Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

 

Interview Franco Vassallo

It was just a boy when a teacher heard her singing through the halls of school. Then he began studying music and his interest in the arts and humanities, the great passions of Franco Vassallo. Meticulous preparing to end their characters, arrive at Liceu Barcelona Aida and Amonasro provides us full of intensity and drama. We talk about it in this interview
Brío Clásica.
INTERVIEW FRANCO VASSALLO / CLASSIC ELAN
B.C: His beginnings were very original: he heard a singing teacher casually in school corridors. If there had been so, Would he have equally determined by music and singing? How did that start?
F.V: At this stage, with the experience of these years behind me, It is hard to say what would have done if that endearing episode occurred in the school would not have happened, but with all security I had found another way to focus my passion for art, culture, literature and philosophy. First of all, say that I consider myself a humanist.
B.C: Could you describe the characteristics of your voice?
F.V: It is always difficult to talk about one's voice on tape, singers and unfortunately we can not hear ourselves live. I would say that mine is frank, sincere, direct. I think it has always had a certain sweetness, it still retains, but obviously over the years he has matured and gained in roundness, taking a tan that has allowed me to face a more dramatic repertoire.
B.C: We know of your interest and knowledge of dramaturgy, cornerstone in the opera. When a role is interpreted on many occasions, that character, Does it yours and gives it a certain character forever or outweighs production and stage manager?
F.V: Dramaturgy in the operatic genre is critical because the opera is theater and music, so you can not do without his theatrical part. But the truth of the opera stage is obtained by finding the right key character, which is not only in the acting part but is also obtained and, especially, through score, because the composer leaves everything clear. Everything is in the score! In fact, these composers, as Verdi, They have never been forgotten because they were true geniuses; They created some masterpieces that still listen to and why they have become immortal. They had an intuitive and innate ability to capture the scenic score truth of the character. When you make it yours in my case also has helped me the Stanislavski method, I studied- revive you do through you. In the study period we thought to build character and shape, but once we got on stage to stop thinking just be him and live like him, that is to say, in my case I try to look and feel like the character; let it flow. Interpreters rationally know what is happening in the scene and what will happen next, however the character does not know, so you have to live it and react true self to everything that is happening. It is complex, but at the same time exciting, very similar to what an actor feels, although we, the singers, We also have the advantage of relying on the soundtrack, music, describing the situation we are living our performance and offers an incredible expressive force. On the other hand, we also have the disadvantage that if we acatarrados no choice but to leave and we still sing [laughs].
B.C: From 13 January is participating in the production of the Liceu Aida, in Verdi, with the musical direction of Gustavo Gimeno and scenery Mestres Cabanes. What Amonasro will look at the Liceu?
F.V: When I get the first tests naturally and I feel that the character runs through my veins; I feel mine and I've done a complete picture of the role that obviously have to be contrasted with the stage manager; I always try to find a balance between the idea of ​​the character he has and I do. Obviously there are always some directors with whom I connect more than others, but sometimes I have a vision of the role, although input does not agree with it, if the idea is smart, I just get carried away by his instructions to finish making my proposal. In any case, we, interpreters, as music directors or scene, We must be at the service of music and composer. It comes to my mind a beautiful phrase that Verdi told the baritone Felice Varesi, which premiered several of his operas: "I ask you please to serve before the poet to the musician"; Coming from Verdi fascinates me, because it means it had a great respect for the scenic realization, because it was like saying: if we do a good theater music comes alone, so I think you have to have a great respect for the libretto. As for the Amonasro I play, I feel like an intense character, tragic and painful; Verdi is a king who invites us to describe and interpret "impeto selvaggio" (wild momentum), a fact that is there, in the score; but sometimes we forget the immense humanity. In the big time stage, in duet with Aida, practical and decisive character must have as a politician meets with the affections and feelings; we see a father who is forced to ask his daughter a huge sacrifice, He is forcing his people to betray the man she loves. Hence his rage, which it is nothing but a human reaction to the internal