, up to the last hour "de Rule. A repertoire piece for soprano and mezzo-soprano, of great dramatic force and one of the best known of Bellini's opera.

Celso Albelo will take over with "Je crois comprere encore" by The Pearl Fishers, the difficult aria for tenor most emblematic of Bizet's opera, that moves by its magical beauty.

Bass Simón Orfila will begin with “Mentre gonfiarsi l’anima parea… Oltre quel limite, I await you, o spectrum ”de la ópera Attila de Giuseppe Verdi. The aria of the opera protagonist who dreams that in his advance towards Rome, a tall and strong old man blocks his way.

Another duo, this time formed by the tenor Sergio Escobar and the baritone Juan Jesús Rodríguez, they will give an account of the piece “È lui! Desso! The infant!… God who in the soul instill "de la versión italiana de Don Carlo de Giuseppe Verdi, with great musical richness and deep sound.

Verdi continues in the program with the baritone Juan Jesús Rodriguez performing “Eri tu” by A masquera dance. One of the most beautiful arias of the composer Busseto for baritone, that Renato sings at the beginning of the third act of the opera, and that discovers the strong feelings of the character. The harp plays a fundamental role in this piece.

The last two scenes in this part of the program are for works by Gaetano Donizetti. In the first, the duo starring Silvia Tro Santafé and Simón Orfila will perform “Tutta in voi la luce mia” by Anna Bolena, a theme of great lyricism and brilliant symphonic sonority.

Itziar de Unda and Moisés Marín will end the first part with “Caro elisir! you are mine!… Esulti pur la barbara ”de L'elisir d'amore, one of the most performed operas of all time.

The second part of the program is dedicated to zarzuela with works by Jacinto Guerrero, Ernesto Lecuona, José Serrano, Pablo Sorozábal and Manuel Fernández Caballero.

Vitality, The colorful, popular and contagious music and joy, will come from the hand of duos and soloists in the selected pieces of: The Monteria, Maria de la O, The joy of the battalion, The barmaid port, The one with the bunch of roses Y The duo of La Africana.


After studying piano at the Peabody Conservatory of the John Hopkins University, he was the first Spaniard to be awarded the prestigious “Bruno Walter” scholarship for conducting to study at the Juilliard School of Music in New York.

His career has led him to direct most of the first-rate Spanish orchestras and he has worked in important Spanish opera houses.. Between 2015 Y 2019 He has been the titular Musical Director of the Teatro de la Zarzuela.

Conducts the Bilbao Sinfonietta, a chamber orchestra made up of long-standing instrumentalists who endorse the talent of this energetic and solid formation.

Great artists loved by the Bilbao public


One of the most outstanding Spanish soprano voices on the current scene. He has performed on the main national stages, highlighting his performances in operas such as A masked ball, The Troubadour, Tosca, Cavalleria rusticana, Pagliacci, Bohemian, The Marriage of Figaro or the zarzuela The Wildcat. At ABAO Bilbao Opera he performed in 2010 with The Marriage of Figaro.


In the repertoire of the Bilbao soprano stand out: Bohemian, Jenufa, The trip to Reims, The director of the theater, Parsifal, The Marriage of Figaro, Otello, Carmen, among other. He also stands out in zarzuela and oratorio with performances in The barberillo Lavapies O The seamstress. In season 2015-2016 participated in the absolute premiere of the opera Txanozuritxu in the Abao Txiki season. At ABAO Bilbao Opera he has collaborated since 2003 in more than a dozen titles, the last time in Semiramide in 2019.


The Valencian mezzo-soprano sings in the best theaters and festivals in the world where she stands out with titles such as The Barber of Seville, The Italian Girl in Algiers, Così fan tutte, Cinderella, I Capuleti e i Montecchi, Werther, Maria Stuarda, Lucrezia Borgia, among a wide repertoire. At ABAO Bilbao Opera he has performed in Robert Deverux in 2015 and in Rule in 2018.


The international tenor from Tenerife sings in the great theaters of the world in titles such as, I Puritani, L'elisir d'amore, Lucia of Lammermoor, to Favorites, Roberto Devereux, Lucrezia Borgia, Maria Stuarda, Anna Bolena, Werther O Rigoletto. At ABAO Bilbao Opera he debuted in 2012 with L'elisir d'amore starring in the first encore at the Euskaluna. Later he has performed in the ABAO Concert with Patrizia Ciofi in 2013, I puritani in 2014 Y Lucrezia Borgia in 2016.


Regular performer in the main lyrical seasons of the country, the tenor excels in character roles like Goro, Jaquino, Albazar, Incredible, Steuermann, Monostatos, Pang, Patched up, Don Curzio, Abdallo, Norman or Spoletta. At ABAO Bilbao Opera he debuted last season at the Jerusalem in Verdi.


Since its debut in 2012 with Don Carlo, The Toledo-born tenor has performed in Europe and America in titles such as Tosca, Macbeth O Madama Butterfly, among others, with great success. At ABAO Bilbao Opera he debuted in 2019 with the role of Arvino in The Lombards in the First Crusade.


Considered one of the best Verdian baritones today, has developed an important international career in the great opera houses of the world with titles such as: Rigoletto, Simon Boccanegra, l Troubadour, La Traviata), Otello, Nabucco, Macbeth, Don Carlo, A masked ball, Attila, Sicilian Vespers, Falstaff, Luisa Miller, Cavalleria Rusticana, Pagliacci, Lucia of Lammermoor, I Puritani, Roberto Devereux, O La Boheme. A great lover and defender of the Spanish repertoire, he is a regular guest at the Teatro Nacional de la Zarzuela. At ABAO Bilbao Opera he has performed on five occasions, last last season as Lord Enrico Ashton in Lucia of Lammermoor.


The repertoire of the bass-baritone Simón Orfila includes titles such as Don Giovanni, The Marriage of Figaro, La Clemenza di Tito, Rule, I Puritani, Anna Bolena, L'elisir d'amore, Maria Stuarda, Lucia of Lammermoor, The favourite, Lucrezia Borgia, La Donna del Lago, Cinderella, The Barber of Seville, William Tell, Semiramide, The Italian Girl in Algiers, Don Carlo, Carmen O Bohemian. Sing regularly in the best theaters with the most reputable conductors. At ABAO Bilbao Opera he has performed four titles: Lucia of Lammermoor, I puritani, Don Giovanni Y Semiramide.


The seats for the recital can be purchased at affordable rates for all audiences: 25€ ABAO partners up to 35 years, and € 50 the rest of ABAO members; and € 35 the sale price to the young public up to 35 years and € 70 for the adult audience.

They can be purchased at ABAO offices, through and on the phone: 944 355 100

Daniele Rustioni

Daniele Rustioni will direct the representations of ‘Falstaff’, in Verdi, that he Palau de les Arts has programmed in the days 2, 7, 11 Y 14 of March.

Rustioni is one of the young conductors with the greatest projection in the operatic circuit. Awarded at the Opera Awards of 2013 as a revelation artist, has worked in the most respected theaters such as the Bavarian Opera, the Scala in Milan, Covent Garden in London, the Bastille of Paris, the Metropolitan in New York or the operas of Zurich and Stuttgart.

The rising Milanese director takes over in the moat from New Yorker James Gaffigan who, for agenda issues, has not been able to attend the new period of functions of this opera, which had to be postponed last January for health reasons.

Rustioni will begin work with the cast and stable bodies of Les Arts this coming week: Cor de la Generalitat and the Orquestra de la Comunitat Valenciana, those he leads for the first time in his career. In this sense, Les Arts informs that the main interpreters who were announced for this title remain.

Ambrogio Maestri will once again take on Sir John Falstaff's shoes, reference paper on your resume. The Italian baritone stands out as the great interpreter of his generation of the ‘bon vivant’ that Shakespeare portrayed and that he has embodied at La Scala, the Salzburg Festival, the Metropolitan and the Paris Opera, besides in Zurich, Munich and Tokyo.

Ainhoa ​​Arteta will finally make her operatic debut in Les Arts as Alice Ford. The Gipuzkoan soprano will perform before the Valencian public one of the roles that have brought her the most successes on the international scene, in theaters such as the San Francisco Opera or London's Covent Garden.

Violeta Urmana also returns for this new cycle of performances, one of the favorite divas in the audience of Les Arts for her work in ‘Parsifal’, Iphigenia in Tauris', ‘Medea’ o ‘Don Carlo’. The Lithuanian star presents a new foray into his repertoire of 'mezzo-soprano' with an unprecedented role in his long career, Mrs. Quickly.

The Italian baritone Davide Luciano, who recently debuted in Valencia with ‘Così fan tutte’, of life to Mr. Ford. Renowned for his forays into classical and bel canto opera, has been revealed as one of the new values ​​in his tessitura with works in New York, Milan, Berlin or Moscow. Davide Luciano sustituye to Mattia Olivieri, that for artistic reasons will not be able to be in Valencia for the new dates.

Contrasting performers complete the cast of the production, with Sara Blanch (Nanetta), Chiara Amarù (Mrs. Meg Page), Juan Francisco Gatell (Fenton), Jorge Rodríguez-Norton (Dr. cajus), Antonio Di Matteo (Gun) and Center for Development singer Joel Williams (Bardolph).

Les Arts will present Verdi's twilight comedy in the same Berlin Staatsoper production that it presented last January, with stage direction by Mario Martone, with scenery by Margherita Palli, Ursula Patzak wardrobe, lighting by Pasquale Mari and choreography by Raffaella Giordano and Anna Redi.

Martone's proposal moves the action to the present, in a great metropolis, with their graffiti, dubious clubs and anachronistic characters. Sir John Falstaff becomes a rebellious spirit, true to his leather jacket and sideburns, who grows old spending his time in a kind of community center together with turbulent characters.

Photograph of Davide Cerati

Main room of the Palau de Les Arts. Photographs Miguel Lorenzo / Mikel Ponce

The Palace of Arts adjust your schedule more immediately in order to guarantee the strictest security, as well as the artistic excellence of the scheduled shows, faced with the pandemic situation.

Les Arts recalls that, since its reopening to the public after confinement, last 12 of June, has developed and adapted the protection protocols against COVID-19 to the restrictions and recommendations of the authorities according to health evolution.

The arts center has thus maintained its programming and activity to the public without interruption, both in the building itself and in other spaces, with the maximum guarantees for spectators and workers.

According to the current context, The management of Les Arts has decided to reorganize its most immediate shows in response to the containment requirements of COVID-19 and the artistic particularities of each of them.

Due to the significant number of singers and musicians on stage, is postponed for him 1 July the debut of Daniele Gatti in front of the Choir of the Generalitat and the Orchestra of the Valencian Community with the ‘Requiem’ by Verdi.

The production of 'Falstaff' is recovered for the month of March, in Verdi, that had been suspended. The Main Hall of Les Arts will host four performances of this title, the days 2, 7, 11 Y 14 that month, in the same scenic and musical terms that were announced at the time.

The new functions of 'Falstaff' replace in the programming the planned performances of 'Tristan und Isolde'. Les Arts Direction Sends Richard Wagner's Musical Drama To Future Seasons, to their musical needs and the size of the work, lasting more than five hours with two breaks included.

In that sense, all activities planned around the work are canceled: ‘Preview up to 28’, Ramon Gener and Perspectives conference.

Likewise, on the occasion of the perimeter closure on the weekend, the first session of ‘Bandes a Les Arts’ moves to Sunday 28 February.

February schedule

After these modifications, Les Arts announces that it maintains the rest of its programming scheduled for the month of February, the day begins 7 with the third concert of ‘Matins a Les Arts’ in the Main Hall.

The artists of the Center de Perfeccinment offer for this Sunday matinee a program dedicated to Verdi and the romantic song, with seats with a single price of five euros.

The cycle ‘Arts is Lied’ receives the 12 February the visit of one of the most respected tandems of the genre: baritone Christian Gerhaher and pianist Gerold Huber with works by Schumann and Debussy at the lectern. The Arts reports that, on the occasion of the curfew, the German baritone recital will begin at 19.00 hours.

The day 13 February, the Teatre Martín i Soler hosts the premiere of ‘L’isola disabitata’, by the Spanish Manuel García, a chamber opera conceived for four singers and piano accompaniment starring the young talents of the Center de Perfeccinment. Les Arts will offer three functions for the general public (13, 19, 21) and two educational (16 Y 24) of this title that is represented in a montage by Emilio Sagi. Les Arts communicates that the function of the day 19 will begin at 19.00 hours.

Returns & Exchanges
In the coming days, Les Arts will inform those affected by the reorganization of the shows about the procedures for exchange or return of the tickets.

‘Falstaff’, Arts

He Palau de les Arts suspends representations of ‘Falstaff’, in Verdi, before the appearance of coronavirus cases in the production equipment. The detection has been possible due to the sanitary controls established in Les Arts, whereby the members of each show in the program receive adequate prevention and detection monitoring. In addition to the relevant security measures: temperature measurement, distancing measures and use of protective elements, Les Arts has established a weekly PCR screening protocol for soloists, orchestra director, creative team and figuration.

In this situation, Les Arts has activated the relevant health security protocols and will control all the personnel associated with this operatic staging. Thus, the performances scheduled for the days 21, 24, 27, 29 Y 31 from January. Depending on the evolution of the situation and within the deadlines stipulated by health protocols, Les Arts will decide on the possible relocation of these functions within the programming of this season.

In the coming days, The Les Arts ticket offices will inform those affected by the suspension of the functions of the different options for the return or exchange of the tickets for 'Falstaff'.

Photograph: Miguel Lorenzo

‘Falstaff’, Arts

He Palau de les Arts enters the Verdi bufo with his latest opera, ‘Falstaff’, which opens next Thursday, 21 from January, in a Mario Martone production with musical direction by James Gaffigan.

Les Arts has presented at a press conference their first foray into opera 2021 with the presence of Jesús Iglesias Noriega, art director; James Gaffigan, director musical; the director of replenishment, Raffaele di Florio; and the singers Ambrogio Maestri Y Ainhoa ​​Arteta.

“Verdi's work is one of the axes on which the artistic project that we presented two years ago is based, in which a title like this could not be missing, essential in the repertoire of great theaters ", Iglesias explained Noriega. Iglesias has pointed out that "with 'Falstaff,’Busseto's composer completes his musical testament, that he already screened with ‘Otello’: an exquisite score, of sophisticated orchestration and of extreme musical and dramatic demand for the singers, with a masterful libretto by Arrigo Boito, in which humor and poetry flow in perfect union with music ".

Therefore, ‘Falstaff’, according to the artistic director, is an exercise in difficulty for any theater, that requires solid stable bodies, such as the Choir of the Generalitat and the Orchestra of the Valencian Community, as well as a cast and a first-rate musical director. After his debut at the Auditori with ‘A German Requiem’ last season, New Yorker James Gaffigan conducts his first opera at Les Arts. Considered one of the most relevant American conductors on the music scene, It is a common name of the operatic seasons of the Metropolitan of New York, from the Paris Opera or the Munich Staatsoper, among other.

Les Arts presents Verdi's Twilight Comedy in a Berlin Staatsoper production with stage direction by Mario Martone, with scenery by Margherita Palli, Ursula Patzak wardrobe, lighting by Pasquale Mari and choreography by Raffaella Giordano and Anna Redi.

Martone, director, Italian scriptwriter and producer cultivates both theater and opera along with a relevant film career. Linked in the years 90 to the new wave of Neapolitan cinema, together with figures like Antonio Capuano, Pappi Corsicato, Toni Servillo and Paolo Sorrentino, stands out in his works for a very personal speech about his native country.

Martone's proposal moves the action to the present, in a great metropolis, with their graffiti, dubious clubs and anachronistic characters. Sir John Falstaff becomes a rebellious spirit, true to his leather jacket and sideburns, who grows old spending his time in a kind of community center together with turbulent characters.

A choral cast
Ambrogio Maestri returns to Les Arts six years after his debut in ‘Nabucco’ to put himself once again in the shoes of Sir John Falstaff. Baritone of habitual presence in the great theaters of Europe, Asia and the United States, He emerged as the great interpreter of the title role after successfully embodying it at La Scala, Salzburg Festival, the Metropolitan and the Paris Opera, besides in Zurich, Munich and Tokyo.

After his celebrated recital of ‘Lied’ last November, Ainhoa ​​Arteta sings her first opera at Les Arts. The Gipuzkoan soprano, one of the Spanish voices with the greatest international projection, plays the role of Alice Ford, with which he has achieved great success in theaters such as the San Francisco Opera or London's Covent Garden.

Violeta Urmana, one of the great ladies of the lyrical scene, as well as one of the favorite divas of the public of Les Arts, debuts with this role in this production. Urmana, who has previously played roles in Valencia as Kundry (‘Parsifal’), Iphigenia (Iphigenia in Tauris'), Medea or Eboli ('Don Carlo') presents a new foray into the repertoire of ‘mezzo-soprano’ to embody Mrs. Quickly.

Olivieri Mattia, one of the brightest students who has been trained at the Center de Perfeccinment del Palau de les Arts, of life to Mr. Ford. The Italian baritone has stood out in Les Arts for his work on titles such as 'La Bohème', 'The Elixir of Love', ‘Così fan tutte’ and the duo of ‘La Africana’. Nowadays, He is one of the essential artists in the casts of La Scala in Milan.

Contrasting performers complete the cast of the production, with Sara Blanch (Nanetta), Ana Ibarra (Mrs. Meg Page), Juan Francisco Gatell (Fenton), Jorge Rodríguez-Norton (Dr. cajus), Antonio Di Matteo (Gun) and the singer from the Center de Perfeccinment, Joel Williams (Bardolph).

Les Arts will represent ‘Falstaff’ the days 21, 24, 27, 29 Y 31 January in the Main Hall. In order to comply with the decreed measures, all functions will start at 18.00 hours.

Preview until 28
On the other hand, The next Tuesday, the Main Hall of Les Arts will host the first ‘Preview fins on 28’ of the year, after the success of ‘La Cenerentola’, Rossini, for which all seats were sold out last December. Jesús Iglesias Noriega has valued "in a very positive way" the acceptance of this activity that allows young people, up to 28 years inclusive, enjoy an opera performance for just 10 euros. "The tickets for 'Falstaff' are also practically sold out," he pointed out., which is excellent news, not only because of the arrival of new audiences to Les Arts but also because of the growing interest of young people in opera ".

Photograph: Miguel Lorenzo

A masked ball

After analyzing the possible causes of the protest by a group of spectators who came yesterday, 20 of September, representing A masked ball, that finally could not be carried out, he Teatro Real he is very sorry for what happened and expresses his understanding with all the spectators who have not felt safe in their seats, even if the current health regulations were scrupulously complied with, verified by the Police who traveled to the Theater last night.

Perhaps the origin of the dissatisfaction of a part of the public with the distribution of their seats in the room is due to changes in the health security protocol adopted for the functions of A masked ball, that are not the same as those applied in the representations of La traviata in July: The sealing of the chairs and the obligation to leave two empty seats next to two other occupied ones has been eliminated, since the health regulations of the Community of Madrid have also changed.

In the functions of La traviata The previously blocked seats did not go on sale and in A masked ball free sale has been left until the 65% of the total capacity of the room, when the maximum authorized by the Community of Madrid was yesterday 75%. A) Yes, the public who have bought their tickets have been able to freely choose their seats in the room, unlimited by zones, being watched by the theater, within current health regulations, the possibility for spectators to sit in consecutive seats - as happens in public transport- protected by their mask and in a room where they are quietly listening to the opera.

Perhaps this fact has been the trigger for the protests, since the public expected to find the room with a distribution of seats similar to that of the July functions, but the health protocol of then and now is different, as it has been on stage, in which a complete operatic production is already being offered, with scenery, figurines, and soloists, choir and dancers with greater mobility on stage.

The Teatro Real wants to reiterate its commitment to the public's health safety, artists and workers, in which he has been working hard, responsibility and a lot of energy, since April, with its own Medical Committee and scrupulous monitoring of the regulations of the Government of Spain and the Community of Madrid.

After last night's incident, the Teatro Real will take all the necessary measures to make spectators feel safer, also reinforcing its communication with the public.

The Royal Theater appreciates, as usual, to the artists and workers all their involvement and dedication to make opera possible in these days of uncertainty. Once again this thanks is extended to all the public, including also the spectators who last night did not feel comfortable in the room. We ask everyone for trust, understanding and generosity to face these difficult days together, where art and music are more necessary than ever.

Photograph: Javier del Real

Teatro Real

Teatro Real

Today, 20 of September, before the start of the function A masked ball, in which there was 905 locations busy (51,5% of the total capacity of the room), a group of spectators has expressed with applause and shouts their dissatisfaction with the location of their seats.

The protest has been prolonged despite the public address announcements that offered spectators the possibility of repositioning them or returning the amount of the tickets.

After the relocation of a large part of the protesting spectators, and two attempts to interpret the opera by the conductor and all the artists and technicians who participated in the performance, a very small group insisted on continuing their protests to boycott the representation, so it had to be suspended, near the 21.10 hours.

The direction of the Royal Theater will open an investigation to find out this unfortunate incident and will take the necessary measures so that the successive functions develop normally.

Teatro Real

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A special masked ball

A masked ball

Giuseppe Verdi (1813-1901)

Rarely is a title so accurate to describe a situation. And is that the Teatro Real opens this strange and uncertain season 20/21 with 'A masked ball', in Verdi.

To enter the Theater you have to dedicate a little more time now. You cannot skip any of the steps in the new security liturgy against covid-19, which in this Theater is especially thorough. Everything perfectly organized to avoid any type of agglomeration and a caring room staff who gives all kinds of information and indications.

This season the Teatro Real is launching an initiative that has already been carried out in other European theaters with great success. It is a preview dedicated exclusively to young people. He 16 of September, two days before the official premiere, this stimulating premiere has taken place that has had an extraordinary response. A magnificent initiative highly celebrated by a young hobby who normally, either for reasons of capacity or because of the high price of the seats, he does not attend these shows as often as he would like.

We have spoken with some of these young people who have come to this first gala and have shared with us their points of view. Today they are the protagonists.

It is not the first time that Cristina has attended an opera. In fact, has worked as a makeup artist at the Theater. ”I think the initiative is very good, I like it a lot and if today, that I come alone, I like it, I'm going to bring all my friends. For € 35 I think it's amazing to be able to come and enjoy all this ".

Manuel and José Ignacio, are musicians who come for the first time to the Royal Theater from Seville and Aracena, Huelva. "Our expectations are very high. We have always liked Verdi's music and we come here with enthusiasm. The proposal of the Theater seems very interesting to us, especially for the approach of opera to young people. We generally cannot afford it and these are very reasonable prices.. We always had to settle for watching it online and now we are here. "

Gonzalo and Eduardo is the first time they come to the opera and they are a bit lost. "We come with desire, It is a new experience and I think we will like it. From the outside it looks very good. The first time, Let's see how!”.

Unlike the Traviata of July, this Ballo in Maschera is staged. Given the impossibility of moving David Alden's initially scheduled production to Madrid, the scenography by Gianmaria Aliverta has been chosen. The effort made to adapt this production, released in 2017 at the La Fenice Theater in Venice, to strict health protocols has been important. The staging is almost complete. Avoiding contact or closeness between the performers and in which only the dancers wear a mask, by the way, so discreet that it is barely visible.

The scenery is outdated and bland. All elements are very static, except for a big rock in the second act that spins (to Amelia's torment, who has to sing while climbing it). Nothing on stage provides the dynamism that singers fail to achieve., due to the necessary lack of movements. Nor do long changes of scenery during the performance help..

The dance corps choreography isn't very stimulating either, does not seem very elaborate. The fact of locating the work in the America of slavery is also puzzling., with an American flag with excessive presence, so gigantic.

But the absence of proximity between the singers, especially in the love duo, is offset by music. Master Luisotti describes it very well: "The experience of the opera is a personal experience. The possibility of closing our eyes and imagining what is happening is provided by music. In the love duo, even if i wasn't seeing it, I can imagine the embrace of the two lovers. " Verdi manages to transmit, through his music, the exact words to describe an action.

Un Ballo in maschera is undoubtedly the most Italian of Verdi's operas, and the baton of Nicola Luisotti, great connoisseur of this repertoire, makes it manifest throughout the entire representation. If one abandons oneself to music and the color and detail that Luisotti extracts from the orchestra, nothing that happens on stage alters the essence of the play.

We must recognize the great work developed by the set designer Massimo Checchetto and by the singers. It is not easy to function on a stage keeping your distance from everyone. What also affects, not only to interpretation, but to the projection without close references.

This Ballo in maschera has two casts and four Amelias. The representation of the young gala was in charge of a second cast headed by veteran Ramón Vargas, as Count Ricardo, that preserves the class and phrasing that made him one of the greatest tenors. The Madrilenian Saioa Hernández, as Amelia, who showed great sensitivity with the expressiveness of his voice. Geroge Petean, with a deep baritone voice that gave life to Ricardo's friend and later rival. Silvia Beltrami, who built a dark character of the sorceress Ulrica. Elena Sánchez Pereg, who played young Oscar, Take Babylon, as Silvano, Daniel Giulianini, as Samuel, Goderdzi Janelidze, as Tom and Jorge Rodríguez Norton.

The choir was assisted at all times by the technique to be able to keep the distances on mobile platforms.

A hopeful start to the season in the midst of this dystopian situation and full of uncertainty but, as Vargas Llosa recalled on opening night "Culture is made to face difficult times". That's why we are here, surrounded by young people ...

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

Masked ball
  • The official opening of this season, the next 18 of September, will be preceded, for the first time, of a preview only for children under 35 years ─la Young Gala─ the 16 of September.
  • They offer 16 functions A masked ball with a maximum capacity of 75% of the localities and with the health security measures implemented in 27 representations La traviata last july, modified in accordance with the regulations recently approved by the Community of Madrid.
  • The stage manager Gianmaria Aliverta and the set designer Massimo Checchetto They have introduced important modifications in the original production of the Teatro de La Fenice in Venice to adapt it to the sanitary protocol of the Teatro Real, keeping intact its dramaturgical concept.
  • Nicola Luisotti, first guest musical director of the Teatro Real, will conduct his sixth Verdi title at the head of the Titulares Choir and Orchestra of the Teatro Real, after the enormous success obtained with Don Carlo Y La traviata in the past season.
  • Two deals (with four Amelia) they will alternate in the interpretation of the main roles: tenors Michael Fabiano and Ramón Vargas (Riccardo); the sopranos Anna Pirozzi, Session Hernández, María Pia Piscitelli and Sondra Radvanovsky (Amelia); baritones Artur Ruciński and George Petean (Renato); las mezzosopranos Daniela Barcellona y Silvia Beltrami (Ulrica) and the sopranos Elena Sancho Pereg and Isabella Gaudí (Oscar).
  • The premiere of Un masked ball, he 18 September at 20.00 hours, be broadcast live on screens installed in Plaza de Oriente and Plaza de Isabel, with limited capacity and in accordance with the regulations related to COVID 19 of the Community of Madrid.
  • Around A masked ball Parallel activities have been organized at the Teatro Real and in collaboration with the SGAE Foundation, Museum of Decorative Arts and Nebrija University, highlighting the session approaches, he 14 September at 20.15 hours, with a capacity of 75% of face-to-face locations and retransmission, for the first time, at Youtube channel of the Royal Theater.
  • Functions A masked ballare sponsored by Telefónica.

  • The live broadcast of the opera on the outdoor screens is sponsored by Telefónica, Endesa, State Lotteries, Mutua Madrileña, Redexis Foundation and EDP Foundation.
  • The Young Gala will have the collaboration of the professional services firm EY.

The Royal Theater will inaugurate the Season 2020-2021 ─the 24th since its reopening─, with A masked ball, from Giuseppe Verdi, which will be offered in a production from the Teatro La Fenice in Venice and responded in collaboration with the Teatro de la Maestranza in Seville.

The libretto of the opera, something outdated for the time, part of a previous one, from Agustin Eugène Scribe, Tangentially inspired by the assassination of King Gustav III of Sweden during a masked ball at the Stockholm Opera, victim of a conspiracy. Successive problems with Roman and Neapolitan censorship forced the librettist Antonio Somma to move the political background of the Swedish court opera to Boston, at the end of the XVII, then under british rule.

The stage manager Gianmaria Aliverta maintains the plot of the opera in America, but move the action to the nineteenth century, when violent fratricidal struggles faced the states of the North and South, who resisted abolishing slavery and losing other abusive prerogatives ascribed to the owners of large estates.

In this context of confrontations, the political tension underlying the libretto is emphasized., what's wrong with it, spotlight, a dismal love triangle, in which the vicissitudes of the protagonists are musically described with Verdi's sharp dramatic sense and his inexhaustible melodic inspiration. The composer intertwines arias, duos and choral scenes in blocks that make up large frames, articulating drama and comedy with extreme skill, ensemble numbers and intimate moments, the palace bustle and the inner drama of the characters, always keeping the tension in "the most melodramatic of melodramas", in the words of Gabrielle D’Annunzio.

Nicola Luisotti, first guest conductor of the Teatro Real, will be in front of the departments of great verdean voces, in which the female lead role (Amelia), will be performed by four different sopranos: Anna Pirozzi, Session Hernández, María Pia Piscitelli Y Sondra Radvanovsky. The tenors complete the cast Michael Fabiano Y Ramón Vargas (Riccardo); baritones Artur Ruciński and George Petean (Renato), the mezzosopranos Daniela Barcellona Y Silvia Beltrami (Ulrica) and sopranos Elena Sancho Pereg e Isabella Gaudí (Oscar).

As with the functions of the La traviata, the soloists, choir, actors and theater workers will rigorously comply with the Health Security Protocol designed by the Teatro Real Medical Committee, in accordance with the guidelines of the Community of Madrid.

The premiere of A masked ball, he 18 of September, be broadcast live on screens installed in the Plaza de Oriente and, for the first time, in the Plaza de Isabel II, where will they be placed 450 chairs separated from each other by 2 m., in a limited area of 4000 m2 with 320 m. of security fencing and 8 Entrances and exits duly signposted and equipped with hydrogel.


Telefónica, main technological patron of the Teatro Real, drives its digital development and the best connectivity to optimize the experience of opera fans on all the digital channels of the Theater. In these years, Telefónica has expanded the number of functionalities and services on the web, reinforcing the interactive and communication with users. In this way, It has allowed the creation of a much broader catalog of products - encompassing different types of music- and accessible, with services more adjusted to the preferences of the followers of this institution. A further step within this global project has been My Opera Player, digital platform that allows opera lovers, dance and classical music enjoy from home, with just a click, of the best internationally successful productions.

MyOperaPlayer, , has Telefónica, as a technological partner of the Teatro Real, and with the sponsorship of Endesa, who supported this initiative as sole sponsor when the platform was called Palco Digital.


11 of September, to 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Nicola Luisotti and Gianmaria Aliverta - musical and stage directors of A masked ball- and Joan Matabosch, artistic director of the Teatro Real. Interpretation of arias from operas by Mercadante and Auber based on the libretto by Eugene Scribe.

18 of September, to 20.00 hours | Broadcast in the Plaza de Oriente and Plaza de Ópera

Live broadcast of A masked ball on the screens located in Plaza de Oriente and Plaza de Isabel II.

8 October, 19:00 h. | Nebrija University

Streaming conference: first of four conferences of the cycle Opera baskets, that throughout the entire season of the Teatro Real wants to delve into the fascinating world of fashion through opera.

Free activity upon registration in

11 October, to 12.00 hours | Teatro Real, Living room

Chamber Sundays I: the Soloists of the Titular Orchestra of the Royal Theater will offer a concert with affinities with the opera A masked ball.

18 October, to 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

All the Gayarre: music workshops for the whole family, direction and presentation of Fernando Palacios.

A dance with suspense. We sneak in with a page at a costume ball.

Saturdays and Sundays from October to December | Museum of Decorative Arts

Travels in family: under the title A masked ball, Classic myths the museum offers self-guided itineraries to discover as a family the multitude of heroes of classical mythology that hide in its rooms. Heroes that on many occasions the mask of time has turned into anonymous figures and of whom we will now be able to know their name and history. Free activity upon registration in

Photograph: Javier del Real

Fabio Parenzan

The famous Italian mezzo-soprano Daniela Barcellona returns to the stage of Real for his debut as the sorceress Ulrica de la ópera de Verdi "A masked ball", opera than next 18 September opens the new lyrical season of the Madrid Coliseum. The singer born in Trieste and acclaimed as one of the great figures of international opera in the most important opera houses in the world, come back to Teatro Real, with what will be his first operatic performance after his recent success as a soloist of the Ninth by Beethoven at the reopening concert of the legendary Teatro San Carlo, held in the Piazza del Plebiscito.

Considered the Rossinian mezzo-soprano of reference in recent decades, and one of the most important voices on the international opera circuit, both for his vocal quality and for his stage skills, which made her the first Italian singer to be awarded the prestigious "Olivier Award"; Daniela Barcellona, who has sung under the baton of teachers like Claudio Abbado, Colin Davis, Lorin Maazel, James Levin, Georges Prêtre, Kent Nagano, Valery Gergiev, Daniel Barenboim O Riccardo Muti, has decided to follow the natural evolution of his voice and in recent years has added new roles to his repertoire. To his extensive catalog of characters he has added new ones, like Baba la Turca in The rake’s progress Stravinsky, his applauded Didon from The Trojans Berlioz, Santuzza (Cavalleria rusticana), Laura Adorno (The Gioconda) and the Verdians, Princess Eboli (Don Carlo), Amneris (Aida) – after his memorable performance at the Arena di Verona, the Italian critique la saludó como “Greatest Daniela Barcellona! We have finally found the Amneris areniana we have been waiting for for years!”- or Mrs. Quickly of Falstaff, role he has sung in Chicago with Riccardo Muti, at the Opéra National de Paris, La Scala in Milan, Dutch National Opera de Holanda, the Berlin Staatsoper with Daniel Barenboim and Zubin Mehta, or last spring at the Teatro Real in Madrid, in the new production of Laurent Pelly.

Its immediate commitments include, again, Falstaff in brussels, her debut as Azucena (The Troubadour) at the Opéra National de Paris, and the Requiem de Verdi junto a la Staatskapelle Berlin y Zubin Mehta en la Staatsoper Unter den Linden y the Philharmonie de Berlín.

Photograph: Fabio Parenzan


La Traviata, “back to life”
La Traviata
Giuseppe Verdi (1813-1901)
Opera in three acts
Libreto de Francesco Maria Piave, based on the novel and the play La Dame aux camélias by Alexandre Dumas Jr.
Premiered at the Teatro La Fenice in Venice on 6 March 1853 and the the Teatro Real the 1 February 1855. Opera in semi-staged concert version
D. musical: Nicola Luisotti
Scenic concept: Leo Castaldi
Lighting: Carlos Torrijos
D. Choir: Andrés Máspero
Distribution: Marina Rebeka, Michael Fabiano, Artur Ruciński, Sandra Fernández, Marifé Nogales, Albert Casals, Isaac Galan, Tomeu Bibiloni, Stefano Palatchi, Emmanuel Faraldo, Elier Muñoz and Carlos García
It had been four months since everything was suspended. At first it seemed like it would be for a short time, but as the weeks and events passed, uncertainty came to occupy everything.
In this period there has been time to think about many things. Also that only a miracle would bring me back to this chair. But miracles exist, and we make them. In this case, Royal Theatre. And a miracle has worked that covers various aspects. First, have the courage and determination to return to operatic activity in the safest way, and the second, and no less important, have the ability to demonstrate that, difficult as the circumstances are, good management can be done, even, very good.The bet is risky, keep this fragile balance when the entire operatic world is watching, is not easy. For a full month, in which the representations have been multiplied to compensate for the limited capacity, this stage adaptation by Leo Castaldi is presented, like who says, with four little things that he has found by the theater, to create a scenery that could not be more effective. In it the essential elements appear, nothing is missing or nothing. A parceled stage delimits the two square meters that each singer has to move. A small space, but in which all the emotions of the protagonists fit. The chorus, occupying the back half of the stage box, remain disciplined in seclusion, each one of them, on his ground, which does not detract one iota from its sound and professionalism. All this illuminated with great success by Carlos Torrijos It was not easy to immerse yourself in history in an environment so different from the one we are used to. Too many elements distract us in the room, on the stage, distance, the mask ... But then, he appeared, Like a hero without a cape to rescue us from silence, Nicola Luisotti. One of the men who must be working the most in the last weeks and who was exultantly happy with this challenge, perhaps for having lived through the dramatic circumstances that have touched us with the intensity that only a passionate person like him has. He was the first to suspend the premiere of Il Trovatore at the Scala in Milan and is now the first to raise the curtain on what he calls "ritorno alla vita". It was then that one of the most elaborately romantic and evocative that have been written, the opening of the first act of La Traviata. The orchestra, which occupies the entire space of the pit, also appears with their masks, except for the wind, which is separated by a screen, like Luisotti himself. The Italian teacher was the perfect link between what was happening on the remote stage and the wide moat, generating confidence and balance in this strange new way of interpreting. After a deep overture, sober and heartfelt, for whom is a great connoisseur of this repertoire, he knew how to transmit to the stage the theatricality he lacked. His direction was above some more muted sounds caused by physical and technical distances. The orchestra sounded muffled and with the delicacy that some sometimes abandon when it comes to Verdi.The distance at which the singers were kept was not disturbing. Always attentive to the teacher who accompanied them, more than directed. Despite not approaching or touching, Violetta and Alfredo were able to demonstrate their passion.The Latvian Marina Rebeka is the first of five sopranos who address the character of Violetta Valéry. Has an extensive and voluminous lyrical soprano voice, a beautiful timbre and great sound that was appreciated very well in the most dramatic parts and in well-delineated pianos. Maybe too contained, which affected the most theatrical part of the character, something very important in this role that Rebeka is very knowledgeable and loving. If I let the character take over her, coupled with his exceptional technique, would be the best of the Violets.The Alfredo by Michael Fabiano went from less to more. He had moments of great inspiration, although it was noticed a little insecure at the beginning, something that may be normal under the circumstances, and that it disappeared from the second and third act, In which he shone with an inspired and intense Alfredo, the most applauded of the night was Artur Rucinski and his Giorgio Germont.. A good diction and elegant and very careful phrasing for your stretched Germont. Very well at Di Provence.

The rest of the tablets were at high altitude. Great participation Marifé Nogales in her role as Annina. Also perfect Sandra Fernández, with a frivolous Flora Bervoix, both are involved in all functions. Like Albert Casals, as Gastone, Isaac Galan, like Baron Douphol, Tomeu Bibiloni, as Marquis de Obigny, Stefano Palatchi, like Doctor Grenvil and Emmanuel Faraldo, as Giuseppe and Violetta's servant.

