The barmaid port

The zarzuela returns this year to the San Sebastian Musical Fortnight with one of the most emblematic titles of the genre: The Innkeeper of the Port, that he 7 from August at 20:00h will take the main stage of the Kursaal to offer a single performance of Pablo Sorozabal's masterpiece.

On the occasion of 125 anniversary of the birth of the composer from San Sebastian Pablo Sorozabal, Musical Fortnight commits to a concert version production of La Tabernera del Puerto, captained by Unai Urrecho. With the Bilbao Symphony Orchestra
as the backbone of the score, the group of soloists will be made up of top-level national performers: the soprano Miren Urbieta-Vega as Marola, the tenor Andeka Gorrotxategi as Leandro, Damián del Castillo as Juan de Eguía, Rubén Amoretti as Simpson, Ruth Gonzalez as Abel, Marifé Nogales as Antigua, José Manuel Díaz as Chinchorro and Verdier, and Alberto Núñez as Ripalda.

Sorozabal's music, will evoke the port of Cantabreda, imaginary city in which, Federico Romero and Guillermo Fernandez-Shaw, zarzuela librettists, set the libretto. The descriptive and metaphorical capabilities of the score by the genius from San Sebastian mean that this particular work has an imaginative development that allows each listener to enjoy their own port of Cantabreda, of his own tavern in Marola… A whole plot of love affairs and family secrets that have made La Tabernera del Puerto not only a song in the zarzuela repertoire, if not, possibly, in one of the most performed zarzuelas on both sides of the Atlantic.

The Barberillo Lavapies

This year marks 148 since ‘El barberillo de Lavapiés’ will premiere at the Teatro de la Zarzuela back in 1874. In all this time the work of Francisco Asenjo Barbieri –whose birth bicentenary is celebrated next year–, with magnificent libretto Luis Mariano de Larra –son of the insightful romantic intellectual ‘Figaro’–, has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. All one musical theater party 15 al 26 of June will brighten up the coliseum in Plazuela de Jovellanos with 10 functions of the acclaimed own production signed by Alfredo Sanzol and premiered on this stage in 2019.

He interest and the expectation of this Barberillo are not only due to the exceptional musical and literary material that make it a incontestable masterpiece; one of the funniest and happiest works of the lyrical repertoire which has remained on the scene to this day as a emblem of the Spanish lyric. It also reaches event quality, even in its replacement (and ticket sales don't lie), by those who are responsible for setting it up. The stage director and adapter of the text, Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today, or the international teacher José Miguel Pérez-Sierra, what, as usual, will give verve to the moat in front of the Community of Madrid Orchestra (Titular del Teatro). The production has the unique scenery and colorful costumes of Alejandro Andújar, the ever-revealing illumination of Pedro Yagüe and the choreography (so important in this title) from Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to making the work current and modern.

They will, Besides, two the deliveries (and three Barberillos) those who sing the brilliant work of Barbieri: Lampara, the Barberillo which aims to Paloma seamstress, who is immersed in a political intrigue without knowing how or why, It will be played by baritones Maybe Borja Y David Oller; Paloma will be played by the mezzosopranos Cristina Faus Y Carol Garcia; the marquise del Bierzo, intriguing policy that puts everyone in the mess, love and turn the suffering Don Luis de Haro, It will be sung by sopranos María Miró Y Cristina Toledo; tenors Javier Tomé Y Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; baritone Gerardo Bullón will be the conspirator Don Juan de Peralta, and low Abel Garcia, Don Pedro de Monforte, defender of law and justice.

This double cast will be accompanied on stage by Holder Choir Teatro de la Zarzuela, as well as ten dancers and eight actors who also dance in each and every dance number.

Music & Performance. Validity, comedy, beauty

José Miguel Pérez-Sierra, who describes the work as «one of the tops of the genre», He argues that collaboration between Larra and Barbieri is more interesting, since «together they create a work in which one lives, breathes Madrid. A Eighteenth-century Madrid in the plot and nineteenth-century in music, but with a timeless perfume which means that even today this zarzuela has full validity».

Alfredo Sanzol, meanwhile, emphasizes that "the comic and adventurous tone of the function It is what we have promoted without ever forgetting that both things go hand in hand with the search for beauty.». The stage director points in each of his works to the idea that «the depth of life and their difficult conflicts they need the vision of comedy to find liberating solutions».

Barbieri and Larra they mix a popular plot, Loves the Lamparilla and Paloma, with the sentimental dalliances of two aristocrats, the Marquesita Star and Don Luis, and all this with a political background: the transition forced from a government of Grimaldi to Floridablanca. It is a thematic model that Barbieri had already used in Play with fire, The diamonds in the crown O bread and bulls, but that with Larra's text —written in verse— is filled with adventure, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.

Photograph: Javier de Real

Lara Diloy
Lara Diloy, naturalness leading an orchestra

Lara Diloy found in conducting the orchestra the best way to connect with her greatest passion, music. As an assistant director, she is a guarantee for theaters and head directors.. And we have been able to verify it recently, directing some performances of the opera Don Gil de Alcalá at the Teatro de la Zarzuela. His confidence and attitude in front of an orchestra show us that we are facing one of the new conducting talents in our country. the future is here.

How and when did you decide that you want to be a conductor??

In my case it has been a natural consequence of my dedication and passion for music. Since I was little I discovered that making music with other people made me very happy. The orchestra was my home, That's why when I finished higher horn studies and I felt that I needed to broaden my training to become a more complete musician, the option was to study orchestra conducting, since this discipline allowed me to deepen my knowledge while staying linked to the orchestra.

If I have to choose a key moment in which I decided to dedicate myself professionally to it, was participating in a JONDE meeting as a young director. The experience filled me so much that the following year I left my job as a teacher and the collaborations as a horn player in orchestras., and since then I have devoted myself body and soul to directing.

The conductor is the only musician who does not make a sound, but get everyone else to do it. What qualities do you think a conductor should have??

It is true that we do not emit any sound directly, but I will point out that the baton sounds (and a lot). The orchestra perceives our energy and our knowledge of music, and as such transfers it to the interpretation. That is the magic of conducting.

The necessary qualities are multiple since our discipline requires mastery of many facets. But something that I consider fundamental is to have a deep knowledge of the music that you have in your hands, decide your interpretive idea and, Of course, have the ability to communicate to transmit it to the group in front of you at all times.

She has been on several occasions assistant director at the Teatro de la Zarzuela, but this is the first time in which he has had to replace the titular teacher in several functions. Although, sooner or later that time may come, How is it?, what went through your head?

It really has been an unforgettable experience. Although as an assistant you are aware that at any time something can happen and you have to replace the teacher, usually does not happen. That is why it is difficult to know how you will react in such a situation..

In Don Gil de Alcalá I have had to take command in a few hours (They told me at 3:00 p.m. and the function was at 8:00 p.m.), and I can say that I only thought about doing what I had to do: be calm and lead. He knew perfectly the music and the production, and she was also surrounded by the teacher from a distance and throughout the theater. Fantastic energy was generated with the singers, the choir and the orchestra, and that energy reached the public. I can only be thankful for this opportunity.

Although he has had the opportunity to direct in important theaters such as Auditorio Nacional de Música and Teatro Monumental (Madrid), Alfredo Kraus Auditorium (The Gran Canarian palms) or the Arriaga Theater (Bilbao), How was this first experience leading the Orchestra, the Choir and the group of singers in a production as important as that of Don Gil de Alcalá at the Teatro de la Zarzuela?

It is a very special debut for me for many reasons. First, because debuting at the Teatro de la Zarzuela is a dream come true. I have been attending as a public for years, participating in various productions and working with enthusiasm to get to direct from the pit.

I feel very lucky that it was with a title like Don Gil de Alcalá, a Penella opera with wonderful music, in this production by Emilio Sagi that delights viewers (is a "candy"). If you add to that having worked hand in hand with maestro Macías and a huge cast professionally and humanly, and make music with the Madrid Community Orchestra and the Theater Choir, groups to which I have great affection, it is pure emotion to have lived this experience, so it will always hold an important place in my memory.

The figure of assistant director is not well known. Explain to us a little what it consists of and the importance it has in a production.

The work carried out by the musical assistant is fundamental within a production and, how do you say, little known and recognized. It is the extension of the musical teacher in the Theater, and for this reason this figure acquires importance for all the elements that form it: production, regiduría, technical team, orchestra (File, Archive, inspection, musicians), choir… The assistant conductor is in charge of matters such as preparing the materials in coordination with the archive of the orchestra, give notes to the singers, to the choir and orchestra, to listen to the balances in rehearsals, substitute the teacher in stage rehearsals (readings, sets and functions if necessary)… Together with the repeating teachers they form the musical team and facilitate the work of the director.

When there are internal bands, takes charge of directing them, something that in my case I have had to do in theaters such as the Maestranza or the Palau de Les Arts. The workload is extended when you are a musical assistant for a Season. Since 2021 I have assumed this role at the Oviedo Opera, where I also perform musical coordination tasks that have to do with the long term (template forecast, cortes, arrangement of the orchestra and a long etc.)

The work of the assistant director is not only important in productions, also in symphonic concerts or lyrical galas. I have recently been an assistant at the Teatro Real together with maestro Rovaris, at a gala with Lisette Oropesa, and the coordination with the theater archive and the teacher to prepare the materials was fundamental to optimize the rehearsal time to the maximum.

In addition to conducting, She is the director and founder of the Sinan Kay White Voices Choir., that we have been able to hear these days participating in Carmen, Bizet, at the Monumental Theater with the RTVE Orchestra and Choir. How did this project come about and what does it mean to you??

Sinan Kay is a very personal project. It arises from my time as a teacher, where I took charge of the children's choir of the center where I worked. The group disappeared from the programming and parents and students wanted to continue with the activity. It was established as an association in the course 2015/2016 and since then we have always sought a balance between artistic and pedagogical excellence.

In addition to having a multidisciplinary teaching team, we have participated in numerous competitions and festivals, being awarded several times. As for collaborations, we have sung in productions of the Teatro de la Zarzuela together with the Orchestra and Choir of the Community of Madrid and the Choir of the Theater, highlighting titles such as Pinocchio, The Wildcat or Mirentxu, and together with the Orchestra and Choir of Radio Televisión Española in the Concert of Kings of 2020 and in this Carmen. Next season we have commitments with both institutions again.

His knowledge of the symphonic and operatic repertoire is very broad. If you had to choose one of the two, Do you prefer conducting “only” symphony orchestras or do you prefer opera?

I have played in orchestra since the 12 years. The symphonic repertoire has always accompanied me and has made me grow as a musician. I could not conceive of dedicating myself to conducting an orchestra leaving aside that repertoire. Even so, I think that in the lyrical world I am finding my space. I feel comfortable and my high dedication to it in recent years is paying off. You work on a production for several weeks, there is more time to delve into the music and to get to know the people you work with, and that part makes me tilt the balance towards opera and zarzuela, although I would like to combine both.

You have said that women come to the orchestra direction to give you another point of view, enrich… what is yours?, what does Lara Diloy propose baton in hand?

Of course, I consider that the inclusion of new profiles in any field is enriching. Although perhaps my contribution is not new, yes i think it's rare: treat the profession naturally (we are people prepared to do a complex job, but not "divos" or anything like that), with leadership based on teamwork and making others shine, and seeking excellence from the love for music and the respect and affection for the people who accompany me in each project.

Are there any directors you particularly look up to or inspire you?

In the last year I have been fortunate to work with wonderful teachers.: Yves Abel, Corrado Rovaris, Ramón Tebar, Gianluca Marcianó, Lucas Macías, Ivan Lopez-Reynoso, Daniele Callegari… I have learned a lot from them and they are my greatest source of inspiration on a day-to-day basis.

I also have a lot to thank Óliver Díaz, with whom I have worked for a long time, that stands out for its professionalism and human stature. further, I follow Spanish directors or those who are making a career in Spain like Pablo González or Dima Slobodeniouk, since they are very talented musicians.

As for great names in history, Carlos Kleiber is a reference that I always have in mind. And also women like Marin Alsop or Susanna Mälkki who have been pioneers and have paved the way for us.

Is there a composer or work that you particularly like to direct and why??

I feel very comfortable directing Spanish repertoire, both lyrical and symphonic, and also with music by composers such as Mozart and Beethoven. Perhaps because they have been the pillars of my training as a musician and they adhere to the DNA. Even so, every time I am incorporating more repertoire and, even if it sounds cliché, I try that the work that I am interpreting or studying at each moment is the most wonderful in the world.

Surely you are already fulfilling one of your dreams. Where would you like to see yourself in not too long??, what do you dream about?

The most important is being done, What is it to be able to live from conducting an orchestra?. From then on I would always like to continue improving myself and improving., consolidate my career in Spanish theaters and orchestras, and take off with an international career.

Tabare

He Teatro de la Zarzuela meets one essential work in the preservation, study, Recovery Y diffusion of our operatic heritage. For this reason, the opera schedule ‘Tabaré’ (baptized by its author as "lyrical drama in three acts") becomes one of the highlights of this season. The work of Tomas Breton, with libretto by the composer himself based on the homonymous epic by the Uruguayan writer Juan Zorrilla de San Martin who gave him his poem in person, It premiered at the Teatro Real 26 February 1913 with a glittering cast led by idolized tenor Francisco Viñas in the lead role. Was a resounding success, absolutely unanimous according to what all the press of the time collects, but the story would surprise locals and strangers again with another incomprehensible and sad paradox: after the three performances of that long-awaited premiere, not without obstacles and problems, 'Tabaré' was plunged into a deep silence that condemned it to oblivion even though it was one of the composer's favorite works. 109 exact years have passed of that premiere, and that makes the Friday 4 (20h00), Y on Sunday 6 of March (18h00) sean happy days for our lyrics. The work will sound again More than a century later, this time in concert version.

Directed by maestro Ramón Tebar, undoubtedly one of the most outstanding Spanish and international directors –principal director of the Florida Grand Opera in Miami, of which he has been artistic and musical director since 2010; also in the United States artistic and musical director of the Naples Opera since 2014; Associate Principal Conductor of the Valencia Orchestra, of which he has been its artistic director and owner; and with an agenda full of commitments of all kinds around the world–, who faces this sheet music of an extreme requirement, both for him as a driver and for the singers. Thus, for the proper interpretation of the work, to carry it out with all the guarantees, It is also essential to have a cast of singular relevance.

A) Yes, the tenor Andeka Gorrotxategi will play the role of Tabare, mestizo indian, Invincible "super warrior" fruit and victim of the violence of kidnapping that implies an improvement of the race by mixing indigenous blood with European after forced union, in your case, of his mother Magdalena with his Araucanian captor. Tabare is a romantic hero, lonely, melancholic, dreamer of impossible causes, who moves between two worlds that ultimately make him a misfit lacking a physical and cultural home. like oedipus, Tabaré is a passive hero who flees from himself and who will only be moved to action by the danger that Blanca runs, young white woman who awakens her deepest instincts played by the soprano Maribel Ortega, being kidnapped by the warrior Yamandú, to whom the baritone gives voice Juan Jesus Rodriguez. Don Gonzalo, cross and executioner of Tabare, It will be played by the tenor Alejandro del Cerro, that completes the quartet of protagonists who will be accompanied by the baritones Luis Lopez Navarro Y David Oller, bass-baritone Ihor Voievodin, the tenor Cesar Arrieta, the baritone also Javier Povedano and the mezzo-soprano Marina Pinchuk.

The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, directed by Antonio Fauró, completes the artistic picture of this historical recovery.

The importance of 'Tabaré'

‘Tabaré’, construction site written in just one year, is a maturity composition which synthesizes the melodic lyricism of the Italian tradition, he harmonic treatment of Wagnerian opera Y sounds of impressionism. Breton himself considered her his most personal and independent work.

As the musicologist points out Maria Encina Cortizo, the opera Tabare, Tomás Bretón's last lyrical triumph, Y his penultimate opera, "is a masterpiece of a mature musician sixty-three years old, already considered one of the great composers of his generation, that of the Restoration, who contributed so much to regenerate the cultural fabric of turn-of-the-century Spain.” This is a task to which Breton applied himself thoroughly and not only through the creation, but also of the management and interpretation.

For Thomas Breton (1850-1923) he development of Spanish opera era, in the words of Cortizo, "in addition to a personal aspiration, a patriotic ideal in need of institutional support, essential factor for educate a public dedicated then 'exclusively to politics and bullfighting'”, as the musician himself would write.

He theme on which the argument of 'Tabaré' is developed could not be more particular: the fight between the Charrúa Indians (that populated what is now Uruguay in the 16th century) and the spanish. A unconventional theme –especially for a Spanish composer– with a libretto by Tomás Bretón himself based on the epic poem of the same name by Juan Zorrilla de San Martín.

Breton, well, is the literary adapter of a poem that, in Zorrilla's opinion, already possessed musical character, with love duets, warrior or twilight songs, choirs of soldiers and savages. Even so, Breton almost completely rewrote the poetic text, keeping only nine verses of the original in the operatic libretto. The first act of the opera, for example, It is pure creation of the composer.

Now, after 109 years of silence, viewers today we have the opportunity to enjoy it for the first time.

Between Seville and Triana at last at the Teatro de la Zarzuela
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in a social moment much in need of entertainment, in the role of Reyes and Javier Franco,
as Fernando

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in the role of Reyes and Javier Franco. The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres.

The Andalusian location of the story allows for a varied representation of musical genres. The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres, The Andalusian location of the story allows for a varied representation of musical genres. The Andalusian location of the story allows for a varied representation of musical genres.

The Andalusian location of the story allows for a varied representation of musical genres.

Text: Paloma Sanz
Images: Elena del Real


Between Seville and Triana

Pablo Sorozábal is, always it was, an all-terrain musician who tackles with unusual success and apparent ease any style that comes his way and, what is more difficult, always achieving or bordering on excellence. An illustrated and wise song against musical and theatrical monotony is his work, and good proof of it is ‘Between Seville and Triana’, the “Seville zarzuela” of the master from San Sebastian who in the almost 72 years since its premiere, take the stage for the first time Teatro de la Zarzuela, temple of the genre par excellence. A lot of blame has had in this surprising absence the fact that this lyrical farce in two acts (as the sheet music itself calls it) been missing for more than 50 years. And now is the time to make amends, the public will be able to enjoy this title in all its essence with the ten performances scheduled between 26 January 6 February.

And the remedy cannot have better protagonists: the long-awaited musical direction of the maestro Guillermo García Calvo –musical director of the Teatro de la Zarzuela, Generalmusikdirektor of the Chemnitz Opera in Germany, principal conductor of the Robert-Schumann-Philharmonie and without a doubt one of our heavyweights in orchestral conducting–, the scene of Curro Carreres, dash of knowledge, meaning, consistency and poetry, as well as two casts that include many of the most acclaimed Spanish voices of the moment.

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quite an event
His arrival at the Teatro de la Zarzuela is therefore quite an event, and as such it will undoubtedly be lived on the stage tables and in the seats of the room. García Calvo will once again occupy the podium in the pit of the coliseum that he will share with the Orchestra of the Community of Madrid, Titular del Teatro, and he will also lead the Choir of the Teatro de la Zarzuela and a memorable double cast; but, at the time:

Ferdinand's role, that Marino who left Seville and with whom a year ago Reyes lived a love story that she is still infatuated with, baritones play it angel Ódena Y Javier Franco; las sopranos Carmen Solis Y Berna Beads embody the young Reyes, that without Fernando getting to know, gave birth to a child as a result of that relationship; tenors Andeka Gorrotxategi Y Alejandro del Cerro they act as José María, in love with Reyes and rejected over and over again for this, that spiteful publicly reveals the existence of the son of that; the tenor-actor Ángel Ruiz and mezzosoprano Anna Goma they give life to Angelillo –aspiring bullfighter–, and Micaela - Reyes's cousin -, who maintain a happy love relationship, fresh and even healthy; emotion comes like a whirlwind with cantaor Jesús Méndez, who precisely plays a singer from the neighborhood where the action takes place; the singer and actresscross Beitia the singer and actress, the singer and actress; the actorJosé Luis Martínez the singer and actress, the singer and actress; the actor the singer and actress the singer and actress, the singer and actress; actors the singer and actress Y Resu Morales, the singer and actress, the singer and actress; the singer and actress Rocío Galán, the singer and actress, the singer and actress, the singer and actress; Lara chaves, the singer and actress, the singer and actress; the singer and actress the singer and actress, the singer and actress.

the singer and actress, the singer and actress, will have fun and suffer throughout the spectacular scenery of Ricardo Sánchez Cuerda, will have fun and suffer throughout the spectacular scenery of Jesus Ruiz, will have fun and suffer throughout the spectacular scenery of Eduardo Bravo will have fun and suffer throughout the spectacular scenery of will have fun and suffer throughout the spectacular scenery of will have fun and suffer throughout the spectacular scenery of 13 will have fun and suffer throughout the spectacular scenery of.

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About the music, Guillermo García Calvo maintains that “from the first note of the prelude –a natural B in tremolo–, Sorozábal transports us to a dream Andalusia. Right after, strings and winds sing in unison the melody that Reyes will later sing with the words: "Let everyone know / the truth very clear! / that child is mine; / it's from my insides!»”. The teacher argues the fact that Sorozábal imposes his artistic and musical genius, always blending in with the environment that each libretto proposes.: in this way, the conductor explains that “if in ‘Katiuska’ we were immediately seduced by the melodic twists of Russian music interrupted by Parisian cabaret numbers, in 'La del manojo de rosa' the traditional character of Madrid becomes music and in 'La tavernera del puerto' we listen to the waves of the sea, in this new title he finds for himself an Andalusian language with flamenco rhythms and harmonies. the sevillanas, the zorongo, the farruca and the pasodoble tell us the story while dancing, with incredible poetry and authenticity, as if they had been written by a García Lorca”.

Among the greats of Sorozábal
the title is, undoubtedly, among the great creations of Sorozábal. With a text by Luis Fernández de Sevilla and Luis Tejedor, With a text by Luis Fernández de Sevilla and Luis Tejedor, With a text by Luis Fernández de Sevilla and Luis Tejedor. With a text by Luis Fernández de Sevilla and Luis Tejedor. With a text by Luis Fernández de Sevilla and Luis Tejedor: With a text by Luis Fernández de Sevilla and Luis Tejedor.

The musicologist Consuelo Pérez Colodrero collects some of the chronicles of the premieres of 'Between Seville and Triana' in cities as conclusive as Madrid or Barcelona, where Sorozábal's farce was greeted with very similar words, considering the work, for example, as "a new example of the worth" of the composer for "his captivating inspiration and his strong musical temperament", that "shine again in fragments full of pomp and grace".

Ruperto Chapi Award: rise and fall
The expert also extracts from those writings that both in Madrid and Barcelona «most of the numbers were repeated to great applause, of those who also participated, in strict justice, the artists". It seemed that the work marched triumphantly through the national stages. It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, Besides, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages 1949-1950, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages.

But nevertheless, It seemed that the work marched triumphantly through the national stages, It seemed that the work marched triumphantly through the national stages (1953), 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, Sevilla, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada 1953 Y 1954, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, in January 1955, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada. 'Between Seville and Triana' was barely mentioned by critics as it passed through cities like Granada, as an orchestra conductor and even making a successful foray into film with 'Marcelino, bread and wine' (Ladislao Vajda, 1955), in the company of his son.

And he signs that after the undeserved silence of more than half a century, the return of 'Between Seville and Triana' to the scene not only restores this page, composer's last farce, to the place that corresponds to him on his own merits, but it constitutes a new argument to show the sorozabalian corpus as a clear example of how to get to the heart and spirit of the popular through a deep understanding, always maintaining the narrow and difficult balance between aesthetic renewal, transgression and intelligibility for the general public.

Lisette Oropesa, Zarzuela

For more than an hour he was Lisette Oropesa waving and taking pictures with fans, who were waiting for her at the exit of the Teatro de la Zarzuela Monday 23, after his recital of "Round trip zarzuela". And it is that Oropesa has become almost a mass phenomenon wherever it acts. It is still remembered in Madrid, among other actions, his Lucia of Lammermoor at the Theatre Royal, three seasons ago, with Javier Camarena.

It was the first time that the American soprano performed at the Jovellanos Street Theater, also premiering repertoire. Nothing less than an entirely zarzuela program, and undoubtedly highlight the effort and interest of Oropesa in singing these emblematic pieces of the genre, conveniently mixed with works of a marked Hispanic-Cuban character.

He once again demonstrated the great versatility of his voice, able to tackle new genres and interpret them brilliantly. Or should I say, overwhelming. His vocal qualities are evident. There is nothing in the score, nor outside of it, that you resist. Maintains exceptional treble and treble, a homogeneous center and very consistent bass. And one of its greatest qualities, considering its lightness, a voice volume more than appreciable. Although at times it sounded a bit groggy, perfectly uses the bound and the middle voice. He maintains impeccable good diction and manages with brilliance and generosity the breath.

She was accompanied on the piano by an energetic Rubén Fernández Aguirre. And it is not easy to accompany a force as overwhelming as Lisette Oropesa on the piano. They performed works by Barbieri, Failure, Joaquin Nin, Jorge Ankermann, Sorozabal, Lecuone, Rodrigo, Carlos Imaz, Manuel Penella, Gonzalo Roig and Piazzolla at the piano by Fernández Aguirre.

Her closeness with the public led her to have very nice moments, coming to tell a joke. He also had the detail of asking that the Zarzuela be declared a World Heritage Site. Everything counts in this common endeavor.