pain she feels for having to ask something so cruel to a daughter. Is a character who lives intensely the pain; at the end of the duo tells his daughter something amazing: "Think that a people, won, heartbroken, for you can only rise again " ("Think a conquered people, torn, Only thanks to you can rise again), that is to say, "Everything is in your hands and our people must make this sacrifice, I know it's infamous, but there is no other way ". It is certainly one of the most beautiful moments of the whole scene. On the other hand, Amonasro proves to be a great king, intelligent warrior despite having been defeated in battle. Live extreme situations from the beginning to the end, since from entering scene he is almost sentenced to death and very little time to do everything to achieve their goals, save his people and his own life. In summary, We are facing an absolutely tragic character for everything that happens, but both fascinating still being relatively short.
B.C: In 2004 he played Zurga, in Bilbao in The Pearl Fishers, in 2008 was Figaro in Il Barbiere di Siviglia at the Opera de Las Palmas, in 2014 Vespri Siciliani I participated in the Teatro Real Guido di Monforte playing, and now he comes to the Liceu in Barcelona with Amonasro. Why have you been so spaced performances in Spain?
F.V: In addition to the commitments that you quote, I actually made my debut in I Vespri Siciliani Spain with the Opera Bilbao 2001 and also I sang Ernani in Las Palmas de Gran Camaria in 2005 and I Puritani Minorca 2008. In any case, and compared to the career I've done in other countries, It is true that my presence in Spain has been little, but it was not my will, because the truth is that I love this country and I love working here; It has just happened than usual in these cases: deals sometimes come at times when you are busy and time passes without matching agendas.
B.C: How do you feel more comfortable, with expressive intensity and strong vocalism of Amonasro or lightness and brilliance of Figaro? How they are approached as different technical roles?
F.V: As the old school of the "canto sul fiato" he said, are at odds on these two forms of singing and interpreting, that is to say, It is important vocal ductility; It must be able to move from one dramatic role bright and vice versa, especially when the instrument allows it. When the voice with the experience and maturity is ready to face the dramatic repertoire, It is important to return occasionally to the bel canto repertoire to maintain elasticity and squillo, so we avoided the voice becomes heavy. Recall that the singers of the past changed light heavy repertoire with astonishing rapidity; I just think having a minimum of time, If you keep your voice in the right place, without forcing, You can change without problems. This year I happily returned to play Figaro (The Barber of Seville) at the Hamburg Opera coming to interpret Rigoletto, and I found quickly comfortable in the freshness and elasticity adequate almost naturally and without any previous work. What we call "muscle memory" always works. Definitely, not to force anything because the sound becomes heavy, you just have to keep always loud and mask.
B.C: It seems that increasingly more difficult to find truly serious voices. In that case, Why do you think that is due?
F.V: I think the voice is certainly hard to find is the true deep bass; today under-baritone dominates over the, but I could not say a precise reason. Serious, sometimes voices, They not always tend to sing naturally because the voice already sounds itself, without applying any technique you certainly do need more acute voices to sound good. This sometimes makes racing more serious voices are slightly shorter, unless the technique work with a good teacher. In any case, technical work is essential for all strings, and not always due to have a good teacher. Like mine said, It is important not only a great teacher, but that great teacher must find the great student.
B.C: Given the evolution of his voice and his singing, What new roles have in mind for future seasons?
F.V: I would like to further explore the verismo and Puccini repertoire, como La Fanciulla del West, Gianni Schicchi, Pagliacci or Cavalleria rusticana, for example, but at the same time maintaining the Verdian baritone repertoire that is basic, and of course the bel canto. Próximamente sing Il Pirate, Lucia di Lammermoor y Roberto Devereux, a repertoire that is essential for me to keep up the ductile voice.
B.C: Must we wait four years to return to listen to him in Spain?
F.V: Hopefully not! I sincerely hope to be at least every year in a Spanish theater.
Franco Vassallo

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

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

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

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

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

Web Franco Vassallo

Faust

morning, to 20 hours, live broadcast of Faust the television network Mezzo and Classical Radio, the RNE, Opera will offer the countries of the EBU (European Broadcasting Union).