A success without a doubt of the Royal Theater showing great courage and ability. All this served with a security that can be felt. If a major outbreak occurs, I'm going to the Royal Theater. And is that normality does not come alone, you have to conquer it.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real


After her extraordinary success as Lucia (Lucia of Lammermoor, Donizetti) season 2017-2018, The American soprano of Cuban origin returns to the Madrid Coliseum in the coming days 18, 22, 25 Y 28 July to star in one of the best known operatic titles, La Traviata de Giuseppe Verdi. After being awarded two of the greatest opera awards in the United States, the Richard Tucker Award and the Beverly Sills Award, and of his applauded debuts as Marguerite de Valois (the Huguenots, Meyerbeer) at the Paris National Opera, Rodelinda (Rodelinda, Haendel) the Gran Teatre del Liceu in Barcelona, Amalia (I masnadieri, Verdi) at the Scala in Milan or Manon (Manon Lescaut, Massenet) at the Metropolitan Opera in New York, the soprano returns to Madrid to play the unfortunate heroine of La traviata, the first post-confinement opera at the Teatro Real. It so happens that Lisette Oropesa, in his first post-Covid performance, returns to the Real stage to put herself in the shoes of Violetta Valery, the same role with which he was reaping great success at the New York Metropolitan Opera, as reflected The New York Times: "Lisette Oropesa endorses La Traviata”, Anthony Tommasini (critic’s pick), when it closed its doors in the midst of a world emergency due to the coronavirus.

Lisette Oropesa is nominated in the best category Female Singer in the edition 2020 of the prestigious International Opera Awards, to be held in September, and among his next commitments stand out: the "Rossini Gala" of the Arena of Verona, Constancy The abduction from the Seraglio the Mozart and the Vienna State Opera, in a new production by Hans Neuenfels, recitals at the Wexford Festival Opera, el Théâtre des Champs Elysées y el Smetana Hall in Praga, La Traviata by Verdi at the Metropolitan Opera in New York, and the Premiere from Lucia of Lammermoor de Donizetti en la Opera House Zurich, with scenic signature of Tatjana Gürbaca.

La Traviata

La traviata, from Giuseppe Verdi, It was planned for this season ─with the famous production of the Salzburg Festival directed by Willy Decker─ in two periods: of the 9 a 24 of May (10 functions) Y of the 7 al 19 of July (9 functions).

Due to the state of alarm decreed by the Government of Spain, May performances could not be performed, reason why the Royal Theater is trying to relocate in July the people who had bought their tickets for those dates. parallel, viewers of the July shows affected by the restriction of capacity will be relocated, what will be 869 locations, in compliance with health safety regulations.

Of the 19 scheduled functions has been passed to 27 with reduced capacity, to be offered of the 1 al 29 of July (he 6 and the 20 July there will be no show), with four different deals in the interpretation of the leading trio: like Violeta, las sopranos Marina Rebeka, Ruth Iniesta, Ekaterina Bakanova, Lana Kos Y Lisette Oropesa; as Alfredo Germont, tenors Michael Fabiano, Ivan Cordoba, Matthew Polenzani Y Ismael Jordi; y like Giorgio Germont, baritones Artur Ruciński, Nicola Alaimo, Luis Cansino Y Javier Franco.

Due to the mobility restrictions caused by the coronavirus crisis both in Spain and in the various countries of origin of the singers - who traveled from the United States, Austria, Croatia, Italy, Latvia, Poland, etc.─, rehearsals have started on 19 of June with all the soloists, except for the soprano Lisette Oropesa, that will arrive in Madrid on 13 July to participate in the final performances of the opera.

Together with the soloists, the Headlines Choir and Orchestra of the Teatro Real, under the direction of Nicola Luisotti, who will direct his fifth Verdian title at the Teatro Real ─after The Troubadour (2007), Rigoletto (2015), Aida (2018) Y Don Carlo (2019)- and he will return in September with the sixth, A masked ball, which will open next season.

The production of La traviata that will be offered throughout the month of July will no longer be the one that was announced, By Willy Decker, since the singers, choir and orchestra must comply with current health safety guidelines.

To present a version of the opera that respects these rules and can be performed with just 10 rehearsal days, wardrobe and characterization tests, stage director Leo Castaldi has devised a semi-staged concert version, in collaboration with the illuminator Carlos Torrijos and the Teatro Real technical team, using elements of props, wardrobe and characterization from the Theater collection.

Starting precisely from the forcefulness with which the safety distance is getting between us, Leo Castaldi has conceived a ‘scenery’ marked by a grid of squares of 2 by 2 meters drawn on the ground and projected onto the walls of the stage, Psychologically 'imprisoning' the characters in their limited spaces. The soloists, they will keep a minimum distance from 2 m. among them will move in 100 m2, sharing the stage with him choir, which will occupy 260 m2, and with the inner band (group of 16 musicians who plays on stage), what will you use, during his performance, 60 m2.

To unify and unite the dramaturgical proposal without a previous costume design or material time to carry it out, Castaldi has chosen to create an atmosphere vintage, mid-20th century, in which costumes from the Theater and from the performers themselves and elements of props from the same period.

At pit, with its maximum dimension of 140 m2, the orchestra will be with the full score template for performance of La traviata: 56 musicians will play with mask, individual lectern and with 1,5 m. away from each other. Wind players will have methacrylate panels strategically placed in front of their instruments. On stage the internal band will play with 16 teachers.

So that musicians can have rest days between 27 functions, the Head of the Royal Theatre Orchestra will unfold in two touching each formation for periods of 3 consecutive days.

He Titular Choir of the Teatro Real, with 51 singers, will perform the opera on stage, which will allow the optimization of the sound, despite the safety distance of 2 m. among its members. They will occupy an area of 260 m2, with about 24 m. wide by 11 m. background.

La traviata will be presented at the Teatro Real in the unique context that we are all experiencing. The opera will be presented with fewer rehearsals than normal and with a stage proposal designed to adapt to the circumstances. All the Teatro Real team, as well as the artists and the Principal Choir and Orchestra, take on the challenge with a huge sense of responsibility, a lot of imagination and a great illusion to take another step towards the normalization of artistic life, encouraging the public and citizens to face the new reality in which we find ourselves with encouragement and a positive spirit. yes, everything will be done scrupulously respecting the guidelines of the health authorities of the Government of Spain and the Community of Madrid.



Telefónica, main technological patron of the Teatro Real, drives its digital development and the best connectivity to optimize the experience of opera fans on all the digital channels of the Theater. In these years, Telefónica has expanded the number of functionalities and services on the web, reinforcing the interactive and communication with users. In this way, It has allowed the creation of a much broader catalog of products - encompassing different types of music- and accessible, with services more adjusted to the preferences of the followers of this institution. A further step within this global project has been My Opera Player, digital platform that allows opera lovers, dance and classical music enjoy from home, with just a click, of the best internationally successful productions.


7 Y 8 of July, to 18.30 Y 21.00 hours | SGAE Foundation, Berlanga Room

Who: the SGAE Foundation will program a cycle titled Female models in which they will be projected I am the Juani by Bigas Luna and No one wants the night Isabel Coixet. Two films about women who, as Violetta Valèry, they have transgressed the “feminine roles” to which due to their social condition and / or historical moment they were doomed.

Of the 1 al 31 of July | Museum of Romanticism

Exposition: within the initiative a work, an opera, The Museum will exhibit a wonderful illustrated edition of 1857 from The Lady of the Camellias, the novel that inspired La traviata. Thus, the public that visits the rooms will be able to see this printed jewel that is kept in the Museum's library.

From 10 of July | Lazaro Galdiano Museum

Audio guide: Lázaro Galdiano offers the Royal Theater public the possibility of downloading an exclusive podcast with which they will learn about the stories and legends that surround some of the women who are represented in their rooms. Women who, as the protagonist of La traviata, they fought against the destiny that they drew for them. Download code request at educació

Photograph: Javier del Real


ABAO Bilbao Opera presents a new experience: #ABAOenHouse. A digital initiative that we are going to launch through the web de ABAO to help the whole of society to sustain this situation and continue enjoying the culture that is an essential asset.

We present a extensive cultural program for all tastes. With access to the best opera titles, to master conferences, to unforgettable moments of our season, to recreational and training initiatives, calls to participation, and of course, we do not forget the little ones with a specific programming for them


We want to invite all of society to enjoy the opera at any time, at any time and from the comfort of your home, so totally free, without conditions and without records. The extensive #ABAOenCasa program includes:


ABAO reschedules one concert season and eight titles: Messa da Requiem in Verdi, Eugene Onegin de Chaikovski, Rigoletto in Verdi, Rusalka de Dvorak, Bohemian Puccini, Billy Budd Britten, Fidelio Beethoven, The Pearl Fishers Bizet and Lucia of Lammermoor Donizetti.

This program will start tomorrow Sunday 12 April when you can already enjoy the Messa da Requiem, The cat with boots and the ABAO Bilbao Opera podcast. On Monday the opera will be incorporated Eugene Onegin and Tuesday Horizons of Excellence with Pedro Halffter and Ainhoa ​​Arteta.

Every week on Monday, Wednesday and Friday you can enjoy a new opera premiere that will remain accessible for ten days.


To enjoy unforgettable moments of the operatic history of the Association. The series is made up of several videos of approximately 80 minutes, with the best scenes of essential operas. It's divided in three great collections:

BBVA Foundation moments

This collection includes the best scenes of some of the operas sponsored by the season's main sponsor and ABAO activities, the BBVA Foundation, From season 2012-2013.

All Green Momentos

An iconic ABAO project started in 2006 I could not miss this virtual experience. This collection includes unique performances by some of the 29 titles from the Verdian repertoire that ABAO has staged in this great cultural project unique worldwide.

Horizons of Excellence

As a result of the collaboration between the BBVA Foundation and ABAO, you can also enjoy the extraordinary exclusive meetings that have been done with artists like Ainhoa ​​Arteta Y Pedro Halffter around the opera Bohemian..


#ABAOenCasa could not miss a proposal so that the youngest can continue enjoying the project Little Abao, ABAO's program specially designed to enjoy with the family and transmit essential values ​​of coexistence and education.

The program is made up of five titles: Txanozuritxu, original opera in Basque based on the well-known story of Little Red Riding Hood; the unforgettable tales The cat with boots Perrault and The brave little tailor Brothers Grimm; the Dickens classic Christmas story, and the original and fun Neither f nor sharp.


For those who want to complete the previous programming we have a proposal: el podcast ABAO Bilbao Opera.

Here, in addition to other content, You can access the series of conferences "The ABC of the Opera". A program to know all the keys of the composers, voices and titles from the last two seasons of ABAO with musicologist Eva Sandoval, critics Luis Gago, Rubén Amón and Andrea Merli, the conductor and soprano Pilar Jurado and the journalists Mariela Rubio and Rafael Bernardo.


For the Virtual Stage, ABAO Bilbao Opera has designed a free access, comfortable, easy and without records, in three easy steps:

1. Access to from any device.

2. Click on the black button at the top: Enjoy the opera #ABAOenCasa

3. Directly access the content you like the most.

To enjoy the ABAO podcast, the process is just as simple:

1. Download a podcast application on your mobile or tablet, if there wasn't one installed

2. Buscar "ABAO Bilbao Opera"

3. Play the audio file that interests you the most.

But this is not going to be all .... It is important to be in contact with ABAO and visit the website to learn about new initiatives and the premieres of the #ABAOenCasa program.


At ABAO at home we offer you new releases, activities… and any surprises. Check our website the schedule and news of each week.


With this initiative ABAO Bilbao Opera wants to offer and share the best of its video library and content for free with all of society. One more effort of his artistic and educational dissemination work, and their commitment to culture, that it defends as an essential good. #YoSoyABAO is now also #ABAOenCasa.

Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo


Interview Franco Vassallo

It was just a boy when a teacher heard her singing through the halls of school. Then he began studying music and his interest in the arts and humanities, the great passions of Franco Vassallo. Meticulous preparing to end their characters, arrive at Liceu Barcelona Aida and Amonasro provides us full of intensity and drama. We talk about it in this interview
Brío Clásica.
B.C: His beginnings were very original: he heard a singing teacher casually in school corridors. If there had been so, Would he have equally determined by music and singing? How did that start?
F.V: At this stage, with the experience of these years behind me, It is hard to say what would have done if that endearing episode occurred in the school would not have happened, but with all security I had found another way to focus my passion for art, culture, literature and philosophy. First of all, say that I consider myself a humanist.
B.C: Could you describe the characteristics of your voice?
F.V: It is always difficult to talk about one's voice on tape, singers and unfortunately we can not hear ourselves live. I would say that mine is frank, sincere, direct. I think it has always had a certain sweetness, it still retains, but obviously over the years he has matured and gained in roundness, taking a tan that has allowed me to face a more dramatic repertoire.
B.C: We know of your interest and knowledge of dramaturgy, cornerstone in the opera. When a role is interpreted on many occasions, that character, Does it yours and gives it a certain character forever or outweighs production and stage manager?
F.V: Dramaturgy in the operatic genre is critical because the opera is theater and music, so you can not do without his theatrical part. But the truth of the opera stage is obtained by finding the right key character, which is not only in the acting part but is also obtained and, especially, through score, because the composer leaves everything clear. Everything is in the score! In fact, these composers, as Verdi, They have never been forgotten because they were true geniuses; They created some masterpieces that still listen to and why they have become immortal. They had an intuitive and innate ability to capture the scenic score truth of the character. When you make it yours in my case also has helped me the Stanislavski method, I studied- revive you do through you. In the study period we thought to build character and shape, but once we got on stage to stop thinking just be him and live like him, that is to say, in my case I try to look and feel like the character; let it flow. Interpreters rationally know what is happening in the scene and what will happen next, however the character does not know, so you have to live it and react true self to everything that is happening. It is complex, but at the same time exciting, very similar to what an actor feels, although we, the singers, We also have the advantage of relying on the soundtrack, music, describing the situation we are living our performance and offers an incredible expressive force. On the other hand, we also have the disadvantage that if we acatarrados no choice but to leave and we still sing [laughs].
B.C: From 13 January is participating in the production of the Liceu Aida, in Verdi, with the musical direction of Gustavo Gimeno and scenery Mestres Cabanes. What Amonasro will look at the Liceu?
F.V: When I get the first tests naturally and I feel that the character runs through my veins; I feel mine and I've done a complete picture of the role that obviously have to be contrasted with the stage manager; I always try to find a balance between the idea of ​​the character he has and I do. Obviously there are always some directors with whom I connect more than others, but sometimes I have a vision of the role, although input does not agree with it, if the idea is smart, I just get carried away by his instructions to finish making my proposal. In any case, we, interpreters, as music directors or scene, We must be at the service of music and composer. It comes to my mind a beautiful phrase that Verdi told the baritone Felice Varesi, which premiered several of his operas: "I ask you please to serve before the poet to the musician"; Coming from Verdi fascinates me, because it means it had a great respect for the scenic realization, because it was like saying: if we do a good theater music comes alone, so I think you have to have a great respect for the libretto. As for the Amonasro I play, I feel like an intense character, tragic and painful; Verdi is a king who invites us to describe and interpret "impeto selvaggio" (wild momentum), a fact that is there, in the score; but sometimes we forget the immense humanity. In the big time stage, in duet with Aida, practical and decisive character must have as a politician meets with the affections and feelings; we see a father who is forced to ask his daughter a huge sacrifice, He is forcing his people to betray the man she loves. Hence his rage, which it is nothing but a human reaction to the internal pain she feels for having to ask something so cruel to a daughter. Is a character who lives intensely the pain; at the end of the duo tells his daughter something amazing: "Think that a people, won, heartbroken, for you can only rise again " ("Think a conquered people, torn, Only thanks to you can rise again), that is to say, "Everything is in your hands and our people must make this sacrifice, I know it's infamous, but there is no other way ". It is certainly one of the most beautiful moments of the whole scene. On the other hand, Amonasro proves to be a great king, intelligent warrior despite having been defeated in battle. Live extreme situations from the beginning to the end, since from entering scene he is almost sentenced to death and very little time to do everything to achieve their goals, save his people and his own life. In summary, We are facing an absolutely tragic character for everything that happens, but both fascinating still being relatively short.
B.C: In 2004 he played Zurga, in Bilbao in The Pearl Fishers, in 2008 was Figaro in Il Barbiere di Siviglia at the Opera de Las Palmas, in 2014 Vespri Siciliani I participated in the Teatro Real Guido di Monforte playing, and now he comes to the Liceu in Barcelona with Amonasro. Why have you been so spaced performances in Spain?
F.V: In addition to the commitments that you quote, I actually made my debut in I Vespri Siciliani Spain with the Opera Bilbao 2001 and also I sang Ernani in Las Palmas de Gran Camaria in 2005 and I Puritani Minorca 2008. In any case, and compared to the career I've done in other countries, It is true that my presence in Spain has been little, but it was not my will, because the truth is that I love this country and I love working here; It has just happened than usual in these cases: deals sometimes come at times when you are busy and time passes without matching agendas.
B.C: How do you feel more comfortable, with expressive intensity and strong vocalism of Amonasro or lightness and brilliance of Figaro? How they are approached as different technical roles?
F.V: As the old school of the "canto sul fiato" he said, are at odds on these two forms of singing and interpreting, that is to say, It is important vocal ductility; It must be able to move from one dramatic role bright and vice versa, especially when the instrument allows it. When the voice with the experience and maturity is ready to face the dramatic repertoire, It is important to return occasionally to the bel canto repertoire to maintain elasticity and squillo, so we avoided the voice becomes heavy. Recall that the singers of the past changed light heavy repertoire with astonishing rapidity; I just think having a minimum of time, If you keep your voice in the right place, without forcing, You can change without problems. This year I happily returned to play Figaro (The Barber of Seville) at the Hamburg Opera coming to interpret Rigoletto, and I found quickly comfortable in the freshness and elasticity adequate almost naturally and without any previous work. What we call "muscle memory" always works. Definitely, not to force anything because the sound becomes heavy, you just have to keep always loud and mask.
B.C: It seems that increasingly more difficult to find truly serious voices. In that case, Why do you think that is due?
F.V: I think the voice is certainly hard to find is the true deep bass; today under-baritone dominates over the, but I could not say a precise reason. Serious, sometimes voices, They not always tend to sing naturally because the voice already sounds itself, without applying any technique you certainly do need more acute voices to sound good. This sometimes makes racing more serious voices are slightly shorter, unless the technique work with a good teacher. In any case, technical work is essential for all strings, and not always due to have a good teacher. Like mine said, It is important not only a great teacher, but that great teacher must find the great student.
B.C: Given the evolution of his voice and his singing, What new roles have in mind for future seasons?
F.V: I would like to further explore the verismo and Puccini repertoire, como La Fanciulla del West, Gianni Schicchi, Pagliacci or Cavalleria rusticana, for example, but at the same time maintaining the Verdian baritone repertoire that is basic, and of course the bel canto. Próximamente sing Il Pirate, Lucia di Lammermoor y Roberto Devereux, a repertoire that is essential for me to keep up the ductile voice.
B.C: Must we wait four years to return to listen to him in Spain?
F.V: Hopefully not! I sincerely hope to be at least every year in a Spanish theater.
Placido Domingo Nabucco Les Arts
The Nabucco of Placido Sunday triumphs at the Palau les Arts in Valencia
By Diego Manuel García Pérez.En Valencia Palau de Les Arts, They have taken place six performances of Nabucco, the four first performed by Placido Domingo incombustible. Ya, for months that the tickets were sold out. Madrid tenor is a real media phenomenon, mobilizing crowds in each of their performances. A public come from around the world, with Japanese included, where they could see ladies wearing kimonos. The vocal state under the Madrid, and frisando the seventy-nine years, It matters little to these groups of enthusiastic fans, that they come with the premeditated idea applaud and show their admiration. To all this the fact that Domingo sing again in Spain was added, after being subjected to a wave of accusations of sexual harassment over thirty years ago, not having produced any legal complaint, but deteriorated figure this myth opera, to the point of having to give up their performances in the US and leave the artistic direction he held since 2001 Opera Los Angeles. In the representation I attended, I had the opportunity to converse with a critical come from Argentina, who told me with real sadness that the famous Teatro Colon in Buenos Aires, He had also vetoed his presence. Large European operatic centers continue supporting him, as it has been in the past Salzburg Festival, Miller performing Verdi's Luisa Miller, where he was strongly applauded, and also he received the tribute at the Teatro alla Scala in Milan, on the fiftieth anniversary of his debut at the theater, A few days later representations of Nabucco in Valencia, where the controversy about Sunday was served, as, in contrast to the enthusiasm of the audience inside the Palau de les Arts, for its presence and activities, had demonstrations outside rather than female groups carrying large banners, with the phrase "Nebuchadnezzar stalker". Regardless of these circumstances, Note that these functions Nabucco, apart from the presence of Placido Domingo, They had as big winner at Abigaile played by Neapolitan soprano Anna Pirozzi, who had already impressed the Valencian public with this same role, in the representations of Nabucco that took place in May 2015. The Orquesta de Valencia, well directed by Jordi Bernàcer, also shone high. Y, as usual, the Choir of the Generalitat Valenciana was a great success, in an opera as this where it has a very important presence, including the chorus "Va pensiero" the most famous and popular of the entire history of opera Italiana.Nabucco is the third opera composed by Verdi, Temistocle libretto by Solera, and its premiere took place at the Teatro alla Scala in Milan, he 9 March 1842, constituting a great success, to the point of being represented in that season and the next, in 57 occasions, something that had never happened before. Nabucco may be influenced by Donizetti and Bellini, but his vigorous melodies, with passionate vocal language, and they are typically verdianos. In this opera, and for the first time, Verdi gives great importance to the baritone, assigning the title role of Nabucco. Y, Abigaille -of the extreme difficulty- a dramatic soprano of agility, It is played at its premiere by Giuseppina Strepponi, destined to become sentimental companion of Verdi and his future wife. The role of Zaccaria (Great high priest of the Hebrews), It is also very important and requires a low rotund voice and great extension. After a few years when this opera was massively represented in Italian and European theaters, He fell somewhat forgotten, very rarely being programmed. Its American premiere took place at the Teatro Colon in Buenos Aires, in 1914. Nabucco true recovery was made by the master Vittorio Gui, in 1933, Teatro alla Scala in Milan, and also, that same year, transcurso en primer "Maggio Musicale Fiorentino", in both cases with two great singers Carlo Galeffi (Nabucco) y Gina Cigna (Abigail). Vittorio Gui also directed the famous performances, with a live recording- which they took place in December 1949, Teatro San Carlo in Naples, with the extraordinary creation of Abigaile by Maria Callas. The main pieces of this recording can be heard on YouTube. Ya, in 1951, on the occasion of the fiftieth anniversary of Verdi's death, RAI made a studio recording, directed by Fernando Previtali, with magnificent Abigaile de soprano Catherine Mancini, which can be heard integrated into Youtube. In 1960, Nabucco was first performed at the Metropolitan neoyorkino, played by the Austrian soprano Leonie Rysanek, with vocalism that demand Abigaile, although somewhat away from the style of singing verdiano. Along the Rysanek intervenían important you guys fully Verde: baritone Cornell MacNeill (Nabucco) and bass Cesare Siepi (Zaccaria). Elena Souliotis stunning vocalism and ephemeral career, Abigaile played in the sixties and seventies; Also the Bulgarian Ghena Dimitrova, It was an excellent Abigaile from the late sixties to the nineties. In 1968, He first played the character of Nabucco, the great baritone Renato Bruson, a real stylist singing, as it can be seen in its interpretation held at the Teatro Regio of Parma, in January 1979, Abigaile stunning along with our Angeles Gulin, died prematurely in 2004 (this year 2019 It has completed the eightieth anniversary of his birth). It is extraordinary to hear the great duo Nabucco and Abigaile in the voices of Gulin and Bruson, Available on YouTube. Renato Bruson will be the most important interpreter of Nabucco, for over thirty years. The Ukrainian soprano Maria Guleghina will become from the mid-nineties, in a reference to the character of Abigaile, by vocalism and great dramatic temperament. He first performed at the Paris Opera Bastille in 1995, Julia Varady alternating with, with a great cast that included great bass Samuel Ramey (Zaccaria), Jean François Lafont (Nabucco), Violeta Urmana (Fenena) and Jose Cura (Ismaele); Y, the next year, at the Arena of Verona with Renato Bruson (Full version video available on YouTube). From then until the most recent news, He has played on many occasions worldwide. Significantly making video DVD marketed by DGG in the Metropolitan neoyorkino, in 2001, James Levine direction, where Guleghina shared with Joan Pons cast (Nabucco) and Samuel Ramey. Fragments of this recording can be heard on Youtube. Overlapping Guleghina, arise in 2013, excelentes de dos interpretes Abigail: Anna Pizozzi at the Salzburg Festival, directed by Riccardo Muti (gran guarantor of this score), and the Ukrainian Liudmyla Monastyrska, Teatro alla Scala in, next to the magnificent Nabucco Leo Nucci, and that same year 2013, in Covent Garden, with Placido Domingo as Nabucco, and there is a live take marketed on DVD by SONY. Since then Pirozzi and Monastyrska, They are quite often played the character of Abigaile. Deutsche Opera Berlin scheduled Nabucco season 2019-2020, with alternating Maria Guleghina, Anna Pirozzi y Liudmila Monastyrska.

Nabucco production has been seen in the Palau de les Arts, It comes from the Washington National Opera in co-production with The Minnesota Opera and Opera Philadelphia, and has the stage direction and set design and costumes Thaddeus Strassberger Mattie Ullrich. This production aims to replicate what could be the Nabucco assembly when it premiered at the Teatro alla Scala, Here spiced with a proposal theater within the theater. Mediated long initial overture we see a number of couples dancing very Austrian nobles in the aesthetics of the film Il Gattopardo of Luchino Visconti, and later they began to occupy some boxes enabled to the left of the stage to contemplate the representation. They can also be soldiers guarding any hostile reaction from the Italian public to the Austrian nobility who then occupied Milan and all Lombardia. A stage decorated with a papier-mâché, friezes, mosaics and large columns, reproducing in Act I, Solomon's Temple in Jerusalem and in Act II, Palace in Babylon Nabucco, with a series of overlapping curtains that produce a real sense of depth scenic. In Act III, before the famous chorus "Va pensiero", action can be seen from behind the stage as if viewers were backstage. At the end of the performance the performers gather bouquets of flowers thrown by the Austrian public on stage, furiously returning them to the boxes and displaying two banners with the colors of the Italian flag and inscriptions, one in the "W", and the other the word VERDI, acronym which together they formed the words: Victor-Enmanuele live King of Italy (true symbol of Italian patriots against the Austrian domination). Costume design by Mattie Ullrich is in excess colorist for the Babylonians in contrast to the white hues of the Hebrews.

Proven leadership and strong, with large capacity concertmaster Jordi Bernàcer, the head of the Orchester de Valencia, which again proves to be a set of high quality, and this is evident from the excellent performance of the overture: a long page, articulated well full of contrasts, where different musical motifs and Iran reappearing long exposed opera, among them, -with the accompanying minor modifications- the famous chorus "Va pensiero". The orchestra has an outstanding performance, during the entire performance, shining in moments of intense lyricism: introduction and accompaniment of arias of Abigaille, Act II respectively and the closing of the opera, or Fenena's aria in Act IV. Y, by contrast, It shows an uncontrollable force, in the vibrant end of Act I, when Nabucco bursts onto the scene, whose recurring musical theme and exhibited in the overture, It is taken up in the orchestral introduction of Act III, and the coda of the final cabaletta performed by Nabucco, in his great scene of Act IV. Report also, the magnificent orchestral intervention Nabucco and Abigaille duet of Act III, and the overture to Act IV. At the direction of Jordi Bernàcer, It is blamed tendency to use sounds in forte. Finally, and in the high level offered by the members of the orchestra, include the splendid performance of severe rope especially the cellos, and the woods where they shine solo flute and oboe.

The big winner of these representations, ha sido Neapolitan soprano Anna Pirozzi, Abigaille who composes a great vocal and dramatic stature. voluminous voice and bright timbre, buen breath, excellent ability to regulate the sound, and a sharp, broad and well cast treble, (some extreme notes something forced), It is its weakest a limited range of serious. His voice stands out strongly in the moments of greatest orchestral forcefulness: the concluding concertantes of Acts I and II. It provides a good command of bel canto coloratura, and meets with expertise deviled octave jumps that punctuate much of their interventions. Makes a great performance in his big scene of Act II, initiated with violent recitative "Ben io t'inventi", to move to the lyrical and intimate singing the aria "Anch’ opened one day "y, then, show an overwhelming force in the cabaletta "Salgo già of the aurate throne". also highlights, his great performance in the duet with Nabucco Act III, inserting in its dialogues with a pleading Nabucco, a vibrant cabaletta, whose musical theme appeared exposed in the initial overture. Anna Pirozzi looks back his vocalism and interpretive force, in his beautiful aria end "Its me, dying, essanime "exquisite voices stockings, and issuing delicate notes in "pianissimo".

Since he started his stage baritone, I had occasion to hear Placido Domingo, in the Palace of Arts, in various roles verdianos: Francesco Foscari I due Foscari, in 2013, Macbeth, in 2015 and Rodrigo Marques de Posa in Don Carlo, in 2017, to which is added this Nabucco. Sunday is not a baritone but sings tenor baritone roles. During those six years between the creation of Francesco Foscari and Nabucco, the voice is gone Logically- deteriorating, with an increasingly lack of fiato, which prevents him properly build the Verdian long sentences. However keeps its beautiful timbre, miraculously youth, and a large theater capacity compensates his vocal limitations. Its scenic entrance in Act I, It turned hesitantly, with almost inaudibly in the great concertante that closes Act I, voices to side as strong as those of Anna Pirozzi and Alisa Kolosova. He improved considerably at the end of Act II, singing in the best Verdian style "S'appresan gl'istante". notably He faced his great Act II duet with powerful Abigaile Anna Pirozzi, full alternating moments of strong accents "Donna, who are you", “Oh, of qual'onta aggravasi ", with others full of pathos in his words repeated "Ah, The shadow miserable old man ... I am the King ", in contrast to the aggressiveness of Abigaile. Ya, in his great scene of Act III, They produced his best moments in the aria "Dio di Giuda", where he sings with delicate accents, lying on the ground face down, (something truly unusual for an almost octogenarian person), and plays hard and expressiveness the cabaletta "O Prodi miei, follow me".

The role of Zaccaria great vocal and stage requirement, She was played by the bass Riccardo Zanellato, verdiano good style of singing, although it lacking in volume and in serious difficulties Acute records, which are reflected in frequent octave leaps, to be performed in its many interventions throughout the opera. His performance was not discreet, in scenes of authentic brilliance as the aria "Sperate, or children…"Followed by the cabaletta" Come notte a glittering sun "Act I and the end of Act III" Oh,those who weep?…The future discern in the dark ". His best time was in the interpretation of the aria "Tu sul labro" belonging to the Preghiera, in Act II.

Russian mezzo Alisa Kolosova in the role of Fenena, He wore a voluminous voice of beautiful timbre. In his only solo, el aria "Oh disclosed is the firmament" of Acto IV, shows a delicate and elegant line full song lyric accents. also note, Speaking at the "Terzettino" of Act I, junto a Abigaille (both competing vocal volume) and Ismaele played by Mexican tenor Arturo Chacón the-Cruz, Voice bit bulky, but she sings with style and musicality, sobre todo en su vibrant airy "For the love of the living God dall'anatema cease", pertaining to Act II. Among the comprimarios roles include the magnificent performance of the Korean under Dongho Kim (The high priest), with a far superior vocal means to Riccardo Zanellato. Well in his brief interventions as Anna Sofia Esparza, Zaccaria's sister, and Ukrainian tenor Mark Serdiuk as Abdallo (Nabucco faithful officer).

"The Choir of the Generalitat Valenciana", directed by Francec Perales, He shone high, Obviously highlighting- in his extraordinary interpretation of the famous "Va pensiero", it starts again once the opera, after the rudeness of interpreters to Austrian nobles. As well, noting their great performances from other great choral moments: "The holidays Cadona broken down furniture", very beautiful invoice, with which starts the opera. As well, el de los Levitas chorus of Acto II "The Damned has no brothers", whose vibrant musical theme, already he appeared exposed in the initial overture. Y, interventions in the concluding concertantes of Acts I and II, or its significant presence throughout the end of Act III. In this production, The opera ends with the magnificent choir "Immenso Jeovha", usually precedes the "O-ary recitativo! those who see the wicked ... ..Su me, dying lifeless ", where death occurs Abiagaile.

Franco Vassallo

After consolidating his career as one of the great interpreters of bel canto romantic, Franco Vassallo It has become one of the most important representatives of the Verdian repertoire today. The Italian baritone debut in January at the Gran Teatre of the Liceu of Barcelona with its unique Amonasro, the father of the protagonist of the popular opera Aida in Verdi.

It is in the Verdian repertoire which concentrates its activity Vassallo today, It is considered as a reference in titles like Simon Boccanegra, Attila, A dance en mask, Don Carlo, Rigoletto, Macbeth, Nabucco, Otello, The Troubadour, Luisa Miller Y The force of Destiny, works he has played in some of the most important theaters in the world, New York to Milan.

Amonasro is a very complicated role to play”, explains Vassallo, “especially because you have to give credibility to the frustration of a dethroned king and humiliated, Besides, discovers that his daughter loves the leader of the army that devastated his own people. One must know how to measure delivery and the excitement that goes with, always with a major orchestra that is what Verdi envisioned for Aida”. Also states that "Although the role is not very long, It is one of the most intense and dramatic parts of the great Verdi baritone characters, with long passages dense applicants, They are requiring a large legato singing, phrasing, robustness and a wide vocal range”.

Franco Vassallo perform at the Liceu day 14, 17, 20, 23, 28 Y 31 January 2 February in the historical production of Mestres Cabanes in mid-century XX, a jewel of the Catalan school of scenography.

Among others, later they await a new production Don Carlo at the Salzburg Easter Festival and the Semperoper Dresden and directed by Thielemann Otello Y Luisa Miller Comunale in Bologna.

Web Franco Vassallo

Don Carlo
Giuseppe Verdi (1813-1901)
Opera in five acts
Joseph Mery libretto there Camile Le Locle, based on the play Don Carlos, infant of Spain (1787) de Friedrich Schiller, translated into Italian by Achille de Lauzières and Angelo Zanardini.
2 October, Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: David McVicar
Scenographer: Robert Jones
Costume designer: Brigitte Reiffenstuel
illuminator: Joachim Klein
Choreographer: Andrew George
Playwright: Maite Krasting
D. choir: Andrés Máspero
Distribution: Michele Pertusi, Andrea Caré, Simone Piazzola, Rafal Siwek, Fernando Rado, Ainhoa ​​Arteta, Silvia Tro Santafe, Natalia Labourdette,
Moses Marin, Leonor Bonilla, Mateusz Beware, Cristian Diaz,
David Sanchez, Francis Tójar, David Lagares and Luis Lopez NavarroLas intrigues of the Spanish court have always been a source of inspiration for writers and musicians. Especially those fed by the "black legend" that came mainly from England, the rival Spanish power cut at the time. Y a Friedrich Schiller, author of the work on the libretto by Joseph Méry and Camille du Locle interested him more than the fabled legend real.Verdi history did not escape this fascination is based. Interested in the issue after a visit to the Escorial during his stay in Madrid, he thought that Don Carlo could respond to the request of the Paris Opera for the celebration of the Universal Exhibition 1867. A theme like this was perfect for the public in Paris, lover of the great French opera, with spectacular scenery and great intensity dramática.Pero, despite the deployment of resources for its composition, Verdi was not satisfied with the result. Constant modifications introduced. So much, the first version of Don Carlo never be released. After the first rehearsal and before the second, the large number of changes made in the score resulted in a second version, which it was premiered at which 1867, known as the "Paris version" .Había time opera premiered in Italy, or public taste Italian, unaccustomed to almost endless works, nor the ability theaters, They are responding to the demands of the Parisian version of Don Carlo. Verdi then decided to make a drastic cut to work, thus giving the Italian pragmatism. Then came the "Milan version" of 1884, in which it dispenses with the ballets and the first act, el Fontainebleau. This has been to date, the version represented Españ 1886 Verdi revised the work again. The suppression of the first act left some gaps in the narrative. He decided to reinstate Fontainebleau. It is not in vain in this act in which the main theme of the work is proposed, the innermost feelings of the characters, meet their public responsibilities. born then, "Version of Modena". Which recovers the Teatro Real this season.

The scenery is abstract, David McVicar very typical, which we recall the twist and the latest Gloriana, ambas Britons. The stage has been reset by Axel Weidauer, justifying the scenery quoting the author of the libretto, Friedrich Schiller: "The most beautiful dreams are those who are in prison". And certainly this phrase has inspired the scene until an oppressive and claustrophobic atmosphere. It composed solely of gray brick structures whose slight movement creates new spaces in which nothing changes. Only a few symbolic elements take us back stage.

McVicar always used the costumes as a fundamental element of contextualization of the work. Its historical rigor and the extraordinary costumes by Brigitte Reiffenstuel are quite reminiscent of the historic moment living characters. It is a perfect vehicle between history that narrates the work and modern and eclectic scenery.

The musical direction was in charge of Nicola Luisotti. With him the orchestra sounds like Verdi. Sometimes, too. The sound volume was often excessive and somewhat cumbersome. Maybe that's why the best moments of the orchestra were those that required greater expressiveness. It was less more in his direction and managed to keep the pulse until the end. Get a good level of theatricality and narrative continuity that facilitates the work of the singers.

The choir was an important element in dramaturgy. Figurines and that set the perfect sound that vibrates the heart of the entire room.

The voices were led by Don Carlo Andrea Caré. His performance was also low to high. It started with a somewhat rude lisp was clearing, resulting in a good phrasing that emphasized a beautiful and homogeneous timbre. expressiveness, both vocal and scenic, It was almost nonexistent.

Isabel de Valois Ainhoa ​​Arteta was at high altitude. His voice, always audible and timbrada, delineated a character suffered in the most intimate and full of dignity and solemnity in its institutional part, Thank you, especially, his extraordinary stage presence. He played his Elisabetta with elegance and musicality and shone in the middle voices.

The always solvent Silvia Tro, I knew give your Princess Eboli distant coldness that is supposed. Registration maintains an extensive tour that allowed him to face an acute tessitura at times, but also demanding rushing serious character in "O don fatale".

Filippo II of Michele Pertusi had its greatest qualities in the interpretation and phrasing intentional. But the volume of his voice and insufficient serious, They blurred partly a character, roundness asking more vocal and more psychological depth

Something similar happened with the grand inquisitor of Rafal Siwek. His presence on the scene saw the character, but it is very scarce in vocal terms.

Simone Piazzola gave birth to a Rodrigo with all its qualities of loyalty and camaraderie to his friend, The infant. He had moments of inspiration and phrasing with taste, especially in duets and at the time of his death.

The Tybalt Natalia Labourdette was almost unheard. Between the volume of the orchestra and his voice, We could barely hear.

A very good standard interpretation was Friar Fernando Radó. And the Flemish deputies Mateusz Hoedt, Cristian Diaz, David S´nachez, Francis Tójar, David Lagares and Luis López Navarro.

A successful start of season with more show at the stalls that scene.

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

Between days 18 September and 6 October, Royal Theatre offer 14 functions from Don Carlo, from Giuseppe Verdi, inaugurating su season No. 23 since the reopening.

