Sunset Cover

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

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

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

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

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

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

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

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

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

Photograph ©Javier del Real / Teatro Real

Elina Garanca

Edited by Deutsche Grammophon the next 3 from December, Live from Salzburg documenta 2 Memorable mezzo-soprano events Elina Garanca at the Salzburg Festival in the summers of 2020 Y 2021 with the Vienna Philharmonic and Christian Thielemann.

In these 2 live concerts during the Salzburg Festival, separated by 1 year but both celebrated during the complicated circumstances of the pandemic , Elina Garanca performed orchestral pieces with Christian Thielemann and the Vienna Philharmonic. His interpretations of the Mathilde Wesendonck Songs Wagner and Rückert songs Mahler's were true tributes to the power of live music after months of silence.

For Elina Garanca, the lieder is ‘the most intimate form of musical expression’ and in these 2 concerts in Salzburg, Garança celebrated the interiority of these orchestral songs as a return to the essence of music.

RICHARD WAGNER (1813–1883)


Five Poems for Female Voice · Five Poems for Female Voice

Text: Mathilde Wesendonck

Orchestration: Felix Mottl (1–4), Richard Wagner

1. The Angel »In the early days of childhood

2. Stand still! »Sausendes, roaring wheel of time

3. In the greenhouse »High arched leaves

4. Pain »sun, cry every evening

5. Dreams »Say, what wonderful dreams

GUSTAV MAHLER (1860–1911)


5 Songs on Poems by Friedrich Rückert

Orchestration: Gustav Mahler (6, 8–10), Max Puttmann (7)

6. I breathe a mild scent

7. Do you love about beauty

8. At midnight

9. Don't look at the songs at me

10. I am lost to the world

ELINA GUARANTEE mezzo soprano



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

Siegfried, the heroic Siegfried
Richard Wagner (1813-1883)
Second day in three acts of the Der Ring des Nibelungen stage festival
Premiered at the Bayreuth Festtspielhaus in 1876
D. musical: Pablo Heras-Casado
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Head of the Royal Theatre Orchestra
Distribution: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler. Jongmin Park, Okka from the Damerau, Ricarda Menzer, Leonor BonillaIn extraordinary moments, doing everyday work can also become extraordinary. That is happening at the Teatro Real, which continues with its programming and these days represents the third installment of the Wagnerian Ring, nothing less than ‘Siegfried.. That the orchestra does not fit in the pit, because of the safety distance?, because it is distributed by the stalls. Harps to one side, metals to another. That the play lasts almost five hours and at 22:00 you have to be at home?, well it starts at 16:30. What is a long time in a closed room for so many public?, because the air renewal system is improved and instead of renewing it 4 times an hour, is renewed 8. What matches the representations of Norma?, Well as on other occasions!, where is the problem?. It is clear that others have the problem: we arrived with Siegfried on the second day of the Der Ring des Nibelungen stage festival. Although it is actually the third of the tetralogy, since Wagner composed this hulking work starting at the end, demonstrating his control over the dramatic unit long before he started writing it all started two seasons ago with Das Rheingold, where Wagner contextualizes the story. He continued last season with Die Walküre, that shows us the origins of the protagonist. Now comes Siegfried, that expresses its maximum splendor. And next season we will see Götterdämmerung, that narrates the decline and defeat of the character.In this apparent chaos in the compositional order, Wagner made several interruptions and various modifications, both in the libretto and in the score, during the composition of Siegfried. In May 1857, leaves the composition of this work in the middle of the second act to focus on Tristan und Isolde and Die Meistersinger von Nürnberg. It wouldn't be until twelve years later, in 1869, when he resumed his composition that he completely finished in 1871.

Fascinated by mythology and nature lover, Wagner creates a dark universe dominated by destruction. And the gods, which are often a metaphor of the human being, personify this destruction.

Within this universe of devastation, Wagner sees Siegfried as the new man model, that is free from morals and social conventions, who is not subject to the laws that govern the world and who is capable of facing the gods without fear. But this almost heroic behavior is also very innocent, for Siegfried is unaware that his exploits benefit those he fights, the bleak universe in which Wotan reigns.

As this is the chronicle of the dress rehearsal, we will not talk about the voices. But if I want to warn of its excellent level, especially the Siegfried of the Austrian tenor Andreas Schager, who thinks that "to make Siegfried you don't have to be afraid of anything", and Schager proves not to have it.

The rest of the voices are at a great height. A lot of quality in this cast with Ricarda Merbeth, as Brünnhilde. The Mime of the Italian Andreas Conrad. Tomasz Konieczny, like the walker. The Nibelung Alberich played by Martin Winkler. The Korean Jongmin Park as Fafner. here, the goddess of the earth, magnificent in the voice and the interpretation of Okka von der Damerau and the Sevillian Leonor Bonilla, who was in charge of giving voice to the forest bird.

As in the rest of the tetralogy, Siegfried requires an orchestra of maximum dimensions and unknown until then. It is here where the Royal Theater works the first miracle, and making virtue of necessity, he maintains the six harps required by the composer located in one of the stands, those closest to the pit. In the opposite box, the group of most serious metals is located. Thus, the bulk of the orchestra has barely been reduced. Only a few rope elements have been dispensed with, a pair of violins, a couple of cellos… The sound result is enveloping, but it shows some difficulties when it comes to filling or maintaining certain sound balances.

To tackle the scenery, Robert Carsen y Patrick Kinmonth, They use the destruction of nature as a metaphor, giving continuity to the line started two seasons ago. The scenic result is, basically, ugly and bleak.

Carsen completely decontextualizes Wagner's music and gives everything to a show, which is not such. Nature appears devastated, the bird is dead, the trees have been cut down and only the innocence of the two protagonists awakens a little light and hope.

It limits itself to criticizing climate change in a simple and commonplace way, with increasingly austere and minimalist scenographies. Beauty remains absent from his current productions. How we remember that Katia Kavanovà (2008) o Carmelite dialogues (2006).

Another success that the Royal Theater points to before the disbelief and astonishment of the rest of the theaters in the world. As the director says, Joan Mataboch (that like Siegfried, He is not afraid of anything), the secret is to anticipate events to solve possible problems. What is clear is that if you want to breathe clean air you have to go to the Royal Theater.

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

Siegfried at the Royal

They offer 8 functions of the opera, between 13 February and 14 of March, that will alternate with the new production of Rule, de Vincenzo Bellini.
In the production of the Wagnerian tetralogy conceived by Robert Carsen and Patrick Kinmonth, the young man Siegfried, called to be a great man, is discovering a decadent world, polluted and inhospitable, result of irresponsible overexploitation of nature.
The first guest musical director of the Teatro Real, Pablo Heras-Casado, will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater.
Starring in the opera Andreas Schager (Siegfried), Andreas Conrad (Mime), Tomasz Konieczny (The Wayfarer / Wotan), Martin Winkler (Alberich), Jongmin Park (Fafner), Okka from the Damerau (here), Ricarda Menzer (Brünnhilde) and Leonor Bonilla (Voice of the forest bird).
To interpret the score of Siegfried keeping health safety distance, the musicians of the Titular Orchestra of the Royal Theater will occupy, besides the moat, 8 boxes on both sides of the stage.
Due to the long duration of the opera (about 5 hours) and the curfew currently in force in the Community of Madrid (22.00 hours), all functions will start at 16.30 hours.
Around Siegfried Parallel activities have been organized at the Royal Theater -approaches, College scene Y Everyone to the Gayarre!–, at the Museum of Romanticism and at Nebrija University.
The Royal Theater will continue the audiovisual recording of Tetralogy for international distribution and broadcast on My Opera Player.
Classical Radio, of National Radio of Spain, will broadcast the opera on a delayed basis, as it has done with the two previous titles in the saga.
The Royal Theater thanks the Board of Friends for sponsoring Siegfried.

Between 13 February and 14 March Teatro Real offer 8 functions Siegfried, from Richard Wagner (1813-1883), third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and the iconic staging of Robert Carsen Y Patrick Kinmonth conceived for the Cologne Opera, where production has been replenished several times, always with great support from the public and critics.

In La valquiria, Wotan, the god who articulates the four operas of Tetralogy, ends up failing miserably in his ironclad attempt to dominate the world. The release of that great task gives you a kind of relaxation that fits the category of joke many times attributed to opera Siegfried. The God, disguised as a Wayfarer when it suits him, investigate, reflect and plot on the direction of ‘humanity’, now watching over the messianic destiny of his grandson Siegfried.

In the first two acts of the opera, Wagner recreates himself by recapitulating, philosophically, speculative, dialectics, and many times ironic, everything that happened in Rheingold Y La valquiria, while young Siegfried, called to be the ‘Modern Man’, he is discovering the world like a wild child, without fear, no past and free from atavistic ties, moral and affective.

Between the score of these two almost complete acts - a brilliant and devilish musical prosody full of evocations, predictions and warnings intertwined in a myriad of leitmotiv- and the writing of the end of the second act and the entire third, there was a twelve-year interregnum with major changes in Wagner's biography and the creation of other great works: Tristán e Isolda Y The master singers of Nuremberg.

When you resume the composition of Siegfried, his musical language had undergone a great evolution and also his vision of the future of the saga, enriched by eager philosophical readings - from Bakunin to Schopenhauer, political experiences - in a Europe in the midst of the industrial revolution and nationalist struggles - and also radical changes in his turbulent love life.

In the third act, paroxysm of The ring, music reaches high orchestral and harmonic voltage, when the reckless, indomitable and childish Siegfried discovers fear and finally trembles with the ecstasy of love as he gazes at Brünhilde, releasing her from her punishment with a redemptive kiss. With this happy and luminous ending the rise of the hero culminates before his fatal outcome in Götterdämmerung.

In his conception of Ring nibelungo, Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, they transfer the visionary Wagnerian mythological universe to a metaphorical world, but closer to our reality, confronting the viewer with the destructive power of voracious capitalism, when inordinate ambition for power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

Siegfried, orphan, naive, ignorant and endowed with powers that can change the course of the universe, wanders, Play and have dangerous fun in a wild and polluted world, oblivious to all the manipulations and machinations that will make him a participant in the destruction of humanity.

Eight singers with outstanding Wagnerian voices will star in the opera: tenors Andreas Schager (Siegfried) Y Andreas Conrad (Mime), the bass-baritones Tomasz Konieczny (The passerby / Wotan) Y Martin Winkler (Alberich), las sopranos Ricarda Menzer (Brünnhilde) Y Leonor Bonilla (Voice of the forest bird), mezzosoprano Okka from the Damerau (here) and low Jongmin Park (Fafner).

Tomasz Konieczny will return to incarnate Wotan (here disguised as a pedestrian), after his performance of the role in La valquiria, Y Ricarda Menzer will repeat as Brünnhilde, returning to finish the opera as an embodiment of Love.

To maintain the health safety distance between its members, the Head of the Royal Theatre Orchestra will perform the colossal score of Siegfried, under the direction of Pablo Heras-Casado, with the additional effort of taking care of the sound balance and the agreement with the musicians located in the pit (with side extensions) and in 8 boxes on both sides of the stage: on the left will be the percussion and six harps - which play together only in the third act of the opera -, and in law, The bass horn, trumpets and trombones, what in Siegfried have a much more discreet presence than in the other operas of The ring.

The great Wagnerian deed will culminate in the next season with Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, in the haunting vision, but also hopeful of Carsen Y Kinmonth: a plea in defense of nature as a common good that we must all preserve because “only awareness of the problems of humanity and ourselves, allows the solution. "

Photography © Javier del Real | Teatro Real

Gie Valkyrie - Tato Baeza

The Palace of Arts starts this week broadcast online from their website production The ring the Nibelungo ', Richard Wagner. From Monday, 6 of April, to 18.00 hours, with the issuance of the first title 'The Rhine Gold', Les Arts continues the cycle 'Opera From Home', with which it made available to the public the most emblematic titles of his videographic catalog. The initiative is made possible through the collaboration of Unitel GmbH & Co.KG, co-owner of recordings.

Issuing tetralogy supplemented with 'the Valquiria', on Wednesday 8 of April; 'Siegfried', on Friday 10 of April, and 'Götterdämmerung', on Sunday 12 of April. Les Arts remember that each title will be available for viewing for a period of 48 hours from the date assigned to each opera. Due
its duration, the start time for the issuance of each of the securities that make up 'the Nibelung's Ring' will be at 18.00 hours. Zubin Mehta on the podium and carlus padrissa of La Fura dels Baus for staging sign 'Ring the Nibelung', co-produced by Les Arts with the Maggio Musicale Fiorentino, Winner of two awards Campoamor Theater Lyric, as well as the Franco Abbiati Prize of Italian critics.

Renowned performers like Matti Salminen, Juha Uusitalo, Peter Seiffert, Jennifer Wilson, Lance Ryan, Franz-Josef Kapellmann, Stephen Milling, Petra-Maria Schnitzer, Catherine Wyn-Rogers and Elisabete.Matos enliven the mythical universe that the great German composer created this work soon 26 years to complete.