Lisette Oropesa's success was absolute. After going out several times to greet a standing audience, they offered three tips. The first was a Cuban habanera. Later he performed "Las jaceleras", zarzuela The Daughters of Zebedee, Ruperto Chapí. And finally a little known work, a piece of The hussar of the guard, Amadeo Vives, full of difficulties, coloratures and treble that were highly appreciated and awarded by the audience who did not stop applauding.

Undoubtedly one of the great successes that have been seen in this Theater in many years. Let's hope it's not the last and that Lisette Oropesa includes the Teatro de la Zarzuela among her regulars..

Photograph: Elena del Real

Doña Francisquita

He Palau de les Arts debuts next Wednesday, 3 of November, zarzuela 'Francisquita Dona', from Amadeo Vives, in an adaptation of Lluís Pasqual that in his performances in Valencia he conducts musically Jordi Bernàcer.

The renowned stage director pays his particular tribute to the genre's masterpiece with this montage, co-production between the Teatro de la Zarzuela, the Liceu and the Lausanne Opera, with scenery and costumes by Alejandro Andújar, lighting by Pascal Mérat, choreography by Nuria Castejón and audiovisual design by Celeste Carrasco.

As Jesús Iglesias Noriega pointed out today, artistic director of Les Arts, in the presentation the work, Valencia will be the third Spanish city to launch this innovative bet, Max Award for the best lyrical production that, Besides, will have its preview reserved for children under 29 years this sunday, 31 October, with the clear purpose of revitalizing interest in zarzuela among younger viewers.

Jordi Bernàcer returns to Les Arts after his outstanding success last season with ‘Cavalleria rusticana’ / ‘Pagliacci’. This is his second foray into the Spanish lyrical genre with the Cor de la Generalitat and the Orquestra de la Comunitat Valenciana, those he has already directed in ‘Luisa Fernanda’, by Moreno Torroba, in 2014, another of the reference zarzuelas.

Soprano Ruth Iniesta (Francisquita) and the tenor Ismael Jordi (Fernando) They lead the cast, that has outstanding interpreters: Ana Ibarra (Aurora), Albert Casals (Cardona), Amparo Navarro and María José Suárez (Mrs. Francisca), Miguel Sola (Don Matías), Isaac Galan (Lorenzo Perez), with the special participation of the actor Gonzalo de Castro and the bailaora, and exceptional player of castanets, Lucero Tena.

In addition to the premiere this next 3 of November, Les Arts has scheduled performances of ‘Doña Francisquita’ on the days 5, 7 Y 10 of that month. The prices of the localities oscillate between 25 Y 90 euros.

New texts and a narrator

Doña Francisquita ’is a lyrical comedy in three acts, with music by Amadeo Vives and libretto by Federico Romero and Guillermo Fernández-Shaw,
inspired by ‘La discreta enamorada’ by Lope de Vega. Premiered at the Apolo Theater in Madrid in the year 1923, It is considered one of the masterpieces of the great genre.

In this new adaptation, Lluís Pasqual faithfully respects the music of Amadeo Vives in this review of ‘Doña Francisquita’, as well as the backstory, the vicissitudes of love between the young Francisca and the student Fernando, but it proposes a series of novelties.

The Catalan theater director replaces the original dialogues with the introduction of a character - played by the actor Gonzalo de Castro- that acts as a common thread between the three moments in which it places the action on a journey through the memory of the genre itself: a recording studio in the thirties of the Republic, a television set in the Franco regime of the sixties and a modern contemporary rehearsal room.

Preview until 28

The Main Hall will host this next Sunday, 31 October, to 19.00 hours, the preview of ‘Doña Francisquita’, that Les Arts reserves exclusively for children under 29 years, with tickets at a single price of 10 euros.

‘Preestrena fins a 28’ thus consolidates its third edition, which began last September with the staged ‘Requiem’ by Romeo Castellucci and which after ‘Doña Francisquita’ will continue with ‘Madama Butterfly’, ‘Ariodante’ and ‘Wozzeck’.

Circe

Next year they will be fulfilled 120 from the premiere of ‘Circe’, the great opera by Ruperto Chapí that in 1902 inaugurated with more than twenty performances the now defunct Lyric Theater, an absolute Titanic of the genre, the largest lyrical venue ever in Madrid. Ten years later, ‘Circe’ traveled to Buenos Aires to also conquer the public of the Teatro Colón; Immense luck –whose true scope everyone ignored– that of the spectators from both shores who had the opportunity to attend one of those representations. And it is that from there, the story was very different: ‘Circe’, the work that many considered «foundation and foundation of ohpear españbe», fell into total and inconceivable oblivion -No re-enactment, was not heard again - of which now him Teatro de la Zarzuela rescues her so that the public of 2021 can also feed on that composition that turned where no one had dared (the known). To admire a Chapí to date (then and now) unknown. Lday 10 Y 12 of September (20h00 and 18h00 respectively) the Theater of the Plazuela de Jovellanos will present in concert this work today absolutely "new".

In this way, the coliseum once again complies with the inalienable requirements contained in its statutes such as the preservation, the Recovery, the revision and the diffusion of our operatic heritage. These are the obligatory tasks that the Theater meticulously fulfills each season at least twice.

‘Circe’, libretto by Miguel Ramos Carrión, premiered at the Teatro Lirico in Madrid on 7 May 1902, and as the musicologist indicates Emilio Casares, one cannot approach her with the same spirit with which one goes to hear ‘La traviata’ or ‘Doña Francisquita’. "Rather you have to think about any of Wagner's dramas or in the Debussy's 'Pelléas et Mélisande'”, says the expert, who explains that ‘Circe’ is not defined by the great arias, duets or concert numbers - it has no numbers -, "But as a continuous musical drama, where music, text, and visuality work together”. As an absolute whole.

The two concerts that now do justice to the work, will be led by Guillermo García Calvo, musical director of the Teatro de la Zarzuela, who at the head of the Titular Orchestra of this, the BARREL, and its Titular Choir directed by Antonio Fauró, must face a extraordinarily demanding score, written with an unusual musical intelligence.

It will also be a unique occasion to be pleased with a cast very much in line with the needs that a work of these characteristics requests., integrated to Session Hernández, Alejandro Roy, Rubén Amoretti and Marina Pinchuk in his leading roles.

The recording than Classic Radio will perform one of the two sessions, can be considered as historical, since it will be the first sound record of the work.

In the premiere functions from ‘Circe’ the acclaim was in crescendo until achieving a unanimous enthusiasm, so what Chapí did not direct his work to attract the usual public, thought in large numbers that have to end with the usual applause. How Emilio Casares reveals to us, "The beauties are obvious but in another way, with an always rich orchestration, with numerous transitional moments, with a masterful motivational work, or for its colorism. There are no places for the greats cadenzas, o for moments of flowering”.

The teacher García Calvo points out in this regard that ‘Circe’ is “a historical opera, European in the style of Strauss's ‘Elektra’ or Enescu’s ‘Oedipus’. An opera describing the mythical setting of Homer's Odyssey in a voyage of discovery for all”. The director also shows his admiration for Chapí alluding to the versatility of your creative ability: “In every work he writes it seems like a new composer. How different is his music ". And according to this idea concludes: "The one with‘ Circe ’is an absolutely unknown Chapí”.

Poster_Festival Lírico Benicàssim

He Benicàssim City Council resume this summer his Lyric Festival. The mayor, Susana Marqués, together with the Councilor for Culture, Javier Alonso, and the director of the contest, Roberto Turlo, presented the XIII edition which will take place 2 al 8 August and will feature a program of five concerts and a seminar on zarzuela, activities to be offered in the Francesc Tárrega Municipal Theater and the emblematic municipal palace Villa Elisa de Benicàssim.

Opera Benicàssim, together with the promoter and producer of shows AIM – America Iber Music have prepared an ambitious program that, as indicated by the mayor of Benicàssim, "the festival, year after year, it is very international due to the quality of its artists and will make Villa Elisa and the Municipal Theater become the epicenter of lyric for a week ".

Roberto Turlo, oboista, director and soul of the contest since its creation, has commented for his part that it is "an exciting project, with more than a decade of experience and that is carried out thanks to the efforts of many people, both on the part of the administration - which year after year bets on its celebration - as well as all the artists involved. In this edition, after so much uncertainty caused by the pandemic, we return with immense enthusiasm and with a fantastic program –always with top-tier artists– and, this time, with a nod to zarzuela, a genre that we love to spread; our goal continues to be to bring music and culture closer to our audience, the home and the itinerant ".

The Councilor for Culture, Javier Alonso, He added that they continue to “add quality and scale proposals to that great container of culture that Villa Elisa is becoming, place where, together with the Municipal Theater, good music will be perfectly combined with all health security measures to continue with our firm commitment to safe culture ".

Regarding the programming, the event will open with a recital of the Valencian soprano Carmen Romeu (4 of August, Municipal Theater) what, accompanied by piano of Rubén Fernández Aguirre, will offer a Spanish and French song program. The Madrid baritone Alfredo Garcia next to pianist Enrique Bagaría propose a recital dedicated to song by South American and Spanish authors such as Cluzeau-Mortet, Guastavino, R. Halffter, Sorozábal, Guerrero, Moreno Torroba, Chueca or Soutullo and Vert (5 of August, Villa Elisa). The program will be completed with a concert by the soprano irlandesa Laura Sheerin accompanied by the Septet Soloists of Valencia (7 of August, Municipal Theater) which will include arias from operas like The swallow, L'amico Fritz, Rusalka O Gianni Schicchi, as well as songs by Irish and American composers.

This year, Besides, thanks to the agreement reached by the Festival with the Zarzuela por el Mundo Association chaired by Plácido Domingo, the concerts will take place in parallel to Zarzuela XXI Seminar, a meeting that wants to deepen both the Spanish lyrical genre and Spanish music in general that will feature a presentation by the musicologist María Luz González on Spanish music (5 of August, Villa Elisa), as well as master classes by specialist teachers in each area of ​​the stature of mezzo-soprano Nancy Fabiola Herrera, who will bring all his experience in the genre and his renowned international career; he conductor Óliver Díaz (former musical director of the Teatro de La Zarzuela in Madrid), actress Isabel Cámara (performance, diction and focus of theatrical texts) and Profesor Vincenzo Spatola (vocal technique).

Marcello Perez Pose, director of América Iber Música, organizer of the Zarzuela XXI Seminar and professor of the same, affirms that he is convinced “of the importance of making known, deepen, research and disseminate the genre of zarzuela, reason why we created the Zarzuela Association around the world, an itinerant entity that proposes motivational tools that allow the dissemination and representation of zarzuela shows all over the world, but above all of quality ". The seminar will culminate with a zarzuela gala in charge of the students participating in the meeting (6 of August, Villa Elisa) and with the show A bunch of zarzuela (8 of August, Francesc Tàrrega Municipal Theater) as the closing of the Festival. It is a production of Ópera Colombia directed by the baritone Antonio Torres, who also heads the cast of artists completed by Colombian soprano and flutist Liliana Mestizo, the Mexican mezzo Zayra Ruíz, and the Cuban pianist Leonardo Milanés, who with their art propose a trip through the world of zarzuela with hits of the genre as Mary the O, The one with the bunch of roses, The legend of the kiss, The barmaid port, Don Gil de Alcalá, Katiuska, Cecilia Valdés, Captain Grant's nephews, Mary the O, etc.

Florian Boesch

He Monday 14 of June, the Austrian baritone Florian Boesch will offer the last recital of the season of Lied Cycle of the National Center for Musical Diffusion (CNDM) coproduced with Teatro de la Zarzuela. With this concert, Florian Boesch culminates his stage as resident artist in the cycle, which has resulted in 3 concerts throughout the season 20/21. In this his third and last recital, the singer will put his vocal versatility and extensive expressive resources at the service of the post-Romantic cycle of the Austrian composer Ernst Krenek, Travel book from the Austrian Alps (Travel book through the Austrian Alps), a demanding vocal and emotional tour de force for any opera singer. Concert tickets have a general price of 4 a 35 euros, and they are for sale in www.entradasinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Ernst Krenek's "Travel Book" (1900-1991) is one of his most famous works and reflects the composer's love for the landscapes of his native land and its nature. It is also a product of the decade of 1920, when memories of the horror of World War I were still hot and the impending catastrophe of World War II was anticipated. According to the critics, the work offers clear resonances of Schubert, whose work greatly influenced Krenek during his early creative period. He will accompany the piano to Florian Boesch the prestigious Malcolm Martineau.

In his first concert as a resident artist in the cycle of lied the past 28 September and accompanied on piano by Justus Zeyen, Boesch performed a selection of lieder by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In the second recital, held on 25 from January, and again with Zeyen, Boesch gave life to the essential Winterreise Schubert.

With ten concerts scheduled between September 2020 and June 2021, along the XXVII Cycle of Lied Some of the most important lyrical voices of today have stepped on the stage of the Teatro de la Zarzuela, as the Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien Y Nuria Rial. Different styles, timbres and colors for an edition that has brought together some of the voices that resonate in the best music venues in the world.

Florian Boesch, strength and emotion

Born in Saarbrücken in 1971, Florian Boesch He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, State Chapel of Dresde, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues from "Jedermann" (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.

Teatro de la Zarzuela 21/22

Daniel Bianco, director of Teatro de la Zarzuela: "A new season is a new illusion that promises a future, it is a horizon that offers hope, something we all need now more than ever "

They will be presented 10 musical theater titles, 4 recoveries lyrical heritage, 6 large repertoire productions and 5 new productions

They offer 164 functions, maintaining the average of recent years

One of the main lines of programming is once again the figure of women in Spanish music, expanding and dedicating the cycle Chamber Sundays Women with Ñ in full and for the second consecutive year to Spanish composers, as well as the recital of “Notes from the Ambigú " A Woman in Music –On the occasion of International Women's Day– and the concerts Zarzuela has a woman's name by Rosa Torres-Pardo and Nancy Fabiola Herrera based on romances that have the woman as the protagonist and Women of Music by Sole Giménez

He Zarza project –Strap made by young people for young people– recently awarded the Opera XXI Award for Best Development Initiativeof the Lyric, will again be a fundamental piece of the season, and the didactic projects they will again surpass the 20% programming

He Concerts cycle will offer 8 proposals some of the leading voices of lyric, he flamenco, he pop and popular music

The cycle 'Notes from the ambigu', that continues its incessant public success, offers 10 recitals

The cycle, "About…", hand in hand with the musical director of the Theater, Guillermo García Calvo

They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM

Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

He Teatro de la Zarzuela presents Season 2021/2022 whose 164 functions scheduled, what maintain the average of recent years, will be the embodiment of a new horizon in sight. This is what he points out Daniel Bianco, colosseum director, that labels the new course as "the season of illusion". And the confidence and the good tuning is not for less, since in the season that we are still the fierce threat of the covid has not been able to with this Theater: “We can proudly say that we have not delayed a single performance or canceled a single day due to covid ", points, and indicates that "all the productions of the theater, concerts and recitals have been carried out to this day ".

And he does not want to fail to mention anyone in this arduous task that has involved carrying out an entire program with the hostile circumstances that the entire society still faces.: “It has been an effort of all. Technicians, Choir, Singers, dancers, actresses, Actors and Artists who love and arm the Theater with the mission of raising the curtain every night. And so we did, mission accomplished", affirms with an undisguised satisfaction.

This explains the illusion to which the director alludes as the motto of the season in the headline of the presentation.; illusion because the music, zarzuela, will continue to play on this stage in the next season. "I firmly believe that music and scene are capable of changing the world and together improving it, and that its miracle is present when the public and artists participate in the same rhythm, the same song, the same dream, the same breath ".

And complacency transforms into deep emotion when he alludes to the public. "When we started the season we didn't know how he was going to react, if he would accompany us on this path, if I would be afraid to return ... But the response has been excellent: has once again demonstrated its loyalty by going to all our functions, following our broadcasts by streaming, our conferences and online meetings with artists. Being part of life, of the day to day of this theater ". And with a categorical statement, supports the certainty that there is only room for excitement and gratitude: "Without the audience this theater would not exist".

And Daniel Bianco wants to remember that extreme caution to which at the beginning of the season that now ends, alluded to as the only possible way to function: “As a public theater this is our first responsibility and our commitment: prudence has guided our steps and we have completed the entire season rigorously complying with all the recommendations and regulations that protect us from the coronavirus dictated in the INAEM protocol ".

The season

This that is presented is the sixth season since Daniel Bianco arrived at the Theater (although it could also be presented as the season 162 Since its founding in 1856): "This is one more stage of a long-range project whose objective pursues a specific purpose: that the Teatro de la Zarzuela continue to fulfill the mission with which it was born, which is none other than be the privileged setting of Spanish musical theater, with the inalienable vocation of being a public theater, accessible and affordable, open to anyone who wants to discover and enjoy the Spanish lyrical heritage. These are the reasons why - as our statutes say - we are and will continue to be the National Lyric Theater ".

Thus, and under that maxim, in the next season they will be presented 164 functions, maintaining the average of functions of the last years; 10 musical theater titles, of which 4 They are recoveries of the Spanish lyrical heritage: two of them in concert and two on stage; in addition to 6 lyrical titles of the great Zarzuelistic repertoire. The concert cycle with 8 proposals ranging from lyric, flamenco, pop or popular music and the cycle notes of the ambigu with 10 recitals. further, The Sunday Chamber series dedicated to Spanish female creators is extended he starts walking a new cycle by the musical director of the Theater, Guillermo García Calvo.

Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, the season will begin with the recovery of one of the capital titles of Spanish opera. We talk about ‘Circe’, work of great significance in the history of Spanish opera because in it Ruperto Chapí develops to its last consequences its own style that the Wagnerian avant-gardes assume and transpose them to the Spanish lyric. Not in vain, ‘Circe’ was (together with ‘Farinelli’ from Bretón and ‘María del Pilar’ from Giménez, both also recently recovered by the Teatro de la Zarzuela) one of the titles of the opening season of the Teatro Lírico de Madrid, Coliseum that was built precisely to give space and opportunities to Spanish opera, in contrast to the Italian and French opera that dominated the city's lyrical billboard. It will be directed by Guillermo García Calvo and will feature the voices of Session Hernández, Alejandro Roy, Rubén Amoretti and Pilar Vázquez. They will 2 functions in concert version the days 10 Y 12 of September.

After 20 years without performing at the Teatro de la Zarzuela, one of the most beloved and celebrated titles by the public faithful to the genre and its theater returns to its stage: ‘Los Gavilanes’. This was precisely the first foray of the Master Jacinto Guerrero in the big zarzuela, and it has remained until today in the repertoire and in the sentimental memory of fans. The play talks about immigration, of the passage of time, of young loves and forgotten loves. This new production of the Teatro de la Zarzuela will have as musical director Jordi Bernàcer and as stage director to Mario Gas. Have been scheduled 13 functions 8 al 24 October, and will have the participation of Juan Jesus Rodriguez, Javier Franco, Maria Jose Montiel, Sandra Ferrández, Marina Monzó, Leonor Bonilla, Ismael Jordi, Alejandro del Cerro,
Lander Iglesias, Esteve Ferrer, Ana Goya,
Trinidad Iglesias, Enrique Baquerizo, Mar Esteve and Raquel del Pin. The scenography will be Ezio Frigerio, your wardrobe Franca Squarciapino and lighting Vinicio Cheli.

Now a year ago, when we were still coming out of confinement, the Teatro de la Zarzuela promised to relocate all the shows that were affected between March and June 2020. During this season, all the concerts and recitals that had to be postponed have been rescheduled., and last January the new production of ‘Luisa Fernanda’ scheduled for May 2020. In November 2021 he will get over ‘La Tabernera del puerto’, a production that was not only affected by the confinement, but also by the strikes of 2018 against the merger of the Teatro Real and the Teatro de la Zarzuela. On that occasion, only five functions could be held. In november of this year, the public can enjoy, between 19 and the 28 of November from 8 functions of this essential title of Pablo Sorozábal, with musical direction by Óliver Díaz, scenic of Mario Gas, scenery Ezio Frigerio, wardrobe Franca Squarciapino and lighting Vinicio Cheli. In the distributions they will participate María José Moreno, Sofia Esparza, Damian del Castillo, Rodrigo Esteves, Antonio Gandia, Antoni Bunk, Rubén Amoretti, Ruth González, Vicky Pena, Pep Molina, Ángel Ruiz, Abel García and Agus Ruiz.

If ‘La Tabernera del puerto’ is one of the most popular works of our genre, he Master Sorozábal has not so well known jewelry, as is the case of ‘Between Seville and Triana’, lyrical sainete in two acts premiered in 1950. Between 26 January 6 February They will be offered 10 functions stories of this work that arrives for the first time on the stage of La Zarzuela. As usually happens in all the works of the San Sebastian composer, no one will be indifferent: this time, the dignity of women is vindicated (in the figure of a single mother) against the customs and morality of a time that fortunately is already history. In it we will be dazzled by the most Andalusian Sorozábal that exists, with melodies full of light and others of deep drama. It is a production of 2012 of the Arriaga Theater in Bilbao, the Maestranza Theater in Seville, the Canal Theaters in Madrid and the Campoamor Theater in Oviedo. The musical director will be Guillermo García Calvo, musical director of the house, and the scene Curro Carreras. The scenography is by Ricardo Sánchez Cuerda, the costumes of Jesús Ruiz and the choreography of Antonio Perea. The two casts will have Carlos Alvarez, Javier Franco, Ainhoa ​​Arteta, Carmen Solis, Andeka Gorrotxategi, Alejandro del Cerro, Anna Goma, Jesus Mendez, cross Beitia, Pedro Bachura, Antonio Martinez, Rocío Galán, Nathan Segado Y Lara chaves.

The days 4 Y 6 of March, and again following the policy of recovery of the Spanish lyrical heritage of the Theater, will be rescued from oblivion ‘Tabaré’, magnificent work like all of Tomas Breton. Premiered in its day by the tenor Francisco Viñas in 1913 at the Theatre Royal, It could only be heard in three unique performances and to this day it has never been performed again.. It is a mature composition that synthesizes the melodic lyricism of the Italian tradition, the harmonic treatment of Wagnerian opera and sounds typical of impressionism. Breton himself considered it his most personal and independent work. And the subject on which the argument is developed could not be more particular: the fight between Charruas Indians (that populated what is now Uruguay in the 16th century) and the spanish. An unconventional theme with a libretto by Tomás Bretón himself based on the homonymous epic poem by Juan Zorrilla de San Martín. It will be directed by the teacher Ramón Tebar in front of the Titular Theater orchestra, Community of Madrid Orchestra, BARREL, and the Titular Choir of the Teatro de la Zarzuela, and a cast that has Andeka Gorrotxategi, Maribel Ortega and Juan Jesús Rodríguez.

Another especially important moment will be lived in the month of April: the stage recovery of the musical comedy of Isaac Albeniz ‘The Magic Opal’. It is the first stage work that Albéniz composed for the English public. Premiered in London, in English, in 1893, was quickly translated into Spanish and presented in 1894 at the Teatro de la Zarzuela.
In that occasion, the public did not understand the work because it was far from the Spanish musical tradition. But nevertheless, it is a colorful work, suggestive and fresh: a different Albéniz. The translation of the libretto of 1894 –Titled then ‘The Ring ’– has not been preserved, and that is the reason why for this representation that recovers the title a new translation into Spanish has been commissioned by Javier L. Ibarz Y Pachi Turmo. The musical direction will Guillermo García Calvo, the stage direction and scenography of Paco Azorín, your wardrobe Juan Sebastian Dominguez, lighting Pedro Yagüe and the audiovisual design of Pedro Chamizo. They will lead the deals Ruth Iniesta, Carmen Romeu, Santiago Ballerini, Leonardo Sánchez, Luis Cansino, Rodrigo Esteves, Damián del Castillo and César San Martín. They are scheduled 8 functions 1 al 10 of April.

The following title is an example of great mastery: with just one orchestra composed of the string sections and two harps, Manuel Penella manages to write one of the most beautiful titles in the repertoire. Speaking of ‘Don Gil de Alcalá’, an opera set in the Viceroyalty of New Spain in the 18th century, which will be presented in a production of the Spanish Lyrical Theater Festival of Oviedo signed by Emilio Sagi in 2017. They offer 14 functions 5 al 22 of May, the musical direction will be Lucas Macías and in the distributions they will intervene Celso Albelo, José Luis Sola, Sabina Puértolas, Irene Palazón, Carlos Cosías, Facundo Munoz, Carol Garcia, Lidia Vineyards-Curtis, Esteve Manel, Eleomar Neck, Stefano Palatchi, Simon Orfila, Mary Jose Suarez, David Sanchez, Ricardo Muñiz and Miguel Sola. The scenery is Daniel Bianco, your wardrobe Pepa Ojanguren, lighting Eduardo Bravo and choreography Nuria Castejohn.

And to top off the lyrical season, one of the unavoidable titles of zarzuela, of those who make the genre great and create fans, The barberillo Lavapies' from Francisco Asenjo Barbieri, who will hit the stage in the coliseum production which premiered with thunderous success in 2019, and that he has traveled with the same luck to Sevilla, Oviedo and Valencia. Signed by Alfredo Sanzol, one of our most prominent playwrights and directors, National Dramatic Literature Award in 2017, in the musical he will direct it again José Miguel Pérez-Sierra; the scenery and costumes are by Alejandro Andújar, lighting Pedro Yagüe and choreography Antonio Ruz. Maybe Borja, David Oller, Cristina Faus, Carol Garcia, María Miró, Cristina Toledo, Javier Tomé, Francisco Corujo, Gerardo Bullón and Abel garcia will make up the casts in the 10 functions to go of the 15 al 26 of June.