Don Carlo, 23Th of 26 Verdi operas, It is the longest of its catalog and which underwent more revisions: in a span of almost 20 years, from 1867 a 1886, the composer wrote different versions trying to find the dramaturgical and musical balance of the score, I was affected, since its genesis, by the impositions of the theaters.

Verdi resumed his recurring themes ─ the struggle between inner feelings and political duty, the desire for freedom from oppressive power, revolutionary ideals, forbidden love, the parent-child relationship, friendship, etc.─ through sensitivity and romantic momentum Friedrich Schiller, which she had already inspired three previous operas: Giovanna D'Arco, I Masnadieri Y Luisa Miller. From his drama dom Karlos, Infante of Spain, the composer returns to approach the Spanish universe, with varying degrees of success, He imbibed four titles in its catalog: Ernani, The Troubadour, Simon Boccanegra Y The force of Destiny.

Written for the Paris Opera, where he triumphed grand opera, with its bombastic charges (historical themes the mythological, large choral and symphonic masses, ballets, etc.), the first version of Don Carlo, with original libretto in French François Joseph Mery Y Camille du Locle, It was released in 1867, with great pomp and pageantry, including the presence of the French royal family.

Annoyed with the impositions of the Paris Opera and disgusted with the various adaptations and versions of the opera in Italian, Verdi decided to reduce the duration of the work to facilitate their dissemination and prevent each theater cut off the score at will: born so called 'Milan version’, from 1884, in which the first act deleted, ballet, etc. This version in four acts, more short, more agile, but weaker dramaturgically, which it is presented at the Royal Theater 2001 and in 2005, with staging by Hugo de Ana.

Two years after the release of version four acts, Verdi revisits the score restoring to the first act, called Fontainebleau, to give a greater consistency to the work dramatúrgica, because in it the historical context and the network of relationships between the characters that foster the evolution of the drama is shaping up. Thus was born the so-called 'Modena version’, from 1886, five acts without ballet, which you can now see at the Royal Theater, with staging David McVicar, He addressed in previous seasons Another twist (2010), La traviata (2015), Rigoletto (2015) Y Gloriana (2018).

In a monumental decorated, icy, oppressive and symbolic of Robert Jones ─ which 'materializes' the enormous weight of religious and political power that characterized the reign of Felipe II─ succeed fluently different spaces in which the plot unfolds, whose era is evoked by the sumptuous costumes designed by Brigitte Reiffenstuel.

And production Gloriana, Benjamin Britten, acclaimed 2018, McVicar, Jones Y Reiffenstuel They manage to create the right atmosphere for psychological introspection of the characters, what, in Don Carlo, reflect, more than in other Verdi operas, complex and contradictory feelings, with ethical implications, moral and sentimental to them away from the dichotomy between good and bad of previous titles.

Nicola Luisotti, who last season led Turandot, Giacomo Puccini, praised in production conceived by Bob Wilson, verdiano will direct his fourth title in front of Headlines Choir and Orchestra of the Teatro Real, after The Troubadour (2007), Rigoletto (2015) Y Aida (2018).He will head three partitions, whose singers, mostly known to the public of Real, They will alternate the roles of the protagonist sextet: Marcelo Puente *, Andrea Carè, Alfred Kim and Sergio Escobar *(Don Carlo); Maria Agresta, Ainhoa ​​Arteta Y Roberta Mantegna (Elisabetta de Valois); Luca Salsi, Simone Piazzola Y Juan Jesus Rodriguez (Rodrigo, Marquis of Posa); Ekaterina Semenchuk, Silvia Tro Santafe Y Ketevan Kemoklidze (Princess Eboli); Dmitry Belosselskiy, Michele Pertusi Y Dmitry Ulyanov (Philip II); Y Mika Kares Y Rafal Siwek (The Grand Inquisitor).

*Marcelo Puente Y Sergio Escobar will perform the title role of Don Carlo Francesco Meli instead of, He has canceled his participation in the opera sick duly accredited.


Of the 10 September to 6 October | Teatro Real, Foyer

Exposure facsimile Hours of Charles V, recently restored, in the foyer of the Theater anticipating the splendid exhibition of the original manuscript National Library from 10 October.

11 of September, to 20.15 hours | Teatro Real, Sala Gayarre

approaches 19/20: meeting with Nicola Luisotti and Axel Weidauer, musical director and responsible for the replacement stage Don Carlo and Joan Matabosch, artistic director of the Teatro Real.

19 of September, to 18.00 hours and 21 of September, to 12.00 hours | Lazaro Galdiano Museum

Spanish fashion Golden Age: themed tour of the most striking aspects of the aesthetics of the sixteenth century Spanish fashion, through paintings, jewelry and textiles.

From 20 of September | Naval museum

Visit workshop: The universe of the Habsburgs from the point of view of the naval world of sixteenth and seventeenth centuries.

21 of September, to 20.00 hours | Classical Radio and EBU European Broadcasting Union

Live broadcast from Don Carlo in Classical Radio, the RNE, and stations that make up the EBU, European Broadcasting Union.

21 September and 6 October | Yuste Monastery and Basilica

Emperor concert series: visit to the monastery of Yuste and a concert in its Basilica with music of the sixteenth century in honor of Emperor Charles V.

22 of September, to 12.00 hours | Teatro Real, Living room

Chamber Sundays I: the Soloists of the Titular Orchestra of the Royal Theater will offer a concert to contextualize the opera Don Carlo and its composer, Giuseppe Verdi.

24 of September, to 19.00 hours | Arab house

El Escorial, dreams of a universal library: Maria Jesus Viguera, numerary of the Real Academia de la Historia, analyze the Arabic manuscripts of El Escorial and the reasons why the collected Felipe II.

26 of September, to 17.00 hours | National Archaeological Museum

Spain in times of the Austrias: a tour of the rooms of the modern age to discover the Spain of the Austrias and historical reality behind the argument Don Carlo.

29 of September, to 11.00 hours | Teatro Real, Living room

Opera theater: projection Aida, de Giuseppe Verdi, with musical direction of Nicola Luisotti and stage director Hugo de Ana.

1 October, to 18.00 hours and 3 October, to 12.00 hours | National Archaeological Museum

Touching story: A prince Profile: a visit to the museum vault through a famous medal with portrait of Prince Don Carlos, starting point to get into the sociocultural context of the court of Philip II.

6 October, to 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: The Garden of Earthly Delights: music workshops for the whole family, direction and presentation of Fernando Palacios. This session, the family of King Philip II explains the picture of Bosco.

Of the 10 October 2019 al 4 of January of 2020| National Library of Spain

A miniature museum: Hours of Charles V: made in a Paris workshop to 1500, one of the most important manuscripts of the National Library will be exposed for the first time to the public, accompanied by four other pieces from the BNE own.


Il Trovatore burns en el Teatro Real
Giuseppe Verdi (1813-1901)
Dramma in four parts
Salvadore Cammarano libretto, based on the play
the troubadour (1836) of Antonio García Gutiérrez
D. musical: Maurizio Benini
D. scene: Francisco Negrín
Escenógrafo y costume: Louis Désiré
Lighting: Bruno Poet
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Artur Ruciński, Marie-Nicole Lemieux, Piero Preti,
Roberto Tagliavini, Cassandre Berthon, Lara Fabian, Moses Marin, Sophie Garagnon
El Teatro Real estrena Il Trovatore, one of the most popular and emblematic Verdi operas from the time of its release, and does so in co-production with the Opéra de Monte-Carlo and the Royal Danish Opera Copenhague.Fue made the same year as La traviata and Rigoletto, but Trovatore already contains the bel canto drama that evolved in later operas. Technical changes and vocal, start this period belcanto, the transition from youth to maturity of italiano.Otra master of the reasons why Il Trovatore is a fetish opera is the vocal challenge for singers. Partly, so it is written in the score and partly because it is not written, and that, by tradition, is sung. Many of the difficulties of the work, actually, They are not written by Verdi, but many singers who carry out. One such example is in the second cabaletta of Leonora in Act. In the version shown at the Royal Theater, interpreted, what makes this extremely difficult role. According to the master Benini, once this fragment was omitted at the request of the singer difficulty. Benini considers it necessary to keep "because the very form of the bel canto demands respect this structure, arc composed recitativo - aria - cabaletta. If we cut the cabaletta, we cut the melodic arc. "Another of the elements belonging to tradition is the famous Do Manrico in the aria from La pira. Actually, Do this appears penciled in the original score, but it was written by Verdi, It was added later. And the belcanto has always required an evolution of vocalism. It had to be faithful to these principles and demonstrate bel canto virtuosity of the singers and, maybe, I should also be reflected in writing, hence its incorporation, added as, to scores. But originally it does not appear.

The endiablada vocalism of Trovatore required, as Verdi himself, the participation of five singers of the first order. Not only the tenor and soprano, all must be the best singers at that time for these roles. For this production of Teatro Real, more concretely, the second division, this requirement is not met.

Also the script has been controversial for its convoluted plot. A succession of scenes impossible and difficult to understand and monitoring by the public. All the passions unleashed among the four main characters, and a gypsy curse, a troubadour, false son of the gypsy, an evil count and a lady, Leonora, to which the two protagonists seek. Love, her spell revenge and, are the main arguments of the libretto by Salvadore Cammarano that, his death, Verdi wanted to respect without making any changes in.

Stage director Francisco Negrin has taken fire as conductive element and protagonist of the scenery. Has a large presence throughout the work and represents a past that burning the possibility of present and future. for Negrin, We all have a burden of the past that affects us and affects our lives.

Dark and suffocating atmosphere that is achieved is the perfect item where the ghosts of the past of the characters are developed that mix with them. A darkness that is maintained throughout the work and ends resulting uncomfortable for the viewer. Especially in the first part, which it became soporific. A stage with little or no originality and little details that contributed to the work.

The great success of this production came from the pit. Maurizio Benini experience with the Verdian repertoire are those that grow confidence in both the orchestra and the singers. important element, The chorus, It was less more to finish dramatically.

Azucena of Marie-Nicole Lemieux was correct in interpreting, with a powerful bass accentuating the dark nature of the character. But it turned out a little screamer moments and a somewhat coarse ridge line d.

The Manrico Piero Preti went dwarfing as the work progressed. His timbre is nice but the feeling was weak, also in interpretive.

Roberto Tagliavini gave a more consistent picture of Ferrando, like the Count de Luna Artur Rucinski, that accompanied its powerful bass with good stage presence.

The most applauded of the evening was the Leonora of Hibla Hibla, with a ridge line more than correct, He endowed his character sensitivity and elegance.

With this work the Royal Theater celebrates another great success with his opera week, event that has already become traditional.

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

He Teatro Real will end their season with three functions Giovanna D'Arco, from Giuseppe Verdi, in concert, the days 14, 17 Y 20 of July, with musical direction James Conlon, which he has already demonstrated its sensitivity and depth in reading pages Verdian The Sicilian Vespers (2014), Luisa Miller (2016) Y Macbeth (2017).

Placido Domingo, which is playing in recent years some of the biggest papers Giuseppe Verdi baritone roles ─los holders Simon Boccanegra, Nabucco, Rigoletto Y Macbeth; Miller, in Luisa Miller; Francesco Foscari, in I due Foscari; Count di Luna, in The Troubadour; Giorgio Germont, in La traviata; or Rodrigo, in Don Carlo─, this time it will play a less known figure by the public: Giacomo, Opera Giovanna D'Arco, you will hear for the first time at the Royal Theater.

Sunday will perform with soprano Carmen Giannattasio (Giovanna), debuting at Real, the tenor Michael Fabiano (Carlos VII) -who appeared in Cyrano de Bergerac in 2012 e I due Foscari in 2016, also with Placido Domingo, the tenor Moses Marin (sharing), baritone Fernando Rado (Taldot) and the Titular Choir of the Teatro Real, prepared, as usual, by Andrés Máspero. Except for Placido Domingo, all soloists, James Conlon and the Headlines Choir and Orchestra of the Teatro Real will perform Verdi's score first.


Giovanna D'Arco It is the seventh Verdian opera catalog and belongs to corpus of the first stage as a composer, which already they emerge the dramatic force of his music and beautiful melodies, Despite the limitations of the libretto Temistocle Solera, with which Verdi had previously worked on Nabucco, I lombardi Y Attila. it is poet, composer, operatic promoter, traveler and librettist success was the second director of the Royal Theater, just one year after opening, in 1851, and one of the first Italian entrepreneurs to mount productions at the Royal.

Starting from a free adaptation of the romantic drama The Maid of Orleans, from Friedrich von Schiller -author who has inspired I masnadieri, Luisa Miller and Don Carlo-, the plot of the opera is structured around the untamed Giovanna d'Arco personality, torn between the stubborn defense of the homeland and their personal feelings and emotions.

In his libretto, Temistocle Solera dignifies the death of heroin, who is killed in the battlefield, and frees the Church of the Inquisition accusing finger, becoming the father of the protagonist in the great promoter of his tragedy.

This preponderance of father figure in opera, whose character, Giacomo, played by Placido Domingo, experience throughout the drama a deep inner transformation, It gives rise to some of the most beautiful pages of the score, and presaging large and complex 'parents' created by Verdi throughout his career: Rigoletto, Giorgio Germont, Amonasro, Simon Boccanegra, Felipe II, etc.

Successfully premiered at the Teatro alla Scala in Milan 1845, opera consists of a prologue and three acts, in which the traditional numbers are articulated -arias, duos, tercetos, romanzas, cabalettas- contrasting articulated and with a large participation of the choir, often divided in two and three groups operating simultaneously.

With Giovanna D'Arco Giuseppe Verdi is still in a crossroads between the use of structural conventions, Stylistic and plot prevailing in the booming Italian operatic creation in the mid-nineteenth century, and search and exploration of new ways to flourish in later works.

With the presentation of this opera incorporates a new title catalog Verdian repertoire of Teatro Real, doing justice to one of the most beloved composers by the public of Madrid along the 200 year history.

More of 150 municipalities throughout Spain have already joined the relay The Troubadour, screens installed in places, auditoriums, museums, theaters, cultural centers, municipalities and, for the first time, four airports -Valencia, Málaga, Fuerteventura and Menorca-, within the framework of collaboration with Aena. [Relay points in Spain]

This year retransmitted institutions such as opera: Bilbao Guggenheim Museum, Carmen Thyssen Museum Malaga, Niemeyer center, National Archaeological Museum, Official College of Architects of Madrid, Cajasol Foundation,Canal Foundation, Foundation Francisco Giner, Ethnographic Museum of Castilla y León, Historical and Ethnographic Museum of Villafranca de los Barros, among others.

He Gran Teatre del Liceu, in the Foyer, and the Festival of Music and Dance in Granada, in the Paseo del Salon, They will also offer relay from the Royal Theater.

He Palace Alfajería Zaragoza will facilitate public access to the Torre del Trovador, original scenario of romantic drama of Antonio García Gutiérrez in which inspired the opera.

Outside Spain, the opera will be broadcast in different areas in China, India and several Latin American countries: Chile, Guatemala, Peru, Dominican Republic and Uruguay.

Once again the opera will be broadcast to everyone in Facebook, and Digital Palco and platform Opera Vision (Opera Europa), in an audiovisual co-production with RTVE.

They can also enjoy opera today at 21.00 hours, users of smarts tv de Samsung, with the implementation of Digital Palco, and users Amazon Alexa.

Besides relaying The Troubadour, the public will see, for free, in the Sala Gayarre Teatro Real, projections 5 Giuseppe Verdi operas -La traviata, Aida, A masked ball, Otello y Falstaff, Monday through Friday at 19.00 hours, until full capacity. This Verdi cycle will be available for free throughout Opera Week at the Digital Box.

Saturday 13 of July, between the 10.00 and the 14.00 hours, the public can access the most emblematic Teatro Real (including its impressive stage area), during his traditional Open Day, this year with workshops props for children.

Throughout the Opera Week there will be contests and sweepstakes that will invite citizen participation through social networks Theater Royal, that they will nourish audiovisual content focused on the tragic entanglement The Troubadour (hashtag #TRovatoreOnFire).

Also the most vulnerable children and girls have their place in the Opera Week, with a concert on Sunday, 7 of July, to 17.00 hours in the Sala Gayarre, under the Social Hall of the Royal Theater, developed in coordination with Social Action for Music. Accompanied by the Camerata Tetouan, will perform choral and instrumental music with fun physical exercises.

The Opera Week It is sponsored by Endesa, Telefónica, State Lotteries, Mutua Madrileña, Redexis and ENIT (Italian Official Agency for Tourism).

They offer 14 functions The Troubadour, between 3 and the 25 of July, in a new production of Teatro Real, in coproduction with the Monte-Carlo Opera and the Royal Danish Opera in Copenhagen.

He 6 of July, Saturday, to 21.00 hours, The Troubadour It will be broadcast Facebook, in the Video page of the Royal Theater, in Opera Vision (Opera Europa) and screens installed in all corners of Spain, programming beginning of the fifth edition of the Opera Week (6 al 14 of July).

Registration open until 30 June for all municipalities and institutions that want to broadcast the opera with technical and promotional support of the Royal Theater: as joining retransmission.

Outside Spain, the opera will be broadcast in China, India and several Latin American countries: Chile, Guatemala, Peru, Dominican Republic and Uruguay.

The staging of Francisco Negrin seeks demarcate the Dramaturgical wireless frame sinister The Troubadour, with constant flashbacks, based on Spanish drama of Antonio García Gutiérrez.

In the pit Maurizio Benini will, Italian veteran musical director, he will return to Real after his acclaimed performances Tosca Y L'elisir d'amore.

Three big deals Verdian voices give life to the protagonist quartet The Troubadour, headers, in the opening and relaying 6 of July, by Francesco Meli tenor, soprano Maria Agresta, mezzo-soprano Ekaterina Semenchuk, Ludovic Tézier baritone and bass Roberto Tagliavini.

Around The Troubadour multiple cultural events are offered at the Royal Theater. [See schedule at the end.]

Functions The Troubadour Endesa you are sponsored.

Retransmitting opera, in coproduction with RTVE, integrated into the Opera Week, It is sponsored by Endesa, Telefónica, State Lotteries, Mutua Madrileña, Redexis and ENIT (Italian Official Agency for Tourism).

Between days 3 Y 25 of July Royal Theatre offer 14 functions a new production from The Troubadour, from Giuseppe Verdi, in co-production with Monte-Carlo Opera and the Royal Danish Opera, production that have premiered last year.

Seventeen years after the great victory Antonio García Gutiérrez (1813-1884) with his work the troubadour (1836), Giuseppe Verdi He instructed the veteran librettist Salvatore Cammarano imbricated transform the drama of the Spanish Romantic poet in a script that shun traditional operatic numbers ─arias closed, easels, cavatinas, duos, threesomes, choirs, etc.─ and Primara continuity and fluency of speech dramaturgical. Cammarano ─ which died without reaching the conclusion of the ópera─ created, but nevertheless, a script that incorporates all the formal clichés of the time, although structurally balanced: four acts divided into two scenes of unequal length.

In opera two plot lines intersect: the thirst for revenge of the gypsy Azucena, whose mother and son died at the stake, and the love triangle in which Leonora is disputed by two hostile suitors, They are representing families, classes and opposing ideologies.

With these wickers, Verdi composed an opera filled with dramatic nerve, melodic beauty and great theatrical effects, inexhaustible flowing and vertiginous, avoiding inconsistencies and excesses of the libretto: high voltage music welling, overwhelming, dragging the public to a collective catharsis, lewd and inevitable.

The production of The Troubadour which can be seen in Real, conceived by Francisco Negrín, It aims to help the viewer to demarcate the dark meanderings of drama, highlighting their hidden drives. Based on the metaphoric elements of the libretto ─el time, Negrin fire and noche─ shows ghosts and visions of the protagonists, caught in the inheritance of a truculent past, exposed in constant flashbacks weft.

The musical direction of this popular title will be verdiano Maurizio Benini ─ which he has previously directed Tosca Y L'elisir d'amore in Real─ and staging Francisco Negrín, who was seen in 2010 L'arbore di Diana, Vicent Martín y Soler.

Three distributions give life to the popular 'gothic drama' Verdi. up the leading quartet at the premiere and global relay of the opera the tenor Francesco Meli (Manrico, the Troubadour), soprano Maria Agresta (Leonora), mezzosoprano Ekaterina Semenchuk (Azucena) and baritone Ludovic Tézier (Count de Luna). In the same roles they will alternate with Piero Pretti, fiber Gerzmava, Marie-Nicole Lemieux is Artur Rucinski (second division); Y Piero Pretti, Lianna Haroutounian, Marina Prudenskaya Y Dimitri Platanias (third division). With all the Italian act under Roberto Tagliavini, soprano Cassandre Berthon and tenors Lara Fabian Y Moses Marin.

It will be the third time The Troubadour is presented in the Royal Theater reopened ─en 2000, with Garcia Navarro and Elijah Moshinsky; and in 2007, Nicola Luisotti and with the same producción─, after more than 300 Opera features that have taken place between 1854 (release date in Madrid) Y 1925. So, like now, This title is one of the most beloved of the Spanish public.


Until the 30 of June | Teatro Real, Great room, workshops, rehearsal rooms

Opera exposed: The Troubadour: A workshop to discover all the secrets of staging of the opera The Troubadour with people who make it possible, showing from the operation of the stage itself, to the staging and the choir, orchestra and set. The workshop will culminate with the assistance pregeneral opera rehearsal on Sunday 30 of June.

6 July at 21.00 hours | Teatro Real, Plaza de Oriente, international points and Palco Digital

Great international relay The Troubadour: the Teatro Real opera take to the streets across three giant screens in the Plaza de Oriente to retransmit The Troubadour from the Main Hall Theater. More of 150 cultural centers, plazas and theaters in Spain, the rest of Europe, America and Asia will join this relay; and further, It will be available through the online platform Digital Palco for free.

Of the 8 al 11 July at 19.00 Y 12 of July 18.30 hours | Teatro Real, Sala Gayarre and Digital Palco

A Verdi who: on the occasion of the 155th anniversary of the birth of Giuseppe Verdi, a film series will be held in the Sala Gayarre, retransmitting five operas by Italian composer conducted the Teatro Real in previous seasons, these being: La traviata, Aida, Falstaff, A masked ball Y Otello.

9 July at 18.00 hours and 11 July at 12.00 hours | National Archaeological Museum, strong room

Touching story. Coins The Troubadour, the arras of Manrico and Leonora undreamed: The National Archaeological Museum held an exclusive visit to the vault the very conservative Numismatic Department, which will show a series of coins of the XV century they could use the protagonists of The Troubadour. Free activity (capacity of 10 plazas), with prior booking

10 July at 19.00 hours | Aljafería Palace, Zaragoza

Aljafería, opera and legends: Aljafería Palace Zaragoza will host a conference with the writer Miguel Angel Yusta as speaker, followed by a subsequent one-hour visit to the Torre del Trovador, in which Antonio García Gutiérrez developed part of the plot the troubadour, work in which Giuseppe Verdi's opera is based. Free entrance until full capacity.

Until the 31 of July | Museum of Romanticism, Museum halls

a work, an opera: Throughout the month of July, and the premiere of The Troubadour, Romanticism Museum will display a range of its collection with the image of Marietta Gazzaniga, soprano whose interpretation of the character of the gypsy Azucena encumbró to fame at the end of his career, in the XIX century.

Photograph: Alain Hanel

He Teatro Real and the Gran Teatre del Liceu They will participate together in one of the most successful initiatives in their respective programs, retransmission of opera in screens installed in squares, parks, museums, theaters, cultural centers, auditoriums and municipalities throughout Spain and in numerous international centers.

A) Yes, the Royal Theater will offer on Friday 28 of July, to 22.00 hours, the retransmission of the opera Tosca from the Liceu, in its Sala Gayarre (access by the public door Felipe V street with free entrance until full capacity), Y the Foyer del Liceu will host the retransmission of The Troubadour, from the Royal Theatre, Saturday 6 July at 21.00 hours.

One of the most famous Italian operas, Tosca, Giacomo Puccini, will be the protagonist of College of the fresco of this year. This production of the Gran Teatre del Liceu and the Teatro de la Maestranza in Seville crowd pleaser season 2013/14 It has an impressive staging of Paco Azorín, faithful to the original. The baton will be carried by the teacher John Fiore and will feature the magnificent voices of the soprano Tatiana Serge as Tosca, the tenor Roberto Aronica in the role of Mario Cavaradossi, and baritone Lucio Gallo as Baron Scarpia.

The Troubadour, Aragón set in the early s. XV, is passionate melodrama that revolves around two brothers whose lives are opposite paths and facing, telling a story of festering hatreds and revenges, loves frustrated, cruelty and intrigue, advancing intensity and unstoppable towards the final catastrophe.

The four acts into which this romantic opera is divided - titled respectively The duel, The Gypsy woman, The son of the gypsy Y The execution– collect the extreme passions and plot complexity posed by the work upon which the libretto is based, chivalric drama the troubadour, from Spanish Antonio García Gutiérrez, what Verdi, collaboration with librettist Salvatore Cammarano his, music puts a great inspiration.

The stage manager Francisco Negrín has designed a dark and symbolic atmosphere for the opera, in which the protagonists transit, between fire and death, toward its inexorable end. Together with him, the performances will have the complicity of the musical director Maurizio Benini, specialist Italian repertoire, in front of Headlines Choir and Orchestra of the Teatro Real and a cast of great voices from the international lyrical scene.

The protagonists of this Verdi drama will be brought to life by the tenor Francesco Meli, like the tormented Manrico, the Troubadour; soprano Maria Agresta will be the voice of Leonora; baritone Ludovic Tézier, will be the role of the evil Count of Luna and the mezzo-soprano Ekaterina Semenchuk will play the passionate and vindictive gypsy Azucena.

One more year, the closure of the opera season of the Teatro Real will connect to the same stage fans across Spain, to enjoy an evening of unique music and share together the passions of tormented characters.

Photograph: Camilla Winther


Almost removed from the world of composition, Giuseppe Verdi enjoyed the company of his wife Giuseppina Strepponi in his sleep Laugar, Sant´Agata. There some friends were coming, among others, the Boito. Arrigo Boito and Verdi had not had very good relationship so far, He was following the success of Otello, Boito libretto another successful, when they began a friendship that was consolidated during the last years of the composer, they shared a love of music and literatura.Boito did get a theatrical sketch Verdi "Falstaff", libretto based on Shakespeare's "The Merry Wives of Windsor" and "Henry IV". He wanted to encourage the teacher to write a comedy, a genre that Verdi had returned to explore for nearly fifty years, tras el fracaso de "A day of reign", his first foray into comedy that was withdrawn the day after its release. Aware of the thorn that her husband was stuck since then, Giuseppina tried, along Boito, encourage the teacher in the adventure of composing a opera buffa. And so he announced during a dinner with the publisher Ricordi, the teacher was writing a new play to their 77 years. The next day, "Corriere della Sera" if hacia eco de la noticia, It generated great excitement among his seguidores.Verdi faced so, with his friend and librettist, its praised, no pressure, with the peace of those who no longer has anything to prove, to build a character that came to empathize along the composition. "The paunchy", as Verdi and Giuseppina called Falstaff, It was completed in mid 1892 and it was premiered at the Teatro alla Scalla Milan on 9 1893.Verdi February came all rehearsals and kept giving indications musicians and singers, something that surprised everyone, for he was about to turn 80 years. The premiere was a success and Verdi had to go out to greet several times. But Falstaff had also created some confusion among some fans of the composer. His music had nothing to do with works made so far. Even he moved away from Otello, I had already been a great musical evolution. After Don Carlo, Verdi had made a great effort to be accepted and respond to criticism that he made his detractors and now Falstaff went a step further. But, at this stage, the master of Busseto was a character dedicated, not only in the world of opera and Italy, He was admired internationally. So the awards to this his last work, They were higher than those embarrassments.

The main novelty in the score of Falstaff lies in their vocal and orchestral style, and its new way of reciting. Verdi completely abandoned in this work the system arias, not appear here passions and dramas so characteristic of his works, represented by those ary bravura. They not appear the cabaletas, concertantes duets and a filled structure rigidities. The composer made a much more dynamic system, where the word is of great importance through a script full of wealth and creative force. It can be said that gives a twist creating a bright, Italian opera theatrical, with a complex orchestral writing, with ensembles and sets. A main character, two side and a set of comprimarios that come out on stage with pinpoint accuracy. a comedy where the pace is essential and where all the characters have an irreplaceable position in the work gear is thus created.

The stage director Laurent Pelly, It has managed to make a very accurate reading of the theatrical level of this opera buffa. He has designed two distinct spaces, a tavern in which Falstaff lives and prepares the intrigues with his cronies Bardolph and Pistol, and another space, elegantly flattering Tangle, where he lives and operates bourgeois part of the deal. The great success of Laurent Pelly scenery and Barbara de Limburg is its theatricality, that faciliya inputs and outputs scene as if it were an intermission, with outstanding direction of actors. Excessive darkness of the stage was conducted by Joël Adam.

The musical direction of the young Daniele Rustioni was very effective and scrupulous in their interpretation. Perhaps, around a few years, Rustioni dares to put more intention and personality in this work. The enthusiasm showed on the podium was not reflected by the orchestra. All very correct, but with little spark.

Falstaff is a choral work. Its many characters should be as good singers as actors, and the final cast, after some casualties, It is an extraordinary level.

Roberto de Candia Nicola Alaimo replaced in the role of Sir John Falstaff. Candia defends his character with enough authority, a homogeneous timbre and great theater capacity. His experience on stage and intention that gives your character, They filled the empty stage in which it was in any of its passages. His Falstaff has the right amount of humor, without falling into caricature. It is a Falstaff with his little smugness and swagger, and it is believed that handsome gentle. Don Giovanni came a living unless his memories and the one just empathizing.

Simone Piazzola's Ford had a higher load histrionic. His character is not vocally simple, but Piazzola smoothly resolved the most difficult passages of his jocular Ford.

The Merry Wives of Windsor didn't have it easy on stage. Pelly put them all up and down stairs while singing. One difficulty to add to its interpretation. Rebecca Evans was Mrs. Alice Ford filled with humor and grace. Its emission is clean and direct, was the most prominent group vocally comadres.

Daniela Barcellona, como Mistress Quickly, It was the most elegant and sophisticated, also in the ridge line. We take a little less wonderful that has such serious. Made very good match with Roberto de Candia in duets sharing.

Most go unnoticed on stage with Mrs Maite Beaumont. Meg Page. Not so with Ruth Iniesta and Nannetta, with a clean voice, fresh and voluminous that accompanied the diffident Fenton Joel Prieto, it costs to recover the good level he showed in The Magic Flute takes a couple of seasons in this same theater.

The doctor. Caius de Chritophe Mortagne was somewhat grotesque, with a somewhat forced his comedy broadcast.

Mikeldi Atxalandabaso is always a guarantee vocally and, especially, in the interpretation. It is a true chameleon on stage. On Bardolph, a bit tacky neighborhood, It was the most fun night. Valeriano showed the same trade Lanchas, Bardolph forays partner and Falstaff. With a bass that resonated with power and a very good performance.

Falstaff ends so masterfully Original, with a leak performed by all actors, including the choir (once again, magnificent), while a large mirror reflects the stalls while listening to "Everything in the world is mocking". In this case, we do not mind being teased.

The legendary baritone Leo Nucci debut at the Palau de les Arts with 'Rigoletto', de Giuseppe Verdi, with musical direction by Roberto Abbado, this Saturday, 11 of May, in the Main Hall.

The artistic director of the Arts, Jesus Iglesias Noriega, this title has presented today at a press conference, accompanied by self Leo Nucci with Roberto Abbado and Emilio Sagi, responsible for the staging.

‘Rigoletto’, as it noted Noriega Iglesias, It is one of the most popular works of the composer Busseto, only outnumbered representations La Traviata, and Leo Nucci, his interpreter benchmark since its debut in the role in 1973.

Bolognese baritone holds more than 500 career performances in major theaters in the world, a figure that, as noted by the artist born in Castiglione dei Pepoli, "Sum together with tests and trials over 2.000 Sometimes the skin of the tormented jester. Y, Nonetheless, each night, their representation is different, because the transformation of the character is the evolution of man ".

At 77 years, Nucci has built one of the longest careers of world opera scene. Closely linked to La Scala in Milan, the baritone is unique presence for more than three decades in the Milanese temple, where, today's date, He has appeared in more than 200 operates more than twenty titles, with commitments also in this season.

in Valencia, singer reunites with Roberto Abbado, musical director of 'Rigoletto', the interpreter who has worked on numerous occasions.

He explains Abbado, their relationship goes back more than 40 years, when the director was studying at the conservatory in Milan, but his first collaboration was in Barcelona 1982 with another score of Verdi, 'Don Carlo'.

"This is our second 'Rigoletto' together, and the third in my career after directing at the Teatro Real in Madrid and the Metropolitan in New York ", pointing the Milanese master.

" 'Rigoletto' is a popular opera", explains Abbado, not only because it integrates with 'Il trovatore' and 'La Traviata' known as popular trilogy of Verdi, but by the excellent response "he has received public of Valencia before this story".

"First, the opera has a libretto and music perfect. This is one of the best examples of collaboration with librettist Giuseppe Verdi Francesco Maria Piave. Every word and every note are necessary, how personal relationships are represented, using the 'Mezzavoce' and to translate them duets, together with the beauty of music they complement a plot that could happen today ".

Emilio Sagi signs the staging of 'Rigoletto', it is a coproduction of the Bilbao Association of Friends of the Opera (ABAO) and the Teatro São Carlos in Lisbon, with sets by Ricardo Sánchez-Cuerda, Miguel Crespí wardrobe, Eduardo Bravo lighting and choreography by Nuria Castejon.

The 'regista' is ovetense, Always according to Jesus Iglesias, a sure value in the operatic panorama, besides one of the essential figures in the history of Les Arts, where he has directed titles like 'The Witch', 'The king who raged', The duo 'The African' ', ‘Katiuska’, 'Luisa Fernanda', 'Lucrezia Borgia', 'Tancredi' or 'Il mondo della luna'.

Its scenic proposal, Sagi explains, takes place in a gloomy atmosphere, to emphasize the theatricality of the work and solitude in which the characters live, "Incommunicado and fixated", describe.

The scenography includes a ramp that is transformed by virtue of the different paintings and a floor that is crumbling to symbolize corruption, so that in the last act there is only a piece of land left under the feet of the singers.

First voices

Besides Leo Nucci, the production of ‘Rigoletto’ brings together a cast of prominent voices in the Verdi repertoire who have previously received the applause of the Valencian public at Les Arts.

Vladimir Stoyanov to sing the role of Rigoletto in the last three performances. The Bulgarian baritone returns to the Valencian opera theater where he sang in 2010 en 'Lucia di Lammermoor'. With performances in the great capitals of the opera circuit (Paris, Vienna, London, Milan and New York), has collaborated with the most prestigious batons today: Myung-Whun Chung, Riccardo Muti, Zubin Mehta, Seiji Ozawa y Antonio Pappano.

Celso Albelo plays at the Duke of Mantua, the role that he has sung the most times in his career. The canary tenor, one of the national voices with the greatest projection, has a special ancestry in Verdi's work, Bellini y Donizetti. further, has worked with directors such as Antonio Pappano, Zubin Mehta, Daniel Harding, Alberto Zedda and Nello Santi, among others. In Les Arts he debuted with Plácido Domingo in ‘Luisa Fernanda’ and closed last season with ‘La damnation de Faust’ with Roberto Abbado.

The soprano Maria Grazia Schiavo (Gilda) return to Les Arts 13 years later, she became one of the emerging voices in the bel canto and romantic repertoires. Since his debut in Valencia with ‘Don Giovanni’ with Lorin Maazel, the Neapolitan diva is a regular presence in the main European theaters.

The leading quintet closes with Italian bass Marco Spotti (Sparafucile) and Georgian 'mezzo-soprano' Nino Surguladze. The cast is complete, Besides, with the voices of Gabriele Sagona (Monterone) and the singers of the Center Plácido Domingo: Marta Di Stefano, Alberto Bonifazio, Mark Serdiuk, Arturo Espinosa, Olga Syniakova, Pau Armengol and Juliette Chauvet.

‘Rigoletto’, in addition to its premiere this Saturday 11 of May, Les Arts will be represented in days 14, 17, 19 Y 22.

José Miguel Pérez-Sierra

The Spanish conductor José Miguel Pérez-Sierra will direct the Verdi masterpiece in May Rigoletto, one of the most popular works by Italian composer. It meets at the Opéra de Massy (France), in an elegant and acclaimed production director of Opéra de Monte-Carlo, Jean-Louis Grinda that the Madrid director and previously directed. Pérez-Sierra, one of the most respected specialists in romantic bel canto operatic repertoire and the general, returns to Verdi after the successful performances of The barberillo Lavapies that he just directed at the Madrid Theater of La Zarzuela where he held, precisely with the work of Vives, 100 functions on the podium Coliseum his hometown.

With this Rigoletto Pérez-Sierra returns to a country, France, in which he has developed a considerable part of its long international career. Massy will be in charge of large international cast before continuing his musical journey that, later, and in June, will take you once again to the Opéra de Metz (Always in France) to direct Carmen Bizet, the most famous opera of the French repertoire. Also this summer, a year more- await you at the Rossini Festival of Wildbad (Germany), where Matilde di Shabran review, ie Beauty and iron heart, one of the less widely Rossini operas in a new production signing the outstanding soprano Stefania Bonfadelli.

More information:

Photograph: © Pedro Aijón

Celso Albelo

Tenerife tenor Celso Albelo, the most important Spanish performers of his rope and his generation, back in May at Palau de Les Arts in Valencia with an opera she has sung many times around the world, Rigoletto, de Giuseppe Verdi. Albelo returns to the Coliseum Turia transformed now the libertine Duke of Mantua, who he is responsible for one of the popular literature of all operatic arias and most emblematic, "La donna e mobile". "The truth is that it is a fascinating character”, says the tenor, "A man who mix political power with a kind of personal tyranny which makes it a fairly morally despicable. Anyway it is clear that you are interested Gilda, who, deceived, He gives his life for him, but most likely the Duke wants it only for a couple of nights. I doubt that theirs is love ".

In recent seasons Celso Albelo has taken the character verdiano scenarios such as the Wiener Staatsoper, the Teatro San Carlo in Naples, Comunale Bologna, Teatro de la Maestranza in Seville, the Opéra de Monte-Carlo, Opera Oviedo, the Teatro Carlo Felice in Genoa or the Festival d'Orange chorégies, in France. The Spanish tenor will perform the work in Valencia on 11, 14, 17, 19 Y 22 May next to Rigoletto Leo Nucci alternating with Vladimir Stoyanov and under the direction of Roberto Abbado. It will do after Riccardo Percy in Donizetti's Anna Bolena at the Opéra Royal de Wallonie (Belgium) and before performing Rossini's Stabat Mater in Paris and exhume the opera Il Paria in London, title to be released in album. Later he reprises the role of the Duke of Mantua on a tour of Japan with the company Teatro Comunale Bologna.