Carlus Padrissa, meanwhile, He proposes a staging that integrates the elements and scenic resources that Wagner himself designed, with components themselves of the language of La Fura dels Baus, with video projections, light effects, multimedia costumes and impressive samples of human architecture.

international awards. Recording in HD by Unitel of 'The Ring of the Nibelung' in office in Valencia and marketing in DVD and Blu-ray under the label C Major unveiled the production and the Palau de les Arts to the rest of Europe, United States and Japan. The projection was increased by the exhibition of this work in the cinemas of Australia, U.S, Ireland, New Zealand and the United Kingdom, and later broadcast by ZDF German-speaking chains, 3Buy SRF y, and British Sky Arts.

Among the references obtained in his career in the digital market, tetralogy has obtained a prize ICMA European criticism, paths mentions of German Critics record, un Echo Klassik, the French magazine Choc 'Classica', Diamant d'Opéra de 'Opéra Magazine' and the Diapason d'Or, considered the most significant independent European award for classical music.

Photograph: Tato Baeza

Chamber Orchestra emblematic of the Royal Theater, and his magical piano, once again the protagonists of Royal Junior in this season. While the sunset caressing the rooftops of Madrid, pianist Isabel Dombriz and Fernando Palacios will discover "Other worlds" hiding in an enigmatic concert.

Aimed at an audience from 12 years, sessions on weekends will take place in the 21, 22 Y 23 February and the 28, 29 February and 1 of March, to 20.00 hours, except Sundays (23 February and 1 of March) which will begin at 19.00 hours.

In addition to night pianos, under the moonlight, and hidden and hidden faces dim, we have found pianos of other worlds. They are in the Valhala Wagner, in The planets the Holst, in fugitive visions Prokofiev and in the depths of The submerged cathedral Debussy.

Also we have located, floating in the circular worlds of Bach, in the vaporous cosmos of Pink Floyd or in the parallel universes of Scriabin. Everyone will meet at sunset in a unique universe ...

Photography © Javier de Real / Teatro Real

Valkyrie Real

Between days 12 Y 28 February the Teatro Real offer 9 functions La valquiria, from Richard Wagner (1813-1883), the second of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and stage director Robert Carsen.

Structured like ancient Greek dramas, the monumental tetralogy Wagnerian opera begins with Rheingold, explanatory prologue to the saga, presented last season. Followed now La valquiria, narrating the genesis of the hero Siegfried, fruit of the incestuous love between Siegmund and Sieglinde's twin ─hijos Extramarital of Wotan, conceived in one of his many amorous adventures with deadly, disguised as Wälse─, God who expects to receive help in the future for the conquest of supreme power, materialized in possession of Ring nibelungo.

The incestuous relationship between two brothers, fruit turn of adultery of the twin Sieglinde, It is cursed and persecuted by the irascible woman Wotan, Fricka, and protected by La valquiria Brunhilde, Favorite Daughter of God, which along discovers love opera, compassion and vulnerability of mortals and undergoes an inner transformation that will determine the future of the entire epic.

In his conception of Ring nibelungo, Canadian director Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, move the Wagnerian mythological universe to also metaphorical world, but closer to our reality, in which power struggles, passions and relationships between the characters are easily recognizable by the current viewer.

tangentially following the philosophical pessimism Arthur Schopenhauer (1788-1860) and in the wake of the playwright and critic Bernard Shaw (1950-1956), who he saw Wagnerian tetralogy an allegory of society stratified into classes, Carsen makes clear in its staging the destructive power of the ferocious capitalism, When rampant ambition of power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

If Gold on the Rhine viewer was confronted with a planet shattered, in which the gods (rich and powerful), the Giants (insumisos proletarians) and the Nibelung (a kind of social scum), They fought for possession of the ring (money and power); in La valquiria, the context is already an explicit war. The gods, isolated in a luxurious bunker (Valhalla) ─con their struggles, accords, machinations, betrayals and conflicts conyugales─ move handedness and loftiness threads universe, until the emergence of the true and passionate love, Brunhilde with hesitation and insubordination to the dictates of the powerful all Wotan ...

Snow, with all its metaphorical power and plastic, link La valquiria with preceding opera, and emphasizes its intimate pictures, with a layer heladora, the fire of love, that is visible to the end of the first day of the series, derretirá ...

Wagnerian two deals give life to the score, under the direction of Pablo Heras-Casado, led by Stuart Skelton Y Christopher Ventris (Siegmund); René Pape Y Ain Anger (Hunding); Tomasz Konieczny Y James Rutherford (Wotan); Adrianne Pieczonka Y Elisabet Strid (Sieglinde); Ricarda Menzer Y Ingela Brimberg (Brünnhilde), seconded by Daniela Sindram (Fricka) and the eight Valkyries.

The great Wagnerian saga will continue in the next two seasons, with Siegfried Y Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, under the same production created by Carsen Y Kinmonth, with its relentless and disturbing vision of the real world, but with a ray of hope, because "only the awareness of the problems of humanity and ourselves, allows the solution. "

Functions La valquiria They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.


As a parallel activity to La valquiria They will be shown in the main hall of the Royal Theater's two films Fritz Lang (1890-1976) that make Nibelungen: Siegfried's death (21 March at 20.00 h.) Y Revenge of Krimilda (28 March at 20.00 h.). the films, hyphenated Thea von Harbou (1888-1954), wife of the director, They are inspired by the medieval epic poem The Song of Songs, one of the primary sources Richard Wagner in his tetralogy.

To accompany the movies, the Head of the Royal Theatre Orchestra, under the direction of Nacho de Paz, the original scores will perform the composer Gottfried Huppertz (1887-1937) Fritz Lang's collaborator in several proyectos─ created to accompany both films. The same team -lang, Harbou y Huppertz- leave their mark on the history of the cinema Metropolis, Expressionist pioneer science fiction film.

Although the music Huppertz accompanies a silent film, the score away from the audio description of the action and assumes a layer of the film subtext, articulating scenes, commenting actions and emphasizing the epic content of the frame.


21 March at 20.00 hours | Teatro Real, living room

Black and white musicI – Screening of the silent film Siegfried's death, first part of Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

28 March at 20.00 hours | Teatro Real, living room

Black and white music II – Screening of the silent film Revenge of Krimilda second part Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

16 February at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre! – Workshops for the whole family, direction and presentation of Fernando Palacios.

Riding through the air: gods, semidioses, human and superhuman in a magical world.

20 Y 27 February, to 18.00 hours | Lazaro Galdiano Museum

Guided tourA collector Wagnerian art. Poel travel unique r Florido Palace Park.

Visit in which the musical tastes of José Lázaro Galdiano Crawl, its links with the Wagnerian Society and the surprising relationship between Lazarus Collection and the world of opera.

15 February at 16.30 and to the 17.30 hours | Naval museum

dramatized visit – Siegfried, As to the Elcano, were two adventurers whose adventures at sea are worthy of an opera.

Photograph: © Klaus Lefebvre

The National Orchestra and Choir will perform for the first time Spain Opera (concert version) Tristan and Isolde Richard Wagner, under the baton of its conductor and artistic director David Afkham, next Thursday 17 and Sunday 20 October.

In this opera summit scheduled for OCNE participate internationally acclaimed soloists Petra Lang, Violeta Urmana, Fran Van Aken, Roman Sadnik, Boaz Daniel o Brindley Sherratt, among others.

Because of the duration of the work, the days and times of the concerts are different from the rest of the cycle, celebrated on Thursday 17 October at 19 Sunday hours 20, to 17 hours.

David Afkham DIRECTOR

Petra Lang (Isolde) SOPRANO

Violeta Urmana (Brangania) MEZZO SOPRANO

Frank Van Aken (Tristan) TENOR

Roman Sadnik (To lie) TENOR

Boaz Daniel (Kurwenal) BARITONE

Brindley Sherratt (brand) LOW

Roger Padulles (A sailor; A pastor) TENOR

Angel Rodriguez Torres (a helmsman) BARITONE

Pedro Chamizo STAGING



Antonio León surtitles

RICHARD WAGNER (1813–1883)

Tristan and Isolde (Opera in concert version)

Opera in three acts

The approximate duration of the work (including two breaks) will be 4 hours and 30 minutes

David Afkham, director

David Afkham, Conductor and Artistic Director of the National Orchestra and Choir of Spain Director since September, He has performed with the OCNE in recent seasons as outstanding works Gurrelieder de Schoenberg, symphony No.. 6 Mahler, symphony No.. 9 de Bruckner, Symphonie Fantastique Berlioz, Requiem Brahms, The creation Haydn, as well as representations semiescenificadas The Flying Dutchman, Elektra, St. Matthew Passion Y Bluebeard's Castle.

Future guest conducting engagements include the Chicago Symphony, Philadelphia Orchestra, Münchner Philharmoniker, HR Sinfonieorchester Frankfurt, Swedish Radio Symphony, Orchestra of Santa Cecilia Academy and NHK Symphony Orchestra, his debut with the Pittsburgh Symphony, Minnesota Orchestra and Dresden Filarmónico. As an opera, David Afkham made a remarkable debut at the Glyndebourne Opera Festival in 2014 with La Traviata in Verdi, repeating the touring production.

In 2017, He directed Bomarzo Ginastera at the Teatro Real Madrid in a new production. In season 18/19 She debuted at the Frankfurt Opera with Hansel & Gretel, followed Opera Stuttgart The Flying Dutchman. His future plans include Rusalka, Parsifal, The Passenger de Weinberg, Così fan tutte Y Arabella. Born in Freiburg, Germany, in 1983, Afkham began studying piano and violin at age six in his native Freiburg. To the 15 he entered the University of Music in the city to continue his piano studies, music theory and address, and he continued his studies at the Liszt School of Music Weimar. David Afkham was the first recipient of the scholarship "Bernard Haitink for Young Talents" and attended Haitink in numerous projects, including symphonic cycles with the Chicago Symphony, Concertgebouw Orchestra and the London Symphony Orchestra. He was the winner of Donatella Address Flicken 2008 in London, Nestlé and Salzburg Festival Young Conductors Award 2010. Afkham was assistant director of the Gustav Mahler Youth between 2009 Y 2012.

Among the most prominent projects as guest conductor with the London Symphony Orchestra included, Philharmonia Orchestra, Concertgebouw Orchestra, Staatskapelle Berlín, -Berlin DSO, Staatskapelle Dresden, Orchester National de France, Cleveland Orchestra, Los Angeles Philharmonic, la Chamber Orchestra of Europe y la Mahler Chamber Orchestra.

Rheingold 2

Rheingold 3

Rheingold 4

Rheingold 5

Rheingold 6

Rheingold 7

the Rheingold, Richard Wagner, tetralogy arrives at Rheingold Theater RealEl (the Rheingold)
Prologue in four scenes scenic Der Ring des Nibelungen festival
Music and libretto by Richard Wagner (1813-1883)
Released in the Königlichen Hof- and National Theater de Múnich, he 22 September 1869
Premiered at the Teatro Real 2 March 1910
Oper Köln production
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Kinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Distribution: Greer Grimsley, Raimund Nolte, David Butt Philip, Joseph Kaiser,
Ain Anger, Alexander Tsymbalyuk, Samuel One, Mikeldi Atxalandabaso, Sarah Connolly, Sophie Bevan, Ronnita Miller, Isabella Gaudi, María Miró, Claudia Huckle
Titular Orchestra of the Teatro RealWagner had failed as a political revolutionary, but he was willing to be more successful revolutionizing the arts ". Chris Walton describes in the playbill seeking a Wagner already in the epic Norse myths which were not found in the supposed revolutionary epic Uprising May Dresde.Se then proposed to end much of the conventions of opera building a new form of musical drama. He eliminated all the trimmings vocal lucimiento, the division between arias and recitatives, how to write scripts, definitely, He dispensed with all the elements, in your opinion, not served to deepen the drama.

He began construction of a form of musical language much more complex. With an orchestra of dimensions hitherto unknown. But it was not only to increase the volume of sound, Wagner was looking for new colors and musical textures in which support his dramatic speech. He created new instruments, as snorkels Wagnerist, whose new timbre became a hallmark of his operas. All for the sake of building their project "total art" and the orchestra lead to more developments that have taken.

The Wagner of the time was not only interested in some of the social and revolutionary movements of the time. Nature and deterioration were already a concern for the German composer and water, its most inspiring element. It was known to frequent his visits to spas to soothe their numerous ailments. And it was under this influence of water when developing his greatest creative power.

The Royal Theater begins with Das Rheingold tetralogy the ring staged for four consecutive seasons. Wagner conducted this work, casi herculean, during 25 years. The results were 16 hours of music that start with this overture presents a destroyed by the lust for power nature.