As part of its international expansion policy and its firm commitment to bring opera to all corners of Spain, Royal Theatre significantly increases its audiovisual offer in the different media: projections in commercial cinemas, Edition DVD and Blu-Ray, broadcasts television and radio, plataformas online, outdoor screens, auditoriums, museums, polideportivos, schools, etc.

After the success of the documentary film The heart of the Royal Theater, released last 23 September in 95 island, October starts with the projection Aida in more than 50 commercial cinemas in Spain, Europe and the United States, thanks to an agreement with the distributor Rising alternative, which will in its national and international network also other two acclaimed productions of Teatro Real: Madama Butterfly, in March 2019, Y La Traviata in May of the same year. These operas can be seen in Austria, Belgium, Denmark, France, Slovakia, Estonia, Holland, Italy, Czech Republic, Switzerland and, in North America, Canada and the United States. (see attached list).

La Traviata Y Madama Butterfly They also come China -40 important theaters 10 big cities- under the agreement with the Royal Theater National Centre for the Performing Arts (NCPA) Beijing, which also screened productions in their auditoriums.

Throughout the season they are also planned other screenings in national cinemas and international productions that triumphed at the Royal Theater, as Billy Budd, Benjamin Britten ─Opera Award 2018─, Street Scene, Kurt Weill Y Faust, Charles Gounod, currently on stage.

national and international distribution increases DVDs The Royal Theatre: in September it hits the market the DVD and Blu-Ray Billy Budd, Award-winning Opera 2018. Will follow, in the coming months, Death in Venice Y Gloriana, Benjamin Britten also, Y Rodelinda, Handel.

Likewise, continues the relay Royal Theater Productions, Live and delayed, in television and digital platforms worldwide, thanks to agreements signed with major channels, as ARTS Concert, Half, Classica Stingray.

ARTS Concert will include the Royal Theater productions in its select range of opera and Half continues to offer live and on demand Royal Theater productions.

In the scope of its collaboration with the Teatro Real Classical Radio, the RNE, will broadcast live Faust, Charles Gounod, e Idomeneo, King of Crete, Wolfgang Amadeus Mozart, and offer deferred Only the sound remains, de Kajia Saariaho; Turandot, Giacomo Puccini; the Rheingold, Richard Wagner; La Calisto, Francesco Cavalli; Agrippina, the Georg Friedrich Handel; over, Robert Gerhard, Y Giovanna D'Arco, de Giuseppe Verdi. Likewise, Faust, Idomeneo Y La Calisto member countries of the EBU will be retransmitted (European Broadcasting Union). Lyrical concerts will be broadcast delayed.

With this active and ambitious policy audiovisual production significantly increases the catalog of operas available stage Digital, the online platform Teatro Real.

Aida 1

Aida 2

Aida 3

Aida 4

Aida 5

Aida 6

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

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

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

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

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

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

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

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

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

Daniela Barcellona

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

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

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

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

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

Daniela Barcellona

Aida

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

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

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

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

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

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

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

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

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

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

Season 17/18 Teatro Real

In season 2017-2018 the Royal Theater celebrates a double anniversary: the 20 years of his reinauguración, he 11 October 2017, and the 200 years after its founding, he 23 April 2018.

In the scope of these commemorations continue the premieres of operas never performed at the Royal Theater, como la colosal The soldiers, de Berne Alois Zimmermann, which will be presented for the first time in Spain.

También engrosarán la nómina de las obras inéditas en el Teatro Real Lucio Silla Wolfgang Amadeus Mozart, Gloriana de Benjamin Britten y Street Scene Kurt Weill, que se verán por primera vez en Madrid, Y Dead Man Walking de Jake Heggie, que se estrenará en España.