With the introduction of these 8 titles the theater will continue to be one more year unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success of its first five seasons, he CONCERT SERIES in the main room presents 8 new proposals with some of the leading voices of lyric, the popular song, he flamenco and the pop. This makes the Theater a fundamental space in our theater because there is room for the plurality of Spanish music, without prejudice and with a spirit open to all audiences. The singer will open the cycle Sole Giménez presenting ‘Women of Music’, continuation of the concert that already offered last season as part of a broad project that brings together great songs composed and written by women with the intention of making visible the work of women as authors in the world of music (18 October); soprano Lisette Oropesa, internationally acclaimed, He makes his debut at the Teatro de la Zarzuela and will sing for the first time in his career a recital of Spanish and Cuban zarzuela romances: ‘Zarzuela back and forth’. A very special concert with which the singer wants to pay a heartfelt tribute to Cuba, the land of their fathers, and in which she will be accompanied on the piano by Rubén Fernández Aguirre (13 from December); the traditional Christmas Concert, with the teacher Guillermo García Calvo as musical director, who will the soprano accompany Ainhoa ​​Arteta with the Community of Madrid Orchestra and the Holder Choir Teatro de la Zarzuela (30 from December); Estrella Morente, with his privileged voice, unique sense of rhythm, passion and heritage of his elders, This undisputed benchmark of flamenco and Spanish music returns to his home in Madrid to celebrate 20 years as a unique artist. (31 from January); and from one star of the flamenco firmament to another: Archangel, one of the leading singers in the current flamenco scene with an extensive career characterized by the balance between tradition and the avant-garde, it show us 'Bel cante'. With that tireless search for new paths, will immerse the public in a journey through zarzuela, flamenco and opera next to Quintet Tottem Ensemble (5 of March); then the show will come ‘Zarzuela has a woman’s name’ in which two essential artists, the pianist Rosa Torres-Pardo and mezzosoprano Nancy Fabiola Herrera they meet in a recital in which they will “converse” through different romances that have women as the main character (5 of April); Silvia Pérez Cruz. 'Farce (impossible gender)’. Alone: the renowned artist from Palafrugell returns to this stage, alone, with his guitar, creating an intimate space to present their latest album project. (9 Y 10 of May); Xabier Anduaga. 'Our music'. The San Sebastian tenor, brilliant winner of the International Opera Award and the Opera XXI Award for best young singer and before the Zarzuela Operalia Award and also for the Best Young Singer of the International Opera World Competition, will sing for the first time in this Theater a recital of zarzuela and songs by Spanish composers. further, will seduce the public with romanzas and zarzuela arias (21 of June).

Since its inception, five seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign of ‘sold out places’ and have left a sweet and different taste to any musical experience due to the proximity of the artist with the public that creates an exciting and happy atmosphere. This time, the protagonists will be the soprano Sabina Puértolas with pianist Rubén Fernández Aguirre, who will offer a recital entirely dedicated to Emilio Arrieta (1821-1894) in commemoration of the bicentennial of his birth (28 October); the singers and actors Nuria Pérez and David Pérez Bayona, that accompanied by the pianist Alvaro Ortega Luna, will present ‘Engaged. From musical theater to zarzuela ’. The story of two young people from musical theater who began their career in the Zarza Project and discovered in zarzuela a genre that, without knowing it, it belonged to them (20 October); the bandoneon player Claudius Constantine and pianist Louiza Hamadi that will commemorate the centenary of the birth of Astor Piazzolla (1921-1992) (2 from December); countertenor Alberto Miguélez Rouco with Pablo Fitzgerald (lute) Y Theodore Chest (viola da gamba) will offer us a program dedicated to Cantadas by Jose de Torres (1670-1738), one of the most important composers of the Spanish Baroque; choirmaster, editor musical, organist and composer of zarzuela (4 from January); the tenor Enrique Viana, accompanied by pianist Ramón Grau, will give the public an hour and a quarter of lyrics, irony and criticism, reflection and surrealism, of absurdity and reality told and sung. A ≪cabaret lirico≫ with music from our zarzuela under the title 'Luisa Fernanda, I already have Instagram’ (7, 8 Y 9 from January); the soprano Carmen Romeu and pianist Borja Mariño will present 'My home ’, a program with which we will discover music by Valencian composers such as Oscar Esplá, Manuel Palau Boix, Miquel Asins Arbó, Angeles Lopez Artiaga Y Matilde Salvador, among others (11 February); on the occasion of International Women's Day, actress-singer cross Beitia will offer the recital ‘A woman in music’ dedicated to women composers of popular music such as Chabuca Granda, Mercedes Sosa, Violeta Parra, Consuelo Velázquez O Cecilia, and with César Belda the piano (8 of March); the tenor David Alegret and pianist Rubén Fernández Aguirre they will offer the recital ‘Catalans around the world’ with works by Catalan composers who also composed in other languages: in Catalan, Eduard Toldrà; in German, Joan Manen; in French, Pau Casals; in Spanish, Jaume Pahissa; or in italian, Isaac Albeniz; among others (18 of April); 'Contemporary Spanish Music'. In order to promote the creation of new works for chamber groups, the Teatro de la Zarzuela, in collaboration with the Real Conservatorio Superior de Música in Madrid, summons a composition contest for young composers. The three winning works will be premiered at this concert by the Ensemble Opus 22 (28 of June); and to close the cycle the guitarist Rafael Aguirre will dedicate his recital 'The last romantics' to the music of Francisco Tárrega e Isaac Albeniz (4 of July).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ. Third edition of the cycle of Spanish chamber music that for the second year in a row she will be fully dedicated to the role of women in music in her role as a composer. With this cycle the Theater wants to continue with the dissemination of these works, many unpublished, and discover to the public the excellent quality of the creations of these Spanish composers who rarely had or have due recognition for their creations. In this way, some of our 20th and 21st century composers will be valued as Maria Teresa Prieto, Rachel Garcia-Tomas, Claudia montero, Diana Perez Custodio, Illuminated Perez Frutos, Laura Vega, Maria Jose Arenas, Mercedes Zavala, Dolores Serrano, Marisa Manchado, Sonia Magías, Cruz Lopez de Rego, Zulema de la Cruz, Maria Rosa Ribas, Emma Chacon, Elena Mendoza, Emiliana de Zubeldia, Gabriela Ortiz, Nuria Núñez O Teresa Catalán, among other. And the commitment of the Teatro de la Zarzuela is also with the future of the authors, so that each concert will feature an absolute premiere by young female composers, students of the Royal Conservatory of Music Superior of Madrid. The five appointments of this edition will be: Breton Quartet (7 of November), Cristina Montes, barley (20 February), Sax-Ensemble Quartet (20 of March), trio Arbós (24 of April) Y mario Prisuelos, piano (5 of June). The absolute premieres will be of the students AGarrido sends, Adela Rodríguez Yus, Laura de las Heras, Miriam Sanz Ortega and Nuria M. Sanchez Sanchez.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVIII edition with 10 recitals: the mezzosoprano Ekaterina Semenchuck (4 October), soprano Marlis Petersen (23 of November), soprano Eva-Maria Westbroek (20 from December), baritone Matthias Goerne (7 February), baritone Josep Ramon Olive (21 of March), soprano Katharina Konradi (4 of April), baritone Andre Schuen (17 of May), the tenor Mark Padmore (20 of June), soprano Julia Kleiter with the baritone Christian Gerhaher (11 of July) and mezzosoprano Anna Lucia Richter also next to the baritone Christian Gerhaher (18 of July) and again the baritone Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last five seasons in a decade.

In the new Season a total of 30 functions between the shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, a project that has just received the Opera XXI Award for the Best Lyric Promotion Initiative, is a resounding success every season. In the five that it has been running, have passed through the seats of the Theater more than 35.000 spectators -of which more than 21.000 they have been school from among 12 Y 18 years- who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma', 'Water, Azucarillos y Aguardiente ’and‘ Amores en Zarza ’, and close to 100.000 who have been able to enjoy it online. How could it be otherwise, In the season 2021/2022 the project is back with force and with a record number of nominations for the Auditions: more of 800 young artists have appeared at the same. This year the project will present a new production of the musical by maestro Jacinto Guerrero 'The green envelope' the original libretto of Enrique Paradas and Joaquín Jiménez will be reviewed by the playwright Álvaro Tato. With stage director Nuria Castejón, musical of Cecilia Bercovich, scenery Ricardo Sánchez Cuerda and wardrobe Gabriela Salaverri, the cast will be formed as usual, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 12 functions They will be offered of the 21 al 26 February 2022.

And the didactic projects stand out one more year because, thanks to them, he Ambigú del Teatro once again has the function of a show space for the fifth consecutive year. After two exciting deliveries 'Lost in Bosco' and those of the overwhelming success of 'The incredible story of Juan Latino', The puppet theater with live music will return to Ambigú. The proposal will be on this occasion the premiere of the work ‘The sky of Sepharad’, co-produced by the Claroscvro Theater and Company. Will be others 18 functions between 25 May and 3 June 2022.

Also framed in educational projects, soprano Nicola Beller Carbone, distinguished by a peculiar artistic profile, in which he takes care of the interpretive aspects as well as the musical ones, and what in 2019 founded LIBERAinCANTO to teach master classes for lyrical singers in which he works acting and singing from imagination and creativity, will offer of the 21 al 27 March master classes for young artists.

DANCE

In the next season, dance will also be the protagonist through the two national companies, Theater residents: He National Ballet of Spain arrives with the program 'Invocation', expressly designed for the company by its director, Ruben Olmo, offers a global vision of Spanish dance, encompassing most of their styles, from bowling school to stylized dance and stylized flamenco. It also includes a special tribute to the dancer and choreographer Mario maya (1937-2008), one of the great masters of our dance. They will eleven functions 10 al 22 from December. Meanwhile, the National Dance Company directed by Joaquin de Luz will present a triple program made up of the choreographies'Polyphonia’ from Christopher Wheeldon with music György Ligeti, ‘Big gap' from Hans van Manen with music by Ludwig van Beethoven and 'DSCH concert ' from Alexei Ratmansky with music Dmitri Shostakovich. They will ten functions of the 7 al 17 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 26 September to 4 October They will be presented the seven functions 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, what could not premiere in its day because of the pandemic. With libretto by the Sevillian musician himself from the 18th century, based on the intermediate of Carlo Goldoni, It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Pablo Menor Palomo, your wardrobe Ikerne Giménez, lighting David Picazo, the choreography of Andoni Larrabeiti and the cast make it up Cristina Toledo, David Alegret, David Oller, Javier words Y Andoni Larrabeiti. As usual, The representations will be at the Fundación Juan March.

GREAT VOICES FOR ZARZUELA

One of the achievements that distinguishes the Teatro de la Zarzuela is that of bringing together the great lyrical voices that sing in Spanish each season. A) Yes, in the next we will have the opportunity to enjoy the art of singers such as CARLOS ÁLVAREZ, AINHOA ARTETA, SESSION HERNÁNDEZ, LISETTE OROPESA, NANCY FABIOLA HERRERA, ISMAEL JORDI, María José Montiel, JUAN JESÚS RODRÍGUEZ, SABINA PUÉRTOLAS, XABIER ANDUAGA, ANDEKA GORROTXATEGI, CELSO ALBELO, RUTH INIESTA, SIMÓN ORFILA, CARMEN ROMEU, JOSÉ LUIS SOLA, CAROL GARCIA, MARINA MONZÓ, BORJA MAYBE, CRISTINA FAUS…, and so many and so many others that only their names make the season a truly unique experience.

The King who Rabbi-1

The King who Rabbi-2

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The King who Rabbi-5

 

The King who raged
Zarzuela in three acts
Music by Ruperto Chapí
Libretto by Miguel Ramos Carrión and Vital Aza
D. musical: Ivan Lopez Reinoso
D. scene: Barbara Lluch
Scenography: Juan Guillermo Nova
Locker room: Clara Peluffo Valentini
Lighting: Vinivio Cheli
Orchestra and Choir of the Community of Madrid
Distribution: Enrique Ferrer, Rocío Ignacio, Maria Jose Suerez, Rubén Amoretti, José Manuel Zapata, Carlos Cosías, Igor Peral, Jose Julian Frontal, Alberto Frias, Sandro Lamb, Pep Molina, Ruht González and Antonio Buendía El Teatro de la Zarzuela wanted to end this special season, with an essential title of Spanish lyric, "The King who raged", of the teacher Ruperto Chapí, 130 years after its premiere on 20 April 1891 in this same theater.

At that time, Queen María Cristina was regent, waiting for the coming of age of Alfonso XIII. But it is not this king that the play alludes to, but to Alfonso XII and other politicians and soldiers of the time.

The libretto is by two of the best playwrights and comedians of the moment, Miguel Ramos Carrión and Vital Aza, who created a script full of timeless situations and characters, of entanglements and comic situations in the Spain of the Restoration. A critical script with all levels of power, highlighting with much humor the most theatrical part of the politics developed in a court that could well belong at the time of its premiere or, like never before, to the present most current, with the deception of the rulers as the main protagonist.

This new production of the Teatro de la Zarzuela del "Rey que rabió" has been in charge, scenic, of the already acclaimed in this Theater for "La Casa de Bernarda Alba" in 2018, Barbara Lluch. This time, the scenery, enhanced by Clara Peluffo Valentini's wardrobe, give the work the appearance of a school function, the one that is done at the end of the course. The costumes are very colorful and cheerful, but together with the rest of the scenic elements, create an exaggeratedly childish outfit. Like the dramatization of the characters, almost all too histrionic, especially the Captain of Alberto Frías, who sinned from over acting buff. María José Suárez and Sandro Cordero, like Maria and Juan, they were a little more balanced in their comic part, although equally exaggerated.

The most prominent were Ruth González Mesa, as the King's Servant Page, Rubén Amoretti, as El General, that showed his vocal quality when the humor allowed him and a Manuel Zapata like Jeremías, something happened too, but that he knew how to maintain the theatrical balance and not drag the character.

The main characters did not know how to measure up. The soprano Rocío Ignacio, as Rosa, she did not look like a peasant at any time. Rather, she continued playing her role as Luisa Fernanda this season.. It cost him the odd boo from the public.

The other protagonist was Enrique Ferrer, the king, we don't know if it raged or not, but he didn't have his night either. Little grace in the interpretation and little vocal consistency. The choice of a tenor for this role was not successful, when Chapí's score indicates that it is for soprano.

Only the well-known Choir of Doctors took us to the wonderful music of the composer, with a brilliant choir performance, as usual. Vinicio Cheli's lighting contributed to make this scene the best of the representation.

It was not the night of the musical director Iván López Reinoso either. Slow to exhaustion, with a burst sound and without taking advantage of an orchestra that demonstrates, as soon as you have the chance, the quality it treasures.

A shame to end such a special season and that has been at such a high level. But, the best clerk takes a blur and we look forward to the next season.

Text: Paloma Sanz
pictures: Javier de Real

Sunday Chamber

Fully dedicated this season to the music composed by women, he cycle ‘Chamber Sundays’ of the Teatro de la Zarzuela will put the golden closure this next Sunday 6 June at 12:00 with the recital ‘Make the americas’.

The reason for the title ‘Make the Americas’ is geographic, cultural, historical and even sentimental. Result of that important and magical back and forth flow that permeates everything on both sides of the Atlantic and that makes it grow on each shore before starting back. This Sunday's concert will be portrait of this endless tide that combines values ​​and tradition. Two of the composers are Ibero-American: Macarena Rosmanich, From Chile, Y Ana Lara, from Mexico, and another, Diana Pérez Custodio, Cadiz (Cádiz, crucial port on the route of the Americas). By last, as in the rest of the concerts of the cycle, the recital includes an absolute premiere by a student from the Conservatorio Superior de Música de Madrid, and in this case it will be Sofia Sainz with his work ´Yugen, for harp, cello and double bass.

The soloists of the Community of Madrid Orchestra (BARREL), Head of the Theater, who will participate in Sunday's concert will be Amaya barrachina (fiddle), Eva Martin (viola), Angel Garcia Jermann (cello), Luis Christmas (double bass) Y Ana Maria Reyes (barley).

This second edition of the ‘Chamber Sundays‘ cycle, that with this concert comes to an end, has meant an exciting journey through a unknown Spanish musical heritage. From the hand of soloists from ORCAM, each concert has highlighted the extraordinary value of Spanish composers of the 20th and 21st centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Mercedes Zavala, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others.

The cycle has welcomed four absolute premieres of students of the Royal Conservatory of Music of Madrid: Amanda garrido, Miriam Sanz Ortega, Laura de las Heras and Sofia Sainz.

The King who raged

Sometimes the freshness and the present are not at odds with the passage of time. 130 years, It was exactly a century and three decades ago that ‘El rey que rabió’ was premiered at the Teatro de la Zarzuela -to whose stage it has not been on in 12-, and the public continues to await it with enthusiasm and enjoy it with the same implication as if it were a new creation. That is one of the most memorable secrets that make the theater a magical experience, a unique and universal manifestation. Fortunately we will be able to check it again, to savor that valuable badge, during the 14 functions what of the new production of the work Ruperto Chapí, Ramos Carrión and Vital Aza They will be offered of the 3 al 20 of June in the same theater that, amid unanimous applause and fabulous criticism, saw her born at the end of the convulsive 19th century.

‘The King who raged’, real big zarzuela, was created by Carrión, Aza and Chapí in 1891, and today is a lyrical theater milestone Y, Of course, of the unique and particular history of the Theater where he was born with the Alicante teacher himself on the podium. Because few kings, nor the most popular in history, nor the most beloved of their peoples, will have been more acclaimed, applauded and cheered that our King in this exclusive kingdom that is the Teatro de la Zarzuela.

And if this title is already a masterpiece, checking the artistic team and the casts responsible for putting it back together makes the interest of this June premiere that will close the lyrical season 2020/2021 Coliseum.

Music & Performance. Excellence and luminosity

The musical direction will be the responsibility of the teacher Ivan Lopez Reynoso, one of the most important young batons in Mexico, newly appointed artistic director of the Orquesta del Teatro de Bellas Artes and partner tenor musical Javier Camarena in so many concerts –including the one offered at the Teatro de la Zarzuela several seasons ago–. Also violinist, successful pianist and countertenor, as a conductor he is a specialist in very diverse disciplines - opera, ballet, modern dance, early music and contemporary music–, will occupy the pit in front of the Community of Madrid Orchestra, ORCAM –The Theater Owner–, of the Titular Choir of the Teatro de la Zarzuela –Which this time has as a challenge the interpretation of some of the most emblematic choral numbers of the genre– and two splendid and more than balanced deals.

The scenic proposal of this new production of ‘El rey que rabió’ it's really surprising. The dynamic and intelligent director Barbara Lluch –Responsible for resounding successes such as the award-winning Zarzuela opera ‘La casa de Bernarda Alba’ by Miquel Ortega- has launched a bright approach very much in keeping with the original spirit of the work: "Is about give the public as much freedom as possible”, explains the film director, whose intention is “that each viewer feels, empathize and interpret the characters, the place and the relationships between them from their own point of view. From his own unique perspective. " And he warns in this regard that it is for that reason that the librettists did not even name the King, nor the General, nor the Governor, nor the admiral, nor to the Mayor ... "Because there could be so many kings, general, admirals, different governors and mayors as spectators there are in the room ", reflects Lluch.

Custom deliveries

And at this point we come to those who will have to fill those with intentions and a good voice. crazy prototypes born of intellectual talent, ironic and funny of the playwright, journalist and humorist Miguel Ramos Carrión –creator also of the librettos for ‘The nephews of Captain Grant’, 'The Tempest', ‘The witch’ or ‘Water, sugar and brandy'–, and the poet, Comedy writer and comedian Vital Aza, what, as an interesting fact, it was with Chapí himself one of the founders of the Society of Authors and its first president.

This hilarious story of a king to whom the deep boredom in which he is plunged leads him to undertake an incognito trip through the country; of his powerful and closest advisers who unsuccessfully try to prevent it so that the sovereign does not discover the sad reality in which his subjects inhabit, and thus be able to continue bossing him around as you like; of all the bizarre characters that the monarch meets on the way; this funny story (a lot of) in which also love, how not, plays its crucial role, will be defended by two casts that will undoubtedly lift the public literally from their seats. They will fill the room with the best music, laughs (when not laughs) And joy.

The tenors Enrique Ferrer and Jorge Rodríguez- Norton will give life to the King - a role that was originally female, played by a mezzo-soprano or a central soprano; and it is that being the young monarch he was presented in the form of a transvestite paper, something that, how would i remember Luis Gracia Iberni, one of the most recognized experts in the work of Ruperto Chapí, beyond the historical tradition of this resource in musical theater, at that time it was mandatory due to the lack of lyrical tenors dedicated to zarzuela. Rosa's role, the young woman with whom the King by surprise falls in love with the luck of being reciprocated, the sopranos will interpret it Rocío Ignacio Y Sofia Esparza; Maria's, the labrador's wife, it will María José Suárez, and the General will be the bass Rubén Amoretti and bass-baritone Miguel Sola; Jeremiah, that nephew of the mayor in love without a prize with his cousin Rosa and to whom all imaginable adventures happen, will embody it José Manuel Zapata; Carlos Cosías, Igor Peral and José Julián Frontal they will in turn get into the Admiral's skin, the Mayor and the Governor, respectively; Alberto Frias - emerged from that fruitful pool of singer-actors that is the Zarza project of the Teatro de la Zarzuela - will recreate the sparkling comings and goings of the Captain; Y Sandro Lamb, Pep Molina, Ruth González Y Antonio Buendia, they will act as the Labrador, Mayor, the Page and the Bugle. And to all of them we will have to add three actors and three extras.

Regarding the artistic team, it's made of Juan Guillermo Nova, responsible for the dreamlike and especially beautiful scenery, the designer of the fantastic and great costumes Clara Peluffo Valentini and the master of enlightenment Vinicio Cheli.

Masterpiece of the repertoire. Theatrical music

Teacher Lopez Reynoso considers that the score of ‘El rey que rabió’ “is undoubtedly one of the masterpieces of the Spanish lyrical repertoire. Agile, expressive, refined and full of colors ", to which must be added "the wise use of theatricality in musical writing that makes the dramatic action correspond in a remarkable way with the musical discourse ". Therefore, the director believes that it is "a round work, complete, contrasting and fun what, thanks to all the above features, it always manages to become a success that is much loved by the public. "

And it is precisely in this conciliation between music and the word that the media musicologist influences Eva Sandoval, who remembers that Chapí and his librettists were key figures in the development of the musical and dramatic style of zarzuela since the decade of 1880. Sandoval also rescues a statement contained in the chronicle that the critic of the time wrote on the occasion of the premiere Joaquin Arimon who comes to emphasize this crucial characteristic: “The music is perfectly suited to the conditions of the poem and all of it is beautiful and inspired ".

Eva Sandoval argues in this regard that this adaptation and interrelation of both codes, the linguistic and the musical, can be seen throughout the nineteen numbers of which the work consists. "The brevity of all of them also helps to ensure dynamism and agility and favors the dramaturgy, so that music accompanies the action: nor the force, nor does it force her, nor does it condition it”. The author, according to the expert's words, “manages to impregnate each passage with the musical color and atmosphere that the plot requires, as, for example, in the simple but effective prelude. Written in the form of a military court march, it could perfectly serve as the national anthem of the imaginary country in which the action is set. "

It is also especially noteworthy for the musicologist the fact that ‘El rey que rabió’ uses "the same theatrical and pedagogical tactic as the operetta: that of the "world upside down", incorporating resources and languages ​​of the Central European operetta into our lyrics.

Undying King and online

As it is usual, one of the functions of ‘The King Who Raged’ will be broadcast live on streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 17 June at 20h00 (Spanish CET).

Likewise, can already be enjoyed in YouTube y Facebook the conference given by Eva Sandoval and a new chapter of the series ‘Trip through the zarzuela’, with the teacher López Reynoso and Bárbara Lluch as protagonists.

‘The King Who Raged’ has been on stage uninterruptedly from the 20 April 1891, when premiered at the Teatro de la Zarzuela in Madrid with Chapí himself at the helm, until the 15 June of that same year. further, was revived in this same scenario in December of that year and January of 1892, and shortly after it would appear in other capital and provincial theaters. Special mention deserves his premiere in Mexico with the Spanish Zarzuela Company in mid-July of the same 1891, just a few months after its premiere in Spain. The echo that Chapí's work obtained in the media of the time was extraordinary, to the point that the composer from Villena established himself as the author of zarzuela grande.

And is that our King came to stay with us, from generation to generation, and so on for 130 years. The chronicler already noticed this after attending the premiere - in an article that after the enigmatic signature of K. it is very possible that the notorious journalist was there Jose Gutierrez Abascal–: "'The King who raged' is assured for a long time on his throne in La Zarzuela". And it was added with a certain tinkle: "There is no danger of him being dethroned." (The Herald of Madrid, 21 April 1891).

Nuria Rial

The Catalan soprano Nuria Rial and the prestigious German pianist Andreas Staier will be presented next Monday 17 May at 20h00 at Lied co-produced by National Dissemination Center Musical (CNDM) and the Teatro de la Zarzuela.