Robert Carsen production and emphasizes Patrick Kinmonth, precisely, this nature degradation. I can not say that the scenery of Carsen liked me, quite the contrary, but the bar was very high after his Dialogues of Carmelites (2006), Katia Kabanova his unforgettable (2008), even Salome (2010). Only the beginning of the work, in which they appear characters who throw plastic bottles to Rin under the effects of the haze and then discover that as a dumping ground, They make the speech posed by Carsen credible. We are used to seeing Wagner's operas with gigantic scenography, large aparatajes and effects that try to catch up loudness. This time, Carsen and Kinmonth did not want the sets were the protagonists of production and have put the weight of the drama in the characters and the River. The scenery is embroiled in an absolute pessimism about the destruction of nature. A river polluted and devastated by human action is the main element of this work stress.

The other scenes are composed of blocks of buildings under construction and cranes that do not add too much plot information and some little comprehensible elements, Snow that falls at the end or the golf club replaces the hammer Donner. A very good lighting Manfred Voss complete this austere and cold scenography, but nevertheless, It has an extraordinary quality, It allows the main focus falls on the protagonists, the orchestra and the score.

It is the first time that Pablo Heras-Casado faces of the Ring tetralogy and has proven to be an extraordinary surprise. It takes a few seconds of introspection from the bench, with eyes closed, before launching into the first chords, in just over four minutes initial advance what will be one of the greatest revolutions of music, a new conception of the orchestra and composition.

A huge pit, to which it has been added space of the first two rows and that's where the show is really. Formed by 110 teachers, a group of strings 21 I violins, 20 II, 17 violas, 15 cellos and 8 contrabasses dividing, at the same time, into subgroups to achieve these effects of distance and depth and polyphonic sound that create a sound full of sophistication. 5 of the 6 harps required by Wagner and a set of metals almost construct, by themselves, the dramatic speech.

The address Heras-Casado is very efficient. Good connection with the orchestra note, product of a deep work. Always attentive to every element of the pit and the stage. Perhaps lacked power and showmanship at times, as the crescendo of the overture or the entry of the gods in Walhalla, but their enthusiasm in the direction offered results in a homogeneous solid sound, which it is no small thing to the challenge of this work. With this beginning of tetralogy, the next cycle venturing titles more than interesting.

As for the voice cast the result has been uneven. The best of the night has been, definitely, the Alberich of Samuel Youn. A very good volume and beautiful tone for a superb interpretation of the miserable and petty dwarf Nibelung. Hopefully still heading in the next installment of the ring.

Greer Grimsley has played one Wotan somewhat disappointing. It seemed a small and inconsistent character amidst scenery that naked. her wardrobe, second officer, It did not help much. The character was lacking in presence and voice, with evident vibrato, He was not the entity that the character requires, especially in the higher notes.

Sarah Connolly great stage presence gave her Fricka, but I must confess I expected much more of it vocally, It not in vain was one of the most important names of the cast. Wagner may not be the most suitable repertoire qualities.

Very good also giants Ain Anger and Alexander Tsymbalyuk, They filled the stage with her voice and presence.

Sophie Bevan solvency office with his character Freia, one of the most restless on stage. very well, and so he awarded the public, the Erda of Ronnita Miller.

Also excellent three daughters Isabella Rhine Gaudí, María Miró, beautiful soprano voice, and Claudia Huckle, for the occasion were dressed as beggars.

Joseph Kaiser has a rather small voice, but enough for fire god Loge. A Wagnerian tenor bell, although not volume.

One of the best performances of the night was the Mime of Mikeldi Atxalandabaso. He debuted on the character and excelled, both vocally, and the interpretation.

Four years seems too long to see complete this tetralogy Ring. Hopefully worth and next time we can see in one season.

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


Between days 17 January 1 February Royal Theatre offer 7 functions Rheingold (the Rheingold), from Richard Wagner (1813-1883), first of the four operas that make up the cycle Der Ring des Nibelungen, to be presented over four successive seasons, with musical direction Pablo Heras-Casado and stage director Robert Carsen.

The production, released in 2000 at the Cologne Opera and replaced several times, moves to the real world and desolating Wagnerian visionary allegory, in which the moral degeneration leads to the devastation of the planet and the extinction of humanity.

Wagner worked 25 years to capture in his tetralogy the most comprehensive and complex expression of feelings, passion and instincts of the human being through a tangle allegorical inspired Nordic mythology, Germanic and medieval stories. To achieve this great company ─4 operas and almost 16 escénica─ hours of music wrote the libretto, He composed the score and did erect a theater in Bayreuth for his 'Gesamtkunstwerk' arrive in optimal conditions to the viewer.

He also left a huge amount of stage directions, pamphlets and letters that nourish since then thousands of studies, interpretations and exegesis of the tetralogy that keep alive his inexhaustible dialectical spring.

Structured like the ancient Greek tragedies and dramas ─tres sátira─, Rheingold It occupies a unique place as an explanatory prologue to the saga to be held in La Valquiria ─el origin of héroe─, Siegfried ─su glorificación─ y Götterdämmerung, His death and final cataclysm.

Although the libretto Rheingold He was born after the other three operas, his score was the first, Wagner and her masterfully presents the tens of leitmotiv (leitmotifs) which they will appear with all sorts of metamorphoses in subsequent days, growing in complexity and debugging. Throughout almost two hours, music flows seamlessly through a dense network of harmonic textures and themes intertwined in the orchestra, more than 110 musicians, has an active part in the conceptual and narrative of the epic.

Rheingold It also differs from the corpus of the other three operas for his dramatic apace, your mood, cynicism and its allegorical content than human. In it the idyllic relationship between man and nature breaks, when gold that lit up the waters of the Rhine becomes, under the cold gaze of reason, a valuable and coveted object, unleashing the power struggles that men turn away Love, nature and primal harmony.

Robert Carsen, in the Royal Theater he has directed Dialogues of the Carmelites (2006), Close Kabanová (2008), Salome (2010) e Iphigenia in Tauris (2011), places the viewer in a world contaminated, we are destroying among all, protected by a perverse power pyramid stratified, dominated by the overweening ambition of the strongest, rich and powerful.

Pablo Heras-Casado, first guest conductor of the Teatro Real, will direct its second title wagneriano, después del éxito de su lectura de The Flying Dutchman, directed by Alex Olle scene (La Fura dels Baus), in 2017. It will be his eighth opera in front of the Head of the Royal Theatre Orchestra.

The seven functions Rheingold They will be offered between days 17 January 1 February with an ensemble cast headed by Greer Grimsley (Wotan) Y Samuel One (Alberich), seconded by Ain Anger (wood Solt), Alexander Tsymbalyuk (Fafner), Raimund Nolte (Give), David Butt Philip (Glad), Joseph Kaiser (lodge), Mikeldi Atxalandabaso (Mime), Sarah Connolly (Fricka), Sophie Bevan (Freia), Ronnita Miller (here), Isabella Gaudí (Woglinde), Maria Miró (Wellgunde) Y Claudia Huckle (Flosshilde).

Der Ring des Nibelungen It will be offered at the Royal Theater for the second time since its reopening in 1997. The four titles have arisen between 2001 Y 2004 in a co-production with Teatro Real Semperoper Dresden, with musical direction Peter Schneider and stage director Willy Decker. After the conceptual and symbolic reading of the German director, reach, 15 years later, direct and ruthless approach Robert Carsen Y Patrick Kinmonth, Today disturbing.

B. Abduraimov

The next 13 November will Behzod Abduraimov who offered the penultimate recital of the 23rd edition of the Great Performers Series Scherzo replacing Murray Perahia. The pianist has been forced to cancel his performance on health grounds. Abduraimov is one of the most outstanding young artists on the international scene and concerts stand out for their great delicacy, musical depth and superb technical capacity. The program presented in this cycle organized by the Scherzo Foundation - to which he returns after debuting in Cycle Young Performers in 2015 – It includes works by Wagner, Liszt y Prokofiev.

Uzbek pianist has performed with some of the most important orchestras in the world such as Los Angeles Philharmonic, Boston Symphony, NHK Symphony and Leipzig Gewandhaus orchestras. Likewise, It has been put to directors such as Valery Gergiev, Vladimir Ashkenazy, Manfred Honeck, Vasily Petrenko, Gustavo Dudamel, James Gaffigan, Jakub Hrůša y Vladimir Jurowski.

Following his spectacular debut at the BBC Proms with the Munich Philharmonic under the baton of Gergiev in July 2016, Abduraimov was again invited in July 2017. Later, He debuted in Baden-Baden Festival and Rheingau Musik. Among his upcoming European commitments include concerts with the Orchester de Paris, Leipzig Gewandhaus, Lucerne Symphony Orchestra –including a tour al Tongyeong International Music Festival con Michael Sanderling-, English Chamber Orchestra, Saint Petersburg Philharmonic Orchestra – with concerts in the Russian city and in Barcelona.

Has worked with him Festival de Lucerna, la Royal Concertgebouw Orchestra, Munich Philharmonic, Frankfurt Radio Symphony Orchestra, Philharmonia, Czech Philharmonic and the symphony orchestras of the BBC. On his agenda stand out his concerts with the NDR Orchestra of the Elbe Philharmonic for the premiere of his season in the Elbphilharmonie and the London Symphony Orchestra. In recital he is one of the artists in the Junge Wilde series of the Konzerthaus Dortmund and has presented at the Barbican in London and Amsterdam Concertgebouw. Abduraimov this season continues its collaboration with cellist Truls Mørk the after their successful performances during last Emporada. This time, They pass through the Wigmore Hall and Washington DC, among others. In May 2018 was a resident artist Zaubersee at the Lucerne Festival, which included a recital by Piano Concerto No. 2, Rachmaninov, and other chamber recitals. In addition to performing at the Lucerne Festival, he did so at the Kissinger Sommer festival.

In United States, Abduraimov will act with the symphonies of Pittsburgh and Seattle, It will be presented in concert with the Chicago Symphony Orchestra, 92nd Street Y, Maestro Foundation Vancouver Recital Series, among other. Last July he returned to the Hollywood Bowl with a spectacular performance by Rachmaninov and his Piano Concerto No. 2 under the orders of Gustavo Dudamel. Likewise, the young pianist made his debut with the Dallas Symphony Orchestra and returned to the Aspen Festival for a recital and concert. His upcoming engagements include performances with the symphony orchestras of San Francisco, Atlanta, Houston, Montreal y Minnesota; In addition to appearing at Carnegie Hall in recital and concert format.

Winner of several awards for his recordings, his recital debut CD won both the Choc Classica as the Diapason Découverte. Abduraimov published his first concert in 2014 for Decca Classics offering the Piano Concerto No.3, Prokofiev, and the Piano Concerto No.1, de Tchaikovsky, with the National Symphony Orchestra of the RAI and under the baton of Juraj Valcuha.

Born in Tashkent, Uzbekistan, in 1990, Abduraimov began playing the piano at age five as a student of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent. Fue alumno de la Park University’s International Center for Music, where he studied with Stanislav Ioudenitch, and he is now a resident artist ICM.

Abduraimov concert will be the penultimate season Cycle Great Performers of Scherzo Foundation, closing your 23 edition with three of the most promising pianists on the international scene: Grosvenor, Abduraimov Lisiecki (11 December). Along the 2018, interpreters extensive experience as Mitsuko Uchida, Grigori Sokolov o Radu Lupu They have shared the stage with talented young artists as Yuja Wang; In addition to the extraordinary concerts offered by the director Gustavo Dudamel and the Mahler Chamber Orchestra, and that of the mezzo soprano Cecilia Bartoli who will come to the cycle next 22 October with Cinderella.

The ticket price is set from the 25 euros. Young people under 26 years may attend concerts 10 euros going to the National Auditorium box office half an hour before the start of the concert. Throughout more than two decades of life of this cycle sponsored by El País and Cadena Ser, They have acted almost a hundred pianists in more than 200 concerts. These figures have become one of the best in their specialty cycles at European level.

National Music Auditorium in Madrid, 19:30 hours

Isolde's Love Death, S447
Sonata in B minor, S178
Romeo and Juliet: Ten pieces for piano, Op.75
The Flying Dutchman

“Hell on earth ", well it is known to the city of Chittagong, en Bangladesh. Place where is the biggest shipbreaking the world and where work is done very precariously. Where human life has value only but, at the same time, It is a tremendously spiritual society, who believes in reincarnation and in the more traditional legends permanently entering contradiction with the most ruthless materialism. And this is the place where Alex Ollé (La Fura dels Baus) Y Alfons Flores have set the scene of this Flying dutch. A current location capable of hosting a script like this. A place where a man is able to sell his own daughter to the highest bidder.

it Wagner, considered his first mature work, evidences a new creative language that will have a complete development in his later works. With clear Italian reminiscences still, start using building blocks in Wagner, Like the live motive and the creation of continuous musical discourses. A music in which they are clearly appreciated, and from the inclusion of these techniques, three very different moments, an unreal or fantastic part, represented by ghosts; a real part in which the daily scenes of the main characters of the play unfold, and a more spiritual part, showing the relationship between Senta and the Dutch. Three essential dimensions that feed into each other and are perfectly portrayed through the successful scenography and the extraordinary direction of actors.