Como recuerdo a su historia pasada y reciente, se han programado Bookmarktítulo que inauguró el Real─ en versión de concierto, Y Aida, con una puesta en escena revisada de la célebre producción dirigida por Hugo de Ana en 1998.

La creación actual estará representada por el estreno mundial de The painter, Juan José Colomer, con libreto y dirección de Albert Boadella, in collaboration with the Canal Theater.

Con el fin de seducir a nuevos públicos y a una audiencia más amplia y diversificada en su temporada festiva, el Teatro Real ha incrementado notablemente las funciones de sus títulos más populares del repertorio lírico como Bohemian, Carmen, Lucia of Lammermoor Y Aida.

Under the Bicentennial el Real reafirma su ambiciosa apuesta por las nuevas tecnologías audiovisuales para llevar la ópera a todo el mundo con retransmisiones en monumentos, plazas, auditorios y ayuntamientos de toda España, retransmisiones en redes sociales, schools, cines y en su plataforma Palco Digital, highlighting, en el ámbito internacional, sus proyectos pioneros en Latinoamérica y China.

Likewise, proseguirá el diálogo con otros tipos de música, cuya manifestación más destacada es el Universal Music Festival, del que se celebrará la cuarta edición.

La programación de DANZA estará compuesta por cuatro espectáculos: Carmen, for him Victor Ullate Ballet (Theaters Canal); Sorolla, for him National Ballet of Spain; coreografías de Jacopo Godani por la Dresden Frankfurt Dance Company; and a new production of Swan Lake, by The Royal Ballet.

En la programación de EL REAL JUNIOR destaca el estreno de cinco nuevas producciones del Teatro Real para diferentes edades ─Mother Goose, old cinema with new music, La cara oculta del piano, the opera The phone, or love three and ballet Pulcinella─, la reposición de la ópera Dido & Eneas, a Hipster Tale and Loft toys.

El Coro y Orquesta Titulares del Teatro Real, bajo la tutela de su director musical Ivor Bolton ─con Pablo Heras-Casado como principal director invitado y Nicola Luisotti como director asociado─, will notably expand their repertoire, afirmando el creciente prestigio de los cuerpos estables de la institución

Se editarán dos libros sobre la historia del Real: Joaquín Turina desvelará al lector los entresijos del Teatro desde 1997 y Rubén Amón recorrerá los 200 años de su historia a través de sus artistas, hechos y anécdotas.

En el ámbito de la celebración de sus efemérides, el Teatro Real ha impulsado la realización, la próxima primavera, de la primera reunión internacional del WORLD OPERA FORUM, to convene 150 opera houses around the world, y de un acto conmemorativo que evocará el hecho histórico de que el Teatro Real fuera sede del Congreso de los Diputados entre 1841 Y 1850.

OPERA

In the wake of its history, The new program aims to enrich the repertoire of the Royal Theater essential titles not yet included in its musical heritage, as The soldiers, from Bern Alois Zimmermann, que por su gran complejidad, dimensión y número de intérpretes sigue sin estrenarse en España 52 years after its creation.

Esta magna obra del siglo XX, que nació marcada por la imposibilidad de ponerse en escena dilatando los límites de la ópera, sobresale en una programación cuyo marco conceptual es, precisely, la noción de límite, de frontera como lugar de indefinición y tránsito, clave en el devenir y evolución de los estilos, shapes, estéticas y lenguajes artísticos.

Pablo Heras-Casado asumirá el gran reto de dirigir este ambicioso estreno, con una aplaudida coproducción de la Ópera Cómica de Berlín y de la Ópera de Zurich, stage direction of calixto Bieito.

Lucio Silla, escrita en el siglo XVIII, se ubica también en un espacio resbaladizo entre dos estilos: aunque Mozart la compuso con apenas 16 years, su estructura clásica está ya impregnada de licencias formales que marcarán el lenguaje pre-romántico en el que desembocará la genial producción operística del compositor. this opera, from 1772, nunca se representó en el escenario del Real, por lo que su presentación con el mismo tándem que acaba de triunfar en RodelindaIvor Bolton in musical direction and Claus Guth, en la escénica─ reparará una deuda del Teatro con Mozart y con el público de Madrid.