Nuria Rial, one of our most requested singers in the international arena, will put his crystal clear voice at the service of eight Mozart songs in addition to the five compositions that make up the cycle The Mermaid’s Song and the beautiful cantata Arianna a Naxos, works both of Joseph Haydn.

With Andreas Staier on the fortepiano, the evening acquires a special relevance when the historicist musical criterion at the service of some of the most beautiful pages of classicism.

The singer debuts in the lied cycle after reaping great worldwide successes in the field of baroque music, in his operatic appearances and in his recordings. In this last aspect it is relevant to mention his recent award as Best Vocal Album Soloist at the Opus Klassics Awards for his work with the Academy of Pleasure from Fahmi Alqhai at disc ‘Die Cupid’.

The recital tickets have a General price 8 a 35 euros and they are for sale at ticketsinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Biographies

Nuria Rial, vocal purity and luminosity

Frequently noted for her vocal purity and brightness, the naturalness and emotionality of his singing, and the elegance of his phrasing, Núria Rial is one of the paradigmatic voices of the baroque and classical repertoire of recent years. With an activity that has its epicenter in the concert and recording field, with more than thirty albums published, Núria's broad artistic interests also include the music of Romanticism and the 20th and 21st centuries, fusion with styles such as jazz or flamenco, dialogue with other disciplines, or musical expressions like the Lied and the opera, having acted hand in hand with directors such as René Jacobs or Iván Fischer and stage directors such as Peter Sellars, en teatros como la Monnaie, State Opera Unter den Linden, Champs Elysées Theater, Grand Théâtre de Genève, Teatro Carlo Felice de Genova or Teatro Real de Madrid, playing roles of such a broad spectrum as Monteverdi's Euridice, Pamina de Mozart, o Nuria in Ainadamar by Osvaldo Golijov.

Trained in Basel with Kurt Widmar, performs regularly in major European concert halls and festivals, como el Salzburg Festival, el Lucerne Festival o el Bachfest Leipzig, with directors like Antonini, Bonizzoni, Capuano, Cummings, Currentzis, Fischer, Goodwin, Hengelbrock, Jacobs, Leonhardt, Marriner, Minkowski o Pinnock, and is regularly requested by groups such as Akademie für Alte Musik Berlin, Bach Foundation St. Gallen, Balthassar Neumann Ensemble, Bavarian Broadcasting Munich, Budapest Festival Orchestra, Café Zimmermann, Camerata Cologne, Concerto Köln, Il Giardino Armonico, Tomato, Basel Chamber Orchestra, The Arpeggio, Les Musiciens du Louvre, Orchestra of the Eighteenth Century, Stuttgart Chamber Orchestra and The English Concert.

His vast discography has been awarded with awards such as the Orphée d'Or in 2010, for his work on Handel's German arias with Michael Oman and the Austrian Baroque Company, as well as with various awards at the Echo Classical Music Awards (currently Opus Klassik Awards) in different categories, like the “female artist of the year” in 2009 or the award for the best opera album for his CD on Telemann together with the Kammerorchester Basel in 2012.

Andreas Staier, indisputable musicianship

One of the most outstanding performers in the world, Andreas Staier has left his mark on the performance of the Baroque repertoire, classic and romantic for vintage instruments.

Born in Göttingen, studied piano and harpsichord in Hannover and Amsterdam. For three years he was a harpsichordist for Musica Antiqua Köln, with whom he made numerous tours and recordings. as a soloist, Andreas Staier performs throughout Europe, United States and Asia with orchestras such as Concerto Köln, Freiburger Barockorchester, Academy for Early Music Berlin y Orchester des Champs – Elysees Paris.

Has recorded extensively for BMG, Teldec Classics, with whom he had an exclusive contract for seven years, and harmonia mundi France. Its catalog has numerous awards, including a Diapason d'or, el Prize of the German Record Critics de 2002 and the Baroque Instrumental Gramophone Award from 2011. Among his latest releases is a highly anticipated harpsichord concert CD by J.S. Bach with the Freiburger Baroque Orchestra, Schubert's music for four hands together with Alexander Melnikov, and a collection of music inspired by the Iberian Peninsula with the Casa da Música Baroque Orchestra.

He has been an Associate Artist of the Dijon Opera since September 2011 and was a resident of the Wissenschaftskolleg zu Berlin two seasons ago.

Benamor

‘Benamor’ by Pablo Luna premiered at the Teatro de la Zarzuela Saturday 12 May 1923. The next month, so, they will become true 98 years since that event (that it really was, and big) with the joy of having seen her return it, almost a century later, and in the same setting where she was born and to which she had never returned until now. If we stick to the chronicles of the time, The success at that Madrid premiere was such that none of those present at these memorable performances could foreshadow the unfortunate future that awaited this composition. with which the teacher from Alhama de Aragón completed the ‘Trilogy of the East’ after ‘The amazement of Damascus’ and The Jewish boy '; a set of titles this, that now, with the 10 representations that between 14 and the 25 of April will rehabilitate ‘Benamor’ in the Teatro de la Zarzuela, catches up for today's audience.

Enrique Viana, that in addition to assuming the stage direction and the adaptation of the delirious libretto by Antonio Paso and Ricardo González del Toro, He has kept for himself three papers full of surprise and sarcasm - much in the way of his intelligent and intelligible way of elaborating humor., remember that the newspapers of the time describe ‘Benamor’ - "unknown title with the precedent of great triumph" - as the greatest success of master Luna. So, suggests, you have to listen to it and feel it "like in a happy dream", thus resembling it to the most valuable of therapies by stating that "a happy dream is the best medicine for the times of nightmare that we are living and that this, "our music", heals like the best of remedies. "

And the teacher is no less expressive José Miguel Pérez-Sierra, seasoned director, exciting, personal and solid international career, when referring to a work that places “between the more complex and inspired by the prolific production of Pablo Luna”. His incomprehensible disappearance from the repertoire leads him to consider “almost like a world premiere”These new performances of the Teatro de la Zarzuela.

Crazy misunderstandings

Pérez-Sierra will be in charge of the Titular Orchestra of the Teatro de la Zarzuela –Orchestra of the Community of Madrid–, of the Titular Choir of the Teatro de La Zarzuela and two magnificent casts who will stage a play with a surprising starting point that will cause absurd and hilarious misunderstandings: The story is set in the 16th century in Isfahan, ancient capital of Persia - today Iran -, in a luck of "One Thousand and One Nights". The law determines that the first child of the betrothed must be male and the second female. If it doesn't happen this way, newborns must die in sacrifice. As well, this is exactly what happens to the sultan's wife, who, in order not to have to sacrifice his two little ones, makes his daughter pass as a boy - giving him the name of Darío -, and for a girl to her son - calling her Benamor -. Deception persists over the years, but the day comes when the so-called "princess" (the boy that) must marry. Y that's when the cards of the mock house of cards fly everywhere.

The two casts they combine irresistible musicality and precision with that difficult talent that tragicomedy inevitably demands. The singers that make them up are the sopranos Vanessa Goikoetxea Y Miren Urbieta-Vega (Benamor), the mezzosopranos Carol Garcia Y Cristina Faus (Darío), soprano Irene Palazón (the odalisca Nitetis), the comic soprano Amelia Font (Pantea, mother of the princess and the sultan), baritones Damian del Castillo Y César San Martín (the Spanish gentleman Juan de León), the baritone also Gerardo Bullón (Rajah-Tabla, prince of kabul), the tenor Gerardo López (Prince of Florelia / Servant / Priest), the tenor-actor Francisco J. Sánchez (guard), the tenor Emilio Sánchez (the drug dealer Babilón) and the actress-dancer Esther ruiz (Kashmir the odalisque), in addition to Enrique Viana who plays the roles of the grand vizier Birch, the confectioner and his wife the pastry chef. Rounding out the cast 4 actors-extras Y 9 dancers.

Regarding the artistic team, it's made of Daniel Bianco, responsible for the scenography, costume designer Gabriela Salaverri, the illuminator Albert Faura and the choreographer Nuria Castejón.

A desire: our crazy years 20

Teacher Pérez-Sierra defines the music of ‘Benamor’ as “extraordinarily theatrical”, in whose score reigns "that melodic vein so characteristic of the author”, who, to set us in the plot, it mixes with refined orientalizing exotic elements with fox-trots and other typical rhythms of the years 20. “All this has its culmination in the ‘Dance of fire’, the best known number of the work, with a marked Spanish flavor but reminiscent of some European composers that Pablo Luna admired, as Edvard Grieg”. So speaks the director, that does not hesitate to air a wish: "After all the bad we are experiencing, I wish this ‘Benamor’ was the starting gun for our crazy years 20. It's a breath of fresh air."

Recovering Pablo Luna

In a single month (ridden between March and April) the Teatro de la Zarzuela has done justice to Pablo Luna, one of our greatest and most prolific composers who history has not treated precisely in the way that his talent and genius deserve.

This long-awaited ‘Benamor’ was preceded by concerts that the days 12 Y 14 March served to rehabilitate ‘Las Calatravas’, last zarzuela of the composer who, after a resounding success with the public and, obtained in its premieres in Madrid and Barcelona, fell almost immediately into a intolerable and from every point incomprehensible oblivion. Not a trace of the prodigy remained. Nor was it re-enacted, nor was it recorded. Next September will be fulfilled already 80 years since that premiere of ‘Las Calatravas’ at the Alcázar Theater in Madrid, and it is now that part of this has been amended unheard, unforgivable and, Regrettably, abandonment.

‘Benamor’ online

As it is usual, one of the functions of ‘Benamor’ will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Thursday 22 April at 20h00 (Spanish CET).

Also in the next few days you will be able to enjoy YouTube y Facebook of the conference taught by the musicologist Ignacio Jassa Haro and a new chapter of the series ‘Trip through the zarzuela’, with the teacher Pérez-Sierra and Enrique Viana as protagonists abstracted in a conversation and some interpretations that have no waste.

Bejun Mehta

He Monday 15 of March to 20 hours, he National Dissemination Center Musical (CNDM), in co-production with Teatro de la Zarzuela, presents in the XXVII Cycle of Lied a Bejun Mehta, one of the most recognized countertenors, acclaimed and requested worldwide. The American singer will show his impressive mastery of coloratura and sense of musicality at the service of an ambitious program, encompassing works signed by four giants over three centuries. A) Yes, Bejun Mehta will show off its versatility by undertaking a very diverse repertoire -from classicism to the 20th century, going through romanticism-, including parts from W.A. Mozart (Happy shadow! I leave you), Joseph Haydn (Arianna a Naxos, Hob XXVIb:2), L. van Beethoven (To the Distant Beloved) and Benjamin Britten (Canticle – ‘My beloved is mine’). He will be accompanied on the piano by Jonathan Ware, for the first time in this cycle. tickets, with a general price 8 a 35 euros, They are for sale at the box office of the Teatro de la Zarzuela, INAEM network of theaters, www.entradasinaem.es and on the phones 91 193 93 21 Y 902 22 49 49.

Bejun Mehta, a fascinating performer

According to Opera News "perhaps the most sophisticated and musically satisfying of today's countertenors", Bejun Mehta fascinates with an incredible vocal expression, great musicality and passionate strength as a performer. He is a regular guest in the main opera houses of the world, as the Royal Opera House, La Scala in Milan, Theater in Vienna, the Berlin State Opera, the Bavarian State Opera in Munich, el Theater Royal de La Monnaie, la Dutch Opera, Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, the Zurich Opera, Paris National Opera, the Metropolitan Opera, the Chicago Lyric Opera, the Los Angeles Opera, as well as the Salzburg Festivals, Glyndebourne, Aix-en-Provence and the Wiener Festwochen. Concerts with major orchestras and solo recitals have taken Bejun Mehta to the main concert halls, where he goes through his award-winning record works and performs repertoires ranging from baroque to contemporary music. He is a frequent guest at the Amsterdam Concertgebouw, Wigmore Hall in London, the Konzerthaus and the Wiener Musikverein in Vienna, Carnegie and Zankel Hall in New York, Bruselas Palace of Fine Arts, Palace of the Arts in Valencia, Teatro de la Zarzuela in Madrid, City of Music in París, Prinzregententheater in Munich, Konzerthaus Berlin, Rudolfinum in Prague and Edinburgh festivals, Saint Sebastian, Verbier, Schleswig-Holstein y BBC Proms en Londres. In recent years, Bejun Mehta has made a name for himself as a conductor, working with the hr-Sinfonieorchester, la Philharmonie de Dresden, the Bochum Symphony Orchestra, así como the Potsdam Chamber Academy y the Württemberg Chamber Orchestra Heilbronn. In addition to his interest in working the repertoire of the baroque and classical periods with modern orchestras, his particular emphasis is on the combination of orchestra and voice, either with guest soloists or on specially developed shows featuring you as a singer and director. A) Yes, we can highlight the replacement of Rodelinda of Claus Guth (a production originally made for Bejun Mehta at the Teatro Real in Madrid) at the Dutch National Opera, Mozart Arias with the Vienna Philharmonic at the Musikverein, The dream of the song George Benjamin, a cantata composed specifically for him - with the Concertgebouw Orchestra Amsterdam, and representations of Written on the skin Benjamin in the role of Angel I / Child, also composed specifically for him - with the Mahler Chamber Orchestra. As a singer and director, Bejun Mehta has toured Germany and Austria with the Württembergisches Kammerorchester and their Mozart-The Dramatist program at venues such as the Musikverein in Vienna and the Herkulessaal Munich.. A is, has been followed by other singing and conducting programs with Hessischer Rundfunk, Bochum Symphony Orchestra y Chamber Academy Potsdam. In the fall of 2019, Bejun Mehta played the lead role in a new production of Julius Caesar by Robert Carsen at La Scala in Milan, the first countertenor to play that role at La Scala.

Jonathan Ware, solid run up

Born in texas, pianist Jonathan Ware trained at the Eastman School of Music in Rochester, at the Juilliard School in New York and at the Hochschule für Musik “Hanns Eisler” of Berlin. Ware has won major awards, including first prize in the lied contest 2014 de la International Hugo Wolf Academy in Stuttgart con el barítono Ludwig Mittelhammer, as well as the prize in the category of accompanying pianist in the Wigmore Hall International Song Contest and the "Das Lied" Contest. His career has taken him to venues such as Alice Tully Hall and the Weill Recital Hall within the iconic Carnegie Hall in New York., at Wigmore Hall in London, al Festival de Ravinia y al Berliner Festspiele, among others. For several years he has been the accompanying pianist at the Heidelberger Frühling Akademie Lied Festival, as well as coordinator of the Piano Academy at the Verbier Festival. In 2020 Jonathan Ware made his debut at La Scala in Milan alongside Bejun Mehta. Ware has performed on other European stages such as the Munich Philharmonic, the Cologne Philharmonic, the Konzerthaus Berlin, the Festival "Dialogues" at the Mozarteum in Salzburg. His musical collaborators include artists such as Dame Felicity Lott, Christiane Oelze, Golda Schultz, Robin Tritschler, Elsa Dreisig, Ludwig Mittelhammer el Vogler Quartet y Bejun Mehta. Jonathan's profesor de la College of Music “Hanns Eisler” from Berlin and is a faculty member of the Barenboim-Said Akademie.

Bejun Mehta © Marco Borggreve

Teatro de la Zarzuela

the soprano Cristina Toledo, accompanied on piano by Aurelio Viribay, they will give visibility to women who dedicated themselves to the composition of zarzuelas and Spanish music despite the difficulties.

Especially emotional will be the recital that the next Monday 8 of March (20h00) they will offer the soprano Cristina Toledo and pianist Aurelio Viribay at Teatro de la Zarzuela inside of the Notes cycle Ambigú. Under the explicit title of ‘Zarzuela in feminine’, will be given visibility to women what, despite the difficulties to do it and the ingratitude of I forget, they dedicated themselves to composition of zarzuelas and Spanish music.

In the concert, works by authors such as Maria Rodrigo, to whose compositions a good part of the program will be dedicated. From a couplet for solo piano (‘The intrusive couplet’), to a selection of his comic zarzuela ‘Diana the huntress or Death penalty to love’, with libretto of the Alvarez Quintero, going through the trio of verses ‘Ayes’ with text by Maria Lejárraga, or ‘Seeing this land of my loves’ from ‘His last song’ with a libretto by Carmen de Cantó, among other compositions.

This will be the second part of the recital. Before, we will hear romances of zarzuelas composed by Selva and Torres Remedies O Carmen de Cantó (Carmen Climent) –Authors also of the librettos of their works–, by Blanca Lozano, Maria de Pablos, María Teresa Prieto - also responsible for its texts -, Elena Romero or Adela Anaya Ruiz.

It will certainly be a night of magical revelations and esperanza. The one that oblivion does not return to be the inevitable destiny of these and many others sacrificed music fighters.

The Ambigus that come

A concert Cristina Toledo Y Aurelio virivay, will follow that of Shiggaion. Music found with unknown works of the Spanish baroque, more specifically from the Valencian school of sacred music (22 of March), the one with the mezzo-soprano Maria Antunez with Rubén Fernández Aguirre to the piano dedicated to ‘Uruguayan music’ (19 of April), the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist's Ángel Ruiz, accompanied by pianist César Belda, what will present ‘Tribute to Iberoamerica’ (15 of June).

Loves in Bramble

With ‘Loves in bush’ the fifth season of the Project Zarza del Teatro de la Zarzuela, zarzuela made by young people and for young people, that was born from the hand of its director, Daniel Bianco, with the purpose of popularize the genre among the new generations, those of the XXI century. He young audience has a decisive relevance in the current colosseum project, that in this way he intends that he approaches without fear and without prejudice to the zarzuela, thereby continuing gender and strengthen its future.

That is why the Zarza Project is one of the star initiatives of the Theater. Aimed at an audience between 12 Y 18 years, the title chosen in this Fifth edition is ‘Loves at Zarza’, with original text by the playwright and novelist Nando Lopez, youth literature specialist, among whose audience is a true star. It is a history coral that describes different ways of living love without prejudice, written around compositions of various zarzuelas by Federico Chueca, Joaquín Valverde, Jose Serrano, Pablo Serial, Ruperto Chapí and Gerónimo Giménez. And as usual, will be performed by young singers from among 18 Y 30 years chosen through a rigorous audition process in which they have participated more of 250 artists. It can be said that these singer-actors today form the young company Zarza Project, and that they also fulfill the mission of serving as a quarry for the great productions of the Theater. And is that, from your participation in the Project, a good number of them have already participated in some title of the lyrical seasons.

In this new production of Teatro de la Zarzuela, the musical and stage direction will be in charge, respectively, of the teacher Miquel Ortega (from the piano) and Rita Cosentino, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. The programmed functions will be presented in the main hall of the Teatro de la Zarzuela in the 26 February to 5 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (26, 27 Y 28 February and 4 Y 5 of March) with a total of 9 sessions. As has been done in the previous four editions, after the show will be held one colloquy between the public and artists.

The role of the school Tuesday 2 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.

Zarza Project, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 viewers who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others tens of thousands who have been able to enjoy them online.

Love and magic

These ‘Loves in the bush’ are conceived in accordance with the spirit, the philosophy and intention that move this admirable Zarza Project from the beginning: bring the zarzuela genre closer to new generations, "And what better way to do it than through their own concerns ", Nando López points out. For that, this story that begins in the evening of a 15 August any of the 21st century, with a group of young people who meet in a park on the outskirts of the city ready to get on a Cercanías to La Latina to celebrate the festivities of La Paloma. From there many things happen, unexpected hopes are woven with pending dreams Y, as the author himself says, "Perhaps chance is not the real culprit of what happens in this particular - and somewhat Shakespearean - summer night in which the lives of all will end up…”. Magic is crucial in this particular tale. Real as life itself.

This new dramaturgy plays and is recreated with compositions of zarzuelas like the Pasacalle of ‘Last year for water’ Chueca and Valverde, "To a gypsy precious”From‘ The joy of the battalion ’by Serrano, What departed have you lost, kid!”And“ La petenera ”by‘ Don Manolito ’by Sorozábal, “Hágame Nah the favor of hearing me two words ”from‘ Last year for water ’by Chueca and Valverde, "I am Spanish" from ‘La patria chica’ by Chapí, "Chinochilla de mi charniqué" and "Who is it Nah?” from ‘The one with the bunch of roses’ from Sorozábal, “Also I suffocate ”of Luis Alonso's wedding ”by Giménez, the Fandango of ‘The Tricksters’, "I am Spanish" from ‘La patria chica’ by Chapí, ‘Dance at last we can now’ from ‘El baile de Luis Alonso’ by Giménez or the Parade of ‘La joy de la huerta’ by Chueca.

Suggestive, dynamic, fresh and powerful bet that once again celebrates the Theater's commitment to young artists and young spectators.

Friday 26 February 7:00 p.m. (open function)

Saturday 27 February 7:00 p.m. (open function)

Sunday 28 February 12h00 (open function)

Monday 1 March 12h00 (school function)

Tuesday 2 March 11h00 (school function) live on STREAMING

Wednesday 3 March 11h00 (school function)

Thursday 4 March 12:30 (school function) and 7:00 p.m. (open function)

Friday 5 March 11h00 (school function) and 7:00 p.m. (open function)

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Luisa Fernanda, or the indomitable desire to fight for beauty
Luisa Fernanda
Federico Moreno Torroba
record: Federico Romero and Guillermo Fernandez-Shaw
Yeatro de la Zarzuela, Madrid, 28 of January of 2021
D. musical: Karel Mark Chichon
D. scene: Davide Livermore
Scenography: Giò Forma
Locker room: Mariana Fracasso
Lighting: Antonio Castro
Choreography: Nuria Castejón
audiovisual design: Pedro Chamizo
D. choir: Antonio Fauró
Titular Orchestra and Choir of the Teatro de la Zarzuela
interpreters: Yolanda Auyanet, Juan Jesus Rodriguez, Rocío Ignacio, Jorge de León, María José Suárez, Nuria García-Arrés, Emilio Sánchez, Antonio Torres, Didier Otaola, Rafael Delgado, Cesar Dieguez, Julia Barbosa and Román Fernández-Cañadas.
He 30 April 2020 the premiere was scheduled at the Teatro de la Zarzuela by Luisa Fernanda. But like so many things in those days, Luisa Fernanda was postponed, that not suspended. Now it comes back to a Madrid whipped, but brave, in that "indomitable desire to fight for beauty". Released in Madrid in 1932, It is one of the most popular and widely accepted zarzuelas. One of those works that could be represented in any theater in the world and that is at the level of any work in the Italian repertoire.

This time, the Teatro de la Zarzuela, following his desire to internationalize the genre, wanted to have as musical and stage directors the British Karel Mark Chichon and the Italian Davide Livermore, respectively. It is one more way of approaching the zarzuela without prejudice and showing other visions of seeing and feeling our lyrics.
It is the first complete zarzuela that Chichon faces, a deep connoisseur of our lyrical repertoire who, with his wife, the mezzo-soprano Elina Garança, show their affection for this genre by playing it around the world.

Davide Livermore's knowledge of the zarzuela is more recent, dates back to his time as mayor at the Palau de Les Arts. Approaches the genre with deep respect for its principles, but with little success when choosing the elements that star in the scene. I don't know why many set designers insist on making everything turn, even, too. Apart from almost projecting poor Luisa Fernanda in one of the scenic turns, It is dizzy and distracts from the scene.
A Livermore, who likes good-sized stage elements, he got a bit out of hand with the good reproduction he has made of the façade of the Cine Doré. Luckily the corps de ballet, the choir and the singers, they had a good direction of actors and well learned the staging. It wasn't easy at all, especially in some moments, move around a stage full of traps and in constant movement.
The idea of ​​the cinematograph and the projection was very romantic, like a movie, of different scenes of the protagonists and others of the time. And, Besides, the projections would have been consistent with each other, the result would have been brilliant. More successful was the scene of the vareadores, with a well-drawn meadow of Extremadura.
Definitely, an exaggerated scenography that looked like a collection of elements from different works, all of them from different times. What comes to be a scenography of use.

The Orchestra of the Theater, at the command of Chichon, rang with great dignity, somewhat slow at times, but with chasticism and color. Very meritorious for a pit formed by barely 23 teachers for pandemic issues.
The same occurs with a choir reduced to five male voices and five female voices.. The mask did not prevent a magnificent performance, with some small initial mismatch, and the recognition of the efforts of all these professionals who are part of the Teatro de la Zarzuela.

The work of the musical and stage director was always supported by the theatrical capacity of a good cast of actors / singers on stage..

The character of Vidal was played by Juan Jesús Rodríguez. Before the beginning of the work, it was reported that his vocal loss caused by laryngitis. His performance was very commendable, but their difficulties were noticeable, especially in renouncing the higher registers.

Luisa Fernanda was in charge of Yolanda Auyanet, that a good recitative was marked out, prior to their musical numbers. As Livermore says, "Recitatives are not a break while waiting for the musical number, they have to be well supported by a good actress ". This is the case of Auyanet, that shone in the interpretation supported by a good declamation. His voice has lost some agility, but retains a powerful center and exquisite taste in phrasing.

We are going to end up catching a mania for Jorge de León for the villainy of many of his characters. It must be by nailing them in the interpretation. Start with the romance "From this peaceful corner of Madrid", without having barely entered the matter, may be a hamdicap. De León started something out of temper to get in tune with the progress of the work. Its emission is clean and powerful, but their singing is unnatural and with engolado sounds.