The scenic bet of Alex Ollé and Alfons Flores is spectacular. Unlike other Ollé scenographies, this is perfectly descriptive and understandable to the eyes of any viewer. Using the elements of the traditional stage of the theater and the projections they have achieved extraordinary scenic effects that reach their maximum expression already in the overture, where the challenging prow of a ship sails in the storm thanks to the effects in a hymnotic movement that accompanies this the beginning of the work. After landing on the simulated Chittagong beach, the magnificent theatricalization of an up-to-date Dutch begins whose lack of romanticism has not altered its dramatic charge.

He was the first Wagner the master faced Heras-Casado. The feeling caused from the moat is hopeful. But the momentum of some moments printed a times too hasty sometimes. It was especially noticeable in a somewhat thunderous and dramatic overture. Improved throughout the play, but the end result was somewhat superficial.

Russian bass Dimitry Ivashchenko it was a more than correct Daland, although on occasion it was covered by the orchestra.

Benjamin Bruns had the complex task of being Erik in the second cast and helmsman in the first. His character of Erik lacks the lyricism it requires and suffered on some high notes.

Ricarda Menzer it was the best of the night. His Senta was full of drama. His lyrical voice and has the characteristics that you would expect from a Wagnerian voice, wide and bulky. With good phrasing and a defined singing line, but with improved delicacy.

The Dutch of Samuel One it was at a very good level. Elegant and good dramatization. It was improving until it culminated in the third act.

The chorus shone and was another great protagonist. In addition to singing, dance. Serious mistake to have offered the choir of ghosts through a ruinous recording. The result was not understood.

A spectacular and excessive production that, in the case of Wagner, it does not serve to hide the deficiencies of romanticism that the work presents and that do not allow immediate evocation. The feeling coming out of this Flying Dutchman is that, despite having so many essential elements, something missing.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

The Flying Dutchman
Richard Wagner (1813-1883)
The Flying Dutchman
Romantische Oper in three acts
Libretto by the composer, based on the work of Heinrich Heine Aus
the memoirs of Herr von Schnabelewopski
Premiered at the Königlich Sächsisches Hoftheater in Dresden on 2-1-1843
Premiered at the Teatro Real 27 October 1896
D. musical: Pablo Heras-Casado
D. scene: Alex Olle (La Fura dels Baus)
Scenographer: Alfons Flores
Costume designer: Josep Abril
illuminator: Urs Schönebaum
Video: Franc Aleu
D. choir: Andrés Máspero
Distribution: Dimitry Ivashchenko, Ricarda Menzer, Benjamin Bruns,
Pilar Vázquez, Roger Padullés, Samuel One
Headlines Choir and Orchestra of the Teatro Real

Dutch herrante

24 November to 17 from December

Taller Exposed opera: The Flying Dutchman

Along the taller the technical and artistic touches that make possible a production of opera discover, hand of its protagonists.

15 from December, to 20.15 hours | Teatro Real. Sala Gayarre


Debate around The Flying Dutchman, Richard Wagner, with Pablo Heras-Casado (musical director of Opera and principal guest musical director of the Teatro Real) and Alex Olle, La Fura dels Baus (stage manager production), will be accompanied by Joan Matabosch, artistic director of the Teatro Real.

18 from December, to 12.00 hours | Teatro Real, living room

Chamber Sundays

Soloists of the Titular Orchestra of the Teatro Real


part I

Ferruccio Busoni / Arnold Schoenberg: lullaby elegiac

Antón García Abril: Alba roads

Paul Hindemith: Overture to "The Flying Dutchman" as a bad spa orchestra morning

one 7 plays at the fountain of leaf (Overture 'Dutch errante' touched by a bad orquestina spa at seven o'clock)

Carl Maria von Weber: Trio in G minor for flute, cello and piano, on. 63

part II

Prokofiev: Quintet in G minor for Oboe, clarinet, fiddle, viola and double bass, on. 39

Gustav Mahler: Piano Quartet in A minor

23 from December, to 20.00 hours

Live broadcast of The Flying Dutchman in stage Digital and Facebook

You can follow live opera, for free, from the online platform of the Royal Theater and through Facebook, with special content expressly for relaying.

The recording function will be broadcast delayed on the Mezzo TV channel and in France

29 from December, to 20.00 hours

Live broadcast of The Flying Dutchman in Classical Radio,

RNE and UER, European Broadcasting Union

About 20 Opera countries will offer live or recorded

The Dutch herrante

Between days 17 December and 3 of January of 2017 he Teatro Real will offer 10 features original production The Flying Dutchman, from Richard Wagner (1813-1883), in version two and a half hours without pause. It will be the third production of this title that will be at the Royal Theatre since its reopening: in 2003, with Daniel Barenboim Y Harry Kupfer, and in 2010, with Jesus Lopez Cobos Y Alex Rigola.

This time the opera will rejoin the names of Pablo Heras-Casado, in musical direction, Alex Ollé (La Fura dels Baus), in the stage direction, Y Alfons Flores, in the scenery, after the success of this creative team (then also with Carlus Padrissa) with the new production of Rise and Fall of the City of Mahagonny, from Kurt Weill, which he opened the season 2010-2011 The Royal Theatre [available on DVD and Digital Palco].

Inspired by the turbulent trip they took Wagner and his wife Minna, in 1839, between Riga and London plying the North Sea between threatening storms, The Flying Dutchman part of an ancient legend of Homeric resonances and Hebrew, transformed in serial Heinrich Heine (1797-1856), in which a seafarer is condemned to roam the oceans until the fidelity and love of a woman free from the curse.

In this story finds its recurring themes Wagner ─ the struggle between the earthly world and the spiritual, the curse of the gods, redemption through pure love…─ in a physical space ─el stormy sea and an isolated village costero─ that allows you to explore an inspiring sound universe: wave, wind, the storms, or the ancient and simple melodies. He writes a script that allows you to go blurring the boundaries between recitatives, arias, duets or trios traditional, while his music begins to explore the development of leitmotifs and modulations that take you to your large scores of maturity.

The staging of The Flying Dutchman will look at Real, conceived by Alex Olle (La Fura dels Baus) for ─donde Lyon Opera it premiered on 11 October 2014 ─, moved the trip to Dutch drift from the cold waters of the North Sea to the Gulf of Bengal, in the Indian, where the ship is dragged to the terrible port of Chittagong, en Bangladesh: an immense cemetery of merchant ships are dismantled by thousands of people crawling around the abandoned ships full of toxic waste and deadly traps.

Daland drive your boat, inhabited by ghosts and phantoms of holandés─ ─entre them for scrapping in a populated beach skeletons of boats, disconsolate inhabited by a population seeking to escape, as can, the hardship of their lives: Senta dreams of a captain who comes to rescue, Erik longs to marry his girlfriend, Daland wants to get rich ...

In this unsettling space created by the set designer Alfons Flores Àlex ─colaborador usual opera develops Ollé─, which will be performed by two singers distributions recognized Wagnerian baritone Evgeny Nikitin ─los and Samuel Youn (Dutch), low Kwangchul Youn and Dimitry Ivashchenko (Daland), sopranos Ingela Brimberg and Ricarda Merbeth (Senta), Nikolai tenors Benjamin Bruns and Schukoff (Erik), the mezzosopranos Kai Rüütel and Pilar Vazquez (Mary), tenors Benjamin Bruns and Roger Padullés (The helmsman of Daland)─ under the baton of Pablo Heras-Casado, principal guest musical director of the Teatro Real, to direct his first score of Wagner with the accumulated experience in the symphonic repertoire of German romanticism which was nurtured Wagner. He will lead the Coro Titular Teatro Real, prepared by its musical director, Andrés Máspero, and the Titular Orchestra of the Teatro Real.


Among the proposed approach of the opera to new audiences that drives the program of activities of the Bicentennial of the Royal Theatre, priority is spreading its shows with the help of the most advanced audiovisual technologies.

A) Yes, in the wake of the successful Relay I Puritani, last July, which reached thousands of people in its various windows -webs, social networks, plazas, museums, auditoriums, etc.—, Royal Theatre again offering the possibility that The Flying Dutchman can be followed worldwide in social networks with the live broadcast of the complete opera on Facebook, pioneering initiative that encourages active public participation, dialogue on social networks, the debate about artistic themes and approach to rapid and spontaneous language of the younger.

To stimulate this lively and interactive broadcasting, Royal Theatre will offer through its channels Facebook, Twitter, Instagram and Youtube a series of creative content, educational and fun around Wagner's opera, with the enthusiastic involvement of artists and workers in the Royal Theatre. All communication will focus on the official hashtag # ElHolandésEnDirectoTR.

The opera will also be broadcast live and free for everyone in stage Digital he 23 December ─con deferred broadcast on the TV channel Mezzo and France Television─, Radio and Classical, RNE and countries of the EBU (European Broadcasting Union) he 27 from December. Subsequently released on DVD.

Violeta Urmana

Listen to a recital of lieder in Teatro de la Zarzuela It has something special. The proximity of performers. Intimate communication that is created between voice, the piano and the public. Factors contributing to an atmosphere that engages and excites.

This time, and makes three, Lithuanian mezzo Violeta Urmana llagaba the Teatro de la Zarzuela with works Schubert in the first part and Richard Strrauss in the second.
When you are listening to Urmana not easy to categorize your voice. Endowed with a serious powerful, a central area well built, highly polished and large flow, are their sharp those shown in greater fragility, but are sufficient. His frame of mind has been listed as soprano falcon. intermediate voice between soprano and mezzo and takes its name from the French mezzosoprano Cornelia Marie Falcon (1814-1897), specializing in dramatic roles. The Falcon and self-created style Wagner He wrote three papers for the characteristics of this voice. Ortrud, de Lohengrin, the goddess Venus, Tannhäuser and Kundry, Parsifal. Precisely the role of Kundry has been part, with great success, for Repertorio de Violeta Urmana.

It retains the extraordinary properties of voice, although it had its difficulties with some demanding treble. In exchange, expressiveness in the interpretation, as he demonstrated in The dwarf (the dwarf), giving life to a story with different characters, or praise of suffering (praise of suffering), with which demonstrated the ability to accommodate her voice to each requirement of the score. All it accompanied by a perfect and elegant phrasing. The second part, emotionally intense, He finished shake a satisfied audience that did not leave without hearing the five tips that ended with the recital, Schubert, secret Y sky sparks, and Strauss, Bad weather, Cecilia and classical branch drying.
Accompanied on piano by experience Helmut German, who contributed a performance full of intent and delicacy to highlight the resounding voice of Violeta Urmana, He ended the second recital of Lied XXIII is, a long time, one of the classics that an amateur self-respecting should not be missed.

Daniel Barenboim’s first solo recording on the remarkable new concert grand Barenboim-Maene which he developed in collaboration with instrument maker Chris Maene.

Barenboim has selected works by four keyboard masters to display his piano’s timbral and tonal capabilities:

“I’ve fallen in love with my new piano”, he exclaims, “and want to spend as much time with it as possible.”

Conceived and commissioned by Barenboim himself, the new piano was developed and built by esteemed Belgian instrument maker Chris Maene, with support from Steinway & Sons.

Barenboim was inspired to create a new piano after playing Franz Liszt’s restored grand piano during a trip to Siena in September 2011. Struck by the vital differences in sound of an instrument constructed with straight, parallel strings rather than the diagonal crossed ones of a contemporary instrument, he set out to create a brand new instrument that combines the best of the old and the new and offers a real alternative for pianists and music-lovers in the 21st century.

Barenboim says:

“The transparency and tonal characteristics of the traditional straight-strung instruments is so different from the homogenous tone produced by the modern piano across its entire range. The clearly distinguishable voices and color across its registers of Liszt’s piano inspired me to explore the possibility of combining these qualities with the power, looks, evenness of touch, stability of tuning and other technical advantages of the modern Steinway…”

There are only two Barenboim-Maene in the world.

Daniel Barenboim will play selected pieces of the album repertoire on his new piano during his upcoming European recital tour.

D. Scarlatti: Sonate in C K.159 L104; Sonate in D K9 L413; Sonate in E K.380 L23;

Beethoven: 32 Variations in C minor

Chopin: Ballad 1 on. 23 Long

Wagner/Liszt’s: “March of the Grails Knights” from Parsifal

Liszt: Funeral; First Mephisto Waltzes


November 23 – Zaragoza

November 24 – Barcelona

November 27 – Madrid

the Liebesverbot

The next 6 of November, El Palco Spanish TV program, will issue The Liebesverbot, Youth Opera Richard Wagner (1813-1883), released in Teatro Real last season, who enjoyed a great reception from the public and which critics said it was a "privilege that can not be missed" because it is "a great discovery".