Photo: Celso Albelo © Joan Thomas / Fidelio Artist



The next 23 of April Royal Theater debut a new production from Falstaff, from Giuseppe Verdi, in co-production with the Théâtre Royal de la Monnaie in Brussels, the Opéra National de Bordeaux and Tokyo Opera Foundation Nikikai ─teatros where posteriormente─ be presented and the company NEOescenografía SL.

The opera, which will be staged until 8 May ─11 features double reparto─, It will be broadcast live on 2 May the TV channel Half and delayed by The 2, de RTVE. Likewise, The recording will be available on the stage Digital the Royal Theater and will be released on DVD with international distribution.

Falstaff born the fabulous booklet Arrigo Boito inspired passages The Merry Wives of Windsor, Enrique IV Y Enrique V from William Shakespeare (in an edition translated by Victor Hugo) and Genius Giuseppe Verdi que, octogenarian, write a great score, dismissing his operatic career with a song full humanity mood, wisdom, vitality, profundity and rejoicing.

Arrigo Boito ─compositor, poet and playwright who had attached his name to Shakespeare and Verdi Otello─, interweaves and merges Shakespearean scenes and characters in a script all in verse, which is itself a literary work. The author uses phonics and inflections of archaic Italian service comedy, drinking from the Elizabethan theater, of one of Moliere Goldoni, interspersing quotes from Shakespeare or quotes from Boccaccio and playing extensively with the metric for different situations: pentasyllabic for amorous raptures, hexasyllabic to the taunts of the gossips, octosílabos for Falstaff chases, the double septisílabos to sus monologues, all it combined with enormous skill and dramatic effectiveness.

The vast theatrical wealth, semantic and poetic libretto is carefully adjusted to the score of Giuseppe Verdi, it recreates articulating small melodic cells, tonalities, details instrumentation, and timbres associated with characters and dramatic situations harmonies, with fluency, amazing complexity and freshness. Breakneck music takes us from youth to old age, from reality to dream, the sweetness to anger, from laughter to reflection, mocking or pitying characters, or joining their fears, laughs, the feathers devaneos.

Laurent Pelly, acknowledged master in directing actors, in the Teatro Real he has won three funniest comedies ─The Daughter of the Regiment, de Gaetano Donizetti (2014), Hansel and Gretel, The Engelbert Humperdinck (2015), Y The Golden Cockerel, of Nikolai Rimsky-Korsakov (2017)─, returns this time to direct a new production of Verdi's masterpiece in which, once again, He is also the author of the figurines.

In his conception of the opera, whose action moves to our time in a schematic scenery, 'Organic' and mutant designed by Barbara de Limburg, Laurent Pelly deepens inside the characters, on a metaphysical journey in which the limits of farce and comedy fade, to enter the magical realm of enchantment and fable.

Endiablada Verdi's score will be led by Daniele Rustioni, music director of the Opera de Lyon, de la Orchestra della Toscana y de la Ulster Orchestra (is, from September), with a brilliant career international, which will debut at the Teatro Real after triumphing in the most important opera theaters around the world.

He will be leading a double deal, with 10 Spanish players, led by two recognized baritones headlines papers ─Roberto de Candia Y Misha Kiria─, seconded by Daniela Barcellona Y Teresa Iervolino (Mistress Quickly), Maite Beaumont Y Gemma Coma-Alabert (Mrs. Meg Page), Rebecca Evans Y Raquel Lojendio (Mrs. Alice Ford), Ruth Iniesta Y Rocío Pérez (Nannetta), Joel Prieto Y Albert Casals (Fenton), Simone Piazzola Y angel Òdena (Ford), Christophe Mortagne (Dr. Caius), Mikeldi Atxalandabaso (Bardolph) Y Valeriano boats (Gun).

Falstaff It will be presented on stage at the Teatro Real after 17 year absence: in 2002 eight functions of the iconic production of La Scala in Milan conceived by the stage manager offered Giorgio Strehler, and then died, as a tribute to his brilliant career.

The fat braggart vividor return to have fun with our sorrows, redeem us from our miseries and lead to a better world, more tolerant and smiling, from which "everything is a joke".


16 April at 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with Daniele Rustioni Y Laurent Pelly musical and scenic ─directores of Fasltaff, the writer and musicologist Andrés Ibáñez Y Joan Matabosch, artistic director of the Teatro Real.

Free access until full capacity.

27 April at 18:00 hours | Museum of Romanticism, audience

Storyteller family: Shakespeare tales, by Rosa Muñoz.

On the occasion of World Book Day, Museum retrieve the versions Charles Y Mary Lamb they did in the nineteenth century tales Shakespeare.

Free activity over 8 years. Reserve places on the phone 914 483 647.

28 April at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: music workshops for the whole family, direction and presentation Fernando Palacios.

The moocher who laughed the world: clumsy, vain, Coward, gordinflón, quarrelsome… but very friendly.

28 April at 13.00 hours | Teatro Real, Great room

Opera theater: Otello, from Giuseppe Verdi, what, as Falstaff, It has libretto Arrigo Boito from William Shakespeare. musical direction Renato Palumbo and stage director David Alden, with Gregory customer, Jaho Ermonela, George Petean Y Alexey Dolgov in the lead roles.

Until the 20 of April | Teatro Real, Great room, workshops, rehearsal rooms

Opera exposed: The witty and sarcastic Falstaff serve as an excuse for detailed everything surrounding an opera production. essays, technical views and experience firsthand an unforeseen opera premiere, are some of the attractions of this unique workshop.

2 May at 20.00 hours

The television channel Half retransmit Falstaff live for everyone.

The 2, TVE will broadcast the opera delayed on date yet to be determined, before its DVD release with international distribution.

Until the 17 May at 19 hours | International Institute, Assembly Hall

Film Series: Orson Welles: Master Storyteller.
With the support of the US Embassy. in Madrid
26 of April: The Stranger
3 of May: Mr. Arkadin
10 of May: Touch of Evil
17 of May: F for Fake

Photograph: Javier del Real

Joel Prieto

The public of Teatro Real in Madrid knows very well the artistic virtues and the scenic talent of the tenor Joel Prieto. There he has performed operas as diverse as they are The magic Flute (Mozart) O Street Scene (Weill). After his first foray into a baroque opera (Rodelinda, Handel, Liceu in Barcelona), Next April the acclaimed Puerto Rican tenor born in the capital of Spain and winner of the Operalia Contest will once again take the stage of the Madrid Coliseum this time to play the role of Fenton from the opera Falstaff, de Giuseppe Verdi. It is a new production that Laurent Pelly will sign for Real, counting on Daniele Rustioni in the musical direction, in which Joel Prieto will participate in the functions of the first cast on days 23, 25, 27, 28 Y 30 April 2 Y 8 of May, creating the role of Fenton in this new montage. Prieto debuted precisely with this Verdian role at the Barcelona Liceu in the season 2010-11. Later, and among other projects, will return this summer to the Salzburg Festival (Austria) como Orpheus of Orpheus in the Underworld Offenbach and the Teatro dell’Opera in Rome (Italy) as Idamante from Idomeneo, King of Crete, Mozart.

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Photo: Joel Prieto © Fernando Samalot


I Masnadieri

The Palace of Arts It delves into the lesser known repertoire Giuseppe Verdi with I masnadieri. This work opens in the Main Hall next Wednesday, 6 February, and will feature more functions day 9, 12, 15 Y 17 February. Tickets can be purchased on the webl Palau de les Arts.

The artistic director of the Arts, Jesus Iglesias Noriega, This was highlighted in the presentation of output to the media, accompanied by musical director, Roberto Abbado and major soloists: Stefano Secco (Carlo), Roberta Mantegna (Amalia), Michele Pertusi (Massimiliano) Y Artur Ruciński (Francesco), along with the stage director replenishment, Allex Aguilera.

I masnadieri, as he explained by the maestro Abbado, It is the first international custom Verdi, which he started at the same fruitful relationship with one of the most important thinkers of the Age of Enlightenment: Friedrich von Schiller.

It is a key work in the development of musical and theatrical author, written straddles the storm and stress -the momentum and the storm- and the primal Romanticism, from which it takes and develops a strong sense of melancholy, a rhythmic and vigorous momentum, the idealism of the young philosopher and the same desire for freedom Verdi Risorgimento.

Released in Her Majesty's Theater in London 1847, the genius of Busseto had the collaboration of one of the great intellectuals of his time, Andrea Maffei. Reference to the Italian translator of the work of German playwright, Maffei became four hours of intense drama "Die Räuber ' ('The bandits') a booklet two hours condensed in action blocks.

Verdi composed, Roberto Abbado as explained, an impressive score, feelings of great wealth, ranging from tenderness to violence. further, He wrote an extremely demanding music for both protagonists roles as primary, in which, novelty, places the chorus as the main character.

'I masnadieri' demands four premier interpreters, in which as noted Noriega Iglesias, include debuts in Valencia de Stefano Secco and Roberta Mantegna, and the reunion of two voices appreciated by the audience of Les Arts: Michele Pertusi s Artur Ruciński.

Interpreters I masnadieri

Stefano Secco encarna Carlo, Bandit hard and violent and very nostalgic turn, reflecting the prototype of the romantic hero folded inside, Difficult to interpret, according to the wording, in times of serious Donizetti staff they are recognized with complex execution cabalettas.

Artur Ruciński, Baritone international reference, He gives life to brother Carlo, Francesco, dark psychology paper, very similar to Macbeth Verdi musician on the same year. Polish singer, I always discover something new in the character, it stands out for its uniqueness compared to other Verdian roles for his tessitura.

Michele Pertusi low, that the Valencian audience will remember for 'Don Pasquale', Massimiliano role debuts, father Carlo and Francesco. It is a "vocativo role", Interpretation fairly concentrated and energetic, whose demands carrying first Verdi to the mature stage of the composer.

Close the quartet, Roberta Mantegna (Amalia), the only woman in the work, a role that Verdi wrote for a diva Jenny Lind his time, renowned coloratura soprano; a role that according Mantegna moves between the dramatic and magical, and that only through death receives the status of heroin.

Dominik Chenes, who will sing the role of Carlo Day 15, Bum Joo Lee (Arminio) Gabriel y Sagona (Moser) complete a cast, also he participates in the Ukrainian tenor Mark Serdiuk (Rolla) the Center Placido Domingo.

Allex Aguilera has led the revival of the production of Gabriele Lavia for theaters San Carlo in Naples and La Fenice in Venice, Alessandro Camera with scenery and costumes by Andrea Viotti. Aguilera and Nadia Garcia, The team of the Arts, also sign lighting production.

Allex Aguilera pointed out that the essence is respected assembly, of posmoderno cut according Lavie, adapting it to the performers and personalities to create a completely new show.

I Lombardi

ABAO-OLBE (Bilbao Association of Friends of the Opera) Starts 2019 with The Lombards in the First Crusade in Verdi, epic opera Busseto genius that makes up the thirteenth edition of the project TUTTO VERDI. At the end of the season they will be missing only two per represented in this flagship project operas. The following days 19, 22, 25 Y 28 January up to the stage this title, a unique jewel and an exceptional opportunity since in 2019 Y 2020 it is only programmed in Bilbao. In ABAO it has only been represented previously on one occasion, outside fertilizer, ago 43 years on the occasion of 25 anniversary of the Association in 1976, with Cristina Deutekon and a young José Carreras.

Verdi's fourth opera

This epic drama of crusaders and liberators, belonging to the "galley years" of the Italian composer, tells a story that combines the religious, the political and the loving taking the viewer on a journey of war and love, crime and atonement, faith and politics. Its premiere was a huge success and its heroic style seeks to continue the line already undertaken in its predecessor, Nabucco.

An exceptional opera for voices

To give life to the leading trio of this opera in which Verdi achieves moments of great dramatic force and musical inspiration, ABAO-OLBE has assembled a cast headed by the Catalan tenor Josep Bros, great connoisseur of Verdian singing style and winner of the Bilbao scene, like ‘Oronte’. At his side the Russian soprano Ekaterina Metlova appears at ABAO to debut ‘Giselda’, a role of great difficulty and the first of the many exceptionally complex female figures in the Italian composer's work. The main trio closes with the Italian bass Roberto Tagliavini giving voice to ‘Pagano’, an important role that requires great vocal expressiveness. Together with them the tenor's debuts complete the line-up Sergio Escobar as ‘Arvino’, soprano Jessica Starvos as ‘Viclinda / Sofía’, the bass David Sanchez como 'Acciano', he also low Rubén Amoretti like ‘Pirro’ and the return of the tenor Once Josep as ‘A Prior of Milan’.

Riccardo Frizza conducts his fourth Verdi title in Bilbao

In the musical section, the teacher returns to Bilbao Riccardo Frizza, great connoisseur of the Italian repertoire and musical manager of the Donizetti Festival in Bergamo, in what will be his fourth Verdi title after Don Carlo, Luisa Miller Y Otello. Topping the Symphony, Frizza faces a score in which according to his own words “Verdi introduces differentiating elements, like his orchestration and harmonization of the anni di galera " and in which "The great Verdi of maturity is already revealed". This section complete Bilbao Opera Choir, directed by Boris Dujin, who is confident a privileged position throughout this title, becoming the main protagonist and taking on a demanding and extensive role.

Release production nationwide

On stage a production of the Regio di Parma, attractive and classic scenery, which you can be seen for the first time in the country, devised by Lamberto Puggelli and that in Bilbao directs his widow and collaborator Grace Pulvirenti. All four acts take place in the shadow of Jerusalem's Western Wall with a grand backdrop looming over history, to finally open up to a luminous vision of the Holy City. Few used, but effective elements, like the Lombard mists of the first act, projections of war conflicts or pictorial representations such as Picasso's "Gernika".

The journalist Rubén Amón introduces I lombardi alla prima crociata

Rubén Amón, stars in the third conference of the introductory opera cycle that ABAO-OLBE organizes, prior to the premiere and free of charge, in the Bilbao Fine Arts Museum, in order to know the most important aspects of each title of the season.

Rubén Amón, journalist and writer, works for the newspaper El País and regularly participates in different radio and audiovisual media, as Wave Zero, Antena3 and La Sexta. He has published several books on different topics, as an investigation on Secrets of the Prado (Today's Posts 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012), the triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums (Today's Posts 1996), Blood, poetry and passion: Two centuries of music, noise and silence in the Royal Theater (Editorial Alliance 2018).

The appointment is Friday 18 from January in the Auditorium of the Museum of Fine Arts (access door by Chillida) to 19.15 hours. Free entry until complete seats.

The opera behind the curtain. Sir Peter Jonas in the cycle Opera Bihotzetik

The ABAO-OLBE conference cycle in collaboration with DeustoForum, Opera heart, host the next Monday 21 from January the presentation of Sir Peter Jonas, undisputed cultural reference in the United Kingdom, titled "The Opera Behind the Curtain".

In every opera house, apart from the many people who work behind the scenes who the public never sees, At the top of the pyramid, there is a great guiding mind in charge of designing the programming for several years and selecting the artists..

Sir Peter Jonas has held the post of Chief Artistic Officer of the English National Opera in London and the Bavarian State Opera in Munich. He had previously worked in the Chicago Symphony Orchestra side by side with Sir Georg Solti. Few people related to the world of music and opera have so many interesting things to tell as Sir Peter Jonas, who has met many of the most important singers and conductors of the last decades. After listening to you, we will surely understand much better what a great opera house is and how everything that the public does not see works.. The meeting will be directed and moderated by the well-known author and editor, music critic of El País and co-director of the Beethoven-Haus Bonn Chamber Music Festival, Luis Gago.

The conference will take place at CRAI of the University of Deusto to 19:00h. Free entry until complete seats, Although prior accreditation is required that can be requested on the phone: 944 355 100 o email:

Mariella Devia

Roberto Abbado He directs the Orquestra de la Comunitat Valenciana in this concert which includes orchestral pieces Bellini, Rossini y Verdi.

The Italian soprano, who has recently been fired from staged opera, It is considered one of the great divas of the genre.

Mariella Devia plays in the Palau de les Arts his most successful roles bel canto repertoire on Saturday, 2 of June, in the Auditorium.

The soprano will review of some of the pages that have cemented their 45 year career as a star of the genre, after his apotheosis withdrawal of opera staged last 19 May at La Fenice in Venice with three functions of 'Norma', Bellini.

Acompañada by the Orquestra de la Comunitat Valenciana, and directed by Roberto Abbado, interpretará arias como 'Of my life miserable' de 'Tancredi', Rossini; 'Casta Diva', of 'Norma', Bellini, or 'Goods beloved' de 'girlfriends I Vespri Siciliani', in Verdi, that is interleaved with the openings of passages as 'Semiramide', Rossini, the 'Luisa Miller', in Verdi.

Mariella Devia has been hailed by critics and audiences as one of the great divas for his vocal agility, high register and absolute mastery of technique, who has exhibited in major theaters of the international circuit.

His first meeting with the public of Les Arts took place in 2008 with 'Gala Puccini', Placido Domingo who directed the occasion of 150 anniversary of the birth of composer of Lucca. Her operatic debut, However, come seven years later.

In 2015, Chiusavecchia soprano starred in his first opera staged in Valencia, in a new production of 'Norma', Bellini, to be followed in 2017 a new production of "Lucrezia Borgia ', Donizetti, with which Les Arts made its first foray into opera broadcast in streaming.

Known for her work with the new generation of interpreters, Mariella Devia offered last April a series of master classes artists singing the ninth class of the Center Placido Domingo.

The Rover 1

The Rover 2

The Rover 3

The Rover 4

The Rover 5

The Rover 6

The Rover 7

The Rover 8

The Rover 9

By Diego Manuel García Pérez.The Palau de Les Arts has always shown interest in the young Verdi operas, having set in past seasons titles like: I due Foscari, Nabucco Y Macbeth, to which has been added Il Corsaro, with five performances that took place last 28 March and 1, 5, 8 Y 10 of April. curiously, despite being one of the lesser known Verdi opera, public attendance has been quite massive. These representations have been a triumph for the American tenor Michael Fabiano and Russian soprano Kristina Mkhitaryan, next to the always magnificent performance of the Choir of the Generalitat Valenciana and a very remarkable performance of the Orchestra of Valencia, well directed by Fabio Biondi, who three days after the last performance announced his resignation as musical director of Les Arts, delving further into the crisis that is suffering from this theater also resigned last December the then artistic director Davide Libermore.

Il Corsaro It has always been considered by critics one of the worst jobs verdianos. This is exaggerated and unfair because it is a beautiful score, where even a clear influence is observed belcantista (especially, in scenes featuring the two sopranos who interpret the characters in Medora and Gulnara), but with moments where we can show the best Verdian singing style and careful orchestration, announcing future compositions. For example, the great scene Corrado (Il Corsaro) at the beginning of the opera it has certain similarities with the aria-cabaletta "Ah si ben mio ... .of quella pira" from The Troubadour, and also the opening aria of Medora, It can be considered a clear precedent of Leonora's aria "D'sull'ali rosee love" of that same opera. Y, definitely, offers a real novelty that final trio of two sopranos and tenor (two women in love with the same man), unique throughout the production Verdiana, where they can hear musical moments that recall the first duet of Rigoletto and Gilda. Possibly, failure Il Corsaro, It is due to inconsistent libretto by Francesco Maria Piave made, after checking Verdi, He is tailoring the famous book of poems by Lord Byron, The Corsair, edited with extraordinary success in 1814, and whose reading had impressed Verdi, encouraging him to compose an opera. In 1846, the libretto was completed, not being liked by Verdi, who he was about to abandon the project, finally performed exclusively economic interests for Lucca editor, Riccordi competitor. The composition of the score was conducted by Verdi in Paris, between late 1847 and February 1848. The opera is structured three acts was premiered at the Teatro Grande in Trieste 25 October 1848, with the absence of the composer, resulting in a complete failure, especially for its lack of theatricality. In following years, the opera had a tour of Italian theaters, as the Carcano Milan, where it was displayed in 1852. Since then, He fell in the most absolute forgetfulness. It took one hundred and ten years, for what Il Corsaro, were to be interpreted, in concert form, in the courtyard of the Doge's Palace in Venice, in 1962. His real recovery occurred, during a series of performances that took place in March 1971, Teatro la Fenice in Venice, some of them led by the recently deceased Jesús López Cobos, with a superb cast including soprano Katia Ricciarelli in the character Medora, the great Spanish soprano Angeles Gulín playing Gulnara, the tenor Giorgio Lamberti in Casellato-character Corrado baritone Renato Bruson and as the pasha Seid. In October of that same year 1971, opera, with the same interpretes, also led by López Cobos, offered representations Frankfurt Opera, and there is a live take marketed by the label CD Opera d'Oro (fully available on YouTube), in which you can listen to Katia Ricciarelli twenty-five years, possessing a beautiful voice, timbral similarities with certain to Renata Tebaldi, dominating all records and good resolution of agility. The sadly defunct Angeles Gulín, with an attractive voice timbre and high volume, that posed no obstacle to offer him a good command of the middle voices and coloratura. Renato Bruson shows his great style and impeccable song line. Providing remarkable Giorgio Lamberti-Casellato. In 1976 It was published by the Philips label, the only recording studio (You can be heard complete on YouTube) with excellent sound and superb takes delivery of the New Philharmonia Orchestra, well directed by the Italian-Swedish Lamberto Gardelli, with a magnificent set of voices, which included the young Jose Carreras in the role of Corrado, showing its beautiful timbre and great temperament verdiano, Gulnara next to the Monserrat Caballé, in excellent state vowel, exhibiting their precious filados and an absolute mastery of coloratura. Voices Caballe and Carreras, They shine exceedingly in his great duet of Act III. In the role of Medora, American soprano Jessye Norman the, It shows excellent vocalism and great interpretive style, with excellent command of agility, Runs very well together with the duet of Act I. The three singers performed an extraordinary interpretation of the concluding trio of opera A true wonder Recording! The premiere in Spain Il Corsaro, It was produced in 2005 Liceu in Barcelona, in concert form, and already staged, in a series of functions offered in Bilbao, in 2010, with a production of Teatro Regio of Parma, released in 2004, within that ambitious cycle ABAO, intended to represent all Verdi's operas.

Representations Il Corsaro, which they have taken place in the Palau de Les Arts, They constitute the third time this opera program in Spain. It is a co-production of the Palau de Les Arts and Monte-Carlo Opera directed by Nicola Raab German, whose stage proposal, Corrado identifies with the main character himself Lord Byron, immersed in the creation of his work The Corsair, making it an inner experience and where all external actions are presented as memories or imaginations. It is an interesting idea, although with a scenery of George Souglides (also responsible for costume design), many times, quite confusing, and other using conventional visual resources. A large living large side windows, dominates the stage space throughout the performance, a variant lighting, depending on the dramatic development of the action: in Act I, with dark blue tones, where a large curtain formed by transparent plastic slats, separating two planes scenic; the closest one, where Byron-Corrado works in a small and elegant round table, in creating his work, and the furthest, where you can see, through the barrier plastic, the dithered and almost phantom figure Medora, as a dream of self Byron's all it is quite pretentious! In Act II, lighting turns orange and warm, to show, the harem of the Turkish Pasha Seid, dominated by the presence of his favorite Gulnara. During the Act II, the scenery is changing, with the insertion of a panel, where projecting cutting paints orientalista, and also, as a shadow play, Figure moving Gulnara, which is jointly, with the projection of a major fire, with shadows showing the confrontation of corsairs and Turkish, high visual impact. The beginning of Act III, It occurs with another fire, where Byron's belongings burned-Corrado, to pass, another very conventional space, using a large panel, where paintings are projected with Arabic motifs, which serves as a background to the big scene Seid and subsequent duet with Gulnara; Y, unbroken, we turn to an entirely different physical and dramatic space, where it can be seen a dark enclosure and prison ruinous, wherein Corrado is retained, Gulnara going to release. The final scene of the opera returns to the initial space, with that dark lighting and plastic curtain, through which you can see again the ethereal Medora. Reality and fantasy intertwine with the tragic present trio Corrado, Medora and Gulnara her lover, the latter located in a different plane dramatic. Definitely, to understand this approach stage, viewers need certain keys and know very well the argument, pretty complicated thing, case of a virtually unknown opera. As for the costume design, ranging from simple and elegant clothes of Medora, through appropriate carrying Seid and Gulnara Arabic style, until the absolute absurdity of a Corrado wrapped in a blanket and moruna head covered by a fez, in the little duet with Seid Act II.

This is a score, in which all the characteristics of the young Verdi: full music easy but attractive, with very vibrant moments, especially in the service of the voices. Fabio Biondi away from the baroque and Mozartian repertoires that are related, He directed with much determination and good pulse, the title of the young Verdi, achieving excellent performance of the Orchestra of Valencia. curious, in these representations, Biondi has raised the orchestra pit to place it at about the same level as the stage, considering it was usual in the days which premiered this opera and facilitating the combination of voices and orchestra. Also worth noting an arrangement of the different orchestral music stands, to the usual, placing the center cellos and contrabass, right woods, brass and timpani, and left violins, violas and harp, with attractive sound results. You can criticize Biondi, what, at times, raise the orchestral sound too. Highlight the performance of the overture, initiated with powerful chords that show the sound of a storm followed by a beautiful theme superbly executed by the clarinet. He also shone orchestral sound in the interpretation of the music of orientalist character, in conjunction with the women's choir, with which kicks off Act II, and throughout the final scene of the act, with soloists and choir voices, especially in the magnificent concertante conclusive. Excellent performances of different instrumentalists: harp and flute in the introduction Medora aria in Act I, with a musical theme he reprises the oboe when Medora reenters scene in Act III. Beautiful sound of the cellos in the introduction and coda concluding aria in Act III Corrado. It also proved extremely delicate sound pizzicato rope when death occurs Medora.

In the vocal plane, First highlight the great performance of Medora, making the Russian soprano Kristina Mkhitaryan, Morbid voice, very beautiful tone and excellent phrasing, dominating all records and excellent resolution of agility. Able to alternate sounds with delicate notes forte pianissimi, even filando high notes. Domina masterfully jumps severe acute, and all this combined with great expressiveness and beautiful stage presence. Despite its location in the upstage and having front said barrier plastic, beautiful voice comes through all kinds of obstacles to interpret very bright, recitative-aria the Act I "Egli non ancora Riede ... .Non so you tetre immagini", followed by precious duet with Corrado, very well played by the American tenor Michael Fabiano, possessing a voice of great volume, well managed, whose timbre reminiscent of the young Carreras. Dominates the Verdian style and even has a tendency to sing forte, He is also capable of voice apianar. He plays very well his great scene of Act I, recitative-aria-cabaletta "Ah yes, well say ... .All seemed to smile .... And, de 'privateers the lightning ", with a proven fraseo, shining greatly in the vibrant cabaletta. Dota pathetic accents his great aria in Act III "Eccomi prigioniero" followed by extensive duet with Gulnara, discreetly played by the Ukrainian soprano Oksana Dyka, voluminous voice, not too well controlled and with a sour bell. It has real problems in his great scene of Act II, and recitative-aria-cabaletta "Neither on earth ... .Vola talor from prison ... .Ah, comfort is the hope sol ", with an irregular line of song and difficulties in agility. Improves performance in Act III, with higher emission control, getting his best moments in the beautiful trio with Medora and Corrado, concluding opera. Notable interpretation of Italian baritone Vito Priante, exhibiting a good style of singing verdiano, with an incisive phrasing full of musicality, highlighting the interpretation by the vast scene of Act II, and recitative-aria-cabaletta "Alfin this pirate is my prison!….But ere togliam .S'avvicina soul ... your moment ", with a vibrant performance of cabaletta. In characters comprimarios, good performances of Ignacio Giner (We're moving), Antonio Gómez (the eunuch) and Jesus Rita (the slave), all belonging to the Choir of the Generalit Valenciana, whose performance as always- it is excellent, in its many interventions, especially in the long trio with the end of Act II begins (recall moments Macbeth Verde), followed by the great conclusive concertante. Y, especially, are extraordinary interventions in the trio of Medora, Corrado and Gulnara that concludes the opera. Day function 8 April was taken in high-definition video, be available on YouTube. Readers of this commentary can see the development of this opera, with a profusion of close-ups, for observing many details; Y, materially breathe with the singers.

Aida 1

Aida 2

Aida 3

Aida 4

Aida 5

Aida 6

Some of the most famous operas and performed the repertoire, They are not exactly the easiest to upgrade. We are used to seeing almost every major opera houses situated at different times, places and times. All but one, Aida. Almost impossible to place it in a different era referred to, much less change their location and removed from the banks of the Nile, where Verdi placed some of his most brilliant and intimate escenas.Lejos and overwhelmed and sad years of galleys, Aida (1871) It is one of opera Verdi maturity before its two final compositions, Otello y Falstaff. It had been four years since Don Carlos and Verdi had gathered fame and enough wealth to make up for no reason not stimulating enough for him.

Ismael Pasha, viceroy of Egypt, he was about to celebrate in style in 1869 the opening of the Suez Canal. He commissioned the Italian architect Pietro Avoscani the construction of a great opera house in Cairo. And of course, for the opening of this theater Pasha wanted to have the participation of the famous Italian composer. Verdi and again rejected the offer of pasha who thinks try their luck with other composers like Gounod or Wagner. At that time, one of the employees hired for this project, the director of the Paris Opera Comique, Camille Du LucThe, He sent part of the argument Verdi Aida. At that time Verdi accepts the offer to compose this work and chooses as librettist Antonio Ghislanzoni. One of the decisions taken on the libretto was to replace the "t" of Aita, original name in Egyptian, the "d" of Aida, to facilitate the diction of the singers. He 24 December 1871 It opens in Cairo with extraordinary success. Interpreters were Antonietta Pozzoni Anastasi as Aida, Eleonora Grossi, as Amneris, Pietro Mongini, as Radames, Francesco Steller, y como Amonasro Paolo Medini, como Ramfis. The lavish decorations, also they contributed to the success, They were led by Philippe Chaperon, Edward Desplechin, Jean Baptiste Auguste Lavastre and Rubé.

Verdi did not travel to the premiere of Aida in Cairo, not bear boat trips, but he enjoyed tremendous success with (He came out to say hello 32 times) two months later he assumed its premiere in Milan Scale. This time the protagonist was Teresa Stolz, not in vain was at that time the composer lover.

Many Aidas has been since. Any, like the one shown at the Royal Theater these days, repeat. Production that Hugo de Ana created for the premiere of the second season of the Teatro after reopening, It has been revised for this season of celebrations. They want with it, as its director says Joan Mataboch, look at the past to reclaim its history. This update has used the video trying to give a three dimensional appearance to images. For it has been placed as always that sort of veil that proscenium, somehow, Dimming projection voices. The details of the scenery have been kept scrupulously, especially in reproductions of some elements such as columns or pyramids. But the end result is a scenic variegation that is overwhelming at times. There is an excess in everything that requires finesse as the scenery, the decorations, costumes or makeup. All this instead of upgrading aging production.

Poor direction of actors contributes to the confusion seen in scene. Do not know why this effort to fill the stage with hundreds of players simultaneously, without reason or obvious criterion to justify. dancers, choir, slaves and singers tried to move with the resulting noise on a floor full of pitfalls. Also they helped keep the pace of the work breaks scene changes. Even the most intimate moments got an atmosphere of recollection.

The musical direction of Nicola Luisotti was full of theatricality. his deep understanding of the work and the composer's note. It is very worthwhile to keep the balance between orchestra and singers with so many distractions by.

There are three deals that have faced these 17 representations Aida, with occasional replacement, They have generated many combinations. Which touched us luck can not be said to have its night, but they saved the situation with dignity, which is appreciated. Ana Lucrecia García, Spanish-Venezuelan soprano as Aida had to replace the Armenian Lianna Haroutounian, It was not an easy ballot with his Radames, Fabio Sartori. Both they met, difficulties, their respective roles.

Daniela Barcelona's Amneris us knew little. Not long ago that we heard at the Royal Theater. He left flashes of his powerful center and treble vigorous. It was the most inspired dramatic look, especially in the last act full of dramatic intensity.

Amonasro highlight the Angel Ódena that was high and was, with Barcelona, most applauded by a public cold, maybe, I had higher expectations for this Aida so full of excesses.

Il Corsaro

The Palau de les Arts Reina Sofia opens next 28 March in the Main Hall a new production of 'The Rover ', in Verdi, shades of poetic and musical performance historicist.

This has been explained today at the launch of this title Fabio Biondi, director musical, Y Nicola Raab, stage director. In the press conference also attended by the tenor Michael Fabiano, protagonist of the play, with soprano Oksana Diving.

'Il Corsaro' is the first title Les Arts broadcast streaming this season through the European platform OperaVision, thanks to the collaboration of the Valencia Tourism Agency.

Fabio Biondi enacts the most enigmatic and less represented Giuseppe Verdi score with Cor de la Generalitat and the Orquestra de la Comunitat Valenciana. A marked work, as he noted by the teacher palermitano, the historical development and motivation of the composition:

"For the first time, Verdi does not give a work Ricordi but attains an advantageous according to Lucca. The bad relationship with the new editor will determine the fate of this opera. A fact which joins the historic moment of revolution (1848) in which it is written. Political Verdi and the Risorgimento, Operas de como 'Nabucco' or 'The Battle of Legnano', Write a deeply romantic composition ".

The incumbent director of the Orquestra de la Comunitat Valenciana notes, However, the great beauty of the pages of "Il Corsaro ', where moments that recall 'Traviata' or 'Rigoletto' heard, that bind a suitable duration, "An hour and a half of very dense music without lacking moments of interest", Biondi points.

For interpretation, the director has reproduced the size and layout of the orchestra for which Verdi thought 'Il Corsaro'. "The location of the pit, loud enough for the average today, gives advantage singers, especially in the recitatives, very close to the bel canto style ", added the master.

Six years after his successful vision of 'Thaïs', Massenet, in which Placido Domingo in Valencia released its role number 139, Athanaël, Nicola Raab signs its first assembly for Les Arts, It carried out in co-production with the Opera of Monte Carlo.

This time, the 'regista' German has surrounded himself with a creative team of George Souglides (scenery and costumes) David Debrinay (lighting) y Ran Arthur Braun (fight choreographer and shoot).

Product of his enthusiasm for Lord Byron, great romantic poet in English, Giuseppe Verdi turn entrusted versified novel 'The Corsair' in its thirteenth opera, Francesco Maria Piave como libretista.

'The Rover' tells the historia de Corrado, privateer Aegean, which sets sail on a secret mission to attack the Turks, leaving his beloved Medora with the worst fears.

And in the city of Corone, Corsairs manage to surprise the Turks burned their ships and raiding the harem of the pasha Seid, in which Corrado saves Gulnara, the favorite slave, died in the flames. But nevertheless, the rapid reaction of the Turks allows them to strike back and seize the invaders, Corrado condemning to death.

But Gulnara consume his revenge, freeing corsaros and ending the life of Seid. Once on the island corsaria, baleful premonitions of Medora lead him to poison. Upon arrival, Corrado barely has time to say goodbye to her and, desperate, It is thrown to the sea. Gulnara falls to the ground shattered.

Raab's proposal imagines the story of 'Il Corsaro' in an internal action that takes place in the protagonist's mind, she reconverted himself Lord Byron, author of the poem that inspired Verdi.

The stage is his thought, a blank mind that transforms into different ideas Corrado by projections, lights and movements, where Medora is a past memory and Gulnara an invention that will become reality.

According underlined Fabio Biondi, 'Il Corsaro' is "designed for a cast of opera singers grandísimos". Michael Fabiano tenor leads the cast in Les Arts, in which he accompanied the sopranos Oksana Dyka and Kristina Mkhitaryan, baritone Vito Priante, Evgeny Stavinsky bass and tenors Cor de la Generalitat Valenciana Ignacio Giner, Jesus Antonio Gomez and Rita.

Fabiano, one of the most sought-after voices of the moment, Corrado plays, the title role, already he debuted in 2014 in Washington, with an excellent reception from critics. New Jersey tenor makes his debut in Valencia with the Ukrainian soprano Oksana Dyka (Gulnara), to which the Valencian public remembered for his memorable performances of 'Madama Butterfly' and 'Tosca'.

Rounding out the quartet protagonist two emerging voices, which they are also presented for the first time at Les Arts: la soprano rusa Kristina Mkhitaryan (Medora), second prize winner of Operalia 2017, and Italian baritone Vito Priante (Are), which already has outstanding works in London, Milan, Paris, Munich, Chicago and Los Angeles.

Les Arts presents 'Il Corsaro' day 28 March and 1, 5, 8 Y 10 April in the Main Hall.


The Palau de les Arts Reina Sofía offered in 'streaming' representation 8 April 'Il Corsaro' through, the new platform hosted by Opera Europe, that gathers 30 opera companies 18 countries of the continent.

The transmission of this feature is possible thanks to the collaboration of the Valencian Agency of Tourism and specialized television channel Mezzo music.

didactic activity

On Sunday 25 of March, to 12.00 h, Les Arts proposes an intergenerational educational activity to understand what it is and how an opera is produced from the heart of the theater, the stage of the Main Hall. "A morning with 'Il Corsaro'" explained the audience the process of developing this new production, from the first sketches to technical or artistic works.

Les Arts reports that the price of the town is 15 euros for adults and 7 euros for young audiences.

Michael Fabiano

Since he debuted at the Washington National Opera (U.S) They have not ceased to ask for it. Michael Fabiano will travel to The Palace of Arts in Valencia in March to be the star of a new production of Verdi's rarely scheduled Il Corsaro, "A work that falls within the period in which the composer dreamed of Italian unification and moved to the wishes of his operas freedom of his people, all said very entrelíneas ", says American tenor regarding a title that has matured from 2014, when he sang for the first time. "This is a work that gathers together the belcantismo, but where Verdi and suggests ways and creates scenes of high dramatic content ", says Michael Fabiano.

The American singer will land in Valencia after getting a big win in Bilbao season with its unique Chevalier Des Grieux in Massenet's Manon, "A role that suits me very well both vocally and in her temper, and that is very romantic. In November so I sang in San Francisco, ie it took several months with the character. Next to Corrado Il Corsaro will form a suitable contrast, since the latter also has heroic dyes, though his line is almost pure bel canto ".

Michael Fabiano returns to Spain to debut at Valencia after starting the season as Rodolfo in La Bohème in a new production at the Royal Opera House in London, Des Grieux strolling by his San Francisco and Bilbao, Duca singing Rigoletto at the Royal Opera in London and a few functions Lucia di Lammermoor at the Metropolitan Opera in New York, title after Valencia will continue singing debut in May at the same venue.

The Rover

Nicola Raab He runs tests scene from the first new production of the season 2017-2018.

Fabio Biondi premiered this opera tenor Michael Fabiano y las sopranos Oksana Diving Y Kristina Mkhitaryan, and baritone Vito Priante.

The Palau de les Arts Reina Sofia It delves into the work of Giuseppe Verdi more enigmatic with opera 'The Rover', which opens next 28 of March.

Fabio Biondi, director musical, and Nicola Raab, responsible for the staging, They are immersed in the trials of the first new production of the season 2017-2018.