The Countess Carolina was well interpreted by Rocío Ignacio. He knew how to give the point of frivolity and sophistication that this character requires. He has a powerful voice and good highs, but its excessive vibrato prevents good diction.

Maria Jose Suarez, in the role of Marisa, it's always a guarantee on stage. His stage presence and acting capacity always put that necessary histrionic point in each representation.
The rest of comprimarios were at a good level. Highlight especially the revolutionary Luis Nogales, by Antonio Torres and veteran Emilio Sánchez, as Don Florito.

A night of zarzuela that rescues us from reality. Always in fear of a last minute suspension, but always maintaining this exercise of resistance in the face of reality. But beware!, that this theater is as real as everything else.

Luisa Fernanda

With 'Luisa Fernanda' come back to Teatro de la Zarzuela a classic of Spanish and American lyrical stages. And this time it does unique and special. The genre of zarzuela should not aspire to be locked in the golden cage of "the Spanish", as an exotic lure for the public and foreign artists, but for quality, by relevance and by mere common sense, must aspire to "the universal". For this reason it is a unique occasion that at the helm of this new ship driven by the Teatro de la Zarzuela, be nothing less than the Italian Davide Livermore –Now one of the most sought-after and acclaimed directors in the most important opera houses in the world and responsible for the opening of the Teatro alla Scala in Milan in the last two seasons–, and the British Master Karel Mark Chichon, great connoisseur, lover and tireless diffuser of Spanish music. Both make the composer's masterpiece Federico Moreno Torroba and librettists Federico Romero Y Guillermo Fernández-Shaw in a surprising and exciting theater show through its intrinsic theatrical and musical language, presented to the public as a compact whole.

He Teatro de la Zarzuela will offer 14 functions, between 28 January 14 February, this total musical show around one of the greatest creations in the repertoire, defined by Livermore as “a work of art of Spanish culture and universal culture”. He film director Turinés affirms that ‘Luisa Fernanda’ “has a score that always reaches the heart of the public, and both before and now and in fifty or a hundred years, the musical beauty of this work has had, it has and will have a special attraction for all of us who come to it. "

Meanwhile, he Maestro Karel Mark Chichon, who for the first time directs a zarzuela production on this stage, maintains that ‘Luisa Fernanda’ is “the last great romantic zarzuela, and it owes much to the masterpieces of the zarzuela grande and the small genre that preceded it. " To this he adds that musically it is one of the best examples of the traditionalism with which Moreno Torroba identified so much., "Combining the grace and color of Spanish music with the elegant Viennese comedy and the verismo of Italian opera." What turns the work into a zarzuela “by memorable melodies with unerring theatrical flair.”

Chichon, which will be in front of the Titular Orchestra of the Teatro de la Zarzuela -Orchestra of the Community of Madrid-, of the Titular Choir of the Theater of La Zarzuela and of two extraordinary distributions, will alternate on the podium of the pit with the Master David Gomez Ramirez who will direct the functions of the days 3, 4 Y 5 February.

The value of the deals

The two distributions that participate in this new and long-awaited presentation of ‘Luisa Fernanda’ -that was going to premiere on 30 April 2020 and that had to be postponed due to the pandemic and the consequent confinement- they are made up of especially skilled singers, energetic, effective, demanding, intense and balanced. Qualifiers that are only a small part of its virtues.

Luisa Fernanda, the daughter of a retired civil servant who keeps Javier Moreno absent, that young military man, former innkeeper and now promoted to colonel, will be performed by the sopranos Yolanda Auyanet (Luisa Fernanda par excellence) Y Maite Alberola. On the other hand, is Vidal Hernando, a rich Extremaduran farmer who disputes Luisa Fernanda's love with Javier, to whom the baritones will give life Juan Jesus Rodriguez (Vidal par excellence) Y Javier Franco. Duchess Carolina, that beautiful and persuasive young woman, will be embodied by the sopranos Rocío Ignacio Y Leonor Bonilla. And the role of Javier Moreno, that since he rose in rank he has neglected his girlfriend Luisa, the tenors will assume it Jorge de León Y Alejandro del Cerro.

Rounding out the cast María José Suárez Y Nuria García-Arrés as Mariana and Rosita, Emilio Sánchez Y Antonio Torres, like don Florito and Luis Nogales, Didier Otaola as Aníbal; actors Rafael Delgado, Cesar Dieguez Y Julia Barbosa, the members of the Titular Choir of the Theater, Roman Fernández-Cañadas, Francisco Jose Pardo, Graciela Moncloa, Daniel Huerta, Rodrigo Alvarez, Ricardo Rubio, Antonio González Y Quique Bustos; in addition to 4 extras Y 12 dancers.

Regarding the artistic team, it is completed by the study GI Shape, responsible for the scenography, costume designer Mariana Fracasso, the illuminator Antonio Castro, the choreographer Nuria Castejón and the audiovisual designer Pedro CHamizo.

Love, cinema and revolution

The stage is a recognizable architectural space in Madrid in which the feelings of love, pain and anguish, "a figurative or disfigured world that evolves into 360 degrees before our very eyes…”, as Davide Livermore himself explains, that for this he uses techniques and resources of cinematographic language inspired by works of the seventh art.

Historical facts around the Glorious (o Revolution of 1868 which culminated in the exile of Elizabeth II), that appear or are mentioned in this zarzuela, are the background of what their characters live. So, like now, the story of the young Luisa and Javier will surprise and excite the public, because this episode is combined with the life of the spectators in a movie theater - like a plaza, of meeting place and of life - in the also young Republic (the plot unfolds as it was written, but moved to the date of its happy premiere at the Calderón Theater in Madrid in 1932); and that modernist room is none other than the Cine Doré, so one of the best known in Madrid and currently the oldest active cinema in Spain.

And above political plots and revolutions, of gallantry and fancies, what in the end really matters is wanting and being loved. Love: that wheel that moves the world.

Online and on the air

As it is usual, one of the functions will be broadcast live by streaming through from YouTube channel, the Facebook profile and the Theater's website. The date chosen this time is Wednesday 10 February at 8:00 p.m. (Spanish CET).

Likewise, one of the functions will be recorded by Classical Radio by Radio Televisión Española to broadcast in the near future.

Also on these days you can enjoy YouTube y Facebook of the conference taught by the musicologist Mª Luz González Peña and a new chapter of the series ‘Trip through the zarzuela’, this time focused on ‘Luisa Fernanda’ with Yolanda Auyanet, Juan Jesús Rodríguez and Davide Livermore as protagonists, Y, as usual, with surprise included.

Christmas Concert

He Teatro de la Zarzuela will say goodbye to 2020 –This year in which the pandemic has changed the way we live– tomorrow Wednesday 30 December at 20h00 with his traditional Christmas Concert. It will be a party dedicated to Spanish music, a our lyrical, what for more than a century and a half it has been the raison d'être of this coliseum. Want to enjoy our composers, of life and culture, not missing: tickets were sold out in record time.

The concert will be conducted by maestro Victor Pablo Pérez and will feature the participation of several of the most admired voices today, how are the soprano's Yolanda Auyanet and mezzosoprano Nancy Fabiola Herrera. In the gala the Holder Choir Teatro de la Zarzuela, which together with the Community of Madrid Orchestra (Holder Coliseum) will be added as every year to the celebration.

The program will range from works to Chueca and Valverde, Chapí, Guerrero, Breton, Barbieri O Serrano, to compositions Giménez, Sorozábal O Fernández Caballero, going through creations of Lleó and Calleja O Rubio. A whole catalog of masterpieces, where there will also be room for him carol or he spiritual, to wish a 2020 full of light and music. This time for sure.

Elmanojo-1

Elmanojo-2

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Elmanojo-4

Elmanojo-5

Elmanojo-6

 

The one with the bunch of roses
Pablo Sorozabal
Libreto by Francisco Ramos de Castro and Anselmo Cuadrado Carreño
Premiered at the Fuencarral Theater in Madrid, he 13 November 1934
Production of the Teatro de la Zarzuela
D. musical: Guillermo García Calvo
D. scene: Emilo Sagi
Scenography: Gerardo Trotti
Locker room: Pepa Ojanguren
Lighting: Eduardo Bravo
Choreography: Goyo Montero
Choreographic replacement: Nuria Castejón
Orchestra of the Community of Madrid Owner of the Teatro de la Zarzuela
Holder Choir Teatro de la Zarzuela
Director Antonio Fauró
Distribution: Ruth Iniesta, Carlos Alvarez, Stephen Vincent, David Pérez Bayona, Sylvia Parejo, Ángel Ruiz, Milagros Martin, Enrique Baquerizo, Cesar Sanchez, Eduardo Carranza, Joseba Pinela, Daniel Huerta, Alberto Rios, Francisco Jose Pardo, Rodrigo Alvarez, Alberto Camon, Roman Fernández-Cañadas, Francisco Jose Rivero.
Dancers-extras: Begoña Alvarez, Cristina Arias, Ariel carmona, Lara chaves, Emmanuel Chita, Sarah Croft, Maria Angeles Fernandez, Alberto Ferrero, Antonio Gomez, Rafael Lobeto, Maria Lopez, Helena Martin, Xavi Montesinos, Daniel Morillo, Luis Romero, Esther ruiz, Lara Sagastizabal, Nathan Segado, Rosa Zaragoza, premiered at the Fuencarral Theater 86 years, The bunch of roses reflects the modern Madrid of the thirties, with the most characteristic and novel modes and fashions of the time. The presence and importance of the role of women, represented by the characters of Asunción and Clarita, and a hilarious social critique that has not lost its relevance since then. This production by Emilio Sagi, that premiered in this theater three decades ago, It is also, the most traveled and represented in Spain. Has even arrived, and with great success, to the stages of Paris and Rome. But he has always had a special bond with him Teatro de la Zarzuela.The director of the Theater, Daniel Bianco, thinks that this production of Sagi marked a before and after in the scenography of the genre. It is certainly full of topicality, It is elegant and functional and represents that authentic and timeless Madrid that reflects any time and place in the city. An ordinary and real street in Madrid, as commissioned by Sagi from his set designer Gerardo Trotti, represents and welcomes all its characters, perfectly reflected and described by an ingenious and brilliant Pablo Sorozabal, great connoisseur of social reality and how to represent it through the character of its characters.

On stage everything flows with great naturalness and success. It is an entertaining and dynamic work. The numbers are interspersed like in a musical. Dances, dialogues, Duets and romances follow each other with a freshness that makes the two hours without a break short.

The musical director Guillermo García Calvo works miracles with the 23 teachers who may be in the pit. A pity not to be able to enjoy the whole orchestration, but the rigor of García Calvo at the head of the Orchestra knows how to generate the atmospheres that the work contains, which they are numerous, and fill the most intense moments experienced by the protagonists with lyricism.

The baritone Carlos Álvarez, that debuted with this production in 1990 with this same Joaquín character, he was the real dominator of the scene all night. You could tell that for him it was being a special moment, deep and evocative, that he managed to transmit to the public. The nobility of his song, his perfect diction and phrasing, his beautiful timbre and his mastery of drama made him the protagonist of the brightest moments. His interpretation of the romance "Madrileña bonita", led the public to insistently request an encore that refused, but what would have been justice. Got the biggest applause of the night, deservedly.

The Aragonese soprano Ruth Iniesta debuted the role of Ascensión, after having been Clarita in this same theater. The evolution of his voice is undoubted. Has gained in volume and musicality and, although it lacks a bit of naturalness in the interpretation, his Ascension rose to the occasion.

La Clarita by Sylvia Parejo was full of freshness and self-confidence. His time in the musical theater is noted for his good acting skills. He made a good couple with David Pérez Bayona, a correct hood, something less loose on stage. They both come from the Zarza Project, how good results is it giving.

The most endearing character and that, although sometimes it seems, it's not over-acted, but adjusted, It is the Espasa of Ángel Ruíz. His extraordinary diction, necessary to understand his string of absurd words, and his tables on stage, make this character one of the most original ones.

The rest of the tablets were at great height. The experienced and well-versed Enrique Baquerizo, as Don Daniel and Milagros Martín, as Doña Mariana, They have a professionalism and good work that are a guarantee for this theater and for the genre. Very good also Ricardo de Vicenç Esteve, the other suitor of Ascension, who preferred to dedicate himself to aviation.

A special night at the Teatro de la Zarzuela, one more. With some singers and an audience with feelings on the surface, for the special moment that we are living and why is Madrid the only European city where you can have this type of emotions. Lucky we are.
Text: Paloma Sanz
pictures: Javier del Real

Granada-1

Granada-2

Granada-3

Granada-4

Granada-5

Granada-6

Granada
La vida breve and La Tempranica La Tempranica
Music: Gerónimo Giménez
dialogues: Alberto Cronejo
Sung: Julian Romea
Musical adaptation: Miguel Ortega
D. musical: Miguel Ángel Gómez Martínez
D. scene: Giancarlo del Monaco
Scenography: William Orlandi
Locker room: Jesus Ruiz
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
D. choir: Antonio Faur
Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón, Miguel Sola, Ricardo Muniz, Andres Merino, Maria Luisa Corbacho, Jesus Mendez, Alicia Martinez, Felipe Nieto, Thais Martin of War, Jesus Castejon, Carlos Hipólito and Juan Matute
Orchestra and Choir of the Community of Madrid

La vida breve
Music: Manuel de Falla
record: Carlos Fernández Shaw
D. musical: Miguel Ángel Gómez Martínez
D. scene and scenery: Giancarlo del Monaco
Lighting: Vinivio Cheli
Lighting: Vinivio Cheli
Text version: Alberto cornejo
Ainhoa ​​Arteta, Jorge de León, Maria Luisa Corbacho, Rubén Amoretti, Anna Gomá, Gerardo Bullón, Jesus Mendez, Gustavo Peña, Rafael Aguirre, Milagros Poblador, Paula alonso, PAtricia Illera, Francisco Diaz

Granada is a show that arises from the union of two works, short life, by Manuel de Falla and La Tempranica, Geronimo Gimenez. Two plays that share the setting of the city of Granada and the love dramas of its protagonists. Two teachers who admired each other and who did not know each other. But the magic of theater and Alberto Cornejo have brought the two composers together on stage, represented by Jesús Castejón and Carlos Hipólito.

The covid, that occupies everything, has been responsible for the Teatro de la Zarzuela having to separate the two works that make up Granada, The short life and La Tempranica, and offer them on alternate days to avoid intermission and shorten the time spent in the theater.

This has also involved an adaptation effort. The short life requires an orchestra of 96 teachers. Something impossible in the small pit of the Teatro de la Zarzuela right now, Well, the distances between musicians could not be maintained. In June, a solution to the situation that arose began to be sought. They spoke to the president of the Falla Foundation, Elena Garcia de Paredes, who showed his doubts about the possibility of representing the work with just 24 teachers. He agreed with three conditions, that it be done as it was originally written, that the adaptation was made by maestro Gómez Martínez and that it could only be premiered in this theater and under these circumstances.

The teacher Gómez Martínez got down to work. Rewrote the entire score, by hand, in record time. The templates that the Falla itself used for its representations in small places have been respected. And the end result is magnificent, taking into account the drastic reduction of personnel, Falla's music hardly loses spectacularity and the orchestra, although reduced, knows how to extract, by the hand of Gómez Martínez, all the musicality of the original score.

When Daniel Bianco got in touch with Giancarlo Del Monaco, he did not know La Tempranica. It was found, Besides, that there were no recordings of this work. Which explains a certain disconnection of La Tempranica with its scenography. Not so with La vida breve, to which the pomegranate color suits her very well. As much as the lighting of Vinicio Cheli. Both sets share simplicity of elements, just a few panels that move, But they are, like almost everything in Del Monaco, elegant and suggestive. Scenographies focused on the psychological aspects of the two protagonists, in their suffering and love disappointments. But it is La vida breve the one that comes out the best in Del Monaco's stylistic cast.

The spectacular cast of voices of La vida breve does not disappoint. Ainhoa ​​Arteta is in good shape, both vocally and in the interpretive part. He resolved with skill and ease the high tessitura in which the character of Salud develops. It maintains its beautiful timbre and a stage presence that captivated an audience that gave it a long standing ovation..

Jorge de León was the ungrateful, briefly, Paco's role. He hardly intervenes in the work, but he composed a perfectly despicable character, as it should be, and left some notes on the quality of his voice.

María Luisa Corbacho wore a voice volume that allowed her to be heard from the back of the stage as if she were wearing a tie. With a powerful central zone and a dramatization in the phrasing that saved his stillness on stage.

More expressive on stage was Rubén Amoretti. It is always a guarantee in any role and circumstance and it excelled in both roles, both in Don Luis de La Teampranica and in the more dramatic one of Uncle Salvador, from The Short Life.

The first consequence of having to separate the two representations is the lack of continuity of the show. That, together with the fact of having eliminated many of the most traditional texts and passages of La Tempranica, They have managed to make this piece in solitude a bit helpless. I guess this reduction is also due to its adaptation to the moment, but I'm afraid they have mutilated her too much. It was noticeable even in the interpreters. Although the good trade is to be praised, not only from the singers Ana Ibarra, Javier Franco, Ruth González, Gustavo Peña, Gerardo Bullón or Miguel Solá, among others, but of the actors Jesús Castejón, Carlos Hipólito and Juan Matute, that served as a common thread through Alberto Cornejo's dialogues.

Text: Paloma Sanz
pictures: Javier del Real

Doña Francisquita

The production of Zarzuela Theater ‘Doña Francisquita’ directed and adapted by Lluís Pasqual, has been awarded today with the Max Award for Performing Arts for the best Musical or Lyric show, in the XXIII edition of the contest promoted by the SGAE Foundation that has been held in the Teatro Cervantes de Málaga.

This montage of the work of Amadeo Vives, considered one of the brightest scores in our musical heritage, It was premiered at the Coliseum in Plazuela de Jovellanos in May 2019 and co-produced with the Gran Teatre del Liceu y the Lausanne Opera. the libretto, from Federico Romero Y Guillermo Fernández-Shaw, is inspired by ‘La discreta enamorada’ by Lope de Vega and has been adapted for this version by Pasqual himself.

The stage manager states that the zarzuela is in itself a happy episode: the audience goes to the theater with good humor, and usually leaves the room with a generous smile. Hence, its principle and purpose is to anoint every detail of that spirit of joy Y happy emotions, leaving also, as usual in their jobs, a useful space for reflection.

At its premiere in Madrid, teacher Oliver Diaz was in charge of the Musical direction in front of the Community of Madrid Orchestra (Titular del Teatro). The cast, who shared the scene with him Holder Choir Teatro de la Zarzuela, had two special collaborations of height: that of the immense mistress of castanets Lucero Tena and the actor's Gonzalo de castro. The casts were integrated, mostly, by common voices in the most important lyrical venues such as sopranos Sabina Puértolas Y Sonia de Munck, tenors Ismael Jordi Y José Luis Sola, the mezzosopranos Ana Ibarra Y Maria Rodriguez, tenors Stephen Vincent Y Jorge Rodríguez-Norton, mezzosoprano María José Suárez or the baritones Santos Ariño Y Antonio Torres. They also participated 12 dancers Y 12 actors, completing the cast of this lyrical comedy in three acts and five-way love.

The scenery and costumes are signed by Alejandro Andújar, lighting by Pascal Mera, the choreography is by Nuria Castejón and the audiovisual design of Celeste Carrasco. Likewise, the functions intervened Rondalla Lírica de Madrid «Manuel Gil».

Those who have not yet been able to enjoy this ‘Doña Francisquita’, have the opportunity to do so in the accounts of YouTube Y Facebook of the theater.

A great Classic

What ‘Doña Francisquita’ is one of our great lyrical classics there is no one who doubts it. A about to turn one hundred (will do it in 2023), To date, great productions have been seen on the stage of the Teatro de la Zarzuela where he arrived for the first time in 1924, with the same production of the premiere four months earlier at the neighboring Apolo Theater, signed by Manuel Fontanals, and with almost identical cast. Since then, the work of Amadeo Vives has been represented on numerous occasions in this venue.

In 1934, ‘Doña Francisquita’ had already become a lyric comedy in three acts on the stage of the Monte Carlo Opera, and shortly after in a grand spectacle operetta in the Royal Theater of the Currency of Brussels, stop in 1954 become a Game from Spain at the Volksoper in Vienna. The international Francisquita!

That was precisely the reason why in 1956 was the title selected for the gala to reopen the theater of the Zarzuela Theater with stage director Jose Tamayo. In 1972 I would go back up to these tables again by the hand of Tamayo, although with a new scenic proposal aimed at the public of Madrid. But 1985 it was really an exceptional year for ‘Doña Francisquita’ at the Teatro de la Zarzuela: the stage version of José Luis Alonso traveled to the Belgian cities of Antwerp and Ghent —In the framework of the Europalia Cultural Festival 85: Spain— and returned to this same scene in the Plazuela de Jovellanos with the National Ballet of Spain that premiered it as a dance show, with Vives music, arrangements by Antón García Abril and choreography by Alberto Lorca.

In 1998 ‘Doña Francisquita’ was in Buenos Aires and Washington DC with a spectacular new co-production of the Teatro de la Zarzuela directed by Emilio Sagi. And in 2019 returned to Madrid with this new scenic proposal directed by Lluís Pasqual, who then successfully traveled to Barcelona and Lausanne, montage co-producers.

Spanish Cinema and Film Library

He Teatro de la Zarzuela and the Spanish Film Library signed on the occasion of this production a collaboration agreement for the restoration of the film ‘Doña Francisquita’ by Hans Behrendt (1934). It is the first time that both institutions come together to tackle a joint project of recovery of Spanish cultural heritage, in this case cinematographic and musical. Some of the fragments of said feature film are part of the award-winning production today.

In 1992 The Spanish Film Library found at the bottom of the Cinémathèque Française in Paris an image and sound negative of a movie so far gone; it was about Doña Francisquita (1934), by German director Hans Behrendt, produced by the Iberian Films company at the CEA Studios in Madrid. In 1993 is achieved, as an exchange between both organizations, That send the copy to Madrid for restoration. It was first physically restored and then, between 1995 Y 1996, they were made new jobs with the Polisitem Laboratory in Barcelona: duplicate image negative, the sound negative and a standard copy. Y in 2018 the Teatro de la Zarzuela collaborates with the Spanish Film Library in the production of a new digital copy.

The movie, shot entirely in Madrid in the year 34 with Raquel Rodrigo (Francisquita), Fernando Cortes (Fernando), Matilde Vazquez (Aurora) Y Antonio Palacios (Cardona) in the cast, is a important example of the talkies of the republican period in Spain. He promoter of the original project was the son of Amadeo Vives, Jose Vives Giner, who served as artistic supervisor of this adaptation of the popular zarzuela.

For your second film version ‘Doña Francisquita’ will dress in colors and fantasy —With the new Cinefotocolor- from the hand of another exiled director, hungarian Ladislao Vajda, in 1952. The cast is made up Mirtha Legrand (Francisquita), Armando Calvo (Fernando), Emma Penella (Aurora) Y Antonio Casal (Cardona). This time the film will reach the screens of the Cannes film festival as Masquerade of Love in 1953.

https://teatrodelazarzuela.mcu.es/es/

Photograph: Javier del Real

Teatro de la Zarzuela

The Theater's wish is that this new season be a long-awaited reunion: a great collective hug from the public with the artists.

They will be presented 9 musical theater titles, 4 recoveries lyrical heritage, 5 large repertoire productions and 6 new productions

They offer 173 functions, a 50% more since the arrival of Daniel Bianco to the direction

All shows canceled by the pandemic have been rescheduled

  • One of the main lines of programming is the figure of women in Spanish music, dedicating entirely to the Spanish composers the cycle Chamber Sundays Women with Ñ, the recital of "Notes of the Ambigú" Zarzuela in feminine and the concert of Women of Music, by Sole Giménez
  • He Strengthened Zarza Project -zarzuela made by young people for young people will again be one of the jewels of the season, and the didactic projects suppose already more than 20% programming
  • He Concerts cycle increases its offer with 13 proposals of some of the most outstanding voices and instrumentalists of the lyric, he flamenco, he pop or popular music
  • Recitals cycle 'Notes ambigú', which continues to sell all entries, offers 12 recitals, one more than last season and more than double which in its first edition
  • They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM
  • Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

 

 

He Teatro de la Zarzuela presents Season 2020/2021 whose 173 functions suppose a increased 50% since what Daniel Bianco He would stop at the Coliseum on Madrid's Jovellanos street in 2015. Regarding the new reality that inevitably stems from the health crisis, the theater director is optimistic, confident in the future and says "yes, son very difficult times, but here we are to present a season that makes them brighter”. A season that, in his words, "He pretends to be a big hug to offer us that warmth in the heart that always ignites Spanish music ”.

And despite the optimism, the manager does not stop being cautious, because this is imposed by the complex circumstances that we must face: "Beyond our illusion and our desire, we have chosen the path of prudence, that she is a better counselor than haste ”. In this sense, stresses that he sincerely believes that “facing a future with optimism, illusion and prudence paves the way and somehow dissipates their difficulties no matter how great they are. ”

White, who has always been a staunch defender of public theater, Maintains that, as such, "This is our first responsibility and our priority commitment: that prudence is what the theater opens the day 1 October with the start of this new season, thus guaranteeing the strict compliance with all the recommendations and standards that protect us from the coronavirus. ” And it is categorical when insisting that "we must have all guarantees not only to be able to offer shows of the highest excellence, but also the protection for our artists, to our workers and our public at any risk ”.