In this fun, fresh and melodious score, light Mediterranean flavor, one Wagner 21 years censured and resorts to biting comedy Measure for Measure from William Shakespeare (1564-1616) to criticize the hypocrisy and puritanism of the Central European nineteenth century society, claiming sexual freedom, the expression of feelings and southern heat. For this action moves the original Shakespearean work from Vienna to Sicily, Friedrich -caricatura where the German dictator hiding behind a purported idealism imposes the death penalty to punish sexual promiscuity and prohibits brothels, carnival and extramarital love that he himself succumbs.

The Liebesverbot, written after The fairies which he could never listen-Wagner, He had its premiere at random 1836 in Magdeburg. The first and only performance of the opera during the composer's life was disastrous, as some soloists did not know their role. The second function could not celebrase because the husband of the protagonist, in a jealous rage and driven, maybe, by hedonism and lust that boasts the plot, He attacked the tenor playing the role of Claudio, who, apparently, undisguised maintained a romance with his wife.

This new production of Teatro Real, in co-production with the Royal Opera House in London and the Teatro Colon in Buenos Aires, it stars Christopher Maltman (Friedrich), Manuela Uhl (Isabella), Peter Bronder (Lucio), Ilker Arcayürek (Claudio), Y to Jerkunica (Brighella), to act with María Miró, David Alegret, David Jerusalem, Isaac Galan, Maria Hinojosa Y Francisco Vas.

In front of them all, and Headlines Choir and Orchestra of the Teatro Real, be the master Ivor Bolton, responsible for the musical part, and the stage manager Kasper Holten, that modernizes this Shakespearean comedy tangle with winks to the present.


Tannhäuser, Romantic opera Richard Wagner comes back to Maestranza the days 28 October 1 Y 5 November in a production of Theatre Wielki-Poznan and the Teatro de la Maestranza with stage director Achim Thorwald and musical Pedro Hlaffter in front of a fabulous cast led by Peter Seiffert Y Ricarda Menzer.

Days 28 October, 1 Y 5 of November, to 20.30 hours


Romantic opera in three acts Richard Wagner (1813-1883),

libretto author.

Theatre premiere at the Royal Court of Saxony, Dresden, he 19 October 1845


(Paris Act), WWV 70

Schott Music GmbH & Co, Kg

musical direction PEDRO HALFFTER

Stage direction ACHIM Thorwald

Choir Director ÍÑIGO Sampil






artistic and musical director, John Axelrod


Director, Íñigo Sampil


Teatro Wielki-Poznan / Teatro de la Maestranza

Assistant musical director Manuel Busto

Assistant stage director Gregor Acuna-Pohl

Natalia master repeater Kuchaeva

Making scenery, locker room, props and footwear Wielki Theatre-Poznán

Teatro de la Maestranza

Hermann, Landgrave de Turingia ATTILA JUN


Tannhäuser, caballero trovador PETER SEIFFERT


Wolfram von Eschenbach, caballero trovador MARTIN GANTNER


Walter von der Vogelweide, VICENTE troubadour knight Ombuena


Biterolf, DAMIEN troubadour knight CASTLE


Henry Schreiber, JOSÉ MANUEL MONTERO troubadour knight


Reinmar the Zweter, DAVID troubadour knight LAGARES


Elisabeth, niece of Landgrave RICARDA Merbeth


Venus ALEXANDRA Petersamer


A young shepherd ESTEFANÍA PERDOMO


Dancers Sergio González, Leticia Gude, Jaén Paloma Rivas, Peluaga dew Lozada

Javier Ruiz de Velasco, Mario Salas, Maria Sanchez Calatayud, Marta Vilalta Rivas

Children Choir of Los Palacios David Amodeo Moguer, Alba Caro Brenes

Nerea Sanchez Bunting, Jose Antonio Troncoso Mateo

Parejo Raul Garcia, Alba Vargas Crespo

Figuration Juan Carrillo Rubio, Luis Alberto Dominguez Amador

Francisco Javier Martinez Jaro, Miguel Ángel Luque Cantos

Antonio Felipe Barrios Tips

Miguel inner band Carrasco, Manuel Enamorado, Ignacio Gallardo, Joaquín Gutiérrez

Marco Pacyga, Antonio Manuel Reyes, José Luis Reyes

Parsifal at the Teatro Real

Parsifal, last composition Wagner, He was released from his exclusive contract with Bayreuth he 31 December 1913. That night was premiered at the High school Barcelona and the next day Teatro Real from Madrid. Written in turbulent times, perfectly reflects a destroyed world and the need to find a liberating exit or something like a messiah. That deliverer looking Amfortas with his knightly brotherhood is Parsifal, the fool who does not know his name and only come to wisdom through compassion. Wagner is once again a visionary ahead of his time, because we all know the events after 1914.

That's why the elegant production Claus Guth inspired by The Magic Mountain Thomas Mann, It is just as relevant and pertinent. Located in the interwar period, a hospital is the perfect setting to reflect the consequences of the events that marked the European society of the first half of the twentieth century. A place where sickness and death reflect the great social contradictions, political and moral of the time.

Guth uses this scenery to express the same paradigm. This permanent wound Amfortas is the metaphor of Europe after injury World War I. Scenography illustrated by projections showing images that concern us and we are uncomfortable. This Parsifal Claus Guth directly challenges us and invites us to reflect. Seeing as over all, seeking changes or cathartic leaders can lead to uncertain places. And Nightmares, like dreams, sometimes also they met.

A magnificent turntable provides spaces where different frames are developed. Again, a flow without beginning or end.

Parsifal can only be the end product of a genius like Wagner. And it is. The music flows permanently and the concept of space-time is different from conventional concepts. For his musical director, Semyon Bychkov, "In this work the key is related to the severity. These key changes, that can occur in a second, They are like a loss of gravity. As if we were in another galaxy but never knew in which ".

This ongoing evolution of reasons makes the music flow continuously without apparent beginning or end, always supported by the residue motivations accompanying characters and situations.

The musical direction is by Semyon Bychkov of, who knows perfectly read that continuous flow of the sound that gives, from the overture, the balance that require different orchestral voices that owns this architectural score. It was powerful sound made by an orchestra that gave answer to all indications the master of Russian origin. It sounded with a transparency and delicacy only matched by the ease with which it was executed. Tension achieved by the ropes, safety and precision metal woods produce a solid and agile sound. The created atmosphere would have fulfilled one of the wishes of Bychkov, continue in the fourth and fifth act, prolonging an ending that does not exist.

On stage an unequal distribution ran the rotating Guth proposed the rhythm that marked an excellent direction of actors.

Christian Elsner Parsifal was expressionless and interpretive limitations. Issuance required great efforts and was more than enough of nasal sounds. He defended his character with some dignity but was swallowed up by the orchestra on several occasions. His clumsiness on stage ruined the hero who must interpret, remaining completely absent of the evolution of a character with many shades.

The German soprano Anja Matches, one of the most sought-after Wagnerian voices today, Kundry offered a superbly delivered and interpreted in different profiles has its demanding character. Deviled registry changes are resolved, duly, with some stridency. Especially in the second act. At bass and means they would have been fine a little more strength to build the darkest Kundry. But overall his performance was high.

Franz-Josef Selig, with an elegant line of song, He carved a Gurnemanz authoritative and powerful stage presence, well exploited by the stage direction. He offered a good first act, with staccato phrasing and timbre of voice and vigorous round. But his performance was over and ended up being diluted unless part.

The German baritone Detlef Roth he played a dramatic Amfortas and torn. But his voice did not accompany the interpretation, and the inability to reach the most extreme registers, the difficulties joined the voice to express the inner anguish of the character.

Croatian to Jerkunica, as Titurel, It exibió one of the most interesting instruments night, with a voluminous and wide voice. Quite the opposite of Klingsor played by the Russian baritone Evgeny Nikitin, who walked scarce precisely those qualities, volume and breadth.

The chorus is another of the main protagonists of this monumental work. And the owner of the Teatro Real, which we are accustomed to illustrious interventions, I was not going to be less this time. A vocal brilliance and filling must be added the ability to interpret, especially of them, composing a scene of flower girls delightfully fresh and appetizing.

Five and a half hours can be long or short. Y, as Bychkov says, Parsifal has a different conception of space-time. Perhaps that is why the five and a half hours of this Parsifal very short time, but space is immense filling.

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

Richard Wagner (1813 – 1883)
Scenic sacred festival in three acts.
Libretto by Richard Wagner,
based on the medieval epic poem
Percival de Wolfram von Eschenbach.
Coproduction of the Zurich Opera House
and the Gran Teatre del Liceu in Barcelona
Teatro Real in Madrid 27 – 4 – 16
D. musical: Semyon Bychkov
D. scene: Claus Guth
Escenógrafo y costume: Christian Schmidt
illuminator: Jürgen Hoffmann
Choreographer: Volker Michl
D. choir: Andrés Máspero
Distribution: Detlef Roth, to Jerkunica, Franz Josef Selig,
Evgeny Nikitin, Anja Matches, Christian Elsner, Stephen Vincent,
David Sanchez, Ana Puche, Kai Rüütel, Alejandro González,
Jordi Casanova, Ilona Krzywicka, Khatouna Gadelia, Kai Rüütel,
Samantha Crawford, Ana Puche, Rosie Aldridge, Rosie Aldridge.
Headlines Choir and Orchestra of the Teatro Real


Between days 2 Y 30 april the Teatro Real will offer ten functions of Parsifal, last, enigmatic, ambiguous and brilliant opera Richard Wagner (1813-1883), the composer classified as "scenic sacred Festival in three acts".

This monumental and unclassifiable "mystic-dramatic oratorio", conceived to be performed only in the revolutionary Teatro de Bayreuth, without applause, to avoid disturbing the religious atmosphere of the ritual music-theater, He has promoted, since its premiere in 1882, diverse and contradictory interpretations, heated debates and endless works inspired directly or indirectly in the existential derived from the mysterious Wagnerian hero.

The opera, inspired by the medieval epic poem Parzival, from Wolfram von Eschenbach, condenses the reflections of a lifetime of tireless search for knowledge, with multiple influences, from christianity to buddhism, through the philosophy of Arthur Schopenhauer (1788-1860), so admired by the composer.

Wagner returns once again to the recurring theme of redemption through a symbolic pilgrimage, philosophical and metaphysical more complex than in his previous works, with a clear testamentary purpose. The plot, with sketches that were sedimented throughout more than 20 years, part of the search, by the monk-knights of the Grail, of a pure and kind hero who can heal the wound of their leader Amfortas. Parsifal, unaware of its origin and destiny, snatch the holy spear from the treacherous Klingsor, resist the wild sensuality of Kundry and embark on a winding and difficult path of purification of the soul to reach salvation.
Claus Guth transfers the despondency and orphanhood of the Grail knights in their Monsalvat castle to a sanatorium where the soldiers destroyed by war end up, in a Europe devastated, broken and aimless.

The German stage director strips the work of its religious meanings to focus on the specific drama of the characters and their urgent need to find hope in a Messiah bearer of bliss.

The production, released in Liceu Barcelona on February 2011, will have a single distribution, with Christian Elsner in the title role, along with other veteran Wagnerian singers already known to the public at the Real: Anja Matches (Kundry), Detlef Roth (Amfortas), baritones Franz-Josef Selig (Gurnemanz) Y Evgeny Nikitin (Klingsor), and bass-baritone to Jerkunica (Titurel).

The prestigious Russian conductor Semyon Bychkov will redirect the Headlines Choir and Orchestra of the Teatro Real after the triumph obtained with his interpretations of Elektra, at the season opener 2011-2012. But nevertheless, the days 12 Y 15 of April will hand over the baton to Paul Weigold, debuting at Real.


Meeting with the artistic team of Parsifal
31 of March, Thursday, to 20.15 h
Teatro Real. Sala Gayarre

In collaboration with the Wagnerian Association of Madrid
From Parsifal to Moses and Aaron, a moving itinerary
By Arnoldo Liberman
With the participation of Dagmar Lieblová, holocaust survivor
1 of April, Friday, to 19.30 h
Teatro Real. Sala Gayarre

Spanish Film Library
Parsifal (Carlos Serrano de Osma and Daniel Mangrané, 1951).
1 of April, friday at 17.30 h. Y 5 of April, Tuesday, to 20.00 h
Parsifal (Hans-Jürgen Syberberg, 1982)
Cine Doré

Everyone to the Gayarre!
Sunday introductory music workshops for the whole family
Direction and presentation by Fernando Palacios with the collaboration of musicians and singers
the magic mountain
Monsalvat, the mountain that hides many secrets
24 of April, Sunday, to 12.00 and to the 17.00 h
Teatro Real. Sala Gayarre

National Museum of Romanticism
Conference: the revolution of 1848 and its influence on the work of Verdi and Wagner
By Jose Luis Tellez.
25 of April, Monday, to 19.00 h
Auditorium of the National Museum of Romanticism


The Liebesverbot, a rarity in the Wagnerian catalog, It is a perfect work to discover the origins of genius, It matured personally and musically very different ways in which we presented in this work.

sirbe also to remove some labels that have always accompanied the figure of the German composer. Thank you, many times, distorting the work of one of its familiates. Mainly Cosima and Winifred.