The conductor of the Orquestra de la Comunitat Valenciana this work opens with a cast headed by tenor Michael Fabiano, las sopranos Oksana Dyka y Kristina Mkhitaryan, and baritone Vito Priante.

Fabiano, one of the most sought-after voices of the moment, Corrado plays, the title role, already he debuted in 2014 in Washington, with an excellent reception from critics. New Jersey tenor makes his debut in Valencia with the Ukrainian soprano Oksana Dyka (Gulnara), to which the Valencian public remembered for his memorable performances of 'Madama Butterfly' and 'Tosca'.

Rounding out the starring cast two emerging voices, which they are also presented for the first time at Les Arts: la soprano rusa Kristina Mkhitaryan (Medora), second prize winner of Operalia 2017, Italian baritone and bass Vito Priante (Are), which already has outstanding works in London, Milan, Paris, Munich, Chicago and Los Angeles.

Six years after his successful vision of 'Thaïs', Massenet, in which Placido Domingo in Valencia released its role number 139, Athanaël, Nicola Raab signs its first assembly for Les Arts, It carried out in co-production with the Opera of Monte Carlo.
This time, the 'regista' German has surrounded himself with a creative team of George Souglides (scenery and costumes) y Ran Arthur Braun (fight choreographer and shoot).

Raab's proposal converts the story of 'Il Corsaro' in an internal action that takes place in the protagonist's mind. The staging of his vision materializes in a white stage space, which is transformed through movements, shapes, images, colors and projections in different environments and ideas through which passes the privateer Corrado.

Product of his enthusiasm for Lord Byron, great romantic poet in English, Giuseppe Verdi turn entrusted versified novel 'The Corsair' in its thirteenth opera.

With Francesco Maria Piave como libretista, Busseto composer in the score squeezes the last drops of his romantic heart, that he was already fascinated by social issues.

Released on 25 October 1848 at the Teatro Grande in Trieste, 'Il Corsaro' appears as an opera master details and vigorous strokes, Prophetic displaying details of the masterpieces that encumbrarían the figure of Giuseppe Verdi.

'The Rover' tells the historia de Corrado, privateer Aegean Sea, which sets sail on a secret mission to attack the Turks, leaving his beloved Medora with the worst fears.

And in the city of Corone, Corsairs manage to surprise the Turks burned their ships and raiding the harem of the pasha Seid, in which Corrado saves Gulnara, the favorite slave, died in the flames. But nevertheless, the rapid reaction of the Turks allows them to strike back and seize the invaders, Corrado condemning to death.

But Gulnara consume his revenge, freeing corsaros and ending the life of Seid. Once on the island corsaria, baleful premonitions of Medora lead him to poison. Upon arrival, Corrado barely has time to say goodbye to her and, desperate, It is thrown to the sea. Gulnara falls to the ground shattered.

Les Arts schedule 'Il Corsaro' day 28 March and 1, 5, 8 Y 10 April in the Main Hall.

Daniela Barcellona

In full celebration Bicentenary of the Royal Theatre and when twentieth anniversary of its reopening, the great mezzosoprano Daniela Barcellona Madrid returns to the Coliseum to play Amneris in opera Aida, de Giuseppe Verdi.

Daniela Barcellona, considered by the highest authorities in Rossini Rossini mezzo as the best of the last twenty years, which marked a turning point in the history interpretive role of Tancredi, has decided to extend its current repertoire beyond belcanto: "I am following the natural development of the vocal and physical demands that characterize this moment of my life".

The famous Italian half, who moved the Valencian public for his vocal and scenic power in his debut of the role of Amneris, and with his memorable performance at the Arena di Verona, made the critics exclaim "Great Daniela Barcelona! We finally found it the Amneris areniana that we have been waiting for for years!”, returns to the Royal Theater, to interpret, once again, to the egyptian princess, after his extraordinary success at the last Salzburg Festival together with the Vienna Philharmonic and under the baton of maestro Riccardo Muti, who called her hours before her performance as Amneris on the famous stage of the Large festival hall, where, after a long drive, shone with its own light.

The following days 9, 15 Y 20 of March, we will have the opportunity to enjoy the performance of Daniela Barcellona at the Teatro Real in Madrid, under the musical direction of Nicola Luisotti, sharing the stage with soprano Lianna Haroutounian (Aida), the tenor Fabio Sartori (Radamés) and Ángel Ódena (Amonasro). Almost 300 artists (between soloists, choir, dancers, actors and orchestra), in the revised original production of 1998, signed by the Argentine Hugo de Ana.

Among his most immediate commitments, the premiere of Falstaff, en la State Opera Unter den Linden, with stage direction by Mario Martone and musical direction by Daniel Barenboim, Semiramide en la Bavarian State Opera, La Gioconda en la German Opera Berlin, the Small solemn mass at the Rossini Opera Festival and the Messa da Requiem in Verdi, with the Chicago Symphony Orchestra and Riccardo Muti. further, this march, It will be released his new recording project in which he plays the role of Arsace, a full recording Semiramide Rossini (Opera Rara), junto a Sir Mark Elder y la Orchestra of the Age of Enlightenment.

Daniela Barcellona


Between days 7 Y 25 of March They will be offered 17 functions Aida, with great production conceived by Hugo de Ana for the opening of the second season of 'new' Teatro Real, in October 1998, which he unveiled to the public the enormous dimensions and exceptional technical capabilities of his new stage.

The 8 then functions, directed by Luis Antonio García Navarro (1941-2001), joined the 353 that occurred in the previous seasons closure theater, in 1925. During that period the popular verdiano title was the most represented in the Real, being Giuseppe Verdi (1813-1901) the favorite composer of the Madrid public.

In this season of commemorations ─los 200 bicentennial year and 20 years of his reapertura─, Royal Theater looks, well, its past and recent history through replacement Aida, this self-joining another symbolic tribute to Pedro Lavirgen (1930). This great tenor could not read in the Real to the characters that distinguished him Radamès ─como, from Aida, with which debuted at La Scala in Milán─ because the height of his brilliant career transcurred during the period when the Coliseum was the Plaza de Oriente concert hall and operas were performed in the neighboring Teatro de la Zarzuela.

With the premiere of Aida in Cairo, in 1871, Giuseppe Verdi, sexagenarian and 25 operas to his credit, apparently he culminated a prolific career (then last until the 80 years), with a very effusive score, but also deep and intimate, in which they emerge the recurring themes in his work: the love triangle, the political and social background, the arrogance of dictators, the humiliation of the oppressed, paternal-filial feelings, jealousy, forbidden love, treachery, loneliness, death…

From the compositional point of view, Aida also it reflects the seniority of Verdi: his mastery of the vocal writing, ─privilegiando duos and set numbers, detriment of arias─; the great use of orchestration for dramaturgical effects; juxtaposing moments of recollection and splendor; and expertise in articulating large choral and solo choreographed numbers inspired melodies, of great encouragement and deep drama.

It is precisely this duality between the spectacular mass scenes ─con the Egyptian empire, armies, pharaohs, slaves, priestesses, invaders, prisoners, Religious rites, celebrations, and those etc.─, collected, outcropping in conflicts and dramas of the protagonists, where the difficulty of staging Aida.

Hugo de Ana opts for a strong symbolic power production, dominated by a colossal pyramid suggests the magnificence of political power and religious, opposed to desert landscapes that emphasize the profound loneliness of the characters, torn between feelings, doubts and contradictions.

For the current replenishment Aida, Hugo de Ana has revised the original production of 1998, updating props and costumes and introducing part of some projections.

Three deals will alternate in interpreting the leading roles of Aida, with Liudmyla Monastyrska, Anna Pirozzi Y Lianna Haroutounian in the title role; Violeta Urmana, Ekaterina Semenchuk Y Daniela Barcellona as Amneris; Gregory customer, Alfred Kim Y Fabio Sartori as Radames; Y Gabriele Viviani, George Gagnidze Y angel Ódena, as Amonasro. shall be assisted by the rest of the cast and the Headlines Choir and Orchestra of the Teatro Real, under the direction of Nicola Luisotti, verdiano governing its third title at the Royal Theater, After his highly praised releases The Troubadour Y Rigoletto.

With almost 300 ─entre solo artists, choir, dancers, orquesta─ actors and scenery and historical and, Aida returns to Madrid between celebrations and tributes, but, especially, Real bringing to the stage of great performers, able to give the work its true universal dimension Verdi.















just ten years ago it was represented for the first time El Palau de Les Arts, Verdi's Don Carlo, then with the excellent direction of Lorin Maazel disappeared They were still good times for Palau! This opera has again scheduled to officially open, last 9 from December, the new season 2017-18, with the presence in the cast of incombustible Placido Domingo as Rodrigo Marquis de Posa. Madrid singer to turn seventy-seven years, still a real jerk, to the point that almost all entries of the five performances scheduled, had run out well in advance. The premiere was marked by controversy arose a few days before, Davide Livermore with the resignation as Mayor and artistic director of the Palau de Les Arts. Before the beginning of representation requested a spectator applause for Livermore, which it was followed by a standing ovation. After the break, when he was about to start Act III, a voice shouted "conceller coward", seconded by applause and numerous other voices saying "out political" or "do not be a burden opera". All these spontaneous demonstrations, show the tremendous discomfort of a public, who disagrees with political decisions, that can harm this important operatic center. Hopefully everything is resolved, for fans to the world of opera, we can continue to enjoy excellent programming offered by this theater. The complex world of opera should be managed by real experts, that are not mediated by political interests.

Don Carlos emerges as commissioned Giuseppe Verdi French government, on the occasion of the Universal Exhibition which was to take place in Paris, in 1867. The theme chosen was an adaptation of the play Don Carlos, Infante of Spain de Schiller. The magnificent drama of German poet dated back 1787, and it was a work of intense political content, where Schiller, performing a harsh critique of authoritarian Felipe II, strongly influenced by the Inquisition, against the desire for freedom from his son Don Carlos Infante and his friend Rodrigo Marquis de Posa. The playwright was inspired for his work, in an episode of the "black legend" that Felipe II, they devised William of Orange, responsible for rebellion against the Spanish Empire of the Netherlands and Antonio Perez, unfair secretary of Felipe II. That episode was the death in prison of Don Carlos, heir to the throne, in circumstances never clarified. It is a historical reality that when Infante was a child, She had thought of him marry the daughter of Henry II of France, Isabel de Valois. Finally, it was intended, when he was only thirteen years, to be the wife of Philip II, widower twice. Away all historical reality, Schiller's work argued that Isabel Valois, as a teenager, I had met in France to Don Carlos, I was his age, establishing a relationship between the two, finally cut short by the marriage of Isabel with Philip II. The reunion of Don Carlos and Isabel, It is the trigger for the drama written by Schiller, where the detention and death of Don Carlos had been caused by jealousy of Philip II, discovering the old relations of her son with Isabel and support the Infante was giving the Flemish rebels, harshly persecuted by his father. From the work of Schiller, Joseph Mery and Camille du Locle, They prepared a great libretto. With this material Verdi got put music to a long text moral and political dialogues, with fierce criticism of the Inquisition, represented by that terrible and sinister character of the Grand Inquisitor, in the shocking scene of his duet with Felipe II. This is a story about friendship, love, jealousy, the parent-child conflicts, who was always interested in Verdi; Y, especially, the loneliness of power, captured in a stunning monologue of Philip II. The work followed the conventions of the Grand Opera, with a structure in five acts, and in Act III insertion of a certain size ballet, called La Peregrina.
The premiere of Don Carlos was in the Imperial Opera in Paris (later called Palais Garnier) he 11 March 1867, with the assistance of Emperor Napoleon III and his wife Eugenia de Montijo, who greatly he disturbed by the way in which Verdi was Philip II. Parallel to the version written in French, Achilles Lauzières, He prepared a translation of the libretto into Italian, which it premiered at the Teatro Comunale of Bologna 27 October 1867. Over the years, Verdi decided to reduce the opera to four acts, where Act I of the French version is removed (Act of Fontainebleau) and ballet. This version premiered at the Teatro alla Scala, the 10 of January of 1884, and is that shown most commonly.
Don Carlo representations were very low during the first half of the twentieth century. From 1950 again it is programmed with some regularity, being the character played by Don Carlo Jussi Björling great tenors as, Richard Tucker, Franco Corelli, John Vickers y Carlo Bergonzi, who in 1965 He made an extraordinary performance, in a reference recording studio (Italian version in five acts) sello of Decca, with Renata Tebaldi as Elisabeth de Valois, the stunning Princess Eboli Grace Bumbry, the splendid Philip II of Nicolai Ghiaurov, the elegant and subtle Posa of Dietrich Fischer-Dieskau and the imposing Grand Inquisitor Martti Talvela, directed by Georg Solti at the head of the Orchestra of Covent Garden.
It should be noted the magnificent creations of Don Carlo conducted by Spanish tenor Jose Carreras as, Jaime Aragall, and especially Placido Domingo, who more times interpreted, since he debuted at the Vienna State Opera, in 1967, to about latest features, Also in that same theater, in 1992. During these twenty-five years, Sunday has left an important legacy of this opera record, with numerous live recordings, between them, two video shots: in 1978 (Teatro alla Scala) Posa next to the great Renato Bruson, with Claudio Abbado and 1983 (Metropolitan de New York) next to the magnificent Isabel Valois played by Mirella Freni, James Levine direction. Of all his interpretations, which include study conducted in (Italian version in five acts) EMI, in 1970, with Montserrat Caballé as Elisabeth of Valois, the extraordinary Éboli Shirley Verret, Felipe II Ruggero Raimondi of and Sherrill Milnes as Posa, with the superb direction of Carlo Maria Giulini at the head of the Orchestra of Covent Garden. This recording is referential next to the Solti, and it, Sunday makes one of the best performances of his career. curiously, and last twenty-five years of his last Don Carlo, Sunday has taken up this opera, playing the baritone role of Rodrigo Marquis of Posa, which he debuted at the Vienna State Opera, last June and he has returned to play in the Palau de Les Arts.

Don Carlo depicted in Valencia is the version in four acts, being a production of the Deutsche Oper Berlin scenically Marco Arturo Marelli directed by, also responsible for set design and lighting design. I know my predilection for reproducing productions, as closely as possible, both its scenery and costumes a particular historical period, and that more needed in operas such as Don Carlo is still made. Definitely, these productions are extremely expensive, but they are particularly bright. Y, can serve as an example of Franco Zeffirelli mounts, John Dexter or Hugo de Ana. In this Don Carlo he has opted for a minimalist scenery with large mobile panels that are moving to narrow scenic areas, enhanced, At different times, a good lighting. Gaps which form between the panels, for much of the representation, take the form of cross, in an attempt to show the great religious influence on political power at the time of Philip II. Scenic objects are minimal: a small monolith crowned by numerous candles that appears at the beginning and end of the opera, some sidewalks or vacuum conjugal bed, Philip II contemplated with infinite sadness in his big scene in Act III. Costume design is attractive Dagmar Niefind, the historical character being worn by women predominantly dark tones, except the character of Eboli, who wears a green dress. The menswear, It is timeless, with distinctly modern details like that carrying briefcase slung the Marquis of Posa. Dark colors contrasting with the deep red of ecclesiastical vestments, especially in the great scene Autodafé, one of the most accomplished moments of this production. Acceptable stage direction of Marco Antonio Marelli, who at the end of the opera takes license with respect to the original text, with the shooting of Don Carlo and his friends flamingos, reminiscent of the famous painting by Goya, "The Shootings of the Moncloa".

Great performance by the Orchestra of Valencia directed by Ramon Tebar, who showed great knowledge of this verdiana score, offering a careful reading, intense and contrasted, where the orchestral sound greatly shone in the "Song of the Veil" in Act I, and especially in the great scene of the Coronation and Autodafé, Closing of Acto II, with an outstanding intervention metals. As well, the orchestral accompaniment gave a tremendous dramatic dialogue between Philip II and the Grand Inquisitor in Act III. Note the execution of the soft and delicate music that introduces the Act II. Other great orchestral moments occurred in the duo of Felipe II and Isabel of Act III, and the same act trio with Éboli, Posa and Philip II, with excellent rendering of the cellos. Very beautiful flute sound and metals, when death occurs Posa. Lovely dialogue is serious rope and metals in the prelude to Act IV. Special mention deserves the brilliant solo cello intervention in the great scene of Philip II, at the beginning of Act III. Providing superb oboe and English horn accompanied Isabel's aria of Act I "Non pianger compagna mia". Brilliant orchestral sound accompanying the "Duo friendship" Don Carlo and Posa, Table I at the end of Act I, which appears repeatedly in different moments of the opera. Excellent work of conclusion of Ramón Tebar very aware of the voices, in particular by facilitating the work of Placido Domingo. In sum, orchestral performance was the great attraction of this Don Carlo.

Placido Domingo has expanded its huge repertoire, the role of Rodrigo Marquis of Posa, who played for the first time last June, at the Vienna State Opera, precisely when the fiftieth anniversary of his debut as Don Carlo was fulfilled in the same theater. Upon hearing the magnificent creation of the unfortunate Infante of Spain, by a jovencísimo Sunday, of beautiful timbre, with a splendid Verdian singing line, and check your logic current state vowel, arises at least for me- great sorrow and longing. Posa is one of the most beautiful Verdi baritone roles created by. It is a character of presence and vigor youth, the same age as Don Carlo. So, the first problem, Domingo is its absolute lack of scenic adaptation, because with their physical appearance today, -typical of someone about to meet seventy-seven years- in his scenes with Don Carlo, seems his father and even his grandfather. Another problem is the lack of timbral differentiation Don Carlo, and Domingo sings baritone with tenor roles. To this short fiato and loss of vocal volume which makes it almost inaudible in the concertante is added. But nevertheless, still it is able to offer a line of singing verdiano, much better than his castmates. Y, in his great scene of Act III, It is able to overcome shortcomings and interpret very significantly, While ligand notes, bellísima the air "came to me the day supreme", giving a singing lesson verdiano. When he went to say hello, at the end of the representation, the audience gave him a standing ovation, aware that they were in the presence of the last great myth of opera.
Andrea Caré in the role of Don Carlo, He offered an attractive timbre moving well in the acute area, although showing difficulties in the passageway. He was undemonstrative, with a monotonous and lacking phrasing of intentionality. His best moments were his duet with Éboli of Act I, and especially the great final duet of Act IV, with Isabel de Valois, played by Maria Jose Siri, who showed good vocalism, with secure high register, although with a very limited range of bass and singing, at times, inexpressive. He made a remarkable vocal performance on the expressive plane Worse- de on air Acto I "Do not weep my partner". It was pretty toned Trio in Act I, Eboli and Posa with. His performance was gaining in intensity in his duet with Felipe II, Act III, getting deliver a magnificent performance of his big aria in Act IV "Tu che la vanita", with excellent sound regulations even running a creditable "messa di voce" and beaming with certainly a Si4.
Violeta Urmana offered an interpretation of Eboli, full of expressivity, although the vocal plane had some difficulties in implementing the agility in his aria in Act I "Nell Giardin the beautiful" (Song veil), where, curiously, He was cut the last part of repetition, with a series of bars omitted, that advance the orchestral moment that marks the presence of Queen. Very well in her duet with Isabel Act III, followed by very difficult aria "O don fatale" who played with art and real courage, although it lacking in the low register and a sharp somewhat intemperate and suspenders.
Alenxander Vinogradov low as Felipe II, He offered a stunning vocalism, although not really into singing style verdiano, and this is evident in his duet with Posa Act I, where Placido Domingo, if it shows a good command of phrasing verdiano. The Russian bass made a very remarkable and nuanced interpretation of his big scene in Act III startup, "She giammai m'amo ... .Dormiró nel mantle sun" and is magnificent in the stunning duet with the great inquisitor played by Marco Spotti low, lacking the roundness of deep bass that requires this role, where it is clearly surpassed by Alexander Vinogradod, one of the big winners of this Don Carlo.
While the rest of the performers, emphasizing the soprano Karen Gardeazabal as the transvestite Tybalt, ridiculously characterized mustache including, and the voice of Heaven starring Olga Zharikova, It is appearing on stage with a baby being taken away.
As usual, excellent performance of the Choir of Valencia Generalitad, in its numerous interventions, proved highly commendable its work, in times where voices are imbedded in the gaps left by the movable panels, as in the case of the scene of the "Auto de Fe".

Ramon Gener

The humanistic and musical disseminator Ramon Gener reveals the secrets 'Don Carlo', from Verdi, the public of Palau de les Arts Reina Sofia, on Wednesday, 29 of November, to 19.30 h in the Aula Magistral.

Arts Center and retakes the lecture-show 'Les Arts is Opera' after the excellent reception last season. With his usual didactic language and audiovisual materials, the presenter of the famous program "This is Opera" will visit Les Arts to analyze the titles that make up the operatic theater subscription: 'Don Carlo', in Verdi; ‘Peter Grimes’, Britten; 'The Rover', in Verdi; ‘Tosca’, Puccini; and 'The Damnation of Faust', Berlioz.

The conference will take place in the Aula Magistral, with a capacity of 380 viewers, and you will need to request in advance for your assistance town. Through the section Ticket Sales and within specified dates, It may be withdrawn up to 2 invitations per applicant.

Tomorrow, Tuesday, 28 of November, from 10.00 h a 23.59 h, or until full capacity available, the general public can purchase tickets for the conference 'Don Carlo'.

Ramon Gener

Degree in Humanities and Business Studies. He began his training as a musician studying piano at the Conservatorio del Liceo and Anna Maria completed Albors. On the recommendation of the soprano Victoria de los Angeles began studying singing under his supervision. He completed his vocal studies in Warsaw with Jerzy Artysz baritone and tenor Barcelona with Eduard Giménez. After a career as a baritone several years he stopped singing and began a new stage as musical disseminator offering lectures on music “classical” and opera.

Echo and the impact of these conferences took him to the world of television. TV3 first with the program “Texans opera "then the international scene “This is Opera”, a Spanish and German co-production recorded in English and Spanish that can be seen in many countries around the world. Radio regularly collaborates in the program “Day by day” Cadena SER and the program “version RAC1”. It has also been introduced in the literary world with the publication of “If Beethoven could hear me” (2013) Y “Love will make you immortal” (2016).

Maria Jose Montiel

Madrid mezzosoprano Maria Jose Montiel will debut next 19 November in Liverpool (England) intepretando one of the works that made it famous around the world, the Messa da Requiem Giuseppe Verdi. The Spanish diva will take the stage of the Liverpool Philharmonic Hall next to the Royal Liverpool Philharmonic and the Royal Liverpool Philharmonic Choir, all under the direction of Vasily Petrenko, accompanied by the soprano Ainhoa ​​Arteta, tenor David Butt Philip and baritone Bryn Terfel. Montiel has interpreted this Verdi masterpiece on stages all over the world collaborating with directors of the stature of Riccardo Chailly, who perform several tours performing this Requiem, certainly one of his favorite works.

After this new debut, María José Montiel travel to Valencia to offer a benefit concert for the Columbus Foundation, of which she is an ambassador and that raises funds for children with serious diseases and rare diseases. Then perform a recital at the Philharmonic Society of Alicante and already in January 2018 will participate in the concert DIVAS with the sopranos Ainhoa ​​Arteta and Pilar Jurado in MadWomanFest.

In future commitments will play Ravel's Sheherazade and the Seven Popular Spanish Songs Falla with the National Orchestra of Spain (January 2018), will participate in the cycle Opera Stars Concerts in Opera Naples United States with a recital by the maestro Ramón Tebar, regresará Barcelona with Verdi's Requiem with the Symphony of the Lyceum directed by Josep Pons (February), He will debut as Princess Eboli in Don Carlo at the Opera de Tenerife and return to the Teatro de la Zarzuela in Madrid with a concert by the piano Ruben Fernandez Aguirre.

Andrea Caré

Andrea Carè, one of the most important tenors of his generation, just won the Royal Theater Madrid playing Pinkerton in Madama Butterfly and Don José in Carmen. Now preparing his debut The Palace of Arts in Valencia where he will be the protagonist of the opera Verdi Don Carlo, Italian interpreter title has sung in Canada, France and the legendary Bolshoi in Moscow. "This is a fascinating character in the psychological complexity that represents and for her vocal and interpretive difficulty, although I think it fits very well to my instrument ", points tenor, excited sing this opera in Spain, country where the action is set. This time the infant will play no less than by the Rodrigo de Placido Domingo, artist Andrea Carè which coincided in several goose-sions and with whom he has recorded Nabucco on DVD (Sony). Winner of the International Opera Competition Spoleto (2005), He has perfected his art with the legendary soprano Raina Kabaivanska as well as the legendary Luciano Pavarotti. And if in coming seasons will debut at the Metropolitan in New York and at the Vienna State Opera, CARE has already acted on some of the most important stages in the world, as the Royal Opera House Covent Garden in London, Gran Teatre del Liceu in Barcelona, the Teatro Regio in Turin, Rome Opera, la German Opera de Berlín, China NCPA in Beijing or the Teatro alla Scala in Milan. With this Valencian production, Carè consolidates its presence in the Spanish market after their operatic debuts in Barcelona and Madrid.

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Aquiles Machado

ABAO-OLBE (Bilbao Association of Friends of the Opera) opens its 66 season I Masnadieri in Verdi. This title makes up the twelfth edition of TUTTO VERDI project of the Association and facing its final stretch. The following days 21, 24, 27 Y 30 October, sponsored by IBERDROLA, up on stage this opera premiered in London, one of the bel canto Italian master, which has all the characteristics of romantic movement: passion, idealism, rebellion…

In this drama, which takes place in Germany in the early eighteenth century, Verdi knew focus conventions and conditions Italy eight uniting them with the particular tastes of Victorian London. To give life to the protagonists of this title full of new musical resources, where dramatic moments with lyrical and coloratura phrases alternate, ABAO-OLBE has assembled a cast led by Aquiles Machado, a tenor known for the Bilbao public has since visited seven times, and that is conquering the European scene with commitments in Vienna, Zurich, Moscow, Bologna, Belgium… Beside makes his presentation at ABAO young Italian soprano Marta Torbidoni in the role of 'Amalia', role recently played in the same production in Busseto Giuseppe Verdi Theater. Bulgarian baritone Vladimir Stoyanov as 'Francesco' and low Mika Kares as 'Massimiliano' quartet complete the protagonist. Tenor with them Juan Antonio Sanabria as 'Arminio', the bass petros Magoulas as 'Moser' and tenor Alberto Nuñez as 'Rolla' close poster.

The musical part is in charge of teacher Miguel Ángel Gómez Martínez, conductor of the Symphony Orchestra of RTVE and an expert in this repertoire, who takes charge of the Bilbao Symphony Orchestra to direct a title in his own words "it offers a special freshness and spontaneity". The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a production of Teatro Regio di Parma which it opens for the first time nationally, devised by debutant ABAO, Leo Muscato. This is a show with historical and contemporary sense where thieves, in eternal pursuit of happiness, They are modern but revolutionary. Between fire and iron, Muscato commitment haunted wood with a ring on a misty, wooded atmosphere full of dramatic tension, symbolisms and light effects. A beautiful wardrobe Silvia Aymonino reveals the Gothic and timeless part of this drama.

Conference on "I Masnadieri '

In order to analyze, in advance the premiere, the most important aspects of this opera by Verdi, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 20 October in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time will be Andrea Merli, music critic, essayist and lecturer. regular contributor to the magazine L'Opera and Milan correspondent of the magazine Opera Actual. His interest in music and opera has led him to publish numerous works in theaters and specialized media. For over a decade it has an opera program on RAI Radio.

Riccardo Frizza

The Italian Master Riccardo Frizza, who has just been appointed music director of Opera Festival Donizetti Bergamo (Italy), It is not only an authority in the bel canto repertoire and Italian in general, but also, and especially, the verdiano. And if last year he put himself in charge of more than fifty functions of works of Verdi, Donizetti Y Bellini in some of the most important theaters in the world, in November he returned to Japan to take command of the production of Verdi's La Traviata at the New National Theater in Tokyo. The popular Verdi masterpiece, one of the most beloved of the Japanese public, will feature a cast led by Romanian soprano Irina Lungu, a star in the international lyrical firmament.

This Japanese Traviata arrives on the agenda of maestro Frizza after having achieved a new success in his career with the swan song of the genius Verdiano, Falstaff, at the Teatro Regio in Parma, cradle of the art of Giuseppe Verdi. And from Tokyo he will then travel to the Opéra National de Paris to direct nine performances of Il barbiere di Siviglia by another of the most relevant bel canto authors: Gioachino Rossini.

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Riccardo Frizza

Riccardo Frizza, one of the most important music directors of his generation, continues this course focused on one of his favorite composers, Giuseppe Verdi. As an expert in the Italian repertoire that is, the teacher born in Brescia last season led more than fifty titles like Otello functions, Lucia of Lammermoor, Attila, Rule, Rigoletto o I Puritani en teatros como la Opéra National de Paris, La Fenice in Venice, la Lyric Opera de Chicago, Gran Teatre del Liceu in Barcelona or Budapest Mupa; this summer has returned to the landmark Sferisterio Macerata Festival to conduct four performances of Aida in October and will continue with more Verdi, this time at the Teatro Regio in Parma (Italy) the last opera of the genius of Busetto, Falstaff; It will be the days 1, 5, 15 Y 22 October in a new production of parmesan coliseum scene whose address will be given by Jacopo Spirei. Before, he 1 of September, the teacher will fly to Tenerife (Canary Islands) to direct an opera gala at the Tenerife Symphony Orchestra, the tenor tinerfeño Celso Albelo and the soprano grancanaria Davinia Rodríguez.

direct Falstaff, the swan song of Verdi, It is a challenge for any musician, explains Riccardo Frizza. "This masterpiece is universally regarded as the most famous example of artistic stature and compositional genius Giuseppe Verdi", states. "As he has left written in his correspondence, Verdi had fun writing it with her crown and a desire cherished for many years: do comedy again. But not only that: with the composer Falstaff offers the world a new way to make music a comic script, a genre that since the 40 nineteenth century was in crisis both the form and ideas. With this mature work Verdi invented a new style of nineteenth-century abandoning melodramma forms and making disappear completely closed shapes and recitatives. It is a giant step in the history of music and thus direct this title is a real pleasure and an adventure ".

After these functions Falstaff in Parma, Frizza teacher will travel to Japan to conduct five performances of La Traviata at the New National Theater in Tokyo (November) then tackle his long-awaited return to the Opéra National de Paris, scenario in which he leads nine functions of Il Barbiere di Siviglia.

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Angeles Blancas

Angeles Blancas continue to open paths. There are very few Latino sopranos who dare with the Central European repertoire or high risk verismo roles, as Minnie, of the pucciniana La Fanciulla del West, opera debuts this month at the Palacio Bellas Artes in Mexico. "I'm interested above all the heroines who have something to say", says the singer, "Characters with personality and represent a good channel for the expression". Hence his interest in Wagner, Janácek, Rhim O Richard Strauss, without forgetting other authors who are passionate about, as Verdi, Puccini O Mozart.

Her particular vocal characteristics and her dramatic vocation have led her to be interested in roles of great musical and psychological complexity such as Lady Macbeth (Macbeth, Verdi), Elisabetta de Valois (Don Carlo, Verdi), Emilia Marty (The Makropoulos case, Janácek), Kostelnicka (Jenufa, Janácek), Salome (Salome, Richard Strauss) o Katia (Close Kabanová, Janácek). After opening the season 2017/18 playing Minnie from The Maiden of the West (Puccini) in the Palace of Fine Arts of Mexico, His upcoming commitments include Das Gehege, from Wolfgang Rihm to soprano, mime and orchestra– and the role of the Mother of Il Prigioniero de Dallapiccola in La Monnaie (Brussels) and at the Stuttgart Opera. Before, in October, will open the season of the Extremadura Symphony Orchestra with Richard Strauss's Vier letzte Lieder under the direction of the head of the Extremadura group, Alvaro Albiach, and will offer a recital with works by Verdi and Wagner for the Friends of the Opera of A Coruña, whose programming 2017 is dedicated to the memory of the singer's mother, the soprano too Angeles Gulin, on the 15th anniversary of his death.

Celso Albelo

After succeeding with his Duke of Mantua in Verdi's Rigoletto its debut at the Opera de Oviedo, the tenor Celso Albelo will head to Barcelona to return to the stage of the High school, this time playing the role of Nicias de Thaïs from Massenet. With this romantic character from the French repertoire, Albelo will show a different facet to the high school public that knew him only for his bel canto characters, having sung on the stage of La Rambla La Sonnambula and I Capuleti e i Montecchi, both of Bellini. In March he returns to the Liceu to share the stage with Placido Domingo; both singers have worked together before, occasion in which the legendary Madrid artist defined the Canarian interpreter as “the number one Spanish tenors”. Two performances await both of them - in concert version, days 1 Y 4 of March- of this little represented masterpiece of the French repertoire that he will direct Patrick Fournillier in a cast that the sopranos complete Nino Machaidze Y Sara Blanch.

Later, Albelo will be Arturo from I Puritani on a tour of three Italian theaters: the Commune of Modena (16, 19 / III), and the Municipal of Piacenza (24, 26 / III) and the Municipale de Valli (Reggio Emilia, 30 / III and 2 / IV).

Later, and among other actions, Maria Stuarda awaits you at the Carlo Felice Theater in Genoa and Rigoletto at the Chorégies d'Orange Festival (France).

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Ricardo Frizza

The musical director Riccardo Frizza back in March and April podium Gran Teatre del Liceu Barcelona to lead 13 functions of the opera Rigoletto from Giuseppe Verdi. The laureate teacher is one of the great directors of Italian operatic repertoire (the press has hailed him as "the new director of Verdi of his generation") bel canto and romantic.
They know this very well in Barcelona coliseum, in which the teacher has recently directed Frizza I Capuleti e i Montecchi, from Bellini, great personal success with audiences and critics. Another of the most important works of this composer, Rule, He directs during the month of February at the Lyric Opera of Chicago, just before putting the baton of liceísta Rigoletto.

Regular guest theaters like the Metropolitan in New York, La Scala in Milan, La Fenice in Venice, the Opéra National de París, the Bayerische Staatsoper in Munich or the Rossini Opera Festival, Frizza teacher has also developed a wide symphonic career against most of the major orchestras of Europe and America.

After these functions Rigoletto in Barcelona you -days 21, 22, 24, 25, 26, 28, 29 Y 30 March and 1, 2, 3, 5 Y 6 of April-, Italian director will face a symphonic concert at the Teatro Grande in Brescia (Italy) with the Philharmonic of La Fenice and will return to La Fenice in Venice to direct nine performances of Lucia di Lammermoor.

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Maria Katzarava

It is one of the least represented operas of Giuseppe Verdi, since it requires some extraordinary qualities interpreters. Stiffelio return the 1 February to the Berlin billboard at the Konzerthaus in the German capital with an exceptional cast and together with the Choir and Orchestra of the Berliner Operngruppe conducted by Felix Krieger, counting on the Mexican-Georgian soprano Maria Katzarava for the role of Lina. "It is a very demanding role that gives the reply to the tenor who sings the role of Stiffelio", affirms the young singer. "This is a woman with a complicated past, a heroine who has to face a world of men in an austere environment such as Protestantism ". With this role Maria Katzarava finally makes her debut in Berlin. "Singing in this great German city is always a goal in a singer's career", She points out excited about this new step in her career that also coincides with the first time she assumes the role of Lina.

Thilo Reinhardt will be in charge of the theatrical proposal and complete the cast Roberto De Biasio (Stiffelio), Alfredo Daza (Stench) Y Francesco Ellero D’Artegna (Jorg). Before, he 22 from January, will return to Mexico to sing La voix humaine at the Alamos de Sonora Festival, opera Poulenc that Katzarava has already walked through several Mexican cities during 2016.

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Sicilian Vespers

El Palau de les Doctor, has started its new season with Sicilian Vespers, one Verdi opera authentic appeal, though little known by the general public, as it is shown rarely. Only, its magnificent overture is often included as part of concert. So, for the Valencian coliseum was challenging an opera like this, especially, for their great demands on the vocal level.

After the success of the so-called "Popular Trilogy" constituted by Rigoletto de 1851, together with Il Trovatore and La Traviata both premiered in 1853, Giuseppe Verdi begins to rethink his career, with the intention of slowing down their creative endeavors that 1839 Y 1953, they had produced eighteen operas, almost all of them marked by haste, having to compose at high speed - sometimes two operas in the same year- to meet the demands of theaters.

Busetto's composer decides to offer less quantity and more quality, fruit of a more relaxed work, with the choice of attractive texts, along with more elaborate music and an orchestration of greater complexity and sophistication. This new stage will begin with the composition of Les Vêpres Siciliennes (The Sicilian Vespers) commissioned by the Paris Opera.

Verdi arrived in the French capital in the spring of 1854, beginning the search for a text that had attractive and authentic dramatic force.

But nevertheless, afraid of not hitting the tastes of the French public, did not choose the topic, instead he commissioned it to Eugene Scribe, famous librettist closely related to Parisian opera, who proposed to Verdi as an argument an event took place in Sicily, specifically in its capital Palermo, in 1282, during the French occupation of the island and in the run-up to an uprising of the Sicilian people, supported militarily and financially by Pedro III of Aragon, openly confronted the French king Carlo I of Anjou.

Verdi dedicated almost a year to the composition of his new opera, whose structure was typical of "Grand Opera" with its five acts and an attractive ballet of certain proportions called "The Four Seasons", inserted in Act III. Finally, Les Vêpres Siciliennes premiered at the Grand Opera in Paris, in a "soirée de gala" the 13 June 1855, coinciding with the celebrations of the Universal Exhibition that was taking place in the French capital. The original libretto written in French was translated into Italian by Arnaldo Fusinato, and this new version with the title I Vespri Siciliani, premiered at the Teatro alla Scala in Milan, he 4 February 1856. During later years, the opera in its Italian version had a certain tour at the international level, to fall into the most absolute of oblivion.

His recovery occurred in 1951, year of the fiftieth anniversary of Verdi's death, with a production premiered at the Maggio Musicale Fiorentino, musically directed by the great Erich Kleiber, that featured the imposing creation of Maria Callas as Duchess Elena, with another extraordinary interpreter, the bulgarian bass Boris Christoff on the role of Giovanni da Procida, the leading quartet was completed by the excellent Guido de Monforte played by the baritone Enzo Mascherini, just to the discreet rendering of the Greek tenor Giorgio Bardi Kokolios as Arrigo. The absolute success of those Florentine representations, led to the title chosen for the season opening of the Teatro alla Scala in Milan on 7 December 1951, with musical direction by Victor de Sabata, with the same interpreters of Florence and the significantly improved Arrigo of the North American tenor Eugene Conley.