Rescheduled shows

Another of the great concerns of the director of La Zarzuela is recover all those shows that could not be held due to the pandemic. Thus, from the zarzuela theater, "In order to mitigate the enormous impact of this mandatory stoppage", and following the guidelines of INAEM and its general director, Miguel's Amaya, all canceled shows have been rescheduled. Some can be enjoyed in the season presented today, and others will resume in future seasons already committed.

"The objective is protect our artists and offer them a horizon of hope why no one can be left behind”, explica Daniel White, who adds that "we are very happy to have achieved it, and all thanks to the fact that we are a public theater. ”

Online theater

In reference to the intense online activity from the world of culture in general and theaters in particular, say what "this terrible virus has attacked in its very essence the theatrical event. It has hurt its root, his reason for being ”, and in consequence, think, "The theater has sought a resource, a crack to break through the online broadcasts ". According to your opinion, “is grateful for this possibility that technology gives us, but the theater is much more, it is an unrepeatable act, it is that fleeting moment in which the artist's life is combined with that of the public. The music and the scene –Continues– only flourish with human contact and its miracle is present when the public and artists share the same rhythm, the same song, the same dream and the same breath. ”

And that the numbers registered in the social networks of the Teatro de la Zarzuela in the period of confinement are not negligible: in Facebook It has been a growth of 17,85% in the number of followers with a total of 1.800.000 impressions and 485.883 video views. In Twitter the rise has been 8,87% and the scope of 784.500 impressions; in YouTube impressions have been 965.440 and the rise in subscribers of the 110% (the main consumption of the channel was the complete zarzuelas available, as well as previously broadcast live concerts). By last, through Instagram the Theater has reached 422.870 users.

The season

The season 2020/2021, whose first lyric title will be presented on 1 October and will run until 18 of July, presents 9 musical theater titles, 4 lyrical heritage recoveries –‘Marianela ’, ‘Las calatravas’, ‘Benamor’ and ‘The Three Gobbi’–, 5 productions of great repertoire -‘La tempranica’, ‘The short life’, ‘The one with the bunch of roses’, ‘Luisa Fernanda’ and ‘The King Who Raged’Y 6 new productions -‘La tempranica’, 'Luisa Fernanda', ‘Loves at Zarza’, ‘Benamor’, ‘The King Who Raged’ and ‘I Tre Gobbi’–.

Likewise, the concert cycle grows so much (with 13 proposals) like the Notes from the Ambigu (with 12 recitals) and the Chamber Sundays cycle starring musicians from the Titular Theater orchestra, BARREL. Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

He will start the season with 14 show functions ‘Granada’, that gathers and unites two titles especially representative of our lyrics: On the one hand ‘La tempranica’, zarzuela in an act of Gerónimo Giménez in a new production of the Teatro de la Zarzuela, and on the other, that lyrical drama that is ‘The Brief Life’ from Manuel de Falla in a production Palau de les Arts Reina Sofia in Valencia. The two titles have a lot in common: A love story, Granada as a landscape and that ‘La vida breve’ looked at itself in the mirror of temp La tempranica ’because of the admiration that Falla professed for Giménez. The playwright's text Alberto Conejero tells the story of La Tempranica through three imaginary encounters of the two composers throughout their lives. Both stage proposals are signed by Giancarlo del Monaco, and they will have Miguel Angel Gómez-Martínez in musical direction, scenery William Orlandi, wardrobe Jesus Ruiz and a elencos headed Nancy Fabiola Herrera, Ainhoa ​​Arteta, Ana Ibarra, Virginia Tola, Rubén Amoretti, Javier Franco, Jorge de León O Francesco Pio Galasso; ‘Granada’ it will be playing of the 1 al 18 October.

After this singular start, it will be the turn for the replacement of one of the most successful productions in the contemporary history of the Teatro de la plazuela de Jovellanos: the production of ‘The one with the bunch of Roses’ devised by Emilio Sagi in 1990, what supposed (among many other joys) the stellar debut and discovery of that unique singer who is Carlos Alvarez. For commemorate 30 years gone by since then, the Malaga baritone himself will play the character of Joaquín in 6 of the 12 functions of the incontestable lyrical sainete of Pablo Sorozábal, scheduled of the 10 al 22 of November; with the musical director of the Theater, Guillermo García Calvo on the podium of the pit, the cast, as well as with arlos Álvarez, It will have, among others, Ruth Iniesta, Raquel Lojendio, Gabriel Bermúdez, Stephen Vincent, Enrique Baquerizo O Ángel Ruiz. The scenery is Gerardo Trotti and costumes Pepa Ojanguren.

The days 27 Y 29 of November the public can enjoy ‘Marianela’, the opera in three acts of Jaime Pahissa premiered at the Gran Teatre del Liceu in 1923, whose script is an adaptation of the play written by Serafín and Joaquín Álvarez Quintero based on the famous novel of the same name by Benito Pérez Galdós, precisely in this year in which the centenary of the death of the canarian and universal writer occurred in Madrid when he was counting 76 years. Today's fan will face for the first time this more than interesting title that, like so many others, fell into the most unfair of forgetfulness and that comes in concert version. Jaime Pahissa, belongs to that generation of musicians who, despite its quality, have been practically forgotten. Like so many others, had to leave Spain during the Civil War, and in his case the destination was Argentina. Oliver Diaz assume the musical direction, and the cast will be composed of Adriana González, Paola Leguizamón, Alejandro Roy, Luis Cansino, Simon Orfila, Luis Méndez Silvagnoli Y María José Suárez.

Then, the stage will revive Madrid in the mid-19th century (also that Extremadura that closes the story) to welcome the comings and goings of one of the undisputed masterpieces of our lyrics: 'Luisa Fernanda' from Federico Moreno Torroba, with a script by one of the most prolific couples, successful and enlightened genre, as they are Federico Romero Y Guillermo Fernández-Shaw. Initially scheduled for the Season 2019/2020, finally had to be postponed due to health crisis. The premiere of this new production promises to be quite an event, and more if one takes into account that the Teatro de la Zarzuela and this play have been closely linked since 1934, two years after its premiere at the Teatro Calderón in Madrid. Musically directed by Karel Mark Chichon Y David Gomez-Ramirez, Another of the many attractions of this project is the vision that the Turin stage director will give of this popular and beloved play. Davide Livermore. The scenery is Giò Forma and costumes Mariana Fracasso. Yolanda Auyanet, Maite Alberola, Jorge de León, Alejandro del Cerro, Juan Jesus Rodriguez, Javier Franco, Rocío Ignacio or Leonor Bonilla are some of the voices that make up a double cast of absolute bells. The 14 scheduled functions will go of the 28 January to 14 February.

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, as it happened in the previous season, a second title will be recovered in concert version. In this new time will be ‘Las calatravas’, lyrical comedy in three acts of Pablo Luna. It will be directed musically by Guillermo García Calvo, with a cast made up Miren Urbieta-Vega, Lola Casariego, Lucia Tavira, David Menendez, Andeka Gorrotxategi or Carlos Cosías and with the young playwright and actor Paco Gamez adapting the libretto by Federico Romero and José Tellaeche in narrative form. two passes will be offered, he 12 and the 14 of March.

The opportunity to see and hear will be cause for celebration ‘Benamor’. The Recovery of this operetta in three acts of Pablo Luna (whose masterful music is one of the indisputable protagonists of the season), complete what is known as the "oriental trilogy" next to ‘The Amazement of Damascus’ and ‘The Jewish Child’. Libretto by Antonio Paso Y Ricardo González del Toro, this time in a version of Enrique Viana which also assumes the stage direction, the play that premiered at the same Teatro de la Zarzuela now 97 years will have among the many values ​​of this new production the baton of José Miguel Pérez-Sierra, the scenery of Daniel Bianco, your wardrobe Gabriela Salaverri or the choreography of Nuria Castejón, in addition to a bright double cast with Vanessa Goikoetxea, Susana Cordón, Carol Garcia, Cristina Faus, Damian del Castillo, César San Marín, Gerardo Bullón, Irene Palazón, Amelia Font, Gerardo López, Francisco Javier Sánchez, Emilio Sánchez and himself Enrique Viana. They will ten functions of the 14 al 25 of April.

If it is necessary to highlight the best and most influential composers of the zarzuela genre, in all the lists without exception the name of Ruperto Chapí. The stage of the Teatro de la Zarzuela will once again host a new production of 'The king who raged' 130 years after its premiere on these same tables. Emotion is served, pure Chapí (that dominating monster equal parts of the theatrical and musical to the point of turning his creations into an explosive all-stage) and a satirical script of Miguel Ramos Carrión and Vital Aza with veiled allusions and not so much to the Spain of the moment, that exposes the reasons why the zarzuela audience so often leaves the room with a bright smile. It will be hard to wait a whole year to have the opportunity to enjoy the leftover charms of this title, and more if the artistic team is made up of names such as that of the maestro Ivan Lopez Reynoso –Who several seasons ago conducted the Zarzuela concert of Javier Camarena–, Barbara Lluch, the stage director who made the operatic miracle of ‘La casa de Bernarda Alba’ possible - with music and direction by Miquel Ortega and winner of the Opera XXI Award for best opera production of the season 2018/2019–, that of the set designer Juan Guillermo Nova, that of the figurine maker Clara Peluffo or that of the master of enlightening masters Vinicio Cheli. The double cast also has no waste: Enrique Ferrer, Jorge Rodríguez-Norton, Rocío Ignacio, Sofia Esparza, María José Suárez, Carlos Chausson, Miguel Sola, José Manuel Zapara, Carlos Cosías, Igor Peral O José Julián Frontal. They will 14 functions of the 3 al 20 of June.

With the introduction of these 8 theater titles will remain unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success obtained in its first four seasons (the latter irreparably diminished by the pandemic), he CONCERT SERIES in the main hall increases its offer, and proposes 13 concerts with some of the leading voices of lyric, the popular song, he flamenco and the pop. Among the proposals, It includes the concerts that in this course could not be held due to the health crisis: this is precisely the case of the Maria Bayo. ‘Baroque echoes’, in which the always surprising and charismatic Navarrese soprano will present a program that goes from José de Nebra, Sebastian Duron Emanuele Ricón Astorga, hasta Alessandro Scarlatti, Antonio Lotti, Handel o Vivaldi, accompanied by the baroque orchestra On the eve Arnado (27 of September); Celso Albelo, Tenor of poignant highs and admirable projection, in this concert the public will be able to discover, Besides, one of its most unknown facets. And is that this Tenerife born and convinced, will alternate a program of immortal zarzuela romances with traditional songs from his venerated land (5 October); singer Sole Giménez presents ‘Women of Music’, project that brings together great songs composed and written by women with the intention of making women's work in the world of music visible (6 October); the tenor Ismael Jordi, one of our most international singers, guest in the most important opera houses in Europe, will celebrate with this concert their 20 year career reviewing some of the great titles of our lyrical heritage and will be accompanied on the piano by Rubén Fernández Aguirre (28 of November); Rodrigo Cuevas is one of the artists with the greatest impact in recent years in the field of popular music that, with its groundbreaking and cutting-edge concept of folklore, combines the popular of yesterday and today, rural and urban. This time, his show ‘Barbián’ will change folklore for zarzuela (30 of November); the traditional Christmas Concert, with the teacher Victor Pablo Pérez as musical director, who will accompany the soprano Yolanda Auyanet and mezzosoprano Nancy Fabiola Herrera (30 from December); Amancio Prada. ‘Voices and footprints’, an anthological recital that shows the wide and varied horizon of Spanish poetry of all time. Encounter and revelation of the traces and voices that beat in their own song and that according to the interpreter have braided the thread of their artist life (2 February); In 'Navarra is music ’, soprano Sabina Puértolas, mezzosoprano Maite Beaumont and tenor José Luis Sola, accompanied by the pianist Rubén Fernández Aguirre, They will lead the audience on an intense and profound journey through the music of that prolific land. (13 of March); Saioa Hernández and Francesco Pio Galasso, accompanied by pianist Vincenzo Scalera: the soprano baptized by her teacher Montserra Caballé as "the diva of the XXI century", He returns with the Italian tenor to the Teatro de la Zarzuela after his debut on this stage with ‘El Gato Montés’ in 2012 and the resounding success of ‘Curro Vargas’ in 2014, and it does so after having carved out a high-rise international career embodying the leading figures of opera in the most relevant theaters in the world (28 of March); Argentina. ‘The artist's life’: from his conception of flamenco and the possibilities that this art allows, from joy to melancholy, going through other states of infinite depth, Argentina vindicates art and the true artist in a hard time. In this project sister flamenco, the song, Fado, the tango, theater, the painting, the literature, classical music and in this concert, Besides, also the zarzuela (20 of April); Sonya Yoncheva, with musical direction Miquel Ortega: the bulgarian soprano, one of the most acclaimed voices currently by international critics and audiences from the most famous opera venues in the world, has developed an intrepid and successful artistic itinerary embodying the main and riskiest opera characters, from Baroque to Verism. With this concert, Yoncheva debuta en este teatro, only one in the world, Y adds the Zarzuela Grande to its exquisite repertoire thus highlighting the growing attraction and recognition that our lyrical genre arouses outside our borders (29 of April); Joaquín Achúcarro: the universal pianist celebrates at the Teatro de la Zarzuela the 75 year career elapsed since his debut as a soloist as a child of 13 years (8 of May); Lucero Tena and Xavier de Maistre: two masters come together in this concert to delight us with some of the most beautiful pearls of Spanish music. With the passionate and bizarre sound of castanets, in irresistible conversation with the sweet and evocative sound of the harp (23 of May).

Since its inception, four seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign 'sold out'. That is one of the reasons why in the next season continue offering more than double of recitals that at the beginning of the cycle: this time the protagonists will be the guitarist Ricardo Gallén with 'Romantic Guitar' (12 October), soprano Raquel Lojendio and pianist Rubén Fernández Aguirre that pay tribute to Lorenzo Palomo, one of our most international composers (20 October), baroque set the Retreat directed by cellist Josetxu Obregón with 'The Spiritillo Brando' (1 of November), he trio Arbós with the third installment of 'Chamber music' (9 of November), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, that offer a concert dedicated to the pulsating and imperishable music of the maestro Jose Padilla (24 of November), soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences that profane and sacred music exerted on each other in times when theatrical performances, formerly attached to the liturgical field, they began to take on a more profane character for, little by little, leave ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day. The Teatro de la Zarzuela wants to give visibility to the women who, despite the difficulties in doing so and the ingratitude of oblivion, they dedicated themselves to the composition of

zarzuelas and spanish music (8 of March), Shiggaion. Music found, unknown works representative of the Spanish baroque, more specifically from the Valencian school of sacred music. This is the lamentations of the Prophet Jeremías composed by the prolific chapel master of the Cathedral of Valencia, Pasqual Fuentes and Alcàsser (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will honor those artists, musicians and lyricists who, from across the Atlantic, they seduced and inspired him as part of his life and his artistic baggage in ‘Tribute to Iberoamerica’ (15 of June).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ with soloists from the Community of Madrid Orchestra, Theater Titular Orchestra, and dedicated exclusively Spanish music, bursts forth with strength and personality into his second season. The cycle is dedicated this time to music composed by women. For the Teatro de la Zarzuela, it is important to give visibility to women composers who rarely obtained the deserved recognition for their musical work and whose works have remained ingratitude of oblivion.. With this, the Theater wants to value some of our composers of the XX and XXI centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others. The five appointments of this edition will be: 'Crossed looks' (18 October), ‘Contemporary images’ (15 of November), ‘Christmas with Ñ’ (20 from December), ‘Modern and classic’ (14 of March) Y ‘Make the Americas’ (6 of June). As the Theater understands that this repair should not only focus on history, but also today, the cycle will host four absolute premieres of students of the Royal Conservatory of Music of Madrid: Laura de las Heras, Miriam Sanz Ortega, Amanda Garrido and Sofia Sainz.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVII edition with 10 recitals: baritone Florian Boesch (28 of September), soprano Juliane Banse (13 October), soprano Sabine Devieilhe (16 of November), the tenor Matthew Polenzani (14 from December), baritone Florian Boesch (25 from January) baritone Christian Gerhaher (8 February), countertenor Bejun Mehta (15 of March), the tenor Christoph Prégardien (12 of April), soprano Nuria Rial (17 of May) and again the barirono Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last four seasons in ten years: from 69 a 59 years.

In the new Season a total of 36 functions between the three shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 spectators between 12 Y 18 years, who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others 90.000 that they were able to see them through ‘streaming’. How could it be otherwise, In the season 2020/2021 the project returns strongly and renewed: It will present the new production of the Theater ‘Loves at Zarza’, with music Pablo Sorozábal, Gerónimo Giménez, Federico Chueca, Ruperto Chapí O José Serrano, among other great composers of our genre. The text will be by the novelist and playwright Nando Lopez, that this season he signed the version of 'Water, Sugar and brandy ’. With stage director Rita Cosentino, musical of Miquel Ortega, scenery and costumes of Elisa Sanz, lighting Juanjo Llorens and choreography Nuria Castejón, the cast will be formed, as it happened with the previous titles, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 13 functions, four of them open to the general public, They will be offered of the 26 February to 5 March 2021.

In the season 2020/2021 will be presented, Likewise, a participatory didactic show "intergenerational and interactive" that under the title ‘From Z to A’ It has been devised to bring the Zarzuela closer to an audience not accustomed to the genre, from the connection between the musical memory of the grandparents and the audiovisual languages ​​and aesthetics of the grandchildren. This production of Diabolus in Musica It is a show in which each function will be unique, unlike any other for its participatory nature, in which the involvement and interaction of the public will determine its development.

And the educational projects stand out once again because, thanks to them, he Ambigú del Teatro has for the fourth consecutive year the function of a show space. After two exciting deliveries 'Lost in Bosco' and the overwhelming success of 'The incredible story of Juan Latino', will return to our Ambigú puppetry with live music. The proposal will be the replacement of this last title, co-produced by the Claroscvro Theater and Company, after the 1.800 children between 6 Y 10 years that last January they filled day after day their 18 functions. This time they will be others 18 functions (four of them open to the public) of the 9 al 19 of January of 2021.

Also framed in educational projects, stage director José Carlos Plaza, which name, synonymous with theater capitals, it is so important for this Teatro de la Zarzuela, will offer master classes this generation of Spanish singers who need a master of the scene to complete their training. Of the 6 al 13 October 2020. The last session will be held open to the public in the main hall of the Theater.

DANCE

Next season will be starring dance through the two national companies: The National Dance Company will present a new production of ‘Giselle’ choreographed and directed by its artistic director Joaquin de Luz from the original of Jules Perrot and Jean Coralli about the music of Adolphe-Charles Adam. It will have the musical direction of Oliver Diaz, dramaturgy of Borja Ortiz Gondra, scenery Ana Garay, wardrobe Rosa García Andújar and lighting and audiovisuals of Pedro Chamizo. They will twelve functions 9 al 22 from December. Meanwhile, he National Ballet of Spain arrives with the ABSOLUTE PREMIERE from ‘The beautiful Otero’, with music Manuel Busto, Alejandro Cruz, Ruben Diaz Y Augustine Diassera, choreography and stage direction of the director of the Company, Ruben Olmo, own musical direction Manuel Busto, dramaturgy of Gregor Acuna-Pohl, scenery Eduardo Moreno, wardrobe Yaiza Pinillos and lighting Juan Gómez-Cornejo. They will ten functions of the 7 al 18 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 10 al 18 of January of 2021 the seven functions will be presented (three of them schoolchildren) from 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, with a libretto by the Sevillian musician of the 18th century based on the intermission of Carlo Goldoni. It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Paul Minor, your wardrobe Ikerne Giménez and the cast make it up Serena Saenz, David Alegret, David Oller Y Javier words. As usual, The representations will be at the Fundación Juan March.

Behind the scenes

Given the prolonged situation of confinement, he Teatro de la Zarzuela has promoted its offer and activity on its social networks to maintain continuous contact with fans and artists, and to contribute to the dissemination of culture in these times when it becomes even more necessary. Under the name ‘Behind the scenes at the Teatro de la Zarzuela’, from tomorrow Tuesday, 5 of May (19h00), the Jovellanos square coliseum will start a series of meetings between its director, Daniel Bianco, and different music and theater professionals. The first guest behind the scenes of the historic Theater: stage director Emilio Sagi.

In this first week the choreographer Nuria Castejón will also talk to Bianco (Wednesday 6), the baritone Luis Cansino (Thursday 7) -recent creator of the ALE Union of Lyrical Artists for the defense of the sector- and the conductor Guillermo García Calvo (Friday 8), musical director of the theater from the past 1 from January.

Among the attractions of the network proposal of the Teatro de la Zarzuela is the possibility of enjoying it on its YouTube and Facebook channels, in open and in high definition, of the productions released in the theater since June 2018. Added to this are the dozens of Theater titles included in the Theater Library of the Documentation Center for Performing Arts and Music (CDAEM).

Both institutions belong to the National Institute of Performing Arts and Music, INAEM, of the Ministry of Culture, that under the hashtag #LaCulturaEnTuCasa these days promotes the dissemination of numerous and very diverse proposals for their enjoyment in homes.

Instagram @teatrodelazarzuela

YouTube https://www.youtube.com/playlist?list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-

Facebook https://m.facebook.com / TeatroZarzuela /?locale2=es_ES

Theater http://theater.teatro.es/opac/#indice

He World Theater Day, so long awaited by amateur and professional performing arts, It has this year to look new forms of celebration. We must inescapably stay at home, but still, no longer Friday. This can be, so, more appropriate day to sit back and indulge in enjoy the productions that the Teatro de la Zarzuela in Madrid offers open through your YouTube channel and your Facebook account.

From ‘Katiuska’ from Pablo Sorozábal with Ainhoa ​​Arteta, Carlos Alvarez and Jorge de León, a 'Bernarda Alba's house' from Miquel Ortega, awarded the Opera XXI Award for best opera production of the season 2018/2019; the successful 'Cecilia Valdés' from Gonzalo Roig, first Cuban zarzuela It presented in the coliseum of plazuela de Jovellanos in their 163 years of history, unanimously praised the The barberillo Lavapies' from Barbieri with the dazzling staging of the National Prize Alfredo Sanzol, or homage to a large group of our most celebrated singers They surrendered to Montserrat Caballé to open the season. The day, definitely, It will become much more bearable.

This is the Full list of titles (ranging June 2018 to present) and links:

– 24 HOURS LYING of Francisco Alonso (July 2018)

https://www.youtube.com/watch?v = QwL50X68YkQ&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=11&t=703s

– Katiuska de Pablo Sorozábal (October of 2018)

https://www.youtube.com/watch?= the uOybl5IJLa8&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=10&t = 0s

– The House of Bernarda Alba Miquel Ortega (November 2018)

https://www.youtube.com/watch?v = z0MWgv-CNcc&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=9&t=5249s

– A Midsummer Night's Dream Joaquin Gaztambide (February of 2019)

https://www.youtube.com/watch?v = FsjBueP1uyE&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=7&t=2509s

– La verbena de la Paloma Thomas Breton (March of 2019). Zarza project - Zarzuela made by and for young people

https://www.youtube.com/watch?v = VhwDGRh6NBQ&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=8&t = 0s

– THE Barberillo Asenjo Barbieri LAVAPIÉS Francisco (April 2019)

https://www.youtube.com/watch?v = 9K-Jfx0HNfE&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=6&t=1272s

– DONA FRANCISQUITA Amadeo Vives (May of 2019)

https://www.youtube.com/watch?= the MZ9hgW6mIL4&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=5&t=6712s

– TRIBUTE TO MONTSERRAT CABALLE, Lyrical Gala (September 2019)

https://www.youtube.com/watch?= the iDVjcKhJmMU&list=PLGLWpLsLZlD0DY_me_u3zPxXi5DD3eeZB&index=2&t=2741s

– The village of Jesus Guridi (October of 2019)

https://www.youtube.com/watch?v = Go_5nLTSLyY&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=3

– Three hats of Ricardo Llorca (November 2019)

https://www.youtube.com/watch?v = KJL2dERkd3M&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=2

– CECILIA VALDES of Gonzalo Roig (February of 2020)

https://www.youtube.com/watch?v = QYRARfeHTH0&list=PLGLWpLsLZlD3yQMXSUlr1j-8vWrBzctc-&index=1

– WATER, Sugar and brandy Federico Chueca (March of 2020). Zarza project - Zarzuela made by and for young people

https://www.youtube.com/watch?v = OqArGDPoswE&t=2564s

He Zarza project of the Teatro de la Zarzuela now he born four seasons ago with a clear and necessary intent: in the XXI century popularize the genre that gives name. Within this firm objective, young audiences has a decisive relevance. Get this approaching without fear and free from prejudices to the zarzuela, thereby continuing gender and strengthen its future, It is eager and happy purpose of the initiative.

For this reason the Teatro de la Plazuela de Jovellanos launched Zarza Project, one of its flagship initiatives, aimed at a young audience from 12 Y 18 years. The title chosen in this fourth edition is 'Water, sugars and brandy ' from Federico Chueca, And it will be played by young singers from 18 Y 30 years were chosen through a rigorous audition process in which participated more of 300 boys and girls. It can be said that these singers and actors are today the young company Zarza Project.