For this reason alone, the discovery of the Wagnerian germ, it is worth listening to this opera to which the Wagner he insisted on calling it a mistake of youth.

With only 21 years, Wagner was inspired by the work of William Shakespeare Measure for measure to create a composition that would reveal his rejection of German Puritanism and show a certain longing for frivolity, sex and playfulness. It also makes a clear defense of the ways of life of southern Europe against the severity of Central Europe. Not for nothing does he set the scene in Sicily, instead of vienna.

If anyone claims to identify in this opera the later Wagner, already mature, he is very wrong. Perhaps the error when approaching this work is the expectations. The Wagner of "The prohibition of loving" is a young man influenced by the conventions of the opera of the moment. Only a few short fragments evoke what may later be a "Tannhauser".
This work is pure French and Italian influence. It is not difficult to recognize in her Rossini O Donizetti. But it also sounds like German romanticism.

It is very interesting to hear the combination of influences in a creator who is forming his own musical personality.

The circumstances of its composition also had their influence on the work. In those moments Wagner was already the megalomaniac who would uncover himself without complexes in his maturity. The urge to succeed, for starting his career in a decisive way, they rushed him to premiere the play at the Municipal Theater de Magdeburgo he 29 March 1836. The result was disastrous. The singers did not know the role, even two of them fought and that day there was no representation. A work mired in chaos that was not given many more opportunities.

The production of Ivor Bolton and the stage manager, Kasper Holten, has dispensed with excessive repetitions of the score. Leaving it in two and a half hours and not the initial four. Kasper has focused on the comic aspect, almost operetta, from the script. It is located in the Red light district of Palermo and builds a multipurpose space that serves both as a convent and as a brothel. This is achieved with elements common to both such as stairs and small rooms. Video projection and lighting Bruno Poet they finish configuring the different environments. scenography, set in the 19th century, is completed with current items, because the characters interact through WhatsApp messages that are projected on the sides.

We attend the representation of the second cast. Serve as a complaint that there are already several operas in this Theater during the season in which the second cast is a long way from the first, orally speaking. Something unforgivable yeah, Besides, the price of the seats is the same in all representations.

You are right, a mediocre voice box in which he stood out, for unfortunate, Peter Bronder, who played Luzio. If the information in the hand program is true, His professional career is very extensive and the theaters he has frequented are important to offer this result. If so, a withdrawal on time is always more worthy. At some point we came to think that he was drowning.

He also had his problems Leigh Melrose, exerting Friedrich. But he was saved by some moment of inspiration.
Irregular too Mikheil Sheshaberidze, as Claudio. But he gave his character rhythm and humor.

The two female protagonists, Sonja Gornik like Isabella and María Miró, like Mariana, they were the best of the night. It wasn't very difficult either, but they knew how to keep up with arias and duets of good execution.
The rest of the cast did not shine especially.. Very small voices for a score that pointed to manners and that has a great choir and a great orchestra. Already glimpsing the Wagner that will be.

The chorus, that something untempered began, recovered immediately to offer his usual good level.
A very interesting work to listen to, trying for it a different contextualization. You need to forget about your composer and enjoy, despite some routine moment, of the different entanglements of its protagonists.
Text: Paloma Sanz
Photograph: Javier del Real
Videos: Teatro Real

Richard Wagner (1813-1883)
The Ban on Love or The Novice of Palermo Great comic opera en dos actos
Libretto by the composer, based on comedy
Measure for Measure by William Shakespeare
New production of Teatro Real, in collaboration with the Royal Opera House in London and the Teatro Colón in Buenos Aires
Teatro Real in Madrid, 1 March 2016
D. musical: Ivor Bolton
D. scene: Kasper Holten
Escenógrafo y costume: Steffen Aarfing
choreographer: sign Walker
Lighting: Bruno Poet
Video design: Luke Halls
D. choir: Andrés Máspero
Distribution: Leigh Melrose, Peter Bronder, Mikheil Sheshaberidze,
David Alegret, David Jerusalem, Sonja Gornik, María Miró,
Martin Winkler, Isaac Galan, Maria Hinojosa, Francisco Vas


Between days 19 February and 5 March the Teatro Real will offer nine functions of The Liebesverbot, second opera in the catalog Richard Wagner (1813-1883), which opens in Spain -after a version with reduced orchestra presented at the Festival de Peralada in 2013- in a new production of Teatro Real, in co-production with the Royal Opera House in London and the Teatro Colon in Buenos Aires.

In this fun, fresh and melodious score, light Mediterranean flavor, one Wagner 21 years resorts to the censored and acid comedy Measure for measure of William Shakespeare (1564-1616) to criticize the hypocrisy and puritanism of the Central European nineteenth century society, claiming sexual freedom, the expression of feelings and southern heat. For this action moves the original Shakespearean work from Vienna to Sicily, Friedrich -caricatura where the German dictator hiding behind a purported idealism imposes the death penalty to punish sexual promiscuity and prohibits brothels, carnival and extramarital love that he himself succumbs.

At Liebesverbot appears the influence of French opéra-comique, the belcantista melodismo, de la opera bufa, or nationalist dyes Weber, but also they glimpse some of the features, still incipient, of future works of Wagner.

From this idea comes the stage direction of the Danish Kasper Holten, in which the young Wagner laughs at the grandiloquence of his future work, of the archetypes of the characters and stereotypes of Aryan germanismo that he would exalt later.

A) Yes, in a setting designed by Steffen Aarfing evoking a bustling neighborhood of Palermo, with her hostess clubs and backyard neighbors, in an indefinite time in which coexist and funny allusions to the past and the present are juxtaposed winks, It is developing the Shakespearean plot sifted by the revolutionary ideology of the first half of the nineteenth century and romantic turmoil young Wagner.

The cartoony characters and dramaturgy dyes agile and fresh plot, with hints of vaudeville, will test the acting and singing skills of the two casts, with notable baritones Christopher Maltman Y Leigh Melrose (Friedrich), las sopranos Manuela Uhl Y Sonja Gornik (Isabella), tenors Peter Lodahl, Peter Bronder (Lucio), Ilker Arcayürek Y Mikheil Sheshaberidze (Claudio), and low to Jerkunica Y Martin Winkler (Brighella), to act with María Miró, David Alegret, David Jerusalem, Isaac Galan, Maria Hinojosa Y Francisco Vas.

Ivor Bolton, musical director of the Royal Theater, will change register after his recent performance of The Magic Flute, to direct this eclectic Wagnerian youth work at the helm of the Headlines Choir and Orchestra of the Teatro Real.

Coinciding with the functions of The prohibition of love, with which the Royal Theater joins the commemorations of the fourth centenary of the death of William Shakespeare, A series of parallel activities have been organized that will allow the public to approach Wagner's opera and Shakespeare's Measure for Measure from different perspectives.




12 February, to 20.15 h.

Teatro Real Sala Gayarre


Meeting with Ivor Bolton and Kasper Holten, music and stage directors The Liebesverbot.

They will be accompanied by the artistic director of the Royal Theater, Joan Matabosch.

21 February, to 12.00 h.

Teatro Real Great room

Chamber Sundays

Around William Shakespeare


part I

Mark Cross: The Tempest
Viktor Ullmann: String Quartet No. 3
part II

Arnold Schoenberg: transfigured night, on. 6 (Sextet for string)

Soloists of the Titular Orchestra of the Teatro Real

26 February, to 20.00 h.

Teatro Real Great room

Concert 'Music for a while – A Tribute to Shakespeare’

Maria Grazia Schiavo, soprano

Les Talens Lyriques

Christophe Rousset, director musical


part I

Henry Purcell: arias from The Fairy Queen Y The Tempest
georg Friedrich Handel: arias from Giulio Cesare in Egitto
Federico Maria Veracini: arias from Beautiful rose
part II
Carl Heinrich Graun: arias from Coriolanus

Georg Anton Benda: arias from Romeo and Juliet

3 Y 4 of March, after the end of the opera

Teatro Real

night visits

Visits to the technical and artistic spaces of the Teatro Real at the end of the performance.

5 March at 20 hours

The ban on loving live, in Classical Radio of RNE

Live broadcast from the Teatro Real for Spain and for all of Europe through the European Broadcasting Union, A CHILD.


20, 21, 23 Y 24 February
Spanish Film Library. Cine Doré
Parallel to the Royal Theater: Shakespeare

Series of films based on works by William Shakespeare
20 February, 20:00h: A Midsummer Night’s Dream (The dream of a nigth of summer), de Max Reinhardt and William Dieterle, 1935.

21 February, 17:30h: Kumonosu-jo (throne of blood), de Akira Kurosawa, 1957.

23 February, 17:30h: Chimes at Midnight (chimes at midnight), by Orson Welles, 1965.

24 February, 20.00h: A Midsummer Night’s Dream (The dream of a nigth of summer), by Celestino Coronado, 1984

23 February
Blanquerna Cultural Center. Assembly Hall
Cycle of conferences on the introduction of the work of William Shakespeare in Spain, through the Spanish translations, catalan, Galician and Basque.25 April 2016

National Museum of Romanticism
Conference: the revolution of 1848 and its influence on the work of Verdi and Wagner

By Jose Luis Tellez

14, 16 Y 18 June 2016
Theaters Canal. black room

Alfredo Aracil y Jose Sanchis Sinisterra: 2 Delusions about Shakespeare

Co-production Teatros Canal / Teatro Real

Texts: Jose Sanchis Sinisterra

Music: Alfredo Aracil

musical direction: José Ramón Encinar
Stage direction, stage space and lighting: Tomás Muñoz
Scenography: Alberto Heart
interpreters: Head of the Royal Theatre Orchestra


The rising Spanish master José Miguel Pérez-Sierra will start the month of March directing again in Bilbao, this time at Symphony. The appointment is at the festival Music-Music that turns the city of the Guggenheim into an international music capital by filling up with performances in a weekend, an inexcusable attraction for music lovers. After succeeding in the lyrical season of the Asociación Bilbaína de Amigos de la Ópera (ABAO-OLBE) with one of the masterpieces of Vincenzo Bellini, La Sonnambula, José Miguel Pérez-Sierra returns to Bilbao with two programs “of great symphonic flight and that allow to get the best out of the Basque orchestra and its teachers”, according to the teacher: the day 4 March will direct Prelude and death of love, selection loaded with lyricism and opera brilliance Tristan and Isolde, from Richard Wagner, followed by the intense symphonic poem Death and Transfiguration, On. 24, from Richard Strauss. Both composers are the ones who also articulate the next day's program: Saturday 5 March will be the turn of the Opera Overture Tannhäuser (Wagner), work to be heard alongside the symphonic poem Also sprach Zarathustra, On. 30 (Strauss). “They are masterpieces that require great technical mastery and in which the orchestra always has to go to a”, Pérez-Sierra points out.


He Teatro Real has presented this week the new season 15-16. A balanced season in terms of repertoire titles and those most unknown. Makes a clear commitment to co-productions with other theater rather than own. Which contributes to meeting the objective of adjusting the budget to the maximum. Increased number of representations. the elimination of the management fee to purchase tickets via the Internet. The programing, structured by operatic titles, articulates different conceptual and thematic lines with varied interdisciplinary proposals. Five new productions will be offered, four guest productions, three operas in concert version and two chamber operas. The structural lines of the programming are maintained in the next season, with the extension of the VOCES DEL REAL and SESIONES GOLFAS cycles, and the creation of the cycle DANCING ON THE VOLCANO. The Royal Theater joins the Commemoration of the IV Centenary of the death of Miguel de Cervantes and William Shakespeare. The link with cultural and artistic institutions is strengthened, with multiple and attractive activities. And the subscription modalities are expanded (16 total), its sale is anticipated and expedited and the procedures for changing dates are made more flexible.

In the 19th season of the Teatro Real since its reopening, in 1997, five new operatic productions will be presented - all in co-production with major theaters, four guest productions, three operas in concert version and two chamber operas to be offered at the Teatros del Canal. The program is completed with three dance shows and sixteen concerts integrated into the Voces del Real cycles, Golf sessions and the newly created Dancing on the Volcano.

Noteworthy is the premiere in Madrid of the staged version of Moisés y Aarón, from Arnold Schoenberg, undoubtedly one of the outstanding works of the lyrical repertoire of the 20th century, which will arrive in a co-production between the Royal Theater and the Paris Opera, with stage direction Romeo Castellucci —One of today's brightest creators who will debut in Madrid. Closely in tune with the plot and historical circumstances of this opera, The Emperor of Atlantis will also be released, from Viktor Ullmann, disciple of Schönberg and one of the great composers of the time, whose career was cut short by the rise of Nazism. The opera was composed in the Terezín concentration camp. Both works outline a thematic axis that will extend to shows of the Pedagogical Program, like the little youth opera Brundibár, from Hans Krasa, also premiered in Terezin. In the same conceptual framework, but with another atmosphere, four concerts will be offered at the Sony Auditorium of the Albéniz Foundation (one of them staged) within the cycle Dancing on the volcano, which include references to the Jewish cabaret that had such an influence on Schönberg, Kurt Weill and other contemporary composers.