In more recent times there have been important performances of this opera, like those that took place at the Teatro Comunale in Bologna, in 1986, directed by a young Riccardo Chailly and a magnificent cast that included Leo Nucci's Monforte, with the excellent tenor Veriano Luchetti as Arrigo, the very low solvent Bonaldo Giaiotti like Procida and Elena's magnificent performance, performed by the American soprano Susan Dunn.

also note, the functions that represented the inauguration of the scalígera season of 1989-1990, with the extraordinary direction of Riccardo Muti, and a very notable group of performers that featured Cheryl Studer as Elena, Giorgio Zancanaro in a brilliant interpretation of Monforte, Chris Merritt as Arrigo and Ferruccio Furlanetto in the role of Procida. Note that those Milanese performances included the beautiful ballet "The Four Seasons", which is usually omitted. There are two video shots, performed during performances at the Teatro Comunale in Bologna and at La Scala in Milan, which were later released on DVD.

The Palau de les Arts has chosen for these performances of I Vespri Siciliani, a co-production made by the Teatro Reggio di Torino and the Bilbao-based ABAO-OLBE, with a staging of Davide Livermore (current artistic director of Les Arts) which was premiered at the Teatro Reggio di Torino in 2011, on the occasion of 150 anniversary of Italian unity. Livermore moves the action to the Sicily of 1992, year in which the terrible attack in which the judge was assassinated by the Mafia took place Giovanni Falcone, his wife and three of his escorts.

Falcone's funeral took place in the Cathedral of Palermo and was televised live for the whole world. In Act I, the scenery of Centineo saints reproduce aquel funeral, this time dedicated to Federico the brother of Duchess Elena, executed by the French, with the coffin carried on his shoulders and a funeral procession where Elena and other ladies appear together with ecclesiastics.

The seriousness and recollection of the event is frivolized to the maximum by the video cameras that are taking it as a true “reality show” and whose images can be seen on two large screens. Definitely, This approach confirms the power of the media to manipulate reality, always at the service of the corrupt political class, in this case dominated by the Mafia.

Much more suitable is the scenery of Act II, where it shows, in a gloomy environment, two wrecked cars, alluding to the Falcone attack and marking the return to Palermo of the patriot Giovanni da Procida, willing to prepare a popular uprising against the French occupiers.

But nevertheless, this dramatic scenery, stays -totally out of place- during the rest of the act, encompassing the dance in the form of a "tarantella" that young Sicilians dance with their partners, that are taken from them by French soldiers who abuse them, all spiced up with profuse backlighting, that gives the scene a night orgiastic atmosphere. Y, Finally, in that same scenic space, a red carpet is spread where the couples invited to the Governor Monforte party go by. listening in the background a happy "barcarola".

By contrast, the scenery in Act III, it is an elegant building with rationalist architecture, which leads to a parliamentary chamber where the "Masquerade Ball" takes place, where the conspirators intend to assassinate Governor Guido de Monforte.

Ya, at the end of the act, in the large windows of the hemicycle, images of characters from all areas that have marked the history of "Unified Italy" are projected: politicians like Cavour, De Gasperi, Aldo Moro, Giulio Andreotti, together with athletes like Fausto Coppi or actors like Marcello Mastroianni and playwrights like Darío Fo, images that end up merging with flags of Italy.

And in Act IV, the jail where Elena and Procida are, it also has the style of the building described at the beginning of the previous act, with black and symmetrical vertical and horizontal structural elements, enhanced by excellent background lighting in fading orange tones to reveal a dark and oppressive stage space, drifting towards an open and cheerful space where Elena and Arrigo can be seen on a lectern with Monforte, who announces the marriage commitment of both. At the start of Act V, the style of "reality show" is recovered, of Act I, with the party where the wedding preparations are made that of Elena and Arrigo, spiced with the interventions of dancers whose costumes and evolutions suggest a magazine show.

The tragic end of the story, with the revolt of the Sicilians against the French and the massacre where the protagonists die, is cushioned showing only their lying bodies, in the recovered stage space of the parliamentary chamber, at the bottom of which the first article of the Italian constitution appears projected "Sovereignty resides in the people, who exercises it in accordance with the form and limits established by the constitution ". The Livermore staging, results, at times, interesting and original, although excessively circumscribed to the Italian world. The Orchestra of the Valencian Community once again demonstrated its great quality, conducted in a solvent manner by Roberto Abbado, current musical director of Les Arts.

The orchestral sound was of great brilliance in the execution of the extensive overture, one of the most beautiful verdian symphonic creations, where the vibrant and repeated central theme stands out, together with another of great melodic impulse that will reappear in the great duet of Arrigo and Monforte from Act III. Excellent orchestral resolution of Act II, with pages of great dramatic intensity along with others of a folkloric nature such as "La tarantela" and "La barcarola". Magnificent performances of the orchestral introductions of the remaining acts, where the lightness of that music alternates in the form of a dance that preludes Act III, with the very bleak and gloomy that marks the beginning of Act IV, in comparison with the festive and folkloric nature introduced by Act V.

Also note that the orchestra shone brilliantly in the imposing concert that closes Act III and in the course of the last two acts, especially, in the dramatic ending of the opera. Inside the excellent performance of all orchestral sections, it should be noted that Roberto Abbado gave more preponderance to brass and percussion, enhancing the moments of greatest orchestral force, although the string had moments of extreme quality in the accompaniment of Monforte's aria from Act III. Point out the precious orchestral sound that accompanies Procida's intervention "Goodbye, my homeland " of Act IV. Abbado showed concerted ability taking maximum care of the accompaniment of the singers, especially to the soprano.

Among the solo voices it is worth highlighting Gregory customer, as Arrigo, who, shows his mastery of the Verdian singing style, with an incisive phrasing, and a brilliant high register, along with a nuanced and expressive interpretation. The recitative-aria stands out in its great scene of Act IV “The sign is from Monforte….Day of crying, of fierce pain ", followed by the long and intense duet with Elena, full of intense lyricism and dramatic accents, where it offers a whole interpretive lesson.

The North American tenor is magnificent in the heroic duets with Monforte in Acts I and III, and in his great interpretation of the triplet with Elena and Procida at the end of the opera, where his song, acquires, at times, intense dramatic tones. As opposed, Show lightness in the festive duet with Elena from Act V "The breeze hovers around to caress my face", though, emitting the conclusive D-flat over the word "Goodbye" with an ugly falsetto note.

The Uvense Baritone Juan Jesus Rodriguez performs a good interpretation of Guido de Monforte, showing the changing moods of the character and shining brilliantly in his solo intervention of Act III, with a magnificent interpretation of the aria "In the arms of the wealth", where it offers an excellent singing line in the best Verdian style.

Also note his interventions in duets with Arrigo, especially the one in Act III, with those beautiful phrases “As I contemplate that beloved face, I feel my heart leap for joy…” where one of the musical themes of the overture is taken up.

The bass Alexander Vinogradov, offered a somewhat guttural voice in the low and central registers, that when ascending towards the sharp one gains brightness and intensity.

Perform a nuanced rendition of the nostalgic Aryan "Or your Palermo, adored land " one of the most beautiful pages composed by Verdi for bass. also highlights, his interpretation of the beautiful page "Goodbye, my homeland " in the quartet with Monforte, Arrigo and Elena from Act IV. Y, has vibrant performances in the dramatic trio with Elena and Arrigo at the end of the opera.

The day of the premiere it was the turn of the young Jerez soprano Maribel Ortega, sing the very difficult role of Elena, with extreme vocal demands. Serious responsibility that the singer faced with a high degree of professionalism. His performance was not discreet, in Act I, especially in his interpretation of the cabaletta "Courage, his, courage". It was not very accurate in the "Bolero" of Act V. Improved in duets with Arrigo, especially in the long and intensely lyrical Act IV. Also in the big scene with Monforte, Arrigo and Procida that closes this act. He had his best moment in the conclusive triplet of the opera with Procida and Arrigo, where he placed a pair of towering treble. Well the rest of the interpreters, almost all from the Center for Perfection Placido Domingo.

Again, he Choir of the Generalitat, He once again demonstrated his great quality in his multiple interventions throughout the opera. His performance in the great concertante of Act III was very outstanding, in the breathtaking moment of Act IV, singing one of the psalms "Deep", follower of the concertante “Minister of death arrests!”That closes the act: a very beautiful Verdi page. Ya, at the end of the opera the choir shines in the impressive “Vendetta! Vendetta!”.
Text: Diego Manuel Pérez Mirror
pictures: Tato Baeza

Sicilian Vespers
Giuseppe Verdi (1813-1901)
Drama in five acts
Libreto by Augustin Eugène Scribe y Charles Duveyrier
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: Centineo saints
Locker room: Giusi Giustino
Lighting: Andrea Anfossi
Choreography: Luisa Baldinetti
Cor de la Generalitat Valenciana
Francesc Perales, director
Orchestra of Valencia
Distribution: Gregory customer, Maribel Ortega, Juan Jesus Rodriguez, Alexander Vinogradov, Andrea Pellegrini, Cristian Diaz, Nozomi Kato, Moses Marin, Andrés Sulbarán, Jorge Álvarez and Fabián Lara.

Maria Katzarava

He 10 Mexican soprano January Maria Katzarava will sing again in the British capital and does so in the cycle of concerts Rosenblatt, at the Wigmore Hall.

Maria Katzarava It comes from singing Madama Butterfly y Micaëla (Carmen, Bizet) in Italy and to record the opera in Spanish Florencia en el Amazonas (Catan) in Mexico. Expect in February debut at the Konzerthaus Berlin (Germany) with the difficult role of Lina Stiffelio (Verdi). Before, January, He returns to London, where he debuted at the Royal Opera House with Romeo and Juliet season 2010-2011- with an evening under the Recitals Rosenblat's Wigmore Hall, a series of concerts which have spent the greatest lyric interpreters of the moment. The next 10 January is his turn and will in a dogfight with tenor Stefano Colla, with Simon Lepper floor. In the spacious and attractive program includes arias and operatic duets such popular works as Madama Butterfly, Manon Lescaut, Tosca Y Bohemian (Puccini), Romeo and Juliet (Gounod), Otello (Verdi) Y Andrea Chénier (Giordano), a musical menu promises high voltage.

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Andrea Mastroni just achieved personal success as the protagonist of Aquagranda, Opera Philip Perocco which opened the season of the Gran Teatro La Fenice in Venice (Italy); now expects to get the same complicity with the public in New York, when he debuted on the stage of the mythical Metropolitan Opera House interpretando a Sparafucile, the fearsome mercenary who decides the fate of the protagonists in the opera Verdi Rigoletto. It will do so in the controversial production of Michael Mayer which takes place not in the medieval court of the Duke of Mantua, but in the heart of the United States: Las Vegas, and in 1960. Andrea Mastroni will perform Verdi's opera at the Met on days 20, 26 Y 30 January 4 February under the direction of maestro Pier Giorgio Morandi.

In March he will sing for the first time the role of Fiesco by the Verdian Simon Boccanegra and he will do it at the Opéra de Monte-Carlo and later at the Théâtre du Chams Élysées in Paris. Another great international debut awaits you in May, when I sing for the first time at the Royal Opera House in London's Covent Garden: It will be in Don Carlo, under the direction of Bertrand the Billy and production Nicholas Hytner.

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Sicilian Vespers

The Palau de les Arts Reina Sofia opens next 10 from December "Sicilian Vespers", from Verdi, in a contemporary assembly to reflect on the power and propaganda, as noted by the Mayor Davide Livermore in his presentation.

Roberto Abbado, holder Orchestra of Valencia, assumes the direction of the first opera subscription season 2016-2017, It presented in a production of Teatro Regio di Torino and ABAO. The staging is Davide Livermore and her Turin commemorated 150 anniversary of the unification of Italy in 2011.

As he explained by the maestro Abbado, "Sicilian Vespers", It is a musically complex and demanding score for both soloists and for the Orquestra de la Comunitat Valenciana. The play, commissioned by the Paris Opera composer Busseto, It maintains the structure of the 'grand opera' French-as reminds Abbado Verdi- to remedy musically. "To search for sense of grandeur, for example, uses a continuously variable form of the same elements ", He pointed the musical director.

Davide Livermore, as the architect of the staging, He stressed that "we are facing a complex opera, in which converge the main concerns of Verdi: Homeland, the parent-child conflicts and internal dilemma between duty and feelings ... a difficulty both scenic and musical that requires a solvent cast ".

The production, with scenery Centineo saints, wardrobe Giusi Giustino, lighting Andrea Anfossi and choreography Luisa Baldinetti, It was chosen for the publication Musical America as one of the 10 best shows 2011.

Giuseppe Verdi, as pointed Livermore, It took a historical episode of S. XIII to talk about his contemporaneity, the French invasion of Sicily as a pretext to evoke an Italy occupied in the S. XIX and address freedom, search and fight against enemy invasion.

The assembly opens the 'regista' Les Arts turinés moves the historical context to the latest most turbulent moments in Italy, the attack by the Mafia in 1992 against Judge Giovanni Falcone -maximum incentive against Cosa Nostra, his funeral in Palermo, or Berlusconisation of Italian politics and the media monopoly The Knight’, to denounce the political and media corruption of modern society.

A staging, that as it advances the stage director, "Despite its links with the nearest Italian history it is perfectly universal, because it speaks of facts that are repeated in society today ".

Marked Verdeans interpreters

Three prominent singers, own distributions of Metropolitan New York, in the words of Livermore, assume the lead roles: American tenor Gregory customer as Arrigo, the baritone onubense Juan Jesus Rodriguez (Monforte) and Russian under Alexander Vinogradov (Procida).

In this sense, the Mayor has announced that the sopranos Sofía Soloviy, the days 10, 16 Y 18 Y Maribel Ortega (13 Y 21) will sing the role of Elena, as Anna Pirozzi She has canceled its presence by prescription to their stage of pregnancy.

Livermore stressed that "we have two promising voices, that under seen in trials, will continue with the tradition of this theater, where it was first heard many of the stars of today ".

Sofia Soloviy debuts at Les Arts backed by an intense career in leading European theaters, with a repertoire that ranges from Mozart to contemporary music. The Ukrainian soprano has sung this role earlier in Piacenza, Modena and Reggio Emilia in the same production, a great dramatic force and a strong bond with the contemporary world as the situation in his native Ukraine.

Meanwhile, It is the second leading role for Maribel Ortega in Valencia. Jerez soprano, Solea already portrayed last October in "El Gato Montes", Manuel Penella, It addresses the occasion as "a very personal challenge".

Gregory customer, since its mythical Otello in 2013 It has been present in all seasons of Les Arts, he recalled that the role of Arrigo assumed in 2011 his first role

Verde, besides the first collaboration with Davide Livermore, and the start of a successful stage that has established him as one of the most sought after tenors of the moment.

Juan Jesus Rodriguez returns to Les Arts, where he first sang in "Il Trovatore", under the direction of Zubin Mehta, and by 2012 He starred in "Rigoletto". Onubense singer for the score has been a discovery, especially for mounting in recent years concerning Italy "that strike a chord".

Alexander Vinogradov closes the trio of male protagonists. The Russian bass is one of the interpreters linked to Valencian arts center since its inception. debuted in 2006 with Lorin Maazel in "Don Giovanni", repeated assistance under the direction of Zubin Mehta in "Carmen" and "Salome" and by 2015 he returned to sing along to Placido Domingo in "Macbeth".

The cast of "I Vespri Siciliani" complete with the voices of Cristian Diaz (Count Vaudemont), artists Placido Centre Sunday Andrea Pellegrini (The Sire of Bethune), Nozomi Kato (Ninetta), Moses Marin (Danieli), Andrés Sulbarán (Tebaldo), Jorge Alvarez (Roberto), Lara Fabian (Manfredo) and the Cor de la Generalitat.

In addition to the premiere on Saturday 10 from December, the remaining functions of this opera will take place on 13, 16, 18 Y 21 this month.

Otello en TVE

Last 15 of September He inaugurated the Teatro Real season 2016-2017 with a new production Otello, from Giuseppe Verdi (1813-1901), in a function presided over by Their Majesties, which he featured the voices of Gregory customer, Jaho Ermonela Y George Petean in the lead roles.

In this production, co-produced by the Teatro Real, the Inglés National Opera and the Royal Opera in Stockholm, American scene director David Alden chooses to emphasize the internal conflict of Otello, whose warlike character masks the enormous insecurity that makes the wicked machinations of Iago vulnerable. A ruined city and gloomy Mediterranean conceived by scenographer Jon Morrell It accentuates the terrifying atmosphere of the Shakespearean drama that Verdi waxed and universalized.

A great orchestration outlines the characters and illuminates the evolution of drama, with a density and containment hard to beat, in which the song flows like a declamation, Interlocking subtle melodies, epigramáticas cases, huge dramatic force, with other long expressive breath.

El Italian maestro Renato Palumbo, specialist in the Verdian repertoire, returns to the Royal Theatre to register, once again, in front of the orchestra and Headlines chorus of the Teatro Real, to which is added, this time, The chorus Little Singers of the Community of Madrid, directed by Ana González.

The Royal Theater and Spanish Television, co-producer of audiovisual production, they took Otello, last 24 of September, To over 40.000 people who could enjoy this show live in town halls and auditoriums, 15.500 of them outdoor spaces Las Palmas, Madrid, Murcia, Sevilla, Valladolid and Zaragoza.

Davinia Rodríguez

He 13 November the career of the Spanish soprano Davinia Rodríguez gives a giant step: the addition to its repertoire of Lady Macbeth, of the opera Macbeth Giuseppe Verdi, considered one of the most complex and challenging roles in the whole repertoire. The Spanish singer will debut the character in Vienna, en el Theater an der Wien, nothing less than the side Placido Domingo playing Macbeth. "Surely that is a complex role, I've been preparing for over a year with my teacher, Silvia Sass, one of the great Ladies of recent decades ". Davinia Rodríguez, in Vienna I had sung "I due Foscari", He feels "happy to return to this capital of music, now with this fascinating opera by Verdi. My paper, apart from being very demanding technically, it is also very demanding on the plane actoral, since she, Lady Macbeth, is a woman whose ambition has no limits, pushing her husband even murder to get more political power. Like all Shakespearean character, is, in any case, fascinating, and a challenge for any performer '. The Canarian singer will offer the iconic character 3 day functions 13, 17 Y 20 of November, with all tickets sold half a month before the premiere, and in a Viennese theater production to be directed musically by Bertrand de Billy and stage director whose signature Roland Geyer.

The international career of Davinia Rodriguez is unstoppable in a year that also highlight his recent wins debut at the Gran Teatre del Liceu with Simon Boccanegra, in Verdi, -coinciding with the 50 anniversary of the debut of Placido Domingo in Spain- or participation last in the opening of the Spoleto Festival summer playing Countess Almaviva in Le Nozze de Figaro, from Mozart. In season 2016-2017 await you, among other commitments, his return to the season ABAO-OLBE in Bilbao, this time as Donna Anna in Don Giovanni, Mozart, his return to the San Carlo Theater in Naples with his acclaimed Amelia Grimaldi Simon Boccanegra and his debut in the title role of Maria Stuarda at the Teatro Carlo Felice in Genoa.

Luke Sasi

Italian singer, who made history by singing two major roles on the same day in the Metropolitan New York and favorite teacher baritone Muti, Macbeth will be on stage at the Barcelona coliseum day 8, 11, 14, 19 Y 22 October. After its extraordinary success in the large concert hall Stockholm (Stockholm concert Hall) under the baton of Riccardo Muti, with whom he had already sung Macbeth In Chicago, baritone leading fidelity in the interpretation of Verdi as flag, with whom she shares homeland "I'm from Parma, brought to Verdi in my blood ", getting back on the skin of Macbeth in five of the eleven-programmed functions Gran Teatre del Liceu, at the opening of the season. "Macbeth says Luca Salsi– It is my favorite role, and a real challenge for the singer who has to know dose and modulate your voice to get dark sounds, crept, and even suffocated. Macbeth is a fascinating opera, rich in colors and shades, in a score full of indications for the performer who had hitherto not been seen in Verdi ".

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Otello at the Teatro Real Madrid

A cozy and renovated Teatro Real receiving the 15 September the start of the season. New colors and signs that bring you, in appearance at least, other prestigious theaters. Y, as if the Scala or the MET it were, the most famous perched on the forocool located at the entrance holl evening dress. Surely this is a way to advertise the theater and the season begins, even if there is some unease increasingly turn to television to get retail.

And the season began with Otello, the work that shows the most advanced musical language of the composer, the rest of his work.

Verdi y su librettist, Arrigo Boito, they created a story full of intensity and drama based on the text of Shakespeare Othello or The Moor of Venice (1603). Leaving aside the libretto of the Venetian part, Verdi and Boito masterfully adapted the original text. They use the issue of racism, not to describe the character, but to reveal their insecurities. The standardization Boito made Otello, lightening the racist aspect, He made extensible to any possibility of committing the worst atrocities as a result of insecurity and jealousy. This effect makes the Verdi opera is even more disturbing that the work on which it is based.

The scenery is the director David Alden. The same who took care of last season Alcina. scenography, the Alcina, hard to forget. Nightmares do not refer. And now comes this Otello that, perhaps be respectful imagined the scenery which its composer, but the result is an improper modesty of a Royal Theatre. Too dark and lacking a place for those moments of recollection that dot the work. Everything takes place in the same place, at the gates of a building almost in ruins. Desdemona and Otello there seal their love. There you discuss and doubt. There Iago conspires. there dies, urgently and coldness, Desdemona.

A unique and decorated desangelado that is overwhelming in the first scene, where it seems that any time a member of the choir will rush into the pit.

The sharing production with much lower dimensions theaters to Real, as the Stockholm Opera, may explain to a stage in which at least two-thirds of stage background despise.

The only thing that improves the scenery is Adam Silverman lighting that achieves moments of intensity and suspense, which they raised the tone of some scenes interpretative. The moment an Otello appears on the scene threatening to kill Desdemona, it becomes disturbing thanks to the play of light and shadow.

Desdemona is the character of this work that has a lower psychological development. It is the representation of femininity without further elaborations. The Eternal Feminine. And if anyone is able to demonstrate on stage these roles so characteristic of the time is, definitely, Jaho Ermonela. We still remember his traviata, especially the third act. This time, Alden has not given the chance to die on stage with the drama and dignity that proved to be Violetta. Here recreates a delicate and sensitive Desdemona. It does not have a high volume of voice, but neither need.

He shone especially in the fourth act, with a pianissimo of great beauty. So that here the orchestra also apiana. It would have been impossible to listen to the sound of the first and second act. He was particularly delicate given the song Salce and the love duet with Otello.

Gregory customer, He is returning to the Royal Theatre after extraordinary Roberto Devereux last season and with the sign of being one of the best Otellos the moment. I confess that I liked the Otello Palau de Les Arts two seasons ago. His resounding voice and presence, no less emphatic, They make him perfect for this role. On this occasion seemed blurred. Caught the diminishment of the scenery. His sharp sounded full and bright but the bass seemed to cast a low voice, ingloriously. Only in the last act she showed their power. The acting ability has improved, but it's still yours a dramatic impact Otello low.
Nor intensity walked left over the Iago of George Petean. You can not say that its interpretation has been touchingly, but the character is far from the vileness was raised. It was less to more, like all, and he was showcased in "Credo in Dio Crudel".

Alexey Dolgov turned out to be an excellent Cassio. He showed character and a good performance.

The direction of Renato Palumbo was not exactly delicate. During the first and second act, music coming from the pit with excess volume and agitation and conveyed a certain uneasiness. It was nice to see the frenetic activity of many people on a small decorated, with a disturbing musical background during the storm scene. If the purpose of this little Palumbo was to generate hysteria, ¡bravo!.

But his address did not change with the intervention of the singers. It did not take care of them when their arias required neatness. The lack of restraint in the voice forte swallowed interpreters in more than one occasion. Fortunately the third and fourth act does not allow the noise, and where this production was looked fuller.

The season started with a bit disappointing Otello. This is what usually happens when expectations are exaggerated. But neither should panic. This has only started.

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

Giuseppe Verdi (1813-1901)
dramma lirico in four acts
Libreto of Arrigo Boito, based on the play Othello, or The Moor of Venice (1603)
William Shakespeare
First performed at the Teatro alla Scala in Milan 5 February 1887
Premiered at the Teatro Real 9 October 1890
New production of Teatro Real
in co-production with the National Opera Inglés and Royal Swedish Opera in Stockholm
D. musical: Renato Palumbo
D. scene: David Alden
Set and costume designer: Jon Morrell
illuminator: Adam Silverman
choreographer: Maxine Braham
choir director: Andrés Máspero
Director of children's choir: Ana González
Distribution: Gregory customer, George Petean, Alexey Dolgov, Jaho Ermonela, Stephen Vincent, Fernando Rado, Isaac Galán and Gemma Coma-Alabert.
Headlines Choir and Orchestra of the Teatro Real
Little Singers of the Community of Madrid

Davinia Rodríguez

He 13 November the career of the Spanish soprano Davinia Rodríguez gives a giant step: the addition to its repertoire of Lady Macbeth, of the opera Macbeth Giuseppe Verdi, considered one of the most complex and challenging roles in the whole repertoire. The Spanish singer will debut the character in Vienna, en el Theater an der Wien, nothing less than the side Placido Domingo playing Macbeth. "Surely that is a complex role, I've been preparing for over a year with my teacher, Silvia Sass, one of the great Ladies of recent decades ". Davinia Rodríguez, in Vienna I had sung "I due Foscari", He feels "happy to return to this capital of music, now with this fascinating opera by Verdi. My paper, apart from being very demanding technically, it is also very demanding on the plane actoral, since she, Lady Macbeth, is a woman whose ambition has no limits, pushing her husband even murder to get more political power. Like all Shakespearean character, is, in any case, fascinating, and a challenge for any performer '. The Canarian singer will offer the iconic character 3 day functions 13, 17 Y 20 of November, with all tickets sold half a month before the premiere, and in a Viennese theater production to be directed by Bertrand de Billy musically and stage director whose signature Roland Geyer.

The international career of Davinia Rodriguez is unstoppable in a year that also highlight his recent wins debut at the Gran Teatre del Liceu with Simon Boccanegra, in Verdi, -coinciding with the 50 anniversary of the debut of Placido Domingo in Spain- or participation last in the opening of the Spoleto Festival summer playing Countess Almaviva in Le Nozze de Figaro, from Mozart. In season 2016-2017 await you, among other commitments, his return to ABAO-OLBE season in Bilbao, this time as Donna Anna in Don Giovanni, Mozart, his return to the San Carlo Theater in Naples with his acclaimed Amelia Grimaldi Simon Boccanegra and his debut in the title role of Maria Stuarda at the Teatro Carlo Felice in Genoa.


Scotland. Macbeth hear how enigmatic prophesying witches who will be king of Scotland. to know, his wife urging him to kill the current king to replace him. The predictions of the witches Macbeth push to be sanguine with friends and rivals, until only and furious will face the battle postrera, where you just dying.

Giuseppe Verdi He was devoted to the work of Shakespeare and this is the first opera that is based on a text Bard. Verdi's enthusiasm can be summed up in his will to achieve "something extraordinary".

In this version, stage director Christof Loy places the action in a timeless classic space with surreal touches and dominated by black and white, high dramatic intensity.

Melodrama in four acts. libretto Francesco Maria Piave. Música de Giuseppe Verdi. premiere of the first version: 14/03/1847, Teatro della Pergola in Florence. Premiere of the second version (French): 21/04/1865, Lyric Theatre París. Premiere in Barcelona: 01/07/1848, High school. Last performance at the Liceu: 05/04/2004. Total performances at the Liceu: 106

Giampaolo Bisanti

Christof Loy

Jean-François Kessler

Thomas Wilhelm

Jonas Dahlberg

Ursula Renzenbrink

Bernd Purkrabek

Grand Théâtre de Genève

Symphony Orchestra and Chorus of the Gran Teatre del Liceu

Conchita Garcia

DISTRIBUTION: Ludovic Tézier, Luca Salsi, Vitalij Kowaljow, Alessandro Guerzoni, Martina Serafin, Tatiana Serge, Ana asked, Saimir Pirgu, Teodor Ilincăi, Albert Casals, David Sanchez, Marc Canturri.


More of 80 municipalities will provide Otello Live, highlighting the active and enthusiastic involvement of museums and cultural and artistic centers of all Spanish communities.

screens will be installed outdoors in Seville, Murcia, Valladolid, Zaragoza, Chichón, Alcobendas, Getafe and Jumilla, bringing opera to the streets in a festive and relaxed atmosphere.

Several cultural institutions expand the capacity of its spaces, encouraged by the success of the relay I puritani last season.

For those wishing to see the opera house, Otello It will be broadcast live, for free, and for everyone, in stage Digital dRoyal Theatre. You can also follow (co-producer of audiovisual production), The Opera Platform (Opera Europa), Shakespeare Lives (British Council) Y ARTS Concert (ARTE).

Tracking all retransmissions in the hashtag #OtelloEnDirectoTR

Shakespeare Lives, sponsored by the British Council, carry Otello live 140 countries, with a selection of short films and material about the opera, which can be followed on social networks with the label #ShakespeareLives.

In Latin America the opera will be broadcast delayed, he 30 of September, in different areas of Chile, Colombia, Mexico and Venezuela.

Retransmissions Otello with the collaboration of HISPASAT.

In the wake of the successful relay I Puritani, last July, which it has reached almost 20 millions of people in its various windows -webs, museums, auditoriums and squares of Spain and Latin America, social networks, etc. —, Royal Theatre retransmit Otello Saturday, 24 of September, to 20 hours, live and free for everyone, with the active participation of different cultural institutions, media and municipalities.

This time, Besides the live broadcast museum, cultural centers, councils, theaters and auditoriums in Spain, They will be installed screens outside Madrid, in emblematic areas of Seville (Spain Square), Valladolid (Main Square), Murcia (Plaza of the Red Cross), Zaragoza (Plaza de San Bruno), Chinchón (Main Square), Alcobendas (Square games together), Getafe (Plaza del Teatro Federico García Lorca) and Jumilla (Square up), bringing opera to the heart of cities and involving all its citizens.

Again, prestigious museums and cultural institutions throughout Spain offer Otello, live, highlighting the Prado Museum, the Thyssen-Bornemisza Museum, the Fine Arts, the Foundation Giner de los Rios, Student Residence and the Canal Isabel II Foundation, in Madrid; the Guggenheim Museum Bilbao; the frame, Museum of Contemporary Art, Vigo; the Museum of Fine Arts in Corunna; the Niemeyer Center in Aviles; the Science Museum of Castilla-La-Mancha, in Cuenca; Carmen Thyssen museum and Russian Museum of Saint Petersburg in Malaga, The Alhambra of Granada, the Diocesan Museum of Barbastro-Monzón (Huesca), among others.

this great festival of opera theaters and auditoriums as the Palau de les Arts in Valencia also joined, the Baluarte Auditorium of Pamplona, the Gran Teatro de Huelva, Teatro Cervantes de Málaga, the Auditorium and Theater Foundation of Las Palmas, among others.

Likewise, several municipalities throughout Spain will host the opera in its facilities and cultural centers: Caudete (Albacete); Elda and Guardamar del Segura (Alicante); Cangas del Narcea, Franco and Soto del Barco (Asturias); Ávila, El Barco de Avila and Piedrahita (Ávila); Herrera del Duque (Badajoz); Alaior and Sant Lluis (Menorca, Baleares); Sant Fost de Campsentelles (Barcelona); Almaraz and Miajadas (Cáceres); San Fernando (Cádiz); Morella, Torreblanca and Vilafranca (Castellón); Pedro Muñoz, Puertollano and Villanueva de los Infantes (Real city); Montilla (Córdoba); Garriguella (Girona); Diezma y Guadix (Granada); Huelva Beas (Huelva); Alcalá de Henares, San Martin de Valdeiglesias, Three songs, Torrelodones, Valdemoro and Daganzo (Madrid); Unzué (Navarra; Monleras (Salamanca); Santander; And Gines Bormujos (Sevilla); Trevago (Soria); Calanda (Teruel); Illescas and Bargas (Todelo); Ayora, Benigànim and Puçol (Valencia).

In Latin American countries retransmission day 24 September will be offered the 30 of September, Friday, in auditoriums Chile, Colombia, Mexico and Venezuela.

Likewise, from the Royal Theatre will retransmit the Opera live, open and for everyone, in stage Digital and other platforms online, National and international, which provide Otello in streaming a public increasingly diversified.

RTVE, co-producer of audiovisual production, Opera will offer on its website The Opera Platform, Opera online platform tutored by OPERA EUROPA, which started its activity with the international relay La traviata from the Royal Theatre, in 2014, issue the first and last opera of the season: Otello Y Madama Butterfly. As well ARTS Concert, of the ChanelART, Y Shakespeare Lives, of the British Council, They will join the relay Otello.


As part of the commemorations of the fourth centenary of the death of William Shakespeare and the bicentennial of the founding of the Royal Theatre, Otello, linking the names of Verdi and Shakespeare, HE will broadcast live for 140 countries in the audiovisual platform Shakespeare Lives, on the websites of British Council centers worldwide, and in theaters such as the Shakespeare Theatre de Gdansk (Poland) or the Romania National Theatre.

Viewers will also enjoy, during intermission, a selection of short films current produced by acclaimed British directors and inspired by Shakespeare's classics with a contemporary look roundly. a series of also be offered interviews with artists Otello which can be followed on social networks Tagged#ShakespeareLives, in order to offer the public a multifaceted look of this masterpiece from different areas of creation.

narrow British Council collaboration with the Teatro Real will continue in the future with a series of projects covering the digital enterprise, the audiovisual sector and education.



retransmissions OTELLO

Among the proposals opera approach to all citizens, that drives the program of activities Bicentenary of the Royal Theatre, the dissemination of their shows with the help of new audiovisual technologies is a priority.

A) Yes, in the wake of the successful relay I puritani, last 4 of July, It has reached 20 millions of peoplein its various windows -webs, museums, auditoriums and squares of Spain and Latin America, social networks, etc.—, Royal Theatre again offering the possibility that Otello can be followed, live or deferred, for free, Worldwide, with the active participation of different cultural institutions, media and municipalities.

This time, Besides the live broadcast museum, cultural centers, town halls and auditoriums throughout Spain, They will be installed screens outside Madrid, in emblematic spaces of Granada, Murcia, Sevilla and Valladolid, bringing opera to the streets in a festive and relaxed atmosphere.

In Latin American countries retransmission day 24 September will be offered the 30 of September, Friday, in auditoriums Chile, Colombia, Mexico and Venezuela.

Likewise, from the Royal Theatre will retransmit the Opera live, open and for everyone, in stage Digital and other platforms online, National and international, which provide Otello in streaming a public increasingly diversified.

RTVE, co-producer of audiovisual production, Opera will offer on its website The Opera Platform, Opera online platform tutored by OPERA EUROPA, which started its activity with the international relay La traviata from the Royal Theatre, in 2014, issue the first and last opera of the season: Otello Y Madama Butterfly. As well ARTS Concert, of the ChanelART, Y Shakespeare Lives, of the British Council, They will join the relay Otello.


As part of the commemorations of the fourth centenary of the death of William Shakespeare and the bicentennial of the founding of the Royal Theatre, Otello, linking the names of Verdi and Shakespeare, HE will broadcast live for 140 countries in the audiovisual platform Shakespeare Lives, on the websites of British Council centers worldwide, and in theaters such as the Shakespeare Theatre de Gdansk (Poland) or the Romania National Theatre.

Viewers will also enjoy, during intermission, a selection of short films current produced by acclaimed British directors and inspired by Shakespeare's classics with a contemporary look roundly. a series of also be offered interviews with artists Otello which can be followed on social networks Tagged #ShakespeareLives, in order to offer the public a multifaceted look of this masterpiece from different areas of creation.

narrow British Council collaboration with the Teatro Real will continue in the future with a series of projects covering the digital enterprise, the audiovisual sector and educación.'OTELLO '


Public presentation of the exposition 'Othello' de Verdi: una mirada to the Historical Archive Memories

discussion with Pierluigi Ledda, director Historical Archive Memories, Y Luis Gago, musicologist and critic.

free visit to the exhibition at the end of the colloquium.

13 of September, to 20.00 h.

Teatro Real. Gayarre hall and Café de Palacio

Free access until full capacity.

monographic course: Sobre 'Othello' de Verdi

By Gabriel Menendez Torrellas

13, 20 Y 22 of September

Teatro Real. Gayarre and living room orchestraOpera theater

La Traviata, de Giuseppe Verdi

musical direction of Renato Palumbo and stage direction of David McVicar

18 of September, to 12.00 h.

Teatro Real. Great room

Conference: Shakespeare become romantic opera: the 'Otello' by Verdi

by Victor Sanchez Sanchez

22 of September, to 19.00 h.

Museum of Romanticism. audience

Free access until full capacity.

Opera in the street. Live broadcast of Otello

Live broadcast of Otello for everyone in stage Digital and museums, cultural institutions, municipalities and squares throughout Spain.

24 of September, to 20.00 h.

Chamber Sundays


Soloists of the Titular Orchestra of the Teatro Real

25 of September, to 12.00 h.

Teatro Real. Great room

Colloquium. Closing ceremony of the celebrations of the fourth centenary of William Shakespeare

November and dicember

British Council
Free access until full capacity.

Conference: The arrival of 'Otello' to Spain
Date to be determined

Cervantes Institute


The next 15 September the Teatro Real opens the season 2016-2017 with a new production Otello, from Giuseppe Verdi (1813-1901), coproduction with English National Opera -where premiered, with excellent reception, in September 2014 and Royal Opera in Stockholm, who presented the opera in March 2015.

As you can be seen in the exhibition The birth of 'Otello' by Verdi: una mirada to the Historical Archive Memories, this masterpiece was born thanks to the skill and perseverance of the great editor Giulio Ricordi (1840-1912), that over several years was persuading Verdi, and discreetly retired, to resume operatic creation, who had left after the premiere of Aida in Cairo, in 1871.

Giuseppe Verdi was then a composer himself internationally, with a long and fruitful career, good economic position, very popular and loved by their active involvement in social and political life hectic Italian. He decided, well, not to compose operas, giving way to a new generation of composers who tried to renew the canons of Italian opera, when the powerful influence of Wagner He permeated the musical life of his country.

But the sweeping dramatic force William Shakespeare (1564-1616) Verdi woke from their slumber and, with the incentive of librettos excellent composer and poet Arrigo Boito (1842-1918), composed, and septuagenarian, his two latest and greatest operas: Otello y Falstaff. With the first, He undertook the deepest renewal of its language, with a kind of synthesis and quintessence of Italian opera, that would mark the end of a cycle of almost two centuries; with the second, comic opera led to the summit of refinement and subtlety, saying goodbye with a delicious and nostalgic loa youth and love.

Driven by the conciseness of the libretto by Boito, simplifying the Shakespearean plot delving into the complexity of the characters and their relationships, Verdi uses all his creative resources at the service of dramaturgy, creating a seamless score, in which they melt and dissolve arias, duos, recitativos y ariosos, in a continuum in which the tension never decays, even in the most intimate moments and lyricism.

A great orchestration outlines the characters and illuminates the evolution of drama, with a density and containment hard to beat, in which the song flows like a declamation, Interlocking subtle melodies, epigramáticas cases, huge dramatic force, with other long expressive breath.