'Water, sugars and brandy ', in this new production of the Teatro de la Zarzuela, It is a free version of the work of Chueca signed by the playwright and novelist Nando Lopez from libretto Miguel Ramos Carrión write late nineteenth. Musical direction and scenic borne, respectively, from Oliver Diaz (from the piano) and Amelia Ochandiano, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. All functions will be in the main hall of the Teatro de la Zarzuela in the 2 al 7 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (6 Y 7 of March) with a total of 11 sessions. In school appointments, after the show will be held one colloquy between the public and artists.

The role of the school Friday 6 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.

A poetic journey through time

This "corridor summer in an act" is made, so, by and for young people, priority following the philosophy of the project: bring the genre to new generations; and what better way to do that using their own language. Ochandiano holds the respect "is now, in the XXI century, when we face the challenge of offering this little piece of history of our brightest musical theater to new generations. " And he says "The real fondness for the theater or in this case the love for musical theater or operetta, born from attending shows, live theater experiences made from the rigor, excellence and contemporary language that requires doing theater; because doing theater -points- this implies, is a commitment to our time and our vision of men and women today. "

This new version maintains all musical numbers, but not change the texts sung, adapting the original characters to the XXI century and making Federico Chueca is a character. The proposal stage makes the work a poetic journey through time, where present and past are mixed in the story a magical night in Madrid what, as noted Nando López, "Becomes hallway". A tribute to Madrid reference meeting place, crossroads and destinations, search space and hopes deposit, "a place to dream", as he stated in the own stage director, which brings us to a key work of our lyrical through this suggestive, dynamic and fresh bet once again celebrates commitment to the theater with young artists and young audiences.

Monday 2 March 10h00 and 12h30 (school functions)

Tuesday 3 March 10h00 and 12h30 (school functions)

Wednesday 4 March 10h00 and 12h30 (school functions)

Thursday 5 March 10h00 and 12h30 (school functions)

Friday 6 March 11h00 (school function)

Friday 6 March 19h00 (open function)

Saturday 7 March 19h00 (open function)

Cecilia Valdés, Teatro de la Zarzuela

 

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, Teatro de la Zarzuela

Cecilia Valdés, it's never too late…
Cecilia Valdés
Gonzalo Roig (1890-1970)
Libretto by Agustín Rodríguez and José Sanches-Clay,
based on the novel Cecilia Valdés or Loma of the Angel
D. musical: Oliver Diaz
D. scene: Carlos Wagner
Scenography: Rifail Ajdarpasic
Locker room: Christophe Ouvrard
Lighting: Fabrice Kebour
Choreography: Nuria Castejón
Distribution: Elizabeth Knight, Martin Nusspaumer,
Homer Perez-Miranda, Linda Mirabal, Cristina Faus, Yusniel Estrada
In this fortunate line of the Teatro de la Zarzuela to recover our operatic heritage, It has been released these days the Cuban zarzuela, "Cecilia Valdés". the composer, Gonzalo Roig (Havana, 1890 – 1970) Cuban zarzuela redefined and made it a lyrical reference América.La traveler zarzuela was born with spirit and Cecilia Valdes is one of the clearest examples. Spaniards in the late nineteenth century and first half of the twentieth came to America, they did it, as, bringing their culture and music. were also determining orchestras and zarzuela companies who moved to act there to give coverage to the many musical emigrantes.Cecilia Valdés has the peculiarities of Caribbean and African sones, as good zarzuela, costumbristas the most recognizable and popular episodes at the time of its composition. The score is an extraordinary rhythmic richness. Bembé, guaracha, contradanza or Bolero, africanizantes combined with sounds and afrocubanos, Linda numbers as Mariscal, fully Cuban. But also they appear in the score and lyrical moments full of romance, as duets between Cecilia and Leonardo. The result is the perfect combination of popular music and lyricism, in a mixture of genres that complement each other and make "Cecilia Valdés" the most important work of Cuban music.

The scenery of Carlos Wagner, good knowledge of Caribbean culture, where big challenge was to acclimate the work, and he has done so in pre-revolutionary Cuba.

The main scenario remains fixed while flowing within it the elements that put each of the scenes. Get transform, factly, a sugar plantation in a ballroom where the protagonists celebrate their festivals. The speed and fluidity of change does not stop at all the pace of work. The colors, lighting and textures, you move to Cuba and the Caribbean atmosphere of high temperatures.
The libretto by Agustín Rodríguez and José Sánchez Arcilla, based on the novel Cecilia Valdés or Loma of the Angel, Cirilo Villaverde, It presents the problems of coexistence between slaves and mestizos, criticism of slavery and the consequences of sexism and racism. It also shows that mixture of religion and paganism which appears in an end of the play something strange that surprised the public.

The theatrical part of the work is very important and is brilliantly covered by Paloma Córdoba, Alberto Vazquez, Eduardo Carranza, Ileana Wilson, Moisés Giraldo Cardenas, Isabel and Juan Matute House. Cuban dance body as a whole was a protagonist of this zarzuela and the most applauded of the night.
Cubans are also some of the protagonists, soprano Elizabeth Caballero as, He defended its leading role of Cecilia Valdés so more solvent. It was not very well accompanied vocally by Martin Nusspaumer that, but nevertheless, If you built a good Leonardo in the interpretive part.

Baritone Homero Perez-Miranda, as José Dolores, Cristina Faus and mezzosoprano, in the role of Isabel Ilincheta, They were high in their respective interpretations. You can say the same for the rest of the cast. It should be noted the extraordinary participation of Linda Mariscal, who he played the freed slave Dolores Santa Cruz.

historical representation, although late, the first and most important Cuban zarzuela rising to the stage of the Teatro de la Zarzuela. Hopefully come after Cecilia Valdés some more.

Text: Paloma Sanz
pictures: Javier del Real

the soprano Sonia de Munck held melodic word, tuned, always accurate of Antonio Machado, poet of poets, popular voice of the soul, in the recital that within the Notes cycle Ambigú will offer next Monday 24 June at 20h00 at the Teatro de la Zarzuela. And the value of this Happy exercise of poetic memory, in which the singer will be accompanied on piano by Aurelio Viribay, will have music as a natural vehicle. compositions Joaquin Rodrigo, Antón García Abril, Jesús García Leoz and Hermes Luaces It will be the breeze that beat their wings free voice Machado.

Joaquin Rodrigo will perform a selection of personnel that work 1971 he composed entitled 'With Antonio Machado'. The ethereal music of Jesús García Leoz will be present with the 'Six songs of Antonio Machado' (1952). The work of Anton Garcia Abril lecturing again with 'Three songs on texts by Antonio Machado' (2002), Hermes Luaces and composer recital will also include a selection of his intense 'Caminos de la tarde' (2017).

The Ambigú the Teatro de la Zarzuela It will thus be a space in which the privacy that arises between audience and performers is deep and necessary.

The recital Sonia de Munck They preceded those of Ángel Ruiz, who made a nostalgic trip through some of the most emblematic boleros; Chapel Ministrers on the music of the Spanish Golden Age; the bass Rubén Amoretti dedicated to tango; Marina Monzó Y Rubén Fernández Aguirre on compositions Manuel Garcia and Gioachino Rossini; which Ramón Grau He devoted himself to piano music by Albeniz, Granados and Falla; recital-tribute Enrique Viana for the 200 years of the Museo del Prado; the trio Arbós, with the second installment of Chamber Music and the great Spanish composers of Joan Martin-Royo which he celebrated music master teacher Felipe Pedrell. The grand finale of the cycle will put the singer and actress Sylvia Parejo with 'Golden Musical' (1 of July).

They will be presented 11 lyrical titles, 7 new productions, 2 contemporary premieres, 1 replacement of own production and 2 Recoveries of our operatic heritage.

He Consolidated Zarza Project -zarzuela made by young people for young people will again be one of the jewels of the season, and the educational projects represent the 20% programming

He Concerts cycle increases its offer with 11 proposals some of the leading voices of lyric, he flamenco or the pop

Recitals cycle 'Notes ambigú', which continues to sell all entries, offers 11 recitals, more than double which in its first edition

He'll be back Musical Chamber Theater in co-production with Juan March Foundation and the ciclo Lied, coproduced with CNDM

Placido Domingo will celebrate the 50 years of his debut in Madrid at the Teatro de la Zarzuela singing that day (14 May 2020) a function 'Luisa Fernanda'

The numbers

  • The average occupancy the theater is the 92%
  • Nowadays Programming a 42% Feature more four years ago
  • He 20% it's from the season It is dedicated to young audience
  • The mean age of the viewers of the theater it has been reduced in the last three seasons in more than 9 years
  • In the current season more of 19.500 young people have gone to the theater functions, both in the Zarza project as in other titles of the season. Especially in 'The House of Bernarda Alba'
  • The Youth card the Teatro de la Zarzuela exceeds and 1.000 users, who enjoy the shows and participate in meetings with artists and other activities
  • He public subscriber continues to grow: Today are 068 viewers those who have become the most loyal audience
  • This season has been retransmitted five titles via Facebook Live, YouTube and the web Theater with scope of 554.230 viewers
  • Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups, last minute and season tickets

He Teatro de la Zarzuela presents Season 2019/2020, as the "inevitable continuation" project undertaken in 2015 by Daniel Bianco, aimed at the Coliseum Madrid's Calle de Jovellanos "continues to meet, after four seasons, the mission for which it was born: be the privileged setting of Spanish musical theater, Music with Ñ ", says the director of the Theater, aware of the importance in this regard of "Prosperous plurality of Spain" and "fruitful connection with Latin America".

White, referring to the figures set out above, notes that "are just some evidence that zarzuela, theater and public service culture that meets, They are very much alive and enjoy an enviable health ".

Coliseum director likes to emphasize that zarzuela, our extensive operatic heritage in general, "Highlights all the Spains who live in Spain", and adds about that "zarzuela is often linked with the history of Madrid and with the lives of its many inhabitants, and that's true, but only in part ". This season now presented, we have a few signs that speak in this sense of plurality to which he referred earlier, and that goes even beyond our borders: "When I speak of our operatic heritage shirk borders and called for the widest possible broadmindedness. I mean the world, Hispanic universe and Spain itself, thanks to its diversity has made a rich zarzuela genre, bright and differential. Because the zarzuela is Madrid, but also Galician, Catalan, Andalusian and Basque, and it is also Cuban, and Chile, and Argentina…”

And that almost infinite wealth makes them many, many musical works of tremendous value for one reason or another fell into oblivion and expect today to be rescued, recovered for new generations of fans. "Being faithful to the statutes of the Teatro de la Zarzuela, they say that this theater must safeguard and spread the Spanish lyrical genre and its artists, We undertook a trip repair our heritage which it has brought us great success, as 'Tempest', 'Maria del Pilar' or 'A Midsummer Night's Dream', Y we are obliged to continue”, considers White.

But, as claimed before, It is not a work that focuses only on Spain: "The zarzuela grew traveler momentum", explica Daniel White; "He crossed the ocean to witness his journey. The works that premiered successfully at the Teatro de la Zarzuela, at the Apollo or any other Madrid theater, It was slow in coming to America just a few months ". But not only zarzuela companies came with singers who roamed the continent, “It also lowered the boats with those brought from Spain the memory of the homeland abandoned. The mass exodus of Spaniards into fertile land helped the expansion of this art form and novelty, over the years, It strongly entrenched ".

Thus, He exposes the director of the Teatro de la Zarzuela, "All viewers in every corner of Spain and in every theater of Hispanic America are equally heirs of this tradition". In the new season we have a clear example of how in America are born own zarzuelas of those lands. "A phenomenon that develops especially in Cuba, so successful composers, prolific and brilliant as Ernesto Lecuona and Gonzalo Roig ", concludes.

The season 2019/2020, whose first lyric title will be presented on 3 October and will run until 12 of July, presents 11 lyrical titles, 7 new productions -'Tres Cup Hats', 'Cecilia Valdés', 'Police and thieves', 'Luisa Fernanda', 'Water sugar and brandy', The two colors Bird 'and' The incredible story of Juan Latino'- , 2 contemporary premieres -'Tres top hats 'and' Police and ladrones'-, 1 replacement of own production -'La tabernera of puerto'-, 2 recoveries -'Farinelli our operatic heritage 'and' Bird and two colores'- 1 Spanish opera in concert and Basque –‘Mirentxu’–.

Likewise, one starts new cycle of chamber concerts, Concerts cycle expands and strengthens the Notes of Ambigú.

LYRIC

He will start the season with 14 functions lyrical comedy in three acts The village ' Jesus Guridi in a production Teatro Arriaga of Bilbao and the Campoamor of Oviedo. Signed by Pablo Viar, with Juanjo Mena in musical direction, scenery Daniel Bianco, wardrobe Jesus Ruiz and a elencos headed Raquel Lojendio, Carmen Solis, angel Ódena, José Antonio López, Andeka Gorrotxategi o José Luis Sola; Ballet functions in Aukeran participates choreographed Eduardo Muruamediaraz, it will be playing of the 3 al 20 October.

After this start, It will turn to the Spanish opera and from live author with 'Three hats' Ricardo Llorca. This opera based on the original work of Miguel Mihura, with dialogs singable own writer and composer, It premiered in Brazil and this will be the premiere of the work in Europe. The scene of this new production of Teatro de la Zarzuela It will be led by José Luis Arllano, and seven performances scheduled of the 12 al 29 of November; with Dirego Martin-Etxebarría as musical director, will cast, among others, with Jorge Rodríguez-Norton, Rocío Pérez, Emilio Sánchez, Gerardo Bullón, Enrique Viana, Irene Palazón and Anna Gomá. The scenery is Ricardo Sánchez Cuerda and costumes Jesus Ruiz.

He 22 Y 24 of November the public can enjoy ‘Mirentxu’, "Lyrical idyll in two acts" Jesus Guridi, after 52 year absence This theater and for the first time in Basque. will be presented opera (It was released as zarzuela) and in concert version. Oliver Diaz, musical director of the Theater, assume the musical direction, and the cast will be composed of Ainhoa ​​Arteta, Mitxeldi Atxalandabaso, the British Christopher Robertson, Marifé Nogales, Y Jose Manuel Diaz, with Asier Etxeandia as narrator and participation Escolanía Sinan Kay. It will be offered in a adaptation of the original libretto by Jesus Maria de Arozamena and Alfredo Echave, by the playwright Borja Ortiz Gondra, Award winner Lope de Vega, who for the occasion she has written a text that will be narrated.

Then a single event live: for the first time in the history of Teatro de la Zarzuela in your scenario it presents a Cuban zarzuela. 'Cecilia Valdés' Gonzalo Roig, directed musically by Oliver Diaz. Carlos Wagner who will carry out the stage direction of this excellent example of what has been and is, with a common origin, this theatrical lyrical art in countries across the ocean. The scenery is Rifail Ajdarpasic and costumes Christoph Ouvrard. Elisabeth Knight, Eliane Alvarez, Martin Nusspaumer, Enrique Ferrer, Homero Perez, Eleomar Neck, Linda Mirabal and Cristina Faus will integrate the cast of this title premiered in 1932 Marti Theater in Havana and whose 13 functions will of the 24 January to 9 February.

Following the statutory orders requiring the Teatro de la Zarzuela safeguard and spread the Spanish lyric genre, In the season 2019/2020 a second degree will recover. In this new time will be ‘Farinelli’ an opera major Thomas Breton, which will also reach the theater stage in concert. It will be directed musically by Guillermo García Calvo, with a cast made up Maite Beaumont, Rodrigo Esteves, Nancy Fabiola Herrera, Ruben Amoretti and Leonardo Sánchez and the young dramatist Maria Velasco, which it has already signed the successful adaptation of 'Maria Pilar', adapting the libretto by Juan Antonio Cavestany in narrative form. two passes will be offered, he 15 and the 17 February.

The new season will also time for celebration, as it will finally be a reality World Premiere of modern zarzuela 'Policemen and thieves' Thomas Marco libretto by Alvaro del Amo. This new production of Teatro de la Zarzuela It has the scene address Carmen Portaceli and the musical direction of José Ramón Encinar, and will make up the cast Manuel Lanza, Ernesto Morillo, Sara Blanch, Pablo García López Y Maria Hinojosa. They will five functions of the 26 March to 5 of April.

If there is an essential title in the history of the Teatro de la Zarzuela that is 'Luisa Fernanda', from Federico Moreno Torroba libretto by Federico Romero Y Guillermo Fernández-Shaw. The Zarzuela Theater and this work has been closely linked from 1934, two years after its premiere at the Teatro Calderón in Madrid, and this new production Theater Jovellanos Street will add to the many attractions yes already has the work, one more, historical absolutely emotional: he 14 May will be fulfilled 50 years after the debut of Placido Domingo in Madrid, in this Teatro de la Zarzuela, Y in the function of that day will be he who interprets the role of Vidal to celebrate. The musical direction will be borne by Ramón Tebar and David Gomez-Ramirez, the scene and the scenery will be signed by Davide Livermore, and different roles will be interpreted, besides Domingo, by Yolanda Auyanet, Maite Alberola, Jorge de León, Alejandro del Cerro, Juan Jesus Rodriguez, Javier Franco, Rocío Ignacio Y Leonor Bonilla. They offer 14 functions of the 30 April to 17 of May.

And to close the season of opera productions, the public can enjoy the eight functions that wonderful romance sailor is in three acts 'The barmaid port' that were not possible last season. The work of Pablo Sorozábal libretto by Federico Romero and Guillermo Fernandez-Shaw It is the same production Teatro de la Zarzuela what in 2018 he signed Mario Gas, with scenery Ezio Frigerio and wardrobe Franca Squarciapino. Oliver Diaz will be the musical director and participate in the distribution, among others, Sabina Puértolas, María José Moreno, Damian del Castillo, Rodrigo Esteves, Antonio Gandia O Antoni Bunk. Functions will of the 6 al 14 of June.

With the introduction of these 11 theater titles will remain unique showcase of our lyrical, tan prolífera as different.

CONCERTS: MAIN ROOM, NOTES Ambigú, Dominic Camera with ñ, LIED

After the success obtained in his first three seasons (the latter remains unfinished), he CONCERT SERIES in the main hall increases its offer, and proposes 11 concerts with some of the leading voices of lyric, the popular song, he flamenco and the pop: Spanish Lyrical Gala Tribute to Montserrat Caballé, directed by Oliver Diaz, It will involve a number of most important lyrical voices of our country (7 of September); Silvia Pérez Cruz & Marco Mezquida, Silvia Pérez Cruz returns back to the Teatro de la Zarzuela, After its successful passage through this scenario 2017. This time the hand of Marco Mezquida with an intimate concert where music, friendship and complicity intermingle (1 from December); Belén López. Bewilderment, with stage director Miguel del Arco and music of singer and actress herself and Añil Fernández (14 of November); Martyrdom & Chano Dominguez. A Snowball, Snowball was edgy without borders for expresadio art through voice and piano. Tierno and expressive, passionate to the limit, this is what they want to recreate admired Chano and Martyrdom of Cuban artist (23 of November); the traditional Christmas Concert, with the teacher Oliver Diaz as musical director, who will accompany the soprano Rocío Ignacio and tenor Jorge de León (28 from December); Carmen Linares. 40 years of flamenco, the singer of singers celebrates its four-decade career with an armed unique show with the most important songs of your life (16 February); singer Sole Giménez. Women D'Music, project that brings together great songs composed and written by women with the sole intention to make visible the work of women in the world of music (29 of March); the tenor Ismael Jordi, one of our most international tenors, guest at the most important houses in Europe, it will review by one of the great titles of our operatic heritage accompanied on piano by Rubén Fernández Aguirre (27 of March); bass-baritone Erwin Schrott, regular theaters like La Scala, Covent Garden o Viena, He is known for his Figaro or Don Giovanni among many other roles, It makes its debut in this theater in a full recital accompanied on piano by Zarzuela Giulio Zappa (3 of April); Maria Bayo. baroque echoes, Navarre soprano will present a program that runs from José de Nebra, Sebastian Duron Emanuele Ricón Astorga, hasta Alessandro Scarlatti, Antonio Lotti, Handel o Vivaldi, accompanied by the baroque orchestra On the eve Arnado and sunset scene Miguel Chamizo (5 of May); Miguel Fernandez, the multidisciplinary Catalan actor who cut his teeth on the stage of the theater until the music came into his life, thanks to the marvelous blend of charisma on stage and a privileged voice, music again with another look that will surprise us all (19 of June)

Since its inception, three seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign 'sold out'. That's one reason why next season continue offering more than double concert at the beginning of the cycle: this time the protagonists are the soprano Virginia Tola and pianist Rubén Fernández Aguirre with 'Song Argentina' (8 October), the mezzo-soprano Cristina Faus and harpist Juan Antonio Domené with 'Mary. For García Malibran ' (11 of November), mezzosoprano Paola Leguizamón and Ruben Fernandez Aguirre piano 'Song Colombian' (9 from December), baritone Maybe Borja and pianist Rubén Fernández Aguirre 'The migration Galicia. Return songs' (20 from January), soprano Sofia Esparza and pianist Ramón Grau with 'Song vast' (4 February), the singer Ángel Ruiz Y César Belda the floor with 'Couplet' (18 February), soprano Ruth González Y Albert Nieto the floor with 'Three passions of women', on the occasion of International Women's Day (5 of March), baroque set the Retreat directed by cellist Josetxu Obregón with 'The Spiritillo Brando' (23 of March), guitarist Ricardo Gallén with 'Romantic Guitar' (13 of April), he trio Arbós with the third installment of 'Chamber music' (27 of April), and soprano Berna Beads and Ruben Fernandez Aguirre 'Turina' (19 of May).

One of the novelties of the next season will be the CYCLE CAMERA SUNDAYS N which launches the Teatro de la Zarzuela with soloists of the Orchestra of the Community of Madrid, his orchestra titular, dedicated exclusively Spanish music, discovering the unknown music of some of our most important composers of Zarzuelas, and which accommodates contemporary composers already established or emerging. The five appointments will be: 'Cuartetos Basque' (20 October), 'Contemporary Spanish Music' (24 of November), 'Concert carol' (15 from December), 'Spanish Composers' (5 of April) Y 'Camera Work Pablo Sorozábal' (7 of June).

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will fulfill his quarter century of life. This XXVI edition offer 10 recitals: baritone Christian Gerhaher (30 of September), baritone Matthias Goerne (7 October), mezzosoprano Nancy Fabiola Herrera (25 of November), the tenor Christophe Prégardien (2 from December), baritone Christian Gerhaher (13 from January), baritone Simon Keenlyside (3 February), baritone Manuel Walser (30 of March), the tenor Ian Bostridge (20 of April), soprano Anna Lucia Richter (4 of May) and soprano Marlis Petersen (29 of June), will complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young to which it shall fill the room of this theater in the future and which in turn will train the generation that will take over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that he 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last three seasons in over nine years.

Zarza PROJECT, which promotes zarzuela made by youth for youth and how important success has been achieved in the three seasons predecesoras recording a total of 26.469 viewers viewers between 'The revoltosa', The duo The African 'and' Verbena Paloma ', back strongly in the new season 'Zucarillos Water and aguardiente' from Federico Chueca. With stage director Amelia Ochandiano and musical Oliver Diaz, this new production of Theater will be represented, as happened with the previous titles of the project, by a group young singers and actors from among 18 Y 30 years chosen after a audition process accompanied by an ensemble of chamber. The 11 functions, two of them open to the general public, They will be offered of the 2 al 7 March 2020.

further, 'Verbena Paloma' Y 'Water, sugars and brandy ' They will be presented at Palma de Mallorca and Aviles respectively.

Teaching projects also highlight this year because, thanks to them, he Theater Ambigú again has for the third consecutive year the feature space shows. After two exciting deliveries 'Lost in Bosco', will return to our Ambigú puppetry with live music. This time it will be with 'The incredible story of Juan Latino', a new production of Teatro de la Zarzuela in Company co-production with Claroscvro. They will 12 functions (two of them open to the public) of the 13 al 19 from January.

Also framed in educational projects, stage director Jose Carlo Square, which name, synonymous with theater capitals, It is so important for this Teatro de la Zarzuela offer master classes this generation of Spanish singers who need a master of the scene to complete their training. Of the 23 al 31 March 2020. The last session will be held open to the public in the main hall of the Theater.

DANCE

Next season will be starring dance through the two national companies: The National Dance Company with its new director Joaquin de Luz will present 'The Nutcracker' with choreography and stage direction of outgoing director, José Carlos Martínez on the music of Tchaikovsky, and musical direction Manuel Coves. They will eleven functions 10 al 22 from December. For his part, National Ballet of Spain, with 40 giving us light years of life, color and joy, will present at the Teatro de la Zarzuela one new show With which will start a new stage with Ruben Olmo, recently appointed artistic director. They will twelve functions 27 June to 12 of July.

CHAMBER MUSICAL THEATER

Another cycles continue and remain full health is to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 6 al 13 of January of 2020 They will be presented the seven functions The two-color bird ' premiere of Conrado del Campo, key figure in the history of our music, heir to Ruperto Chapi art and Emilio Serrano, while he taught Jacinto Guerrero, Cristobal Halfter the Bacarisse. It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Miquel Ortega, the stage of Rita Cosentino and the privileged cast will consist of Sonia de Munck, Maybe Borja and Miguel Sola. As usual performances will be at the Juan March Foundation.

José Bros

He 26 April at 20.00 hours, concert with tenor José Bros and soprano Ruth Iniesta.