New for the season include the premieres of Alcina - one of the best operas in Händel's extensive catalog, stage direction of David Alden- Y, especially, The Liebesverbot, from Richard Wagner, unfairly relegated youth work, that the Royal Theater and the Royal Opera House will rescue from oblivion with the complicity of Kasper Holten, head of stage direction, e Ivor Bolton, musical director of the Royal Theater. Wagner's opera is based on Measure for Measure, from William Shakespeare, of whom the fourth centenary of his death is commemorated. Within the framework of this event, the play Two Shakespearean Delusions has been programmed at the Teatros del Canal, from Alfredo Aracil.

The Royal Theater has also joined the Commemoration of the IV Centenary of the death of Miguel de Cervantes programming The altarpiece of Maese Pedro, from Manuel de Falla, and the knight of the sad figure, from Tomás Marco.

In addition to the prohibition of loving, that Wagner considered a "sin of youth", the season includes the composer's last opera, Parsifal, who will conduct musically Semyon Bychkov and that will mean Claus Guth's debut for Real, another of the most sought-after names in the current stage direction.
Mariella Devia, Gregory customer, Mariusz Kwiecien Y Silvia Tro Santafe will make up the stellar quartet that will star in the return of Roberto Devereux, from Gaetano Donizetti, that will inaugurate the lyrical season on 22 of September. Another crucial title of romantic belcantism, I Puritani, from Vincenzo Bellini, will bring together some of the best singers in this repertoire: Diana Damrau, Javier Camarena Y Ludovic Tezier, directed by Evelino pido, in the pit, Y Emilio Sagi, In the scene.
Also Rigoletto, from Giuseppe Verdi, with musical direction Nicola Luisotti and scenic David McVicar, will unite such renowned singers as olga Peretyatko, Lisette Oropesa, Stephen Costello O Leo Nucci, which will also star in Giuseppe Verdi's Luisa Miller, in concert, under the direction of James Conlon.
PLacido Domingo will perform together with Ainhoa ​​Arteta Y Michael Fabiano, I due Foscari, de Giuseppe Verdi, under the baton of Pablo Heras-Casado, Principal Guest Director of the Teatro Real. Also in concert version will be presented Written on Skin, that the composer himself will direct, George Benjamin.

Among the most popular titles in the lyrical repertoire, the return of The Magic Flute also stands out, with musical direction by Mozart expert Ivor Bolton, with masterful staging of Barrie Kosky, which will debut at the Teatro Real. The Pedagogical Program will include, at the same time, The Magic Flute, a magnificent introduction to the opera by Mozart for children, and a teen version of Dido and Aeneas, from Henry Purcell, with address Rafael Villalobos.
In the concert and recital program there are names of both prestige and Measha Brueggergosman, Natalie Dessay, Angela Denoke, Renée Fleming, Karina Gauvin, Venera Gimadieva, Barbara Hannigan, Anja Matches, Susan Graham, Juan Diego Florez, Francesco Meli, Bejun Mehta, Andreas Scholl, Simon Keenlyside, Christopher Maltman, Peter Mattei Y Franz Josef Selig, among others.

Three dance companies will meet in the season: Nacho Duato will present his version of Sleeping Beauty with the Berlin Staatsballett, and a triple program with choreographies by him and by Marco Goecke. Sasha Waltz will bring, together with your company, the acclaimed version of The Rite of Spring, from Igor Stravinsky. Finally, José Carlos Martínez will propose a tribute to Enrique Granados with the National Dance Company ending in July of next year, the 19th season of the new Teatro Real.

Hansel and Gretel

A large packaging as a curtain hides the surprise and magic of the story that recreates the music of Humperdinck and the scenery of Pelly. A production of Hansel and Gretel what, since its premiere in Madrid 1901, there had again been represented in this Theatre.
With the denomination of Fairy tale opera (opera-fairytale), Humperdinck plays the adaptation of the tale of the Grimm brothers. Eliminate the steepest parts and preserve the forest as an important element in the German tradition. That magical and romantic place that provides accommodation to the most disturbing dreams and fantasies.

Pelly's delicious scenography manages to transform a situation of extreme poverty for the protagonists, in an endearing fairy tale. The sharpness and imaginative talent of the scenery is reflected in every detail that appears on stage. The house built with cardboard. The forest littered with bare trees and covered in garbage bags. The screens that appear showing the gluttonous dream of children. The magical appearance of fairies. And all wrapped up in music and light that make that scrubbed and dirty forest the mysterious and magical place where all the children in the room had already lost ourselves at that point in the performance.. Only the end of act two woke us up, Of course, hungry.

In the third act, the leading role is played by the large supermarket that replaces the traditional chocolate and ginger house. All of it heaped with succulent junk food. From it arises a well characterized José Manuel Zapata playing the evil witch. Brief but leading role. Show Zapata, once again, his extraordinary ability to play quirky and histrionic characters. Without abandoning the vocal part that skillfully solves. It was for all this the one that obtained the greatest recognition from the public.
The address of Paul Daniel it was brilliant and well worked. Of a great aesthetic neatness to which there would not have been an extra point of sweetness. The orchestra sinned at some point in excess of volume. This punctually spoiled the work of some of the singers. Highlight the openings, the fairies scenes, the music that accompanies the sweet dream of the brothers in the forest, and the splendid moments of tension of the strings evoking the musical transparency of a Wagner conductor and inspirer of Humperdinck.

The pair of brothers composed of Alice Coote (Hansel) Y Sylvia Schwartz (Gretel), they interpreted their characters with great ease, moving across the stage with grace and ease. Alice Coote, with its interesting bass, drew a mischievous and vocally nuanced Hänsel.
Sylvia Schwartz had some problems with the volume of the orchestra, but the agility and subtlety of her voice were perfect for the character of Gretel.
Peter and Gertrud, the children's parents, are played by the Danish baritone Bo Skovhus and the british mezzo-soprano Diane Montague. They form a neat vocal couple and perform well thanks to their stage presence. Skovhus maintains a good projection, but they have increased their difficulties with the lower notes.
Montague made a perfect hysterical mother overwhelmed by the family situation.

The goblins, of the dream Elena Copons, and the dew Ruth Rosique, they were splendid in their brief speeches. Two good voices that we hope to hear more often.

Very well Little Singers of JORCAM from the hand of its director, Ana González, although they moved with enough difficulty around the stage, dresses for the occasion with large padding to make them extra fat.

A delicious production with a good response from the public that left the Happy Theater. A work that provokes a smile full of tenderness.

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

Hansel and Gretel
Elgelbert Humperdinck
Märchenoper in three acts
libretto Adelheid bet
Based on the homonymous tale
From the brothers grimm
Premiered in Weimar,
he 23 December 1893
Premiered at the Teatro Real,
He 4 December 1901
Production of the Festival of Glyndebourne
D. musical: Paul Daniel
D. scene: Laurent Pelly
D. scene and costume: Barbara de Limburg
illuminator: Joel Adam
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Bo Skovhus, Diane Montague,
Alice Coote, Sylvia Schwartz, José Manuel Zapata,
Elena Copons, Ruth Rosique
Headlines Choir and Orchestra of the Teatro Real
Little Singers of JORCAM


"This opera conquest throughout Europe in a very short time, and even Verdi attend, fascinated and hidden in a box, the premiere in Bologna, directed by his friend Mariani. The reasons are in sight: from a musical point of view, sounds are heard hitherto unknown, both the prelude and the desecration of the gods by Ortrud and narration about the Grail Lohengrin, and naturally one of the most complex choruses from Bach with the appearance Swan "ein Wunder, a wonder…". From the dramatic point of view, opera meets all the desires of the bourgeoisie then, Restoration disappointed by Metternich and the "juste milieu" of France; frustrated in his desire for a new world order, convinced of the special place of the artist but also his loneliness (Lohengrin), afflicted by melancholy arising from the frustration of unfulfilled utopia. And all this reflected in oversized forms and also used Meyerbeer, although this will fail to provide them with more than a similar efectismo the current Hollywood productions.
Lohengrin is an incredibly sad work, because at first it promises the realization of a new world and end, as Elsa, We abandon us to our loneliness, because society could not find the courage to follow the requirement of the artist, Utopian messenger Grail castle: "No I never interrogate". Elsa wants to know instead of believing, and therefore it can not be released, while Lohengrin must return to his ideal realm of the Grail castle alone ... as Wagner in exile. "
(The eternal struggle between truth and glare Theater, Gerard Mortier).

Gerard Mortier's enthusiasm has led to the present Teatro Real, for the first time, own production of the most romantic work of Wagner, Lohengrin.
This is a work that develops all own archetypes of romance, the tragic fatality, the medieval legend, the contrast between the divine and the human and a dark and eerie atmosphere.
Like the ancient Greeks reality expressed through legends, Wagner, emulating the Greeks, He tried to express the universal truth also using legends. Where appropriate, medieval legends of German origin with one of the topics that most interest aroused in him, The Holy Grail.
Lohengrin is a work that marks a turning point in the music of his time, because it will trace the operatic style of the future. A novel instrumentation in which Wagner no longer up to the classic mode, but it creates different musical levels as shown significantly prelude, where the strings, They are divided and grouped creating a different sound, only, Wagnerian distinctive instrumental.
Wagner had to flee Dresden, where he planned the show opened, after participating in the Revolution 1848. Before he had left written all kinds of information on the orchestration and staging. For this new production Real, They have taken into account all these sources to be thoroughly faithful to the ideas of Wagner himself.
Some of these indications have been faithfully respected, as the appearance on stage of 12 trumpets, or the composition of an extraordinary chorus, by number of members and volume of sound.

The first thing that draws the attention of this production is the use made of the stage. Lukas Hemleb Y Alexander Polzin They have created a scenery away from the static sense we can imagine in a production of this size. The result is a totality, a romantic universe almost sculpted hands Polzin himself in his role as sculptor. They have achieved a particular balance, mystical and legendary, which can not be identified with any present time, not historical. It is out of time and fills a spontaneous form of sensitivity.
It was certainly the Master Hartmut Haenchen the most deservedly cheered after the performance. He managed Orchestra titular one of his best performances since the reopening of the Teatro. the overture, a tension and overwhelming intensity, only it surpassed by a final full of magnetism, It is transmitting the same work as a whole. The experienced German director, extracted orchestra sound full maturity, product of evolution that this body stable theater has experienced in recent years.

Coro del Teatro holder, Coro Intermezzo, strengthened to address the volume of sound required Lohengrin, He had an extraordinarily important role, especially the male choir. He moved around the stage like a living body unit, in the great cavernous stage. The quality of this choir, conducted by maestro Máspero, It never ceases to amaze. The quality achieved great places him among the best in Europe, something that may have to be thankful, as well, Gerard Mortier.

The set of key voices was balanced and a high level. the tenor Christopher Ventris, as Lohengrin, You can not qualify as a voice specifically wagneriana, but he contributed a heroic tone, plus a light metal which is always welcome in these characters. He lacked emotion in some passages but color has a beautiful voice.
Catherine Naglestad he played a very believable in their naivete Elsa. Sweet excess, It has a brilliant highs and expressive.
Deborah Polaski as Ortrud shone high. A magnificent dramatization made her the most evil far. He managed to be the protagonist in each of the duels he had with the other major voices. His experience on stage voice softened some lack, especially in the high notes.
Franz hAWLATI as King Heinrich has been a pleasant surprise. The German baritone has improved since his last speeches in this theater. This time his performance has been very correct.
Thomas Johannes Mayer, as Telramund, He had a flawless first act and a compelling dramatization. This German baritone possesses a powerful and deep voice filled with intensity their interpretations.

The end result is a round work, seeking total art that Wagner pursued his compositions. Do not get it, but the result is more than worth to pay tribute to his inspirational, Gerard Mortier one floating in the air.

Richard Wagner (1813-1883)
Romantic opera in three acts (1850)
Libretto by the composer, Parzival based romances, de Wolfram von Eschenbach, and Lohengrin, anonymous author
New production of Teatro Real
Obituary Gerard Mortier
D. musical: Hartmut Haenchen
D. scene: Lukas Hemleb
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
illuminator: Urs Schönebaum
D. choir: Andrés Máspero
D. children's choir: Ana González
Distribution: Christopher Ventris, Catherine Naglestad, Thomas Johannes Mayer, Deborah Polaski, Franz hAWLATI, Anders Larsson, Antonio Lozano, Gerardo López, Isaac Galan, Rodrigo Alvarez

Violeta Urmana in the role of Isolde

Human science is not able to understand. No experience can describe. Only the one who has been there knows what it means. Although there are no words to express it”. (John of the Cross)

With these words tried Bill Viola to explain the true meaning that it has Tristán e Isolda. Isnpirado by one of the mystics who has most influenced his work.
Wagner he went to Listzt by letter 1854 in this way: “Since I have not known life the true happiness of love, I want to erect a monument to the most beautiful of dreams, in which must be met, from beginning to end, that love”. This idea, fruit of the stormy love between Wagner and Mathilde Wessendonck, influenced various works of the German composer and, especially, in Tristan and Isolde.