With this work, so powerful dramaturgically, American scene director David Alden He has chosen to emphasize the internal conflict of Otello, whose warlike character masks the enormous insecurity that makes the wicked machinations of Iago vulnerable. A ruined city and gloomy Mediterranean conceived by scenographer Jon Morrell It accentuates the terrifying atmosphere of the Shakespearean drama that Verdi waxed and universalized.

Renato Palumbo, that Real has directed Les Huguenots, Tosca and La traviata, verdiano returns with another title, again with the Albanian soprano Jaho Ermonela, who triumphed with his rendition of La traviata, in 2014. She will be accompanied by tenor Gregory customer, one of the most celebrated interpreters of the demanding role of Otello today, which also he opened last season with his acclaimed Real Robert Devereux, and star in the Standard will be offered in October and November. With them, incarnating the sibilant sadist and Iago, will be the baritone George Petean, who just participated in the opera I Puritani that ended last season.

This trio protagonist will alternate with the Armenian soprano Lianna Haroutounian, the tenor Alfred Kim and baritone angel Òdena, who will sing his 13th title role in the Royal Theatre (the Rheingold, The conquest of Granada, Dolores, clowns, Luisa Fernanda, Madama Butterfly, Merlin, Margarita will return the, Simon Boccanegra, Cyrano de Bergerac, La traviata and Roberto Devereux).

The chorus Little Singers of the Community of Madrid, directed by Ana González, and the Titular Choir of the Teatro Real, prepared, as usual, by its chief conductor, Andrés Máspero, will act again by the Head of the Royal Theatre Orchestra, under the baton of Renato Palumbo.


Bertelsmann brings to Spain for the first time Ricordi file, one of the most valuable private collections in the world music, through exposure 'The birth of Verdi's Otello: una mirada to the Historical Archive Memories'. Ricordi sample file, essential to understand the genesis of the opera genre, It will be shown in the Teatro Real from Madrid between days 15 September and 3 October, and its opening coincides with the start of the opera season 2016-2017 with the representation of Otello.

handwritten scores the famous composer, correspondence selected, sketches scenario, costume designs resurrecting the culture of the nineteenth century opera… The group of largest in Europe and a strong presence in Spain traditional communication wants to bring the Spanish public the historical heritage of Archivio Storico Ricordi Milan, owned by Bertelsmann from 1994.

The aim of the exhibition is to show the wide variety of documents that contain the file through the creation of Otello, a key masterpiece that reflects the unique role that Ricordi had in the creative process and design production of the opera. The creative collaboration between Giulio Ricordi editor and artistic genius Giuseppe Verdi is among the major cultural enterprises in history.

Bertelsmann acquired the iconic Casa Ricordi music editor in 1994 and the inventory file contains today 7.800 original scores of more than 600 operas, including valuable original manuscripts of Giuseppe Verdi and Giacomo Puccini, and a 10.000 librettos, 6.000 historic photographs and the complete correspondence between company business 1888 Y 1962, providing a transcendental knowledge of how he thought and worked at that time the cultural industry. further, Ricordi publishing has pioneered fundamental in the music industry managing creativity, one of the values ​​that drives Bertelsmann as major cultural industry in Europe.

Peralada Castle

It has been a very emotional show with five great voices of international lyric sharing the stage of the Castle Park Auditorium: Sondra Radvanovsky, Eva-Maria Westbroek, Marcelo Álvarez, Carlos Alvarez Y Ambrogio Maestri. The five are friends and colleagues Ambrogio Maestri and less, which debuted in Peralada, the rest are friends of the festival in which have acted in several editions. They have shown great understanding in their duet performances and especially in the last encore La traviata, from Verdi, in which the five have intervened. During the lyrical Gala, pieces such as the opening have been heard Be still, from Rossini, Sir, heaven help you!, in Verdi, Vissi d'arte, from Puccini or an author's piece that has never been performed at the festival: Ah! All is well finished … Mr. Souverian … from Massenet.

Encores, that have lasted for 30 minutes have been: Falstaff / "The onore" “in Verdi, interpreted by Ambrogio Maestri. Carlos Álvarez has sung “The one from the soto del Parral / Romanza de Germán (The happy songs… Already my happy hours”) of Soutullo and Vert. In its turn, Marcelo Álvarez, has sung the tavern of the port / Leandro's Romance (Can not be) Sorozábal. I could have danced all night of My Fair Lady was the encore by Sondra Radvanovsky and Eva Maria Westbroek has sung “In this, I will go far away” de La Wally, of Catalans.

With the Traviatta, by Verdi and the five artists before the public, the stage has been lit up for a party and the confetti has been lowered throughout the auditorium while bravos and feet were heard from the stands giving great approval to the Gala.

Accompanied by a great friend from the festival: the orchestra Symphony of Barcelona and National of Catalonia (Obrc), directed by Daniele Rustioni, the gala has been led by Ángel Llàcer. The stage manager has been, Albert Estany.


Placido Domingo and Michael Fabiano in I Due Foscari at the Teatro Real

I due Foscari is one of the works composed by Verdi in the so-called "galley years". So the composer himself referred to the seven years in which he composed no less than eleven operas. Does not about, much less, one of his best works. Not even the best known. But there is something in I due Foscari so that it is represented more times than its quality and position in the repertoire grant it.

Maybe thanks to time and perspective, taking into account the later works of the Italian master, is positioning itself better.

The characters of this drama "family” Romantic (father, son and daughter-in-law) they have a strong personality. Some of them, specifically that of Jacopo Foscari, caused discrepancies between Verdi and his librettist Francesco Maria Piave. The faintness of the character, together with its scarce presence throughout the work, led Verdi to ask Piave for some important changes. The end result was a greater weight of this character from the beginning of the work and its prominence in some of the most beautiful vocal pages.

The representations that these days can be seen in the Teatro Real They are in concert version. O, more concretely, semiescenificada. Given the dramatization capacity of a very powerful group of singers who show that the absence of scenography, does not prevent a magnificent operatic performance.

The musical direction Pablo Heras-Casado has an energetic effect on the orchestra, the singers and the work itself. From the overture, the vigor with which Heras-Casado interprets the score is evident. With this same strength he directs some singers who fill his performance with nerve and tension. There are moments of peculiar beauty in the duets and quartets of violin and cellos performed by the soloists..

Lucrecia Contarini, Jacopo Foscari's wife, is interpreted by Angela Meade. This American from Washington performs vocally and dramatically under the strictest canons of traditional opera, although she suffers from a certain automatism. But what is really impressive is the stratospheric volume of his voice. Characteristic that did not prevent him from offering some very well-made philatos. The vibrations it emits, at least when listening to it from the third row, impress. As he demonstrated from the start with Tu al cui sguardo onnipossente ...

Michael Fabiano

The American tenor Michael Fabiano returned to the Teatro Real, as Jacopo Foscari. Much has evolved his voice since that Cyrano de Bergerac of 2012.

With a remarkable volume of voice and a tessitura more of spinto than of dramatic tenor, Fabiano has built a dramatic and desperate Jacopo Foscari. Fantastic in his romances, especially in the second, Night, perpetual night!. Very demanding for tessitura and drama and that Fabiano solves with taste and eloquence.

Before your intervention, was kind enough to answer some questions for Brío Clásica.

It wasn't until he got to college and started his studies, when he realized the enormous potential that his voice had. It was at that moment that he started his career.

Classic verve.: In its same position, Who are the singers you notice?

Michael Fabiano.: Aureliano Pertile, for the insurmountable magnitude of his technique. Mario del Monaco, for their commitment to interpreting. Franco Corelli, for his heroism and Plácido Domingo, for his deep passion and expertise.

B. C.: How do you feel when you are compared to a young Pavarotti?

M.F.: I feel a deep humility.

B. C.: It is not the first time that he sings with Plácido Domingo, How is this experience?

M. F.: It is an honor for me, taking into account his enormous career and his immense legacy.

B.C.: His roles as Rodolfo in La Bohéme and Luisa Miller have been widely accepted by the public. What other roles do you see yourself playing in the future?

M. F.: I see myself in operas like Un Ballo in Maschera, Simon Boccanegra , Attila, Ernani, The Battle of Legnano, Mefistofele , Manon, Werther, Romeo and Juliet o Carmen.

Soon we will enjoy it again in Spain.

The baritenor, as he calls himself, Placido Domingo, it was one of the biggest attractions of the night, interpreting to Francesco Foscari. The discussion on the tessitura of Plácido Domingo must cease to exist. Is an artist. A great artist, able to invent a tessitura according to the evolution of their vocal characteristics and use it, next to his skills on stage, with a single purpose, success in interpretation. Each of his interventions was applauded until reaching the final ovation. Incredible merit also has the fact of not being covered by Meade's cascade of voice.

Another one that is not lacking in vocal volume is the Italian bass Roberto Tagliavini in his role as the evil Jacopo Lorendano. At the height of the main cast were the soprano Susana Cordón, as Pisana and the tenor Mikeldi Atxalandabaso, as Barbarigo.

A fantastic night of opera, in which the audience enjoyed and demonstrated it by standing applause for several minutes. An end to the season that leaves an excellent taste in the mouth and the best business card for the next one.

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

I due Foscari

I due Foscari (The two Foscari), from Giuseppe Verdi (1813-1901), bring to Real, again, the archetypical father verdiano, suffering and tormented, after those of Rigoletto Y Luisa Miller, both starring Leo Nucci this season.

This time the role of the parent, written, as mentioned, for string baritone, will be interpreted by Placido Domingo, who has triumphed in several theaters incarnating the old Francesco Foscari, whose tragic end is one of the saddest and most lacerating of all Verdi's production.

At his side will be the American tenor Michael Fabiano, that will return to the Real, already internationally consecrated, after having acted in Cyrano de Bergerac in the season 2011-2012, and soprano, also North American, Angela Meade, which will debut in Madrid preceded by great successes in Europe and America.

Based on the historical drama The Two Foscari, from Lord Byron, the score by Giuseppe Verdi, part of the political intrigues and power struggles in the former republic of Venice, to delve into the psychology of the main characters, anticipating his later operas. The play, one of Verdi's darkest scores, reflects, maybe, the composer's mood, that he had lost his wife and children in a short period of time.

In the music of I due Foscari we can find the almost embryonic use of the Wagnerian leitmotifs and precursor elements of Verdi's later style, especially in the pages of Lucrecia, the devoted and feisty wife, and in his magnificent duets with the Doge.

Today this work is witnessing a revaluation promoted by Plácido Domingo, who has performed it in different productions and in concert version in Los Angeles, Valencia, Vienna, London, Barcelona and Milan.

Overnight Arts

The Palau de les Arts Reina Sofia celebrate the nights of 1 and 2 July a double edition of its night open house ‘Night at the Arts’, with the cultural enclave goodbye to the activity open to the public until September.

‘Nit a Les Arts’ offers technical-artistic exhibitions and live performances of the Cor de la Generalitat Valenciana and of the Orchestra of Valencia, in addition to an exhibition with costume elements and props from the opera "Aida" for anyone who approaches the building by Santiago Calatrava. As the end of the party, both nights, a music session with a DJ will put the end to the day.

The activity to the public begins both on Friday 1 like saturday 2 with the beginning of the six passes of the technical-artistic exhibition that hosts the stage of the Main Hall at the following times: 20.00 h, 20.50 h, 21.40 h, 23.00 h, 23.50 and h 0.40 h.

In groups of up to 240 people, attendees have the opportunity to meet in situ, through a show of about 40 minutes long, the operation of the stage machinery, lighting, audiovisuals and all the necessary elements to start an opera performance.

The artistic part of this exhibition is in charge of the artists of the Centre Plácido Domingo and Ballet of the Government, that offer a representation, directed by Emilio López, that combines elements of lyrical and dance.

To be able to enjoy this activity, Those interested should appear at the Les Arts Box Office in the 30 minutes prior to the start of the pass that best fits your schedule. A maximum of two invitations per person will be delivered until the capacity for each shift is completed.

Likewise, the arts center reserves a quota of seats for these passes to its season subscribers, that you can make your reservation between the days 29 Y 30 June in the section of the website that the coliseum will have for this purpose.

The wardrobe “Aida”

Starting at 20.30 h of both evenings the Lobby of the Main Hall will open its doors to enjoy an exhibition of costumes and props from the opera "Aida", from Giuseppe Verdi.

The public, freely, you can enjoy the costumes designed by Moritz Junge for this Les Arts co-production with London's Covent Garden and the Oslo Opera House, in addition to props used in this assembly.

Live music and free tour of the terraces

Starting at 20.30 h, the Palau de les Arts Reina Sofía opens its terraces and balconies for anyone who wants to know and enjoy the open-air spaces of the operatic enclave.

The stable bodies of the Valencian arts center: Cor de la Generalitat, who collaborates for the second time in this event, and the Orquestra de la Comunitat Valenciana put the musical note on Les Arts' white night.

Los Toros Restaurant, located on the eleventh floor of the theater and connected to the Terrasses de les Palmeres, is the frame where, from 21.00 h until 0.00 h, the Cor de la Generalitat and groups of Professors of the OCV offer various actions.

On Friday, the protagonists will be the musicians of the Palau de les Arts formation with micro-concerts of 25 minutes duration at 21.00 h, 21.55 h, 22.45 and h 23.40 h.

Saturday, the soloists of the OCV will take turns with the Cor de la Generalitat Valenciana, that accompanied at the piano by Francisco Hervás and directed by Francesc Perales, performs choruses of titles that make up the Season 2016-2017 de Les Arts as The elixir of love, from Donizetti, The Sicilian Vespers and La traviata, from Verdi, Gloria, from Vivaldi, Israel in Egypt, from Händel, or Missa Papae Marcelli, from Palestrina.

From the 20.30 h until 0.30 h in the morning, Besides, the Palau de les Arts has arranged a restaurant service on both terraces on the eleventh floor, in which a spectacular LED sculpture will shine, courtesy of the artist Nacho ruiz.

Starting at 0.30 h, on that same floor, the terrace overlooking the Jardin del Turia will become a large dance floor with a music session with live DJ, that will dismiss the activity of both days to the rhythm of 'dance'.

The arts center will close its doors at 2 at dawn both on Saturday 2 like sunday 3.

Don Carlo

He Summer Festival of San Lorenzo de El Escorial start the next 24 June with a wide selection of shows. Consolidated as one of the main festivals in Spain, music, opera and dance fill the nights of the Madrid sierra 24 June to 6 of August. Albert Boadella with his version of Don Carlo, from G. Verdi, the National Dance Company, the english pianist James Rhodes and grouping Capella Mediterranea will be some of the protagonists of this edition.

Although it was Vivaldi who raised the division of the months of the year to the category of masterpiece, There have been many composers who have made their personal reading of the four seasons or have wanted to interpret one of them musically. The four seasons serve as the common thread of much of the festival's programming. On this occasion, you will be able to enjoy both the classic version of Vivaldi's work and its symphonic interpretation, accompanied by a Latin jazz quartet. further, the public will be able to enjoy the four Buenos Aires seasons Pitch o The stations Tchaikovsky. Meanwhile, Stravinsky chose to focus on The Rite of Spring and Schubert, on his winter trip (the winter trip). All these works are part of the Summer Festival program 2016.

On the occasion of the centenary of his death, the festival will offer different recitals with works by the composer Enrique Granados, including his famous Goyescas suite, Madrid-inspired masterpiece, the dance of green eyes, La boyra or Twelve songs in the old style.

Don Carlo is consolidated as the date of the summer and attracts an international cast.

After its premiere at the Summer Festival of 2015 and repeating the success in the Teatros del Canal, Albert Boadella returns the days 28 Y 30 of July, in front of Don Carlo de Verdi, with a montage that presents the most Spanish version of this historical character in the place where his protagonists lived and where his remains lie today. Manuel Coves will be in charge of the musical direction of this production for which a cast has been counted on that brings together such prominent voices as Massimo Giordano, Ekaterina Metlova, Carlo Colombara, Juan Jesus Rodriguez, Nadia Krasteva, Eric Halfvarson together with Orchestra and Choir of the Community of Madrid.

London-based pianist James Rhodes will perform works by Chopin, Bach and others, the day 1 of July. His story, published in an autobiographical book titled Instrumental, has become an editorial phenomenon reflecting how music has helped him survive.

The day 15 July, the National Dance Company will perform a triple program consisting of Desires and torments, with music by Granados and Rosa Torres-Pardo the piano; In the night, with a work of Chopin, and Don Quijote Suite, with a choreography by the director of the CND, José Carlos Martínez.

Boston Philarmonic Youth Orchestra, Luis Fernando Pérez O Raquel Andueza Y the Galania, among others.

The festival starts the day 24 June with a concert by the Boston Philharmonic Youth Orchestra, in which Tchaikovsky's Symphony No. 5 and works by Glinka, Dvorak, Y Debussy, under the direction of Benjamin Zander. Accompanied by a Latin jazz quartet, the Young Orchestra of the Community of Madrid revolutionizes Vivaldi's Four Seasons, the day 25 of June.

Capella Mediterranea will offer the 26 June Angel and Devil, a tour of works by Monteverdi and Piazzola, that raises a dialogue between ancient and modern instruments, Between the past and the present, between dance and music. This concert is the link between The Four Seasons and Monteverdi.

He 2 July the JORCAM will perform Symphony No. 5 of Beethoven, along with works by Astasio Y Turina, and the day 3, Vivaldi's Four Seasons and Piazzola's Four Buenos Aires Stations. Stravinsky's Rite of Spring or West Side Story Soundtrack, from Bernstein will form the repertoire that the Iberia piano duo & Klavier will give a recital together with him Tak-Nara Percussion Group.

He 16 July will be the turn of the pianist Luis Fernando Pérez, who will perform pieces by Goyescas, the great work of Granados, along with others by Debussy or Chopin. He 22 July the teachers of the International Matisse Courses will offer their now traditional concert and the 23, you can enjoy the last trip. Granados in New York, a lyrical cante show, dance and piano in which works by the composer will also be performed. The piano concert of Luis Fernando Pérez and The last trip. Granados in New York have the collaboration of Acción Cultural Española (AC / E).

He Trio Malats offers a program with Zalba Autumn Tours and Tchaikovsky Stations, the day 24 of July; and the 29, baritone Damian del Castillo, together with the fortepiano David Aijón, interpretarán The winter journey, from Schubert.

The day 2 August the Turkish National Youth Orchestra will offer Symphony No. 8 ‘Incomplete’ by Schubert and the Concerto for Orchestra by Bartok. He 3 it will be the turn of Raquel Andueza and La Galanía, who interpret the Monteverdi program & friends. By last, the day 6 August, the De Sangre y Raza dance company offers the show 400 years of flamenco.

Tickets are on sale online at popular prices from 10 euros ( and there are different subscription and discount options.

Mapping the Teatro Real in Madrid

The next weekend European Opera Days will be held. He Teatro Real has wanted to join this year to the commemorations from its most innovative side, the use of new technologies for the dissemination of art, culture and, especially, music. A) Yes, since Friday 6 and until Sunday 8 of May, Relay online platform Teatro Real, stage Digital ( You will have free access and will make the titles of your video library available to all audiences.

The Teatro Real has become one of the most outstanding institutions in the world of lyric on the technological plane thanks to high-quality audiovisual equipment, your adhesion to the projects of recording and transmission of musical shows through all the channels at your fingertips (web, TV, who…) and a demanding audiovisual production policy. Last april, the Royal Theater became one of the first opera houses in Europe to use 4K production for the recording and broadcast of an opera.

Just a year ago, he 8 of May, was born at the Teatro Real The Opera Platform, a platform completely dedicated to open access opera, rich in information, with full performances and opera excerpts, synopsis and historical material, artist interviews and backstage documentary, through the link

The Royal Theatre, through the Google Cultural Institute, It also has an online exhibition that allows you to take a virtual walk through the bowels of the Theater and access both the public areas and the techniques, to know in detail what happens in the workshops, scenic spaces and much more. A) Yes, the public that visits this space can access virtual exhibitions that will allow them to know its history, the building in detail and its cultural and artistic project = is.

One of the main attractions for fans and curious people is to access, for the first time and with a single click, to a virtual tour that explores a large part of the building's 65,000 square meters, thanks to Google's Street View technology, that captures high-quality 360º images and offers online experiences as if they were reality itself.

We attach images of some of the titles available in Palco Digital, all of them from @Javier del Real / Teatro Real


AS FAN ALL (W.A. Mozart)

Director musical: Sylvain Cambreling

Stage-manager: Michael Haneke

Distribution: Fiordiligi, Anett Fritsch; Dorabella, Paola Gardina; William, Andreas Wolf; Ferrando, Juan Francisco Gatell; Despina, Kerstin Avemo;Don Alfonso, William Shimell



Director musical: Jesus Lopez Cobos

Stage-manager: Pier Luigi Pizzi

Distribution: Violetta Valery, Norah Amsellem; Alfredo Germont, José Bros; Giorgio Germont, Renato Bruson


IOLANTA (P.I. Tchaikovski)

Director musical: Teodor Currentzis

Stage-manager: Peter Sellars

Distribution: Iolanta, Ekaterina Scherbachenko; Robert, Alexei Markov; Count Vaudémont, Pavel Cernoch,; Ibn-Hakia, Willard White.


LUISA FERNANDA (F. Moreno Torroba)

Director musical: Jesus Lopez Cobos

Stage-manager and designer of scenic elements: Emilio Sagi

Distribution: Luisa Fernanda, Nancy herrera; Vidal, Placido Domingo; Javier Moreno, José Bros, and Duchess Carolina, Mariola Cantarero

Luisa Miller

Two performances had scheduled the Teatro Real of the Luisa Miller verdiana. A work unjustly considered minor in the repertoire. Perhaps because its composition, prior to the trilogy formed by Rigoletto, The Troubadour Y La traviata they put her in the background. Verdi account on this occasion with the librettist Friedrich von Schiller giving more importance to the love and social drama of the original work, Cabal and Love (intrigue and love). What the author himself will call "bourgeois tragedy". These new argumentative “motives” could well be justified in avoiding the action of censorship. Very active in those moments of European revolutionary upheaval in 1848.

This has been a concert version. But you can't say it wasn't staged. More and more operas in concert are, dispensing with the always uncomfortable music stands, are semi-staged by the singers, creating a lyrical atmosphere closer to an opera night with all its arming.

At the head of the management was the American James Conlon. A true lover of Luisa Miller. To the point of calling his daughter Luisa and thereby evoking the paternal filial relationship of the protagonists. His knowledge of the work is total, He barely consulted the score to which he printed a lively rhythm full of tension from the overture. Especially in the endings. He extracted a pure Verdian sound from the orchestra, mainly from the strings. The chorus, in his usual line, magnificent!.

On the sidelines of music, without a doubt the voices were the protagonists of the night. Leo Nucci, who embroiders the dramatic roles of Verdian father, retains extraordinary vocal qualities to its 74 years. The shortness of breath at times and your reservations, in others, to be able to undertake the finals, are compensated by a skill in dramatization that only experience provides.

The Croatian Lana Kos It was quite a surprise in her role as Luisa. Its large central register is the ideal support to move through a powerful lyrical soprano tessitura. Vigorous, homogeneous voice with enough headroom to refine the highs.

The evil Wurn was embodied by the Canadian baritone John Relyea. Robust, shadowy voice to compose an interesting character who fought a powerful duel with Walter.

Dmitry Belosselskiy played a magnificent Earl of Walter. He wore good treble in his aria "My blood, I'd give life " and his powerful and smooth bass in the duet with Wurn "The high heritage".

The Madrilenian Maria Jose Montiel played the always thankless role of Federica. Just a few days ago we listened to it in the Teatro de la Zarzuela in the role of a María Moliner flawless and, suddenly, appears on stage at the Teatro Real with a completely different register. With a verdi score of abyssal tones for a mezzo string, solve your character with a dense and compact voice, demonstrating that the radius of action of his voice is wide and that he is in one of the best moments of his career.

The young Neapolitan tenor made his debut at the Real Vincenzo Costanzo. He came to replace those initially chosen for this Rodolfo. It is not easy to approach this role with 24 years, singing on the proscenium and surrounded by well-established voices. And Costanzo does it with gallantry and determination. Your instrument is under construction, like his ability to interpret, but it aims a nice timbre and as soon as the fiato is prolonged and the technique exceeds the physical effort, you can tackle these demanding roles with all the guarantees. The applause of the public after the well-known aria “When night to calm” They gave him the confidence to tackle the rest of the work with greater security. Next season we will have the opportunity to listen to him again in this Theater in his role as Pinkerton and we will observe his evolution. Mimbres has.

Marina Rodriguez-Cusi played Laura. This Valencian mezzo-soprano is always a guarantee. His brief role showed his good work. Despite being located behind the orchestra and the rest of the cast, his voice was heard full.

The successful intervention of César de Frutos playing a villager.

This Luisa Miller left very good feelings in the public. From time to time a purely operatic title is appreciated, and nobody better than Verdi to provoke these kinds of emotions.


Giuseppe Verdi (1813-1901)

Melodrama tragic in three acts

Salvadore Cammarano libretto based on the play cabal and Love (Intrigue and love, 1783) de Friedrich von Schiller. Premiered at the San Carlo Theater in Naples on 8 December 1849.

Opera in concert version.

D. musical: James Conlon

D. choir: Andrés Máspero

Distribution: Dmitry Belosselsky, Vincenzo Costanzo, Maria Jose Montiel, John Relyea, Leo Nucci, Lana Kos, Marina Rodriguez-Cusi, César of Fruits.

Choir Y Orchestra holders of the Royal Theater.


Luisa Miller, from Giuseppe Verdi (1813-1901), will return to the Royal Theater in two only performances in concert version the days 23 Y 26 of April to 20 hours, under the expert baton of James Conlon, and with a leading trio that unites the veteran baritone Leo Nucci with two young singers who will debut in Madrid: soprano Lana Kos, in the title role, and tenor Vincenzo Costanzo, as Rodolfo. They will be seconded by the low Dmitry Belosselskiy Y John Relyea, of powerful you, and the spanish mezzo-sopranos Maria Jose Montiel Y Marina Rodriguez-Cusi. Together with them the Headlines Choir and Orchestra of the Teatro Real, that these days the functions of Verdi alternate with those of Parsifal, Wagner.

Despite the success of the premiere of Luisa Miller at the Teatro San Carlo in Naples in 1849 and the numerous performances that took place in the immediate aftermath, this Verdi opera, the 14th in its catalog, was gradually leaving the stages, being postponed by other more popular titles of the composer. This unjust oblivion is due, maybe, to the characteristics of the libretto and its undervalued score, and also to the place it occupies within Verdi's operatic production: is a work of transition between the first and second stylistic period of the composer and, especially, happen it, in the next four years, the famous Verdi trilogy: Rigoletto (1851), The Troubadour (1853) Y La traviata (1853).

With Luisa Miller Giuseppe Verdi stands at a crossroads between the use of structural conventions, Stylistic and plot prevailing in the booming Italian operatic creation in the mid-nineteenth century, and search and exploration of new ways to flourish in later works, and that appear above all in the magnificent third act of the score.

Luisa Miller is Verdi's third opera based on works by Friedrich von Schiller (1759-1805), after Giovanna D'Arco e I Masnadieri. Later, the composer would return to his admired writer with Don Carlo. the libretto, from Salvadore Cammarano (1801-1852) —Perhaps the most prestigious and sought-after librettist of the time, who worked with Verdi on four operas—, privileges the love and social drama of the characters to the detriment of the revolutionary and political ardor that enshrines the original literary work, cabal and Love (Intrigue and love), apostilled by the author as "bourgeois tragedy". With this dimension, Schiller moves the archetype and sap of classical tragedy - whose suffering and injustices inspire compassion or fear - to a closer contemporary context, where power and class struggles survive, and the contrast of the most sublime and the most despicable feelings.

Written in the period of effervescence of the revolutionary movements that shook Europe in 1848, the libretto dodges with agility the imperatives of the strong censorship of that time, but it keeps the essence of the drama: how the arrogance of the powerful and the arbitrariness of their conduct determines the fate of the weakest, whose only and last refuge of individual freedom is voluntary death.

If in Verdi's operas the figure of the father, with his inner struggle between affection and duty, between honor and love, occupies an important role - reinforced, in many cases, by the absence of the mother - in Luisa Miller there are two fathers who embody the power conflict of the plot and also the dichotomy between the conservative values ​​of the nobility and the desire for free thought that the growing bourgeoisie claimed: Miller, the father of the protagonist, old retired soldier, advocates free choice of spouse for her daughter, based on love, while the Earl of Walter and his insidious henchman Wurm, put power and lineage before any other value, feeling or even life.

From the compositional and dramaturgical point of view Luisa Miller also materializes, although in a latent way, the struggle between the subordination of music to the structure of Italian serious opera in vogue in the mid-nineteenth century and the need to transcend, from inside, the formal limitations of the sequence of arias, cabalettas or duos, privileging the expression of more personalized feelings, intimate and deep, and the construction of more complex characters.

For that the orchestra grows in autonomy, harmonic richness and descriptive and evocative capacity, as reflected in the overture of Luisa Miller, that anticipates the findings of the third act, where you can guess the great Verdi of his future operas.

With Luisa Miller will return to the Royal Theater the great Leo Nucci, that last December he obtained an unforgettable triumph at the Teatro Real, with encores in all functions of Rigoletto who interpreted. At 74 years, The Italian baritone will once again incarnate on the stage of the Real one of the anguished Verdian parents: after his unforgettable Giorgio Germont, Alfredo's father in La traviata (2015), and his devoted interpretations of Gilda's desolate father in Rigoletto (2009 Y 2015), Nucci will now be Luisa Miller's kind father, that he will have to live once more the death of his daughter, naive victim of political struggles, classist and personal alien to their feelings.

After the staged version of Luisa Miller in 2005 (Jesús López-Cobos / Francesca Zambello), this opera returns now without the support of the scene, which will allow the viewer to concentrate on the musical and dramaturgical richness of the score, as James Conlon explains in Revista del Real: “I love the concert versions, and in fact I think they often convey essential dramatic values ​​even better than staged productions. Let's not forget that the first playwright is the composer. Verdi's musical and dramatic genius is impressive. The concert versions allow the audience to feel the impact of the musical drama in a very special way..

Davinia Rodriguez

More and more Spanish singers, and in particular canaries, They are making a hole on the agenda of the great theaters of the international circuit. This is the case Davinia Rodríguez, soprano born in Las Palmas that, with few years of career, It is treading increasingly strong first division scenarios. Despite having debuted in theaters such as the Real or programming ABAO-OLBE in Bilbao and in scenarios such as the Rossini Opera Festival de Pésaro, he Carlo Felice Genoa, the Dallas Opera or the Tokyo Suntory Hall, among many others, the soprano up now returns to Spain through the front door, this time to get into the skin of Amelia, of the Simon Boccanegra verdiano to be represented in the Gran Teatre del Liceu Barcelona next April. Day functions 23, 26 Y 29 (of the eight scheduled this title coliseum Barcelona), Davinia Rodriguez will share the stage with none other than Placido Domingo (Simon Boccanegra, celebrating the 50th anniversary of his debut in Spain, precisely at the Liceu), Ramón Vargas (Gabriele) Y Ferruccio Furlanetto (Fiesco), with Massimo Zanetti on the podium.

The next commitments Davinia Rodriguez will lead to cities like Vienna or Bilbao, always with developments in their repertoire.


Gran Teatre del Liceu:


The winner of the National Music Prize 2015, the spanish mezzo-soprano Maria Jose Montiel, April returns to his native Madrid, and doubly. First, between 13 and the 20 of April, will be the protagonist of the absolute premiere of the composer's opera Antoni Parera and libretto Lucia Vilanova Maria Moliner, that will be offered in the Teatro de la Zarzuela and that is inspired by the outstanding Spanish lexicographer. Later, the days 23 Y 26 of April, will move to Teatro Real To participate in Luisa Miller, from Giuseppe Verdi.

Regarding the new opera, a commission from the Teatro de La Zarzuela itself, María José Montiel affirms that “the score is very demanding, taking into account that my character is always on stage. It is fascinating: she was a very strong woman, of great strength and of a fighter with whom a great historical injustice was committed by preventing her from entering the
Language Academy just for the fact of being a woman. Text and music match perfectly. The study hours have been many, but it has helped me to know even more about the music and aesthetics of Antoni, of whom I have sung many of his song cycles. The opera has very attractive melodies and I think it will appeal to all audiences.. His music is of great expressiveness, loaded with soul and feeling. The great luxury of this proposal is to be able to work the work and the character directly with the composer, something that does not usually happen in opera ".

After this absolute premiere, the Spanish diva will return to the stage of the Teatro Real, this time to get into the skin of Queen Federica, from the opera Luisa Miller, de Giuseppe Verdi, title that will be offered in concert version under the baton of James Conlon and next to the Miller of Leo Nucci.

Later, already in may, María José Montiel will return to the Valencia Orchestra season, set with which he will interpret Scheherazade, from Ravel, at Palau de la Música from the capital of Turia.



Ramón Tebar (Valencia, 1978) officially debuts as Principal Guest Conductor of the Palau de les Arts Reina Sofia with Aida, from Giuseppe Verdi, which opens next 25 February.

It is about, However, the second incursion of the Valencian master at Les Arts, as recalled by the Mayor Davide Livermore in the presentation of this opera. Ramón Tebar assumed the musical direction of the latest features of Nabucco last season, that was settled "with unanimous success from the public and critics".

Aida is for Ramón Tebar a symbolic title for his return to Valencia as musical director at the opera house in his hometown. Aida, known among others, for the aria 'Winner Returns', is for the Valencian a masterpiece, loaded with a message around human passions and warfare, which ends with an evocation of peace in the mouth of the character of Amneris.

The Valencian arts center has scheduled five functions of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. Les Arts recovers the montage of David McVicar, made in co-production with London's Covent Garden and the Oslo Opera House, in the year 2010 premiered in Valencia Lorin Maazel Y Omer Meir Wellber.

The montage features scenography by Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts. Allex Aguilera is in charge of the stage direction of the revival of Aida.

During his explanation of the play, Davide Livermore has defended the Scottish stage director's proposal, "As heir to the true provocation that Verdi was looking for with Aida".

“Aida has come to our days as a synonym for Ancient Egypt, of pyramids, elephants, camels ... but for Verdi that "Ancient Egypt" is nothing but the framework in which to synthesize his greatest concerns, between them, the big nation that oppresses the little one, the brutality of the empire to destroy the individual and the overwhelming power of the Church over all classes… Variables that Verdi could never have set in Europe ”, Livermore explained.

"That pharaonic Egypt of the first representations, -has qualified Livermore-, it is no longer exotic for us ". Therefore, David McVicar draws on a multitude of ancient civilizations to create a mythical land that causes distancing, rejection and rebellion among the spectators before the barbarities that Aida relates and the beauty of the score. "That is the essential social function of opera", the Mayor has pointed out.

A solid cast

Aida, in Verdi, requires, Besides, of excellent stable bodies such as Heart of the Government and the Orquestra de la Comunitat Valenciana, of a powerful cast, led by sopranos in Les Arts María José Siri Y Lucrecia garcia in the role of Aida.

The Arts reports that Oksana Diving has suspended its presence in Valencia for health reasons and will be the Uruguayan María José Siri, who starred in Manon Lescaut last season, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mephistopheles, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila plays Radamès, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close Aida's love triangle Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in 2009 performed for the first time in Spain two complete cycles of Der Ring des Nibelungen, from Wagner in Arts.

They also return to Les Arts, baritone Gabriele Viviani, who embodies Amonasro -except in the representation of the day 9, sung by Ionut Pascu- and low Riccardo Zanellato which gives life to Ramfis, High priest.

Four emerging artists from the Center Placido Domingo, Alejandro López, in the role of the king, Lara Fabian, as Messenger, y las sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of the Priestess, complete the cast of Aida.

Sold out

The Palau de les Arts Reina Sofia announced that tickets for Aida, in Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at Aida's rehearsals on days 16 Y 17 February. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

About Aida

Aida is an opera in four acts with music by Giuseppe Verdi and a libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette. It premiered on 24 December 1871, at the Cairo Opera House.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, y Radamès, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, who wishes for herself Radamès.


The Palau de les Arts Reina Sofia communicates that the inputs for Aida, from Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Les Arts has scheduled five performances of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. The arts center revives its co-production with London's Covent Garden and the Oslo Opera House.

David McVicar is the stage director of Aida, with scenery Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts.

Ramón Tebar officially debuts as Principal Guest Director of the Arts Center with this title, that they directed at its premiere in Valencia Lorin Maazel Y Omer Meir Wellber. Will be, However, the second foray of the Valencian master in Les Arts, after directing the last functions of Nabucco last season.

The sopranos María José Siri Y Lucrecia garcia they sing the role of the slave Aida. The Arts reports that Oksana Diving has canceled its presence in Valencia due to unavailability and it will be the Uruguayan María José Siri, who starred in last season Manon Lescaut, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mefistofele, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila interprets Radamés, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close the love triangle of Aida Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in June 2009 performed for the first time in Spain two complete cycles of The Ring of the Nibelung, from Wagner in Arts.

Gabriele Viviani, who embodies Amonasro except in the representation of the day 9, who sings Ionut Pascu, Riccardo Zanellato (Ramfis), Alejandro López (The king), Lara Fabian (Delivery courier) along with the sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of Priestess, complete the cast of Aida.

Aida is an opera in four acts with music by Giuseppe Verdi and libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, and Radames, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, that she wishes for herself Radames.

The composer of Busseto discovers within himself the issues that most concerned him: the difficult father-daughter relationship, love versus honor and obligation, Y, especially, the war theme, the big nation that tries to crush the smaller ones.

Success of the guided tours of the Aida

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at rehearsals Aida next week. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

From the boxes of the Main Hall, the days 15 Y 16 February 50 people, for each shift, enjoy a part of the last rehearsals prior to the premiere of Aida he 25 February. Before the excellent answer, Les Arts will repeat this proposal on the occasion of the rehearsals of the next lyrical productions: Idomeneo, from Mozart, Kafka coffee, Francisco Coll, Y A Midsummer Night’s Dream, from Britten.



Co-production of ABAO-OLBE and the Theater Bonn of the Jerusalem from Verdi, with staging of the Mexican Francisco Negrín, It premiered last weekend in the city cradle of Beethoven with resounding success from the public and critics.

This is the first collaboration between the Bilbao Association of Friends of the Opera and the famous German theater and for those responsible for ABAO “this co-production represents another milestone in the musical history of the institution and reinforces the international prestige of the Bilbao association, whose collaboration arouses the artistic interest of theaters and lyrical festivals of reference ".

With an excellent work of musical direction, cast and scene, last Sunday's premiere concluded with a standing ovation from 19 minutes, with the theater audience on their feet. Negrín himself shared the emotion of the moment on social networks, "Who would have imagined? We release Jerusalem, an early and unknown piece by Verdi - it was actually the German premiere- and it turns out it's a great success! The audience gave us a standing ovation of ¡¡¡more than 19 minutes!!!”

Francisco Negrín's scenic proposal has achieved, with the impressive scenery of Paco Azorín and the careful wardrobe of Domenico Franchi, a modern and suggestive scene, that intelligently attracts attention without falling into excess and without distorting the plot. It is a tremendously innovative and original proposal that encourages the lyrical show itself.