Tickets

Zarzuela returns to Teatro Real tenor hand José Bros, who has acted in the only two works of this genre appeared on its stage since the reopening, in 1997: African duo, from Manuel Fernández Caballero (2004) Y Luisa Fernanda, from Federico Moreno Torroba (2007). In addition to these titles, Bros has played in Real the lead roles of two other Spanish operas presented in concert and recorded on disc: The conquest of Granada, in 2003, e Ildegonda, in 2006, both of Emilio Arrieta.

although 77 performances that he has starred in at the Real have been mostly works from the bel canto repertoire ─L'elisir love, Lucia of Lammermoor, to Favorites, Roberto Devreux, La sonnambula, Werther, etc.─, the Verde ─La traviata, Rigolleto─, José Bros will hold its 25 year career and his link with the Madrid coliseum with a concert dedicated to zarzuela. will act with Ruth Iniesta, whom we have seen at the Royal Theater Death in Venice, from Benjamin Britten, in 2014, Y Der Kaiser von Atlantis, from Victor Ullmann, in 2016, and now participates in Falstaff, whose premiere will take place tomorrow, opera in which she plays the role of Nannetta.

The two singers, together with Head of the Royal Theatre Orchestra, under the direction of José María Moreno, will perform preludes, arias and duets from some of the most popular titles of zarzuela: Luisa Fernanda Y Mount Carmel, Federico Torroba; at Revoltosa Y The drum grenadier, Ruperto Chapí; Doña Francisquita, Amadeo Vives; The barmaid port, Paul Sorozábal; Play with fire, of Francisco Asenjo Barbieri; Lights and shadows, Federico Chueca; The host of Seville, Jacinto Guerrero; etc. (see attached program).

The Mallorcan director José María Moreno, with extensive experience in the interpretation of Spanish lyrical repertoire, will debut at the Teatro Real.

Photograph: Javier del Real

The Barberillo Lavapies

This year marks 145 since The barberillo Lavapies' It will premiere at the Teatro de la Zarzuela way back 1874. Throughout this time the work of Francisco Asenjo Barbieri, with magnificent libretto by Luis Mariano de Larra (son of romantic intellectual insightful 'Figaro'), He has ridden three different centuries with the same fate: the pleasure of the public, of music lovers, Theater enthusiasts height. a feast of musical theater 28 March to 14 April will again brighten the coliseum plaza de Jovellanos with a new production, thirteen years after the last presentation of the title in this scenario. They will total 14 functions, of which, Friday's 12 of April (20h00), It will be broadcast live via Facebook, YouTube and the website of the Theater.

But the interest and expectation that has caused this Barberillo to the musical and literary material it an incontestable masterpiece should not be only; one of the most fun and joyous works of lyrical repertoire that has remained on the scene to this day as an emblem of Spanish lyric. Also it achieves quality event for those responsible for her feet this time. Stage director and adapter of the text is none other than Alfredo Sanzol, National Dramatic Literature Award 2017 and one of the essential names in the scene today.

Musical direction of international maestro José Miguel Pérez-Sierra will be responsible, that as usual he will give verve to the pit in front of the Community of Madrid Orchestra (Titular del Teatro). The production features the unique scenery and colorful costumes Alejandro Andújar, the always revealing Pedro Yagüe lighting and choreography (so important in this title) Antonio Ruz, National Dance Award 2018, who with the poetry of movement contributes to the work again become current and modern.

They will, Besides, two deals that sing the great work of Barbieri: Lampara, the Barberillo which aims to Paloma seamstress, who is immersed in a political intrigue without knowing how or why, It will be played by baritones Maybe Borja and David Oller; Paloma will be played by the mezzosopranos Cristina Faus and Ana Cristina Marcos; the marquise del Bierzo, intriguing policy that puts everyone in the mess, love and turn the suffering Don Luis de Haro, It will be sung by sopranos María Miró and Cristina Toledo; tenors Javier Tomé and Francisco Corujo They give life to Don Luis, who suffers political and loving disdain of his beloved Marquesita; the bass David Sanchez will be the conspirator Don Juan de Peralta, and also under Abel Garcia, Don Pedro de Monforte, defender of law and justice.

He accompanied on stage this double cast Holder Choir Teatro de la Zarzuela, and ten dancers and eight actors who also dance in each and every one of the dance numbers.

Music & Performance. Validity, comedy, Beauty José Miguel Pérez-Sierra, who describes the work as "one of the peaks of the genus', He argues that collaboration between Larra and Barbieri is more interesting, because "together create a work
where you live, breathes Madrid. A dieciochesco Madrid on plot and nineteenth-century in music, but with a timeless perfume that makes this zarzuela still have full effect '.

Alfredo Sanzol, meanwhile, stresses that "the comic adventures and function tone is what we have enhanced never forgetting that both go together in search of beauty". Stage director points in each of his works to the idea that "the depth of life and difficult conflicts need the vision of liberating comedy to find solutions".

Barbieri and mixed Larra a popular frame, Loves the Lamparilla and Paloma, sentimental dalliance with two aristocrats, the Marquesita Star and Don Luis, and all with a political background: the forced transition from one government to Floridablanca Grimaldi. It is a thematic model that had already used Barbieri Playing with fire, The diamond crown or Pan and bulls, but the text, written in verse-Larra is filled with adventures, intrigues, politics, love and humor, It is functioning as if it had been written in these days running.

Pérez-Sierra

After leading the RTVE Symphony Orchestra 1 March with a symphonic program of works by Rachmaninov and Elgar, Madrid Director José Miguel Pérez-Sierra will return in March and April at the Teatro de La Zarzuela in Madrid this time to take charge of a new production The barberillo Lavapies, one of the most significant zarzuelas Francisco Barbieri. In an assembly of Alfredo Sanzol which adapts and updates the original libretto by Luis Mariano de Larra-, Pérez-Sierra will be nothing less than 14 functions (the days 28, 29, 30 Y 31 March and 3, 4, 5, 6, 7, 10, 11, 12, 13 Y 14 of April) having two different and with the Orchestra of the Community of Madrid deals and Titular Choir Teatro de la Zarzuela.

Later the Spanish musician will move to the Opéra de Massy (France) to direct the opera Rigoletto Verdi before traveling, at the Opera Theater of Metz Métropole (France) with Carmen Bizet, the National Opera Chile The Italian Girl in Algiers y de Rossini at the Teatro Massimo Bellini de Catalani (Italy) with Cinderella, Rossini also.

 

José Miguel Pérez-Sierra

Teatro de la Zarzuela

The Teatro de la Zarzuela has been marked as essential purpose to popularize the genre that gives name, zarzuela, in this century that, who'd say, It is about to close its second decade. Add to loyal following that for years attends functions and is payable to the seasons, that other spectator who attends the theater not by prejudice towards gender or ignorance. Within this resolute intention, is especially important public young: achieve
this approach without fear and free from ties to the zarzuela, thus giving continuity and ensuring its future, It is the laborious target.

For this reason, Teatro de la Plazuela de Jovellanos launched two seasons ago Zarza Project, aimed at a young audience from 12 Y 18 years. Arguably, unhesitatingly, this is again one of the most outstanding bets Theater season. The title chosen for this third edition is 'La verbena de la Paloma' Thomas Breton, and it will be performed by young singers who are mostly between 18 and the 30 years, and they have been chosen through a long and painstaking process of auditions in which involved more than 300 boys and girls. These singers and actors form a young company Zarza Project.

'Verbena Paloma', in this new production of Teatro de la Zarzuela, It is a free version of the work of Thomas Breton signed by Pablo Messiez libretto from Ricardo de la Vega wrote in the late nineteenth. Musical direction and scenic borne by the master Óliver Diaz (musical director of the Theater) and Paul himself Messiez, respectively, and seventeen actors-singers will be accompanied by a chamber orchestra consisting of eight young musicians. All functions will be in the main hall of the Teatro de la Zarzuela 23 February to 3 of March, and school passes will alternate (for students of secondary and high schools) and functions for the general public with a total of 14 sessions. In school appointments, After the show a colloquium will be held between the public and artists.

Friday school function 1 of March (12h00) It will be broadcast live via Facebook, YouTube and the website of the Theater. Outside homesickness, Welcome desire This lyrical farce in an act is done, so, by and for young people, priority following the philosophy of the project: bring the genre to new generations; and what better way than using their own language. Messiez says about that "thinking about expanding public gender has
necessarily to do with seeking a link with the work that is born of nostalgia but of desire. "

This new version keeps all the musical numbers, but not change the texts sung, which they have adapted to this new stage proposal that places the story in a neighborhood cultural center that is about to be inaugurated. Party, the heat, the passion, jealousy,... and the strength of values ​​such as teamwork, the trust, the power of music and be aware of feeling every moment as something unique and magical, They bring us closer to a key work of Spanish poetry through this powerful bet that once again shows the commitment of the theater with young people.

Saturday 23 February 12:00 hours and 19:00 hours (open functions)
Sunday 24 February 12:00 hours (open function)
Tuesday 26 February 10:00 hours and 12:30 (school functions)
Wednesday 27 February 10:00 hours and 12:30 (school functions)
Thursday 28 February 10:00 hours and 12:30 (school functions)
Friday 1 of March 11:00 hours (school function) Y 19:00 hours (open function)
Saturday 2 of March 12:00 hours and 19:00 hours (open functions)
Sunday 3 of March 12:00 hours (open function)

Carlos Alvarez

If anything stands baritone Carlos Alvarez, in addition to its proximity bewitching, It is to have one of the major international races lately lyric. Give examples, They remembered as memorable performances in Don Carlo with Lorin Maazel at the Festival Salzburg; 'Otellowith Sir Colin Davis at the Barbican Center London, 'I Pagliacci' with Riccardo Chailly el and the Concertgebouw Amsterdam or 'Don Giovanni' with Riccardo Muti at La Scala Milan. Endless commitments worldwide -Milan, Salzburg, Vienna, Turin, Genoa, Verona, Tokio, New York or London- spend Monday 17 from December (20h00) by one of his favorite theaters, he Teatro de la Zarzuela I saw him be born as an artist, and where he opened the season as the star of the celebrated production of 'Katiuska'.

The Malaga-born baritone will be accompanied on piano by Rubén Fernández Aguirre, teacher among teachers pianists repertoire, Y musician header in recitals much of the great Spanish singers. And if they were few incentives, The concert will feature the special participation of soprano Leonor Bonilla, known to the public of La Zarzuela for his role in 'The Duchess of Gerolstein Great' or their brilliant participation in the opera 'Marina' which closed season 16/17, and despite his youth, Dazzling and in major national and international arenas.

He Program the recital, third proposal This concert season of Teatro de la Zarzuela after The Paco de Lucia Project Y Concha Buika, It is cemented on two axes which serve as pillars of a reality: he love for Spanish music singer in any of its manifestations. The first part Alvarez is devoted to songs Joaquin Rodrigo ('Four madrigales amatorios') and Miquel Ortega, unanimously praised by critics and audiences for his amazing opera 'The House of Bernarda Alba' premiered last month at this same theater. Ortega, precisely, it includes première expressly made for this concert: the duo 'Waking up swifts' on verses Andres Martorell, also written for the occasion.

The second part compose entirely zarzuela arias. Works by Moreno Torroba, Alonso, grandchild, Giménez, Luna O Guridi, Sample will serve to re-highlight the strong luminosity of our heritage.

Mechanical Zarzuela

Jacinto e Inocencio Guerrero Foundation presented last Friday 15 June programming Days of zarzuela 2018, at the headquarters of the SGAE. The event was Alberto González Lapuente intervention, director of the Conference of zarzuela, Antonio Gallego, patron of the Jacinto e Inocencio Guerrero Foundation, and María Luz González Peña, director of the Center for Documentation and Archive of the SGAE (ECHR).

Mechanical zarzuela"It is the title chosen for this Fifth edition Days of zarzuela, referring to the technological means that have contributed to the promotion of gender beyond the theatrical stage. Cuenca Auditorium Theater, will host numerous activities 26 al 29 of September, to promote the exchange of ideas among researchers, interpreters, editors, managers, producers and music critics.

Meetings and Book of Days

Outstanding Spanish and foreign experts as Jordi Roquer, Elena Vazquez, Jerome Collomb, July Arce, Antonio Gallego Gallego, Marita Fornaro Bordolli, or John Lucas, among others, They offer their vision of the phenomenon of mechanical zarzuela from different perspectives, through tables, lectures and debates. As in previous editions, presentations and roundtable meetings will be reflected in the Book of Days, edited by Alberto González Lapuente and Alberto Pinilla Honored.

Exposition

The interactive exhibition "The mechanical strategy”, Ignacio Jassa Haro curated by, will allow viewers to make contact with many historical devices, from the cylinder to the liquid wax zarzuela through radio or PA used in large auditoriums. further, a wall grafitero the artist Mr conquense. Stroke greet visitors at the entrance of Teatro Auditorio de Cuenca.

Who, musical theater, discussion group, concert

Movie premiere restored Don Quintin the amargao (1925), directed by Manuel Noriega, with live performance version for piano (Jorge Robaina) original music by Jacinto Guerrero: The beautiful genre, an original production of the Juan March Foundation suitable for all audiences, in which the soprano Irene Palazón, Gerardo Bullón baritone and tenor Carlos Crooke (also responsible for the stage direction and dramaturgy), sing songs known romanzas, duets and trios in the history of zarzuela; a discussion group, following the technique of fishbowl, in which various professionals in the music industry as Javier Suarez-Pajares, Miguel Angel Marin, Tomás Marco, Cosme Marina, Teresa Krab, Antoni Parera Fons and Valentina Granados, among others, will discuss "program today zarzuela". Paul L. Rodriguez will act as moderator, and the conclusions of this panel discussion will be included in the Book of Days; Zarzuela A / V (in collaboration with Radio3 - RNE) with MicroChica and DestroBoy, Audiovisual DJ September 1 in which the sounds of the electronic converse with fragments known Zarzuelas.

The calendar of activities of the conference is completed with the internationalization program in collaboration with Spanish Cultural Action (ACE), and the off space, which this year will consist of workshops stamping, in collaboration with the Museum of Cuenca, aimed at students of primary schools in Cuenca.

http://www.fundacionguerrero.with

Guerrero Foundation

Days of zarzuela, that since 2013 organizes the Jacinto e Inocencio Guerrero Foundation will celebrate its fifth edition of the 26 al 30 September 2018, in the Teatro Auditorio de Cuenca.

leading researchers, musicologists, interpreters, editors, programmers, producers and music critics will participate in the new edition of these meetings, which have already become a must for specialists, scholars and lovers of zarzuela. few days, in which, from a heterogeneous perspective, the genre of zarzuela is presented in its cultural and social context, thus fostering the exchange of ideas and experiences from different points of view around a central theme. Entitled "A Clockwork zarzuela", It will discuss the technological means contributing to the promotion of gender beyond the theatrical stage, during presentations, conferences and round tables scheduled, which they will then be published in the Book of days.

With the aim of spreading gender among new audiences, especially, the youth sector, the program of the Days of zarzuela 2018 It includes other activities, like a exposition, which allow viewers to contact numerous ancient and modern appliances, to understand how he participated zarzuela of these technological developments. The shows The beautiful genre, written and directed by Carlos Crooke (production of the Juan March Foundation) Y Zarzuela A / V starring MicroChica and DestroBoy (concert in collaboration with Radio 3 – National Radio of Spain), They will reflect from a contemporary vision of the popular and playfulness, so typical of the genre.

http://www.fundacionguerrero.com

The Tempest

The Teatro de la Zarzuela plays a crucial role in preserving, study and recovery of our operatic heritage. And it is for this basic and essential reason, among other identical value, the programming 'The Tempest' (fantastic melodrama in three acts) It becomes one of the happy events of the season. The work of Ruperto Chapí, libretto by Miguel Ramos Carrión, It was a classic among classics, undisputed crown of creation Musician Villena, it remained for decades cartel, encumbró the composer and the musical category leader of his time. And then, old story repeated: surprisingly it fell into oblivion. He was born in the Teatro de la Zarzuela 11 March 1882, and 'he died' in this same stage a month in November 1927, It does now just over 90 years. For this reason, on Friday 16 February (20h00), and Sunday 18 (18h00) will be two key days for our lyric, since the work will take the stage at which premiered ago 136 years, this time in concert and free adaptation of playwright laureate Alberto Conejero.

Directed by maestro Guillermo García Calvo, without any doubt one of the most outstanding and currently required Spanish directors, one of the reasons that surely dedicated themselves to this work to oblivion, in addition to the need for a large orchestra, is the extreme difficulty for the singers address a full score of challenges to his vocal cords. For that, to come to fruition (and never better), It is essential to have a specially qualified sextet, and the Teatro de la Zarzuela has assembled a top international cast for the occasion.

A) Yes, Tbilisi Georgian mezzosoprano, Ketevan Kemoklidze Roberto will play the role of the fisherman, in love with Angela, confused orphan after his father's death when he was a child, whose crime unsolved, as will be seen, head hits the mysterious murderer into a spiral of remorse. Orphan beloved, played by soprano Mariola Cantarero, swimmingly it corresponds to the plain and sincere affection of Roberto. baritone Carlos Alvarez Simon's life, the old miser who after that murder, whose main suspect was a young man who embarked on the same day bound for the Indies, He stands as guardian of Angela creating all kinds of apprehensions, and entering rivalry with Beltran, played by tenor José Bros, a man that, precisely, It comes from the Indies brought by ghosts, and that, against that, protects the relationship and espouse the two young. The judge reminds the crime and imposes the law will be sung by the Mexican low Alejandro López, and Matthew fisherman, linchpin for the resolution of the plot, by tenor Carlos Cosías.

Another of the attractions of this storm is the participation of actor Juan Echanove, in the recreation of Conejero also gets under the skin of Matthew, which is precisely who, Over the years, It will reminiscing all the events that cut into his memory as a thorny stake. The Community of Madrid Orchestra, Titular del Teatro, Titular Choir and the Teatro de la Zarzuela, completes the artistic picture of this historic and double recovery.

The importance of 'The Tempest'
'The Tempest' in his day meant a real conceptual revolution in what was then supposed to be a zarzuela. As once remembered the musicologist Luis Iberni: "Zarzuela Chapí adapted to the new European musical realities that he knew". Until then, "He had never seen a zarzuela with songbirds such requirements as demanded by a powerful quintet of voices as any opera title". Professor Emilio Casares notes in this regard that 'The Tempest' 'became a classic and remained in theaters for decades. Indeed, He was heard for decades throughout the hispanidad, played by the best voices of our lyric ".

Casares says, complementando that founded Reflections Ibern, that Chapí, in 1882, "I was prepared to give Spain a work of such importance, with showing what they have learned in Europe, Y, especially, It proposes an alternative way to the opera and the traditional zarzuela on stage characteristic of Teatro de la Zarzuela: an opera dressed shaped zarzuela, by having extensive "spoken".

As for the value of 'The Tempest' musicologist is categorical: "Today, after all road tour musicology, We have little doubt that 'The Tempest' is one of the greatest monuments of our lyrical story. Why it is so difficult to understand the oblivion that has befallen her ". And now, after 90 years of silence, the public has the chance to enjoy it on the same stage where she was born and 'disappearing'.

El Cantor de Mexico

He Teatro de la Zarzuela will open the Friday 6 October (20:00h) the season 2017/2018, and it will do so with the Madrid premiere of the operetta ‘The singer of Mexico’ of the French composer of Hispanic American origin and Basque ancestry Francis Lopez. The work is presented in a new production of the Theater in co-production with the Lausanne Opera. The scene -ingeniosa, funny and at times certainly spectacular - which places the plot in the shooting of a movie, is signed by Emilio Sagi, also responsible for the free version from the libretto of Felix gandera Y Raymond Vincy, and the musical direction will be in charge of Oliver Diaz, musical manager of the institution, who will be in charge of a suggestive cast headed by Rossy de Palma, as well as the Holder Choir Theater and of the Community of Madrid Orchestra. The public will enjoy 18 functions to 29 October. Thursday's show 26 October it is broadcast live on Classic Radio of National Radio of Spain from 20h00

The new season of La Zarzuela starts in this special way, "With the firm commitment of reach out to all audiences. The 161 functions that will make up the new course will be aimed at both the regular spectator of the, as those people who approach him with curiosity and concern to meet, and even those who still do not know what happens between the centenary walls of the coliseum ", so affirms its director, Daniel Bianco.

Two will be the distributions that give life to ‘El cantor de México’, that story that tells the fortunes and misadventures of a naive young man who in Paris discovers love and success in technicolor. Next to Rossy de Palma, that will give life to the great star Eva and Colonel Tornada, the tenors will form the extensive cast José Luis Sola Y Emmanuel Faraldo, in the role of young Vincent, baritone Luis Álvarez, in that of the businessman Cartoni, responsible for film production, las sopranos Sonia de Munck Y Sylvia Parejo, who will embody the beautiful Cricri, his assistant and secretly in love with Vincent, or the baritones Esteve Manel Y Toni Marsol, that will serve as Bilou, Vincent's best friend and in turn in love with Cricri not so secretly. The actors will also contribute their talent Ana Goya, like miss cecile, attorney of Monsieur Boucher, movie director, film director, what will the actor be Cesar Sanchez, Y Maribel Salas, Up Navarro, Eduardo Carranza Y Nathan Segado, who will play the rest of the actors and actresses of the film that is filmed within the scene, and in which they will also play their role 17 extras Y 12 dancers.

The proposal presented by the Teatro de la Zarzuela shows a fantastic scenery, in the purest kitsch style, devised by Daniel Bianco, where a tropical world is recreated, sophisticated, in technicolor, typical of that cinema that pursues the great show. To achieve the visual effect appropriate to this approach, the costumes designed by Renata Schussheim, lighting Eduardo Bravo and choreography Nuria Castejón.

Also his music, maybe closer to the musical than the operetta, it's multicolored; full of North American and Hispanic American influences; those who came to Paris in the twenties of the last century, and which this city appropriated as if they were its own. Charlestón, swing, mambo or bolero, the numerous styles that will be played throughout the show will put the orchestra, what it will be, in a single evening, a symphonic formation a jazz band, a group of mariachis or one bolero grouping.

The work and the success

‘El cantor de México’ was composed by Francis Lopez, French musician of Hispanic-American origin (Peruvian father and Argentine mother) and of Basque grandparents, for the popular singer with the prodigious voice and glorious smile, Luis Mariano. HE premiered at the Châtelet Theater in Paris in 1951 with enormous success. Five years later, the film version, also with Luis Mariano as headliner, also collected the unanimous applause from the public at the time.

In 2006, It is same artistic team that now presents it at the Teatro de la Zarzuela in a new version in Spanish by Emilio Sagi, recovered the work to put it on stage in the same Parisian Theater that saw it born 55 years before. Another overwhelming success: the public standing every night for two months, and future replacement with the same result.

The white cat

With particular interest the audience expected for months set assembly 'Free Education', made of Gerónimo Giménez and premiered at the Teatro Eslava in Madrid 1901, Y 'The white cat', created by Giménez and Amadeo Vives, and presented at the Comedy Theater in the capital 1905. He Teatro de la Zarzuela will house both jewelry small forms during 17 functions, of the 6 al 28 of May, in a show conceived as a unique and indivisible proposal. Son Many inducements, and among them stands, undoubtedly, he Tipping scenic and aesthetic this Free version of Enrique Viana, who also signs the stage direction, from the to own theater space.

The six hundred patio chairs have been removed and instead It is installed scenario: a large circumference with mirror floor, what, among many other amazing effects, even it manages to turn the majestic lamp in a protagonist of the work. And where you have then gone public? As well as the boxes of the different floors, respectable occupies no less than the real scenario Theater. For that, in that sacred place where they have acted García Lorca or María Callas, some steps have been installed that will house more than 200 people.

Teacher Manuel Coves will be in charge of the musical direction this, in the words of Viana own, "Comic nonsense lirico in an act". He will lead the Holder Choir Teatro de la Zarzuela and of the Community of Madrid Orchestra (Titular del Teatro), to occupy a pit unconventional located in the area of ​​the room where precisely is the main gateway to public.

He cast is coral and it is composed of great talents of the song, the performance and both at once such as mezzo Cristina Faus, singer Roko, the actress cross Beitia, mezzosoprano María José Suárez, tenor and actor Ángel Ruiz, baritone Axier Sánchez, the actor José Luis Martínez and actors and singers Iñaki Maruri Y fake Santamarina. A body 20 dancers Full cast.

"Crazy" stage

For this "crazy" stage, production also has Daniel Bianco scenery -in which is his first artwork to the coliseum signing since he took charge of his direction, Pepe Corzo wardrobe, Albert Faura lighting Y choreography by Nuria Castejón.

Enrique Viana explains why his version, in which, naturally, They remain in full each and every one of the musical numbers, but whose history ("just one, and not a double program ") It is radically different: "Both (the original) They are peppered with jokes incomprehensible to the public today and some may offend particularly feminine ".

For this reason, the author considered "Both the plot and the text had to change root", and for this he spent 'free education' serving 'White Kitten' and rewrote the first completely leaving the second plot and characters with some scenes from the original judged "sympathetic and harmless". "As a result of these considerations It was this long piece that respects each note Gimenez and each letter of his singable”, explains Viana. Singable written by scriptwriters Guillermo Perrín, Miguel de Palacios, Joseph Jackson Veyán and Jacinto Capella.

Everything is ready for this "nonsense lyrical comic one-act" rebaptized: " 'Free teaching and white cat', or 'Come Nah to spend the afternoon ' ", with which the Teatro de la Zarzuela reinvents.

Teatro de la Zarzuela

Divulgation