Wagner's claim to create "the art of the future”, fully satisfied seen in production these days is represented in the Teatro Real in Madrid. Bill Viola video recordings add, adding beauty, this score so demanding both for the orchestra and for singers. A requirement that the public moves to the wealth of information that provides music, the script, scenography and projections. The depth with which all these elements are expressed, its wealth and its contradictions, They create a unique and extraordinary intellectual and artistic experience, that immerse the viewer in an ocean of sensations of such magnitude, that is overwhelming.

The work begins with a chord of three notes in a serious and ascending register of the cellos in unison. This is the great peculiarity and greatness of Tristan and Isolde. A chord that develops throughout the play and only works out to the end, with the death of Isolda. Love solves death dissonance. harmonic and only treatment is thus created, never before heard, from that moment that will change the approaches of musical structure. He "Tristan chord”, which always pushes forward in an infinite musical envelope just relax in a couple of interludes. The harmonic richness and the fact that all the instruments of the orchestra play in continuity, always moving from darkness to light, from the concrete to the infinite, on an emotional journey that only resolved at the last minute.

Wagner described as Tristan and Isolde "plot”, (action, plot). A timeless opera, that it is not based on any historical event, but something mythological. Shows two frames or two worlds, the real, rational or contrived, they belong Brangäne, Kurwenal, Melot and King Marke; and the inner world, the world of the heart of Tristan and Isolde.
That inner world, which confuses day and night, space time, and brilliantly it describes the score Wagner. The composer should focus on this inner frame in the absence of specific events or stories. The actions corresponding to real life, to that to which the two protagonists live outside, They develop in the end of each act. The rest of the work belongs to the realm of dreams.
It is this field of dreams which is brilliantly reflected in the videotaping of Bill Viola. No one has described with images what Wagner said in his score the way it does Viola. The cadence of an infinite time flowing with music. pictures, like the music, They never stop. Viola wants to represent the flow of life. You whatever happens nothing stops. Two completely different walking speeds surprisingly unison. A plastic beauty that borders on genius and marks a harmonious discourse. Poetry in motion that accompanies and describes the scenes providing magic.
Water is the conductive element for Viola. What used to facilitate the timelessness and create an atmosphere in which it can, float up. In contrast is the fire, in which vanishes Isolde, Tristan as it does in the water. Magic is the moment when Tristan and Isolde are immersed, literally, in profundidaz feelings after taking the filter of love.

Little has changed since the premiere staging of this production in Paris, in 2005. Peter Sellars He created the most discreet of his stage productions. That nothing distracts, It had to be used by the maximum Sellars, and it has been the most successful decision. The result is the refinement and quietness of characters expressing, through the containment, the intense feelings that music and images put on stage.

Darkness is a feature of this production, creates atmosphere of introspection and mystery, but the lighting is not always the right one. Neither it is well resolved the presence on the scene in the second act of Kurwenal. Forced to sing idly and hieratic attitude.

Bright and spectacular is the entrance to the King Marke at the end of the first act, down the center aisle of the stalls while the choir sings on the balcony of the fourth floor while the entire theater is illuminated. They are very well used these scenic resources so rarely used, and contribute to the effect of the entire work envelope.

Substitution in the musical direction of Teodor Currentzis by the French Marc Piollet, He had generated some concern. Especially if it occurs with just one month in advance. Ya the opening, any doubt was cleared respect. The relationship established between the conductor and orchestra, It produces a deep sound, a tempo well run. A strict interpretation of the score. With excessive sound volume sometimes, that afearon some moments that should be more sensitive. The sound of the strings was extraordinary, and the effect of some instruments placed in boxes, finally he beautified the whole.

Violeta Urmana it complies to face a work of Wagner with guarantees and solvency: power and resistance. Power is needed to avoid being swallowed by the torrent that reaches orchestral waves from the ditch. Resistance is essential to maintain the intensity for a work of these dimensions. This intensity was evident in his magnificent "Love Death” final, shivery. A powerful Urmana always on stage. Offering a heartfelt drama and excited, Isolde composing a sharp and haughty. Consistent and voluminous voice, which he spared no sobreagudo and which only lacked one point more than emotionalism at times. It was the most rewarded by the audience. A public increasingly cold ,which reserves the effusiveness for boos and left the room at the speed of an ordinary parliamentary.

the tenor Robert Dean Smith It is a width appropriate for a lyric I Tristan. Too bad you only listen to the most lyrical fragments, when the orchestra did not accompany him. The rest of the time he was just intuited low volumes of the orchestra and vigorous Isolde. We trust you have, at least, good self-esteem.

Ekaterina Gubanova, as Brangäne, with a strong, intense voice, He had some emotional moments, their warnings to lovers of the second act from the fourth floor. Onstage he knew very well unfold. It is not always easy to sit still.

One of the best voices was that of King Marke played by Franz-Josef Selig. deep, authoritarian and majestic. Center vocal well-defined, balanced and elegant sound. Its interpretation is a question I, Will I seemed to understand that Marke is in love with Tristan?. Would be, in any case, Sellars license.

No doubt this Tristan and Isolde is the most intense seen in the newly renovated Royal Theater, something much appreciated in an already, per se, intense season.
Thank you, monsieur.

Tristan and Isolde
Richard Wagner (1813-1883)
Action in three acts
Libretto by the composer
D. musical: Marc Piollet
D. scene: Peter Sellars
Videoartista: Bill Viola
Costume designer: Martin Pakledinaz
illuminator: James F. Ingalls
D. chorus: Andrés Máspero
Distribution: Robert Dean Smith, Violeta Urmana,
Franz-Josef Selig,Ekaterina Gubanova,
Jukka Rasilainen, Nabil Suliman,
Alfredo Nigro, César San Martín.
Headlines Choir and Orchestra of the Teatro Real

Logo Festival Castell Peralada 2'13

How could it be less this year 2013, commemorative of the bicentennials of Richard Wagner (Leipzig, Germany, 22 May 1813 - Venice, Italy, 13 February 1883), Y Giuseppe Verdi (the Roncole, Bussetto, Parma, Italy, 10 October 1813 - Milan, Italy, 27 of January of 1901):
He Festival of Peralada Castle, He has dedicated an extensive program to celebrate both events. First of all, It should be noted-that just and necessary- the perfect and exemplary organization of this summer festival, in that beautiful setting of the Catalan "Alt Empurdà", already very close to the French border, and which I had the pleasure of attending for the first time in a distant 2002, in a recital, with included interview of the Peruvian tenor Juan Diego Florez, when he was beginning to be known and was shaping the path to that great fame that he has acquired in later years.
That magnificent lyrical program dedicated to both bicentennials, It started from the same day of the opening of the Festival, he 17 of July, with the interpretation of the Verdiana Messa di Requiem, performed by the Choir and Orchestra of the Gran Teatre del Liceu, under the direction of its owner Josep Pons, who gave the orchestra a vibrant rhythm and, in unison, achieving that high dramatic tone that this work requires: whose premiere took place in 1874, in homage to the great poet Alessandro Manzoni, died just a year before. Verdi's ability as an orchestrator can be seen in this composition., achieved little by little, during the thirty-five years of intense work that mediated between his first opera Oberto Conte di San Bonifacio (1839) and that year 1874 of the premiere of the Requiem. The vocal soloists were of authentic category led by the magnificent Dutch soprano Eva-Maria Westbroek, voluminous and timbred voice, endowed with that <<ring>> and rotundity that this work requires. The performance of the Italian mezzo Luciana D’Intino was not behind. As well, good rendering of the bass Michele Pertusi. Y, more discreet, el tenor Giuseppe Filianoti, of beautiful and timbred emission, but something light for this work that requires a more resounding voice; Y, it becomes evident, in his great solo moment the "Ingemisco", where his interpretation is very far from those performed by a Jussi Björling with Zinca Milanov in 1940 o Leontine Price and 1960, in his recordings directed respectively by Arturo Toscanini and Fritz Reiner.
Toscanini himself directed another historical Requiem in 1951, at New York's Carnegie Hall, with the wonderful voice of the young Giuseppe Di Stefano, flanked by two other greats of the lyric: Fedora Barbieri and Cesare Siepi. It is necessary to highlight another historical Requiem, with the magnificent performance of a young Luciano Pavarotti, con Leontine Price, the great half Fiorenza Cossotto, and a Nicolai Ghiaurov in his best vocal moment, all directed at 1967 by Herbert von Karajan, in a scaliger function filmed, and later remastered and released on DVD, which has become an essential document of this great Verdi religious work.
Anyway, This Peralada Requiem was quite high carats, especially by the direction of Josep Pons, and the vocal performances of Eva-María Westbroek and Luciana D’Intino.
The interpretation of this work was also a tribute to the memory of the poet, Catalan-language playwright and novelist Salvador Spriu, on the centenary of his birth on 10 July 1813, one hundred years after Verdi and Wagner.
Y, we go to the second lyrical day on Friday 2 of August, dedicated to Wagner with the Saint Petersburg Mariinsky Theater Orchestra conducted by its owner Valery Gergiev, with that strength and conviction that are common in him. Maybe, in the first part dedicated to the interpretation of Act I of Die Walküre (The Valkyrie), some instrumentalists did not get fully orthodox solo introductions, and I mean bass strings and brass. In compensation if we had the fortune to listen to three Russian singers with resounding and intoned voices, with a good command of the German language, something fundamental to duly qualify their respective roles. Very notable is the Sieglinde of the soprano Mlada Judoléi with a very attractive timbre, and blending very well with the Siegmund of the tenor August Amonov, quite intoned in the passages of greater heroic thrust, with a phrasing full of intentionality, though not overly refined in the lyrical moments of those long and precious duets with Sieglinde.
Magnificent for stage presence and vocality the bass Mikhail Petrenko, who performed a great performance of the jealous and malevolent Hunding.
The orchestra was much better in the second part, with excellent interpretations of the overtures by Lohengrin and Los Maestros Cantores. Although, the great moments of this concert, were run by a magnificent Eva-Maria Wetbroek, who after having faced with true brilliance the most lyrical Wagnerian roles such as Elisabeth de Tannhäuser, the Eva of the singing teachers, Sieglinde de The Valkyrie, y la Gutrune de Götterdämmerung, is preparing her debut as Isolde, rehearsing this complex role, in their interpretations of the <<Imprecation of Isolde>> and the <<Death of love>>, where he was impressive for his great dramatic ability, vocal rotundity, and absolute control of all records: graves, center and treble. A devoted audience applauded both Gergiev and Westbroek with great force..
The next day saturday 3 In August another Wagnerian event took place with the absolute premiere in Spain of Das liebesverbot (The Liebesverbot), Richard Wagner's youth opera premiered 1836 in Magdeburg - with a thunderous failure- when its author was only twenty-two years old. The montage, performed by stage director Georgios Kapoglou, was commissioned by the Bayreuth Young Artists Festival in 2005, in a version where the almost three and a half hours of the original score are reduced, less than two, performed by composer Frank Böhme in modern key, for the chamber ensemble Ensamble Orquesta de Cadaqués, with additional instrumentation of electric guitar and saxophones, that Fausto Nardi knew how to direct with real skill. The musical arrangement could remember, at times, Kurt Weill's musical theater.
This version tries to concentrate the most essential of the action, with a special attention to showing an uncompromising defense of free love and female emancipation, marking excessively, the right of women to have absolute freedom to choose the man they like best, no family or social restrictions. It is an adaptation that Wagner himself made of Schakespeare's play Measure for Measure.
The staging inside the Church of Carmen de Peralada is very interesting, with the orchestra in the background, and the action developed within a rectangular and closed bleachers where spectators could follow the action from very close, practically listening to the breathing of the different performers.
Magnificent vocal and theatrical performance by young singers, like the baritones Enric Martinez-Castignani and Àlex Sanmartí, the sopranos Júlia Farrés-Llongueras, Rocio Martinez and Mercedes Gancedo, and the tenor David Alegret.
Good performance by the Chamber Choir of the Palau de la Música Catalana. Magnificent premiere performance of this authentic Wagnerian rarity. Only, signify the suffocating heat inside the Iglesia del Carmen where the representation took place.
Anyway, these three musical events reviewed, have been the magnificent contribution of the Peralada Festival 2013, to the bicentennials of Wagner and Verdi.

Diego Manuel Garcia Perez-Espejo