Critics have praised the staging that places the action at the time of the Crusades as a work that combines technology, history and current elements to recreate a tremendously symbolic Verdian universe, with a virtuous and expressive execution resulting in an impressive theatrical effect. The German newspaper General Anzeiger emphasizes that Francisco Negrín has brought "a magical musical moment, that the public knew how to celebrate the opening night with vigor "; "An incredibly suggestive space, with a mobile architecture that extends to infinity and impressive light effects ", "An absolutely round night". Meanwhile, WDR3 has rated it as “an impressive show of great scenic power”.

Jerusalem, Verdi's twelfth opera will be seen in Bilbao in future seasons within the project everything Green which will stage all the operas of Busetto's master. The national and international cultural sector has given impetus to the Verdi adventure of ABAO, that started in 2006 and will culminate in 2021.


He 21 of January of 2016, Placido Domingo meets 75 years. To celebrate, Sony Classical launches album anniversary The best of Plácido Domingo, a special selection of his extensive discography, which it includes more than 200 recordings. The quadruple CD covers almost half a century in the musical life of an artist of prodigious talent, much he loved and winner of multiple Grammys.

Sunday launched his career as a baritone in the company of zarzuela their parents, in Mexico in 1957, to make his operatic debut as a tenor in 1961 and jumping to international fame as a member of the Three Tenors in 1990. But the great Spanish singer is still adding new roles to his repertoire, after returning to his baritone in 2009, while maintaining alternative occupations as composer, bandleader and producer.

Equally comfortable in different languages ​​and with different styles, Sunday appears in The best of a wide repertoire opera, musicals, folk, pop, crossovers, carols and sacred music, as well as a selection of Spanish and Latin American folk melodies reminiscent of the early days of the singer in Spain and Mexico.


1. VERDI: Rigoletto: La donna e mobile
2. VERDI: Rigoletto: She was kidnapped me – Among the veder lagrime
3. PUCCINI: Bohemian: What a frozen little hand
4. PUCCINI: Bohemian: O lovely girl!
5. VERDI: Aida: If any warrior… Celeste Aida
6. VERDI: The Troubadour: Oh yes, ben mio
7. VERDI: The Troubadour: Of that pyre
8. PUCCINI: Tosca: Give me the colors – concealed harmony
9. PUCCINI: Turandot: Do not Cry, Liù – Ah! For the last time!
10. VERDI: A masked ball: Barcarola: Of’ thou faithful
11. VERDI: La Traviata: Lung since lei – From’ My hot spirits
12. PUCCINI: Tosca: And the stars were shining
13. PUCCINI: Madama Butterfly: Vogliatemi well (Bimba eyed)
14. VERDI: La traviata: Of Provence on Tue
15. PUCCINI: Turandot: Nessun dorma
16. VERDI: Luisa Miller: Oh! He could deny the faith – When night to calm
17. VERDI: Don Carlos: And he! desso! -It gave, nell'alma that instill love
18. VERDI: Otello: I niun topic

1. LEONCAVALLO: Pagliacci: Recite! … Wear the jacket
2. Cilea: L’Arlesiana: It's the same old story
3. BIZET: Carmen: The flower you throwed at me
4. FLOTOW: Martha: appeared to me tutt'amor
5. WAGNER: Lohengrin: In Ferno Land, unapproachable your steps
6. MOZART: The Magic Flute: How strong is your magic
7. MOZART: Don Giovanni : My treasure
DONIZETTI: L'elisir d'amore: A furtive tear

9. GIORDANO: Andrea Chénier: A dî all'azzuro space
10. MASSENET: Werther: Why wake me?
11. MASSENET: Manon: I am alone! – Ah flee, sweet image
12. GOUNOD: Faust (Margarethe): What trouble – Health! remains chaste and pure
13. MEYERBEER: The African: Beats me my heart … The Paradiso!
14. GOUNOD: Romeo and Juliet : love! love! – Ah! Get up
15. TCHAIKOVSKY: Eugen Onegin: Horse, horse, kuda vi udalilis
MASCAGNI: Cavalleria Rusticana: Mother, that wine is generous

17. BIZET: The Pearl Fishers: Into the holy temple

1. A Man of the Crowd
2. Ideal
3. Maria from West Side Story
4. Makes Surriento
5. Hear my Song
6. My Life for a Song
7. The first touch
8. Annie’s Song
9. Yesterday
10. My heart goes out – My Heart will go on
11. Perhaps Love
12. Autumn Leaves
13. Pleasing love
14. Eternally
15. consciousness
16. The Gift of Love
17. Love glorified
18. Gratitude
19. Holy Mary
20. Ombra mai fu from Xerxes
21. The Agnus
22. Bread of Angels
23. Children of Christmas


2. Latin soul
3. Granada
4. Siboney
5. malagueña
6. From Mexico to Buenos Aires
7. the humahuaqueño
8. Morning carnival
9. Dove
10. Aranjuez
11. Kiss Me a lot
12. Jealousy
13. perfidiousness – Frenzy – The last night
14. Paloma dear
15. Malaga
16. Help me, OMG
17. I'm Mexican
18. Quiéreme much
19. Night Black
20. Total

The Symphony Orchestra of Galicia (Osg) debuts next week in the prestigious cycle “Abu Dhabi Classics” with two concerts. Will take place 13 Y 14 January under the baton of its principal conductor, Dima Slobodeniouk, and will have the presence of the Spanish pianist Javier Perianes. The Emirates Palace will be the first stage and the old fortress Al Jahili, Oasis in Al Ain, the next. An ideal environment to listen to the ‘Nights in the gardens of Spain’, from Manuel de Falla.
According Andres Lacasa, Orchestra manager, “With this tour, the Symphonic of Galicia exports the Galicia brand and the Spain brand in its debut in the prestigious cycle of the United Arab Emirates, consolidating itself as an international symphonic reference”.
It is the first important international event of the year, after starting 2016 with the ‘Sexta de Mahler’ in A Coruña, supported by musicians from the Youth Orchestra for the Concert of Kings last day 5, and before presenting the 30 March at the National Auditorium in Madrid with the ‘Sexta de Chaikovski'And the' Second Piano Concerto ', Beethoven, next to Yefim Bronfman. Before closing the season with the 'Fifth Symphony' by Mahler, under the baton of Christoph Eschenbach, will also undertake the 'Requiem' of Verdi with its titular director.
The GSO will count for the performance of the ‘Mahler's Sixth’ in Abu Dhabi with the reinforcement of musicians from the Youth Orchestra.

Slobodeniouk is one of the most outstanding teachers of the new generations. He combines his original Russian roots with his years of study in Finland, country where you now reside. Having fused the musical identities of both countries, has allowed Slobodeniouk to be among the new batch of batons with their own personality, deep training and great artistic intelligence.
In season 2011/12, Slobodeniouk made his debut with the French Radio Philharmonic Orchestra, the Castilla y León Orchestra with Baiba Skride, the SWR Stuttgart Orchestra with Christian Poltera and the Essen Philharmonic with Kari Kriikku. After making a magnificent US debut with the Cincinnati Symphony Orchestra at 2010, Dima Slobodeniouk returned to this country for her debut with the St. Paul, with Finnish violinist Pekka Kusisto as soloist.
Born in Moscow, Dima Slobodeniouk studied violin at the Central School of Music with Zinaida Gilels and J. Chugajev between 1980 Y 1989, to later continue his studies at the Moscow Conservatory, in the Middle Finlands and the Sibelius Academy, con Olga Parhomenko. In 1994 began his studies of direction, participating in Atso Almila's classes between 1996 Y 1998. He continued his studies at the Sibelius Academy with Leif Segerstam, Jorma Panula y Atso Almila. He has also trained with Ilja Musinin and Esa-Pekka Salonen.
Since the season 2013-14 He is the head of the Galician Symphony.

Newly named artist of the year 2015 by the magazine Codalario and National Music Award 2012, Javier Perianes has been described by newspapers such as The Telegraph as “a pianist of impeccable and refined taste., endowed with an extraordinary sound warmth ". His international career spans five continents, with presence at the Royal Festival Hall in London, Carnegie Hall in New York, el Théâtre des Champs Elysées in París, la Philharmonie of Berlín, the Great Hall of the Moscow Conservatory or the Suntory Hall in Tokyo.
The season 2016 Perianes includes concerts with the Wiener Philharmoniker, Chicago Symphony, Boston Symphony, Yomiuri Nippon Symphony Orchestra,London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, Tonkünstler, Paris Chamber Orchestra there Orchestra of St. Luke’s (Carnegie Hall), and a month of touring with various formations by Australia and New Zealand.
His previous concert season, highlights several prestigious debuts among which include the Orchester de Paris, Washington National Symphony, San Francisco Symphony y BBC Scottish. Invited by many leading directors in the world, Perianes has worked with masters like Daniel Barenboim, Charles Dutoit, Zubin Mehta, Lorin Maazel, Rafael Frühbeck de Burgos, Daniel Harding, Yuri Temirkanov, Juanjo Mena, Lopez Cobos, Josep Pons, Andrés Orozco-Estrada, Robin Ticciati, Thomas Dausgaard and Vasily Petrenko.
Perianes is an exclusive artist of the harmonia mundi label. His album dedicated to Falla, which includes ‘Nights in the gardens of Spain’ and a selection of pieces for piano, He was nominated for a Latin Grammy 2012. More recently a live recording of the ‘Grieg Piano Concerto’ with the BBC Symphony Orchestra and maestro Sakari Oramo has been released. Grammophone magazine pointed:"You have to be really brave to record the Grieg Piano Concerto […] but the young virtuoso interpretation of Spanish Javier Perianes is a brilliance and boldness such that virtually erases the memories of the past ".

Created in 1992 by the A Coruña City Council, city ​​in whose Opera Palace is based, The Orchestra was commanded from the beginning by Víctor Pablo Pérez, now honorary director, which consolidated the GSO as one of the most attractive emerging formations on the continent. Resident Orchestra of the Rossini Festival of Pesaro, between 2003 Y 2005, as well as the Mozart Festival of A Coruña since its creation in 1998, the musicians have made several tours of Germany and Austria - where in 2009 appeared at the mythical Musikverain, Vienna- and offered concerts in the best halls and concert series. In 2007 made his first tour of South America, with performances in Chile, Argentina, Brazil, Uruguay and Montevideo.
In addition to the collaboration with Perianes - National Music Award in 2012- GSO regularly features soloists like Anne-Sophie Mutter, Maurizio Pollini, Krystian Zimerman, Gil Shaham, Sarah Chang, Grigory Sokolov, Leonidas Kavakos, Arcata Volodos, Maria Joao Pires, F. P. Zimmermann, Mischa Maisky or Christian Lindberg among others. Alfredo Kraus has sung with her, Teresa Berganza, Placido Domingo, Maria Bayo, Ainhoa ​​Arteta, Juan Diego Florez, Simon estes, Mirella Freni, Ann Murray, Amanda Roocroft, Ildar Abdrazakov, Hildegard Behrens, Eva Marton, Giuseppe Giacomini, Philip Langridge, Carlos Chausson, Raúl Giménez, Isabel Rey, Carlos Alvarez, Ana María Sánchez or Giuseppe Sabbatini among many others. Directors of the stature of Lorin Maazel have passed its podium, Daniel Harding, Gennadi Rozdestvenski, James Judd, Jean-Pascal Tortelier, Stanislaw Skrowaczeski, Libor Pesek, Peter Maag, Jesus Lopez Cobos, Osmo Vänskä, Alberto Zedda, Emmanuel Krivine, Yoav Talmi, Raymond Leppard, Gabriel Cloud, Jean-Jacques Kantorow, Josep Pons, John Nelson, Gianandrea Noseda, Ron Goodwin o Manfred Honeck.
On his discography for labels like EMI, DECCA, Koch, Naïve, BMG and Arts appear as a companion to names such as Juan Diego Flórez, Kaori Muraji, Peter Maag, Antonio Meneses, Manuel Barrueco —with whom she was nominated for a Grammy 2007 for the best classic album of the year—, Maria Bayo, Placido Domingo, Juan Pons or Ewa Podles among others.
More of 430.000 people have connected to channels like Youtube, making it the most followed Spanish orchestra on the internet. The OSG has been awarded the Gold Medal of the Royal Galician Academy of Fine Arts and is the Galician Music Culture Award 2010. It is financed by the City Council of A Coruña, the Provincial Council of A Coruña and the Xunta de Galicia.

Concert Program 13 January at Emirates Palace, Abu Dabi
LUDWIG VAN BEETHOVEN Concerto for piano and orchestra no 4, in G major, on. 58
GUSTAV MAHLER symphony No. 6
Dima Slobodeniouk (director)
Javier Perianes (piano)

Concert Program 14 January at Al Jahili Fort, Al Ain
RICHARD WAGNER Prelude and love death of Tristan and Isolde
MANUEL DE FALLA Nights in the Gardens of Spain
JOHANNES BRAHMS symphony No. 4, in E minor, on. 98
Dima Slobodeniouk (director)
Javier Perianes (piano)


Daniela Dessi will return to Spain again after a long series of performances and tributes in Italy. The heaping agenda of the singer in the last month has led to Teatro del Giglio of Lucca last 8 dicembre in which he gave a recital by a string quintet of the Teatro Carlo Felice in Genoa. Padua was the star of the traditional Christmas concert 11 from dicembre and to Lecce, at the Greek Politeama Theater, he 16 to intervene in the Recital Cantango, a project created in 2014 for your partner, the tenor Fabio Armiliato, in homage to Tito Schipa Y Carlos Gardel.

This new year, Dessì returns to interpret one of the most important roles in the repertoire: he 23, 25 Y 27 February will be Maddalena di Coigny, protagonist of the opera Umberto Giordano Andrea Chénier inaugurating the lyrical season of the Canary Friends of the Opera at the Pérez Galdós Theater in Las Palmas de Gran Canaria, Produced by Alfonso Romero for the Castell de Peralada Festival.

The character is one of the favorites of the Italian soprano, important part of both his repertoire and his discography: “Maddalena di Coigny is one of the roles that have introduced me to the repertoire
bloody ”, declares the singer. “I debuted it in 1996 at the Opernhaus in Zurich with great success and since then I fell in love with the role. I really like to sing it and see how it has grown by my side ".

The Italian diva, considered an authority on the repertoire, Andrea Chénier recorded with Fabio Armiliato, with the Symphonic Orchestra and the Symphonic Choir of Milan Giuseppe Verdi conducted by Vjekoslav Sutej.

Among the future projects of the singer from Genoa is the recording of a CD dedicated to bel canto.

Fabio Armiliato

After the recital concert Cantango offered in the city of Lecce (Italy) last 16 December closing the acts of the 50th anniversary of the death of the great tenor Tito Schipa, he also tenor Fabio Armiliato prepares for his next engagement: She will star in Otello, from Giuseppe Verdi, the days 3, 5 Y 7 February at the Calderon Theater of Valladolid. The iconic character is not new to the Italian singer's repertoire: debuted it in 2011 at the Opéra Royal in Liège (Belgium), occasion that meant one of the proudest moments for Armiliato: "The debut as Otello, next to Daniela Dessi as Desdemona, who has been by my side in the baptism of this important role, it has been one of the most important moments of our artistic career ", underline the tenor.

Fabio Armiliato, versatile artist, debuted as a leading actor in one of the last films of Woody Allen, To Rome with Love, premiered worldwide in 2012, receiving the applause of the public and critics, being awarded an Oscar della Lirica 2012.

On the other hand, in 2014 and next to the pianist Fabrizio Mocata, created the Recital CanTango project, dedicated to the best known works of his admired Carlos Gardel. Armiliato, who prepared this repertoire in Buenos Aires with the most recognized specialists, brings to the popular genre all his baggage in the lyrical repertoire connecting with the figure of another great admirer of tango: Tito Schipa.

In the Calderón de Valladolid, Fabio Armiliato will perform alongside Isabel Rey (Desdemona) Y Juan Jesus Rodriguez (Jago), with the Castilla y León Symphony Orchestra and the Calderón Theater Friends Choir under the direction of Sergio Alapont.


Maria Katzarava will debut in the Gran Teatre del Liceu from Barcelona on 27 January singing Desdemona, the female lead of the opera Otello, from Giuseppe Verdi. Mexican young Georgian soprano reaches the Catalan coliseum after his recent acclaimed debut Spanish Il Duca d'Alba in the Campoamor Theater of Oviedo where he caused a sensation with his talent and temperament scenic, It is hailed by critics as "a revelation". His high school debut - replacing Carmen Giannattasio- will keep it linked to the Verdi repertoire, as it will join Otello's rehearsals days after La Traviata debuted in Italy at the closing of the season at the Teatro Verdi in Padua. “I am very excited about this Desdemona at the Liceu, since it is a great ideal role to sing for the first time in this theater of so much tradition. further, Barcelona is my adopted city, since I have lived there for almost two years ", said the singer, who will also play the Shakespearean character on days 31 January 4 Y 5 February.

Katzarava won in 2008 the First Prize of the Operalia contest, founded and chaired by Placido Domingo and has been imposing his art on large stages such as the Royal Opera House in Covent Garden in London, La Scala in Milan or the Grand Théâtre in Geneva. Among other commitments, Maria Katzarava will be Micaëla (Carmen, Bizet) at the Teatro Communale in Bologna, will travel to Moscow with the company of the Maggio Musicale of Florence under the direction of Zubin Mehta and will play Margherite (Faust, Gounod) in the Grand Theater of Lausana (Switzerland).


Maria Jose Montiel opens on Sunday the season of the San Carlo in Naples starring Carmen along with Zubin Mehta. Madrid diva, recent winner of the National Music Prize, will play the protagonist of the opera Bizet debuting in the emblematic Neapolitan Coliseum before the President of the Italian Republic, Sergio Mattarella.

tickets, exhausted, cost up 800 euros. The inauguration of the Teatro San Carlo in Naples, He is known as "the most beautiful in the world", it becomes a social event again, political and cultural of the first order. And with a Spanish as the protagonist. This will be the fourth time that Zubin Mehta has directed María José Montiel in recent months. The artistic idyll between the two interpreters will culminate in the inauguration, this Sunday, from the season of the mythical Neapolitan coliseum, the largest and oldest in Italy, a gala function which will even be attended by the President of the Italian Republic, Sergio Mattarella. On stage, mezzosoprano Madrid will be dressed as the protagonist of the opera Carmen, Bizet, title that he has sung conducted by maestro Mehta in Tel Aviv in December 2014 and last march. "Working with him is always enriching", Montiel points, and «the collaboration we have is full of complicity, with what we got to give character and the best musical sense of the characters'. In July Mehta also directed the Spanish singer in Un ballo in maschera. After singing the Requiem Verdi Milan EXPO Milano firing 2015, María José Montiel returned to Italy to debut in Naples and makes him happier than ever, now possessing the highest distinction that can suck a Spanish interpreter: the National Music Prize awarded by the Government last October. The Madrid singer, that Carmen has starred in the most important stages of Switzerland, Italy, Germany, France, Spain, Japan, China and United States, will celebrate its Carmen number in Naples 100.

More information:


The Royal Theatre will premiere next monday, 30 of November, the opera Rigoletto, from Giuseppe Verdi, one of the titles represented by the Italian composer, of which will be offered 16 functions in a production from the Royal Opera House de Londres, which it has already been replenished several times with great success.

The opera, with a dramatic structure incontestably force, is based on the work of Victor Hugo The king is having fun, in which the story of a cynical and immoral king is told, inspired by Francis I of France, but that is actually a reflection on the inhumanity of man with man, corruption of innocence and abuse of power.

David McVicar, responsible for the staging, designs an intense and oppressive atmosphere that explores the character's ambivalence, full of conflicting and violent emotions, and at the same time turns the work into a cry of rage against injustice. His version highlights the cruelty and degeneracy at the heart of the court of the Duke of Mantua, where the rich courtiers contrast, mired in degeneration, and the miserable hovel in which Rigoletto lives, shown in a circular scenery that rotates discovering both sides of reality.

Teacher Nicola Luisotti, great expert in voices, He will be in charge of the Titulares Choir and Orchestra of the Royal Theater and of three casts led by one of the most outstanding historical interpreters of the jester, Leo Nucci, whose first appearance in an opera title on this stage took place in June 2009, giving life to Rigoletto and in which he starred in the first encore in the recent history of the Teatro Real.

Together with Nucci they will alternate in the representations, como Rigoletto, Juan Jesus Rodriguez Y Luca Salsi. Four tenors will give voice to the Duke of Mantua: Stephen Costello, Francesco Demuro, Piero Pretti Y Ho-Yoon Chung, y las sopranos olga Peretyatko Y Lisette Oropesa who will incarnate Gilda.

Various and interesting parallel activities have been programmed around Rigoletto's performances, including lectures, film screenings and exhibitions. A) Yes, the National Film Library, Cine Doré, will screen the film version of Rigoletto made by Jean-Pierre Ponnelle in 1982, in the original places mentioned in the play and starring Luciano Pavarotti, Ingvar Wixell Y Edita Gruberova in the lead roles. And the Museum of Romanticism continues its collaboration with the Royal Theater by exhibiting two of the costumes belonging to the production that is represented on our stage during the month of December.


Wednesday morning 14 October begins the tenth edition of the ABAO Verdi Week what organizes ABAO-OLBE (Bilbao Association of Friends of the Opera) In collaboration with Deusto Forum. A series of lectures over ten years and hand over fifty speakers from Europe and America has allowed us to deepen the most unusual facets of universal opera composer.

ABAO's tenth Verdi Week brings together the 19:30h at the University of Deusto to seven prestigious speakers who, from October to May, will help us to continue delving into different aspects of the Italian genius.

The conference opening of this tenth cycle is carried out by Christian Merlin, critic of the Parisian newspaper Le Figaro, who tomorrow 14 October will speak on "Verdi and France", letting us know the link of the Italian master with this country.

The following quote is the 9 of November, turn of another critic, Reinhard Brembeck del diario Süddeutsche Zeitung de Munich, who shows us the relationship between "Verdi and Germany". He 3 December from the University of Lisbon, the studious and profound connoisseur of the figure of Verdi arrives in Bilbao, Luisa cymbrom to talk about "Verdi and Portugal".

In mid-February, the day 15, Ignacio Cobeta, Professor of Otolaryngology at the University of Alcalá de Henares, discover us at your conference "Verdi and vocality" the voice and its peculiarities, a very dear subject among the people of Bilbao. baritone, director and presenter of the program ‘This is opera’ of TVE2, Ramon Gener arrives in the capital of Biscay on 17 March to help us locate “Rigoletto, the Bilbao opera ". The sommeliers of two such emblematic restaurants as ‘El Celler de Can Roca’ in Girona and ‘Mugaritz’ in Gipuzkoa, Josep Roca Y Guillermo Cruz, they put the 3 May a finishing touch to this tenth edition of Verdi Week with the talk “Verdi and wine ". A colloquium that continues the impressive interplay of associations between flavors and musical sensitivity, that in the last edition the chefs of these two emblematic temples of gastronomy sketched with fantasy.

To attend these six free conferences, an invitation is required, which can be requested through the telephone number: 944 139 020 from 9:00 a 14:00 and h 15:30 a 18:30 h or to the email address:

"Green Week of ABAO", conference cycle

The collaboration agreement between ABAO-OLBE and the University of Deusto appears within the framework of the "Tutto Verdi" project with which the Association takes on the challenge of representing all of the master's operas. But also, faithful to its philosophy and commitment to society, ABAO-OLBE programs a parallel cultural project around the figure of the artist to discover from different perspectives the most outstanding and unpublished aspects of the Italian musician and meet the most authentic Verdi. And this is where the involvement of other cultural institutions arises, which translates into the signing of collaboration agreements, such as the University of Deusto through the Deusto Forum..


"Verdi and France".CHRISTIAN MERLIN

Day: Wednesday 14 October

Time: 19:30h

Place: University of Deusto.

"Verdi and Germany".REINHARD BREMBECK

Day: Monday 9 of November

Time: 19:30h

Place: University of Deusto

"Verdi and Portugal".LUISA CYMBRON

Day: Thursday 3 from December

Time: 19:30h

Place: University of Deusto

"Verdi and vocality"IGNACIO COBETA

Day: Monday 15 February

Time: 19:30h

Place: University of Deusto

“Rigoletto, the Bilbao opera ". RAMÓN GENER

Day: Thursday 17 of March

Time: 19:30h

Place: University of Deusto


Day: Tuesday 3 of May

Time: 19:30h

Place: University of Deusto


Desirée Rancatore returns to Japan after receiving the Award Luciano Pavarotti 2015.
Italian soprano will perform La Traviata in several cities in Japan leading a tour of the Prague State Opera.
Desirée Rancatore, after collecting the prize Pavarotti d'Oro 2015 en Correggio (Italy), triumphantly returns to one of the countries in which draws crowds: Japan. And he does one of his favorite roles, Violetta Valéry, the protagonist of La Traviata, from Giuseppe Verdi. Success is assured, since last May, when the tickets went on sale for performances between the 10 October and 3 November in Omiya, Ueno (Tokyo), Osaka y Nagoya, the towns sold out in a few hours.

Desirée Rancatore's debut as Traviata in Japan will come with a tour of the Prague Opera House led by the Sicilian diva, who has played the mythical Verdian role in cities like Vienna, Montecarlo, Turin, masked (Oman) o San Lorenzo de El escorial (Madrid, Spain). In Japan, to the functions of Verdi's masterpiece, Rancatore will also offer a concert in Tokyo, before returning to Italy, where, between december and january, will play for the first time the role of Musetta de La Bohème (Puccini) at the Carlo Felice Theater in Genoa.


Memorable representation of Otello what took place the day 1 of August, in this edition of Festival Peralada Castle. An uncertain meteorology, propitiated continually look heaven in the presence of clouds-indeed, the night before had discharged a heavy storm- that could portend rains with the consequent suspension of representation. Fortunately, He could be seen this truly magnificent musical and theatrical Otello to level. In this new coproduction, commissioned by the Peralada and Macerata Festivals, the murcian Paco Azorín, as stage director, spins all the action around the wicked and manipulative Yago, masterfully performed by Carlos Alvarez, whose absolute mastery of the stage is already evident in the prolegomena of the performance, moving like a true "master of ceremonies", attentive to all the details, even, urging the head of lighting technology to change the big label of the show “Otello de Giuseppe Verdi”, by “Yago de William Schakelespeare”.

Azorín shows his predilection for the English playwright, when inserting, very aptly in the context of the action, his beautiful sonnets 43 Y 138, whose texts projected on the stage curtain introduce Acts II and IV. The scenography designed by Paco Azorin, results of absolute simplicity consisting of two large solid blocks, who are taking different positions and, at times, fit a steep central staircase. The blocks have ramps that allow the characters to position themselves in different dramatic planes. The scenic effects are complemented by various projections designed by Pablo Chamizo: a stormy sea at the start of the opera, and in whose end that beautiful sea is shown in total calm, as the background of the inert and intertwined bodies of Otello and Desdemona already united for all eternity.

As well, that willow tree that sets Desdemona's song, that is losing its leaves, turning into a sinister forest, as the scene drifts towards its tragic end, or that infernal reddish background in the development of the intense and dramatic duo of Otello and Yago, at the end of Act II. Y, when Iago is introducing the demon of jealousy into Otello, The silhouettes of Desdemona and Cassio can be seen in shadows, conversing, image manipulated by Iago makes Otello believe in the love relationship of both. The attractive lighting design by Albert Faura, complete this successful staging. The costumes designed by Ana Garay It is timeless and black in the clothes of all the characters, in contrast to the immaculate white that the naive and innocent Desdemona always wears.

In Yago's case, and to capture his double game throughout the work, we can see him with a leather jacket, typical of a badass biker, who changes into his official uniform when he is in the presence of Otello.

Notable performance of the Liceu Orchestra, with a detailed address of Riccardo Frizza, differentiating sound planes, seeking to establish tensions and conjugate the moments of greatest sound impact at the beginning of the opera, with others of intense lyricism, as the music that introduces and accompanies the duo of Otello and Desdemona at the end of Act I, or the beautiful musical theme on Desdemona's words “Dammi la dolce, happy word of forgiveness ", that reappears in the course of the Otello-Desdemona and Yago-Emilia quartet (both couples located in different dramatic planes) of Act II. The strong symphonic orchestral introduction of Act III was well executed. Good rendering of the different orchestral sections, although with some metals, at times, so much misfit.

Gregory customer has become in recent years a reference Otello, following in the wake of other great interpreters of this character: Francesco Merli, Ramon Vinay, Mario del Monaco, the recently disappeared John Vickers Y Placido Domingo. For his careful phrasing and total respect for all the notes written by Verdi, Kunde's Otello bears similarities to that of Vickers, although without possessing the serious register exhibited by the great Canadian tenor.

On the other hand, It is truly unusual for Gregory Kunde to be able to sing the Otello Rossini at the Teatro alla Scala within a few days, whose last performance took place 24 of July, and the Verdian Otello in Peralada, he 1 of August. His heroic “Esultate” at the beginning of the opera is already impressive, in contrast to the lyricism offered in his interpretation of the intense duet with Desdemona "Già nella notte densa" with which Act I ends. Ya, in Act II, his great interpretation of “Tu? Back! Flee….Goodbye now and forever ", together with the dramatic duet with Yago “Oh! Monstrous guilt…… Yup, pel ciel marmoreo giuro ”full of heroic accents. His extraordinary and nuanced performance of “Dio! You could have thrown me ", in Act III, where an impeccable phrasing shines, his ability to sing legato, the half voices and some easy and round highs. Doses its sound flow to reach the end of the opera in optimal condition and sing with pathetic and shocking accents "Niun mi tema". Along with his excellent vocality, Gregory Kunde gives a great theatrical performance.

Carlos Alvarez composes an exceptional Yago, combining his magnificent vocality with an extraordinary theatrical performance. This is a character that the great Malaga baritone masters to perfection, and that I was fortunate to hear him when he sang it for the first time, with great success, in the already distant autumn of 2002, at the Teatro de la Maestranza in Seville, with musical direction Jesus Lopez Cobos placeholder image.

In this representation of Peralada, Carlos Alvarez dominates the scene from the very prolegomena of the representation, wasting its evil plot, which concludes at the end of Act III, putting his foot on top of a faded Otello, with the despectiva phrase "Here is the lion". Ya, during the development of Act I, eminently coral, Alvarez shines theatrically in his duets with Roderigo and Casio. In Act II, performs splendidly the recitative-aria “Vanne! Your destination……Credo en un Dio crudel ”where he shows all his nihilism and evil, with a phrasing full of intentionality and emphasis, especially at the end of the aria "E poi? Death is nothing. Heaven is an old story ". His sibylline interpretation of “Era la notte, Cassio was sleeping "interspersed in his long duet with Otello, masterfully concluded when Alvarez and Kunde put their voices together “Yes, for the marble sky I swear ". In Act III his manipulative duo with Cassio “Vieni, the classroom is deserted ", with the presence on a different dramatic plane of a maddened Otello. Raids Eva-Maria Westbroek in various repertoires: wagneriano, bloody, Puccini, Verde, from Janacek, o Lady Macbeth de Shostakovich, they start to take their toll; Y, its powerful vocal media are affected by an ostensible vibrato together with a certain loss of homogeneity in the emission. This is evident in his interpretation of Desdemona, especially in the moments of most delicate lyricism, like the great duet with Otello from Act I, or in their interventions during Act II: dúo with Otello "Of a man who moans" follower of the cuarteto "If unconscious against you, groom, I sinned".

The Dutch soprano gets her best performance in Act III, in moments of greatest dramatic thrust: dúo with Otello “God, you play, or bridegroom…..Fixed fixed "y, especially, in “A terra! And, nel livido mud ”marked with pathetic accents before the contempt and humiliation to which it is subjected by Otello. And in Act IV, better control the broadcast by performing a good performance in "Piangea cantando nell'erma landa" (Willow song), followed by "Ave Maria", full of grace ". Seems to be, que Eva-Maria Westbroek, he was not in full vocal capacity and this was already evident in Otello's dress rehearsal. I remember your splendid Sieglinde (one of his great creations) by La Walkiria, in 2009, next to the Siegmund of Placido Domingo, at the Valencian Palau de les Arts, which marked his debut in Spain. Y, especially, his extraordinary creation of Lady Macbeth from Shostakovich at the Teatro Real in Madrid, in 2011, where I had the opportunity to interview her, in a very pleasant and relaxed conversation conducted in Spanish, where he showed his great admiration for Renata Tebaldi. Listening to a video recording of La Forza del Destino, in 2008, from the Brussels Mint Theater, you can see his magnificent creation by Leonora following the model of Tebaldi, and quite appropriate to the so-called "Verdian song". But nevertheless, the seven years that have passed have not passed in vain.

Report also, in this Otello, the remarkable performance as Cassio of the tenor Francisco Vas, as well as Mireia Pinto in the role of Emilia and Stephen Vincent as Roderigo. Good performance of the Liceu Choir, well run by Conchita Garcia, with his great role in Act I, or the magnificent concertante of Act III. Finally, point out good acting - just as actors- of the six minions of Iago.

Text: Diego Manuel Garcia Perez-Espejo
pictures: Miquel González / Shooting

José Miguel Pérez-Sierra

The intense summer schedule of the Madrid director José Miguel Pérez-Sierra The months of July and August are completed with two commitments on both sides of the Atlantic. If in June and July he has obtained a great triumph at the Verdi Theater in Trieste directing six performances of Falstaff, the last operatic work verdiano catalog, the next 16 July will return to Rossini Opera Festival de Wildbad -in which in 2013 directed the little publicized Ricciardo and Zoraida of the composer of Pesaro-, this time to offer a gala of Rossinian arias with the Italian mezzo-soprano Marianna Pizzolato, the Virtuosi Brunensis and the Camerata Bachchor Poznan. A few days later, he 19 and the 22 of July, Pérez-Sierra will once again get on the podium of the Black Forest festival to toast, together with the same group based in Brno -Czech Republic-, respective functions of The Italian Girl in Algiers.

Already in August and after the engagement in Germany, the Spanish director will continue with more Rossini across the Atlantic, at the Municipal Theater of Santiago de Chile, in which between the days 14 Y 22 August will direct six functions of The Turkish in Italy in a co-production of the Santiago Coliseum and the Théâtre du Capitole de Toulouse, stage-directed by the Oviedo Emilio Sagi, with scenery Daniel Bianco, wardrobe Pepa Ojanguren and lighting Eduardo Bravo. The main protagonists are Pietro Spagnoli (Selim), Keri Alkema (Fiorilla), Alessandro Corbelli (Don Geronio) Y Yijie Shi (Don Narciso).

Upcoming commitments will take José Miguel Pérez-Sierra to stages such as those of the Opéra-Théâtre de Metz Métropole (The Turkish in Italy), the Opera of A Coruña (in which he will offer a concert with great scenes from operas by Bellini with soprano Mariella Devia) or the ABAO-OLBE in Bilbao (La sonnambula).


He Summer Festival of the San Lorenzo de El Escorial Auditorium Theater of the Community of Madrid has organized a round table and a series of guided visits to the Royal Monastery of San Lorenzo de El Escorial, around the presentation of the new stage version of the opera Don Carlo from Verdi what signature Albert Boadella. These two initiatives have been devised as solid complements to decipher the unique montage that will be staged the days 25, 27 Y 29 July at the Auditorium Theater in this Madrid town. The visits will be held before the first and last performance, and the round table will precede the day 27.

Both appointments are especially timely, if one takes into account that in his proposal Boadella flees from the classic accent on the Spanish black legend to stick to "certain aspects of historical truth". This co-production between the Teatros del Canal and the San Lorenzo de El Escorial Summer Festival is the first operatic title tackled by the playwright.

The staging of the opera Don Carlo by Giuseppe Verdi will also be the common thread of the program that, under the title El ‘Don Carlo’ by Verdi and the black legend ’, the days will be taught 22 Y 23 July in San Lorenzo de El Escorial within the framework of the Summer Courses of the Complutense University of Madrid. The course will be dedicated to the different aspects and controversies that surround the figure of the first-born of Felipe II and the role of Spain at the time

Guided visits

During the guided tours, the days 25 Y 29 July before the performance, the public will have the opportunity to visit the real scenes of Don Carlo with the help of a very special master of ceremonies: Don Juan of Austria (the only great historical character absent from the drama that Verdi adapted from the play of the same name by Schiller). An actor characterized by the infant will bring to life some of the scenes and characters from the opera.

The tour includes the Royal Pantheon (with 26 marble tombs where the remains of the kings and queens of Spain of the Austrian and Bourbon dynasties rest, except for Felipe V Y Fernando VI), the Pantheon of Infants (where are the remains of Don Carlo himself, and in which the tomb of Don Juan de Austria stands out –designed by Ponzano and built by Galeotti–) and the Royal Library of El Escorial founded by Felipe II. The visit will end with a glass of cava on the terrace of the Theater, while visitors enjoy one of the best views of the mountains and the city of Madrid.

It is about, well, in an exclusive way to fully enjoy Don Carlo in the natural place that corresponds to it, San Lorenzo de El Escorial, in whose Monastery they lived and today the remains of their protagonists rest; This is possible thanks to the Auditorium Theater of the municipality in collaboration with National Heritage.

Round table

The day 27 to 18,00 hours will be the turn for a round table to be held in Room B of the Theater, and in which a debate will be opened on `Don Carlos and El Escorial. The opera Don Carlo, real or unreal relationship with El Escorial´. Critics Gonzalo Alonso Y Andrés Ruiz Tarazona and the Art historian and museologist Fernando Checa, They will also talk about the various attempts to represent this work in this Real Sitio de Sierra Madrileña. The entrance will be free until full capacity.

Summer course

The general objective of the course - directed by the academic of History Carmen Sanz Ayán and in which leading experts on the subject participate- is to contrast the romantic and fictional construction of the character of Don Carlo in the famous Verdi opera (1865) with real historical figure, Prince Don Carlos (1545-1568). The analysis of the sources from which Verdi and the librettists who collaborated with him (Camille du Locle Y Joseph Mery) constructed the plot of the representation can help to understand the making of the fictional character and his later narrative fortune. Verdi and his collaborators drank directly from the text of Friedrich Schiller (1759-1805), that largely assimilated the more traditional arguments of the “black legend” built in the 16th century in the midst of Hispanic political hegemony.

Regarding the production, the tenor José Bros will give life to Don Carlo, controversial first-born of King Philip II, to be embodied by the Canadian bass John Relyea. The Chilean musical director Maximiano Valdés, in front of the Orchestra and Choir of the Community of Madrid, will be in charge of leading the cast.

Along with José Bros and John Relyea the baritone will take the stage angel Ódena, who will sing in the role of Rodrigo, Marquis of Posa, friend and confidant of Don Carlo; the Argentine soprano Virginia Tola, like Isabel de Valois, third wife of Philip II; the mezzo soprano Ketevan Kemoklidze as Princess of Éboli; the bass Simon Orfila, who will act as the friar and Luiz Ottavio Faria as inquisitor.

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