Enlazando el reciente éxito de Billy Budd with the premiere, la próxima temporada, from Gloriana, el Teatro Real prosigue la presentación de la magnífica producción operística de Benjamin Britten iniciada desde su reapertura. This time Ivor Bolton estará acompañado del prestigioso director de escena escocés David McVicar, en una nueva coproducción con Londres (ONE), Naples, Amberes y Valencia, cuyo estreno será en Madrid.

Gloriana se encuentra también en la frontera incómoda entre el compromiso con la celebración de la coronación de Isabel II de Inglaterra, in 1953, y el personal lenguaje dramatúrgico de Britten, cuya partitura fue incomprendida y marginada, pese a su indudable calidad artística, que el Teatro Real quiere reivindicar.

Otra obra limítrofe de mediados del siglo XX, arrinconada por su mestizaje, is Street Scene from Kurt Weill, que se encuentra entre el musical y la ópera, sin lograr un espacio confortable entre ambos. Denominada por su autor “ópera estadounidense”, se estrenó en Broadway en 1947, pero no volvería a sus salas.

Basada en la obra homónima de Elmer Rice, ganadora de un premio Pulitzer, Street Scene es una lograda síntesis entre la ópera europea y el teatro musical americano, destilando la tradición musical de ambos mundos, entre los que se encontraba su autor, Kurt Weill, judío alemán afincado en Estados Unidos. La obra se estrenará en Madrid en una nueva coproducción con las Óperas de Colonia y Monte-Carlo, with musical direction Tim Murray ─que vuelve al Real después de su exitosa lectura de Porgy and Bess─, y puesta en escena de John Fulljames, nuevo director artístico de la Ópera de Dinamarca.

Dead Man Walking, estrenada en San Francisco en el año 2000, es también una obra que reivindica “explorar un medio que no sea ni teatro tradicional ni ópera tradicional, sino una verdadera combinación de ambos: un drama musical, una ópera-musical, teatro-ópera” de acuerdo con sus autores: the composer Jake Heggie y el dramaturgo Terrence McNally.

Basada en el libro de la hermana Helen Prejean ─que originó también la famosa película de Tim Robbins starring Susan Sarandon Y Sean Penn─ la ópera incide en la entrañable y honda relación confesional que se establece entre la monja y el reo condenado a muerte, relegando a un segundo plano las cuestiones relativas a la pena capital que han dado fama al film homónimo.

Para su estreno en Madrid la ópera contará con la producción de la Lyric Opera de Chicago, with stage director Leonard Foglia y un reparto de lujo encabezado Joyce DiDonato, Michael Mayes Y Measha Brueggergosman, que actuarán bajo la dirección musical de Mark Wigglesworth.

Como colofón a esta serie de óperas híbridas estará el estreno mundial, in the Canal Theatre, from The painter, from Juan José Colomer, prolífico y versátil compositor valenciano afincado en Los Ángeles, que debutará en la ópera con la nueva producción del Teatro Real con dirección musical de Manuel Coves y libreto y dirección de escena de Albert Boadella, que prosigue su acercamiento al repertorio lírico que se va imponiendo en los últimos años de su fructífera carrera.

Alternándose con estas propuestas fronterizas, el Teatro Real ha programado cuatro óperas del repertorio operístico, de las que se ofrecerán un gran número de funciones fuera de abono: Carmen, Bohemian, Aida Y Lucia of Lammermoor.

Carmen, from Georges Bizet, volverá al Real con 18 funciones y tres repartos, en una producción de la Ópera de París que recupera la puesta en escena “naturalista” y taurina de calixto Bieito estrenada en el Festival de Peralada, en esta ocasión con dirección musical de Marc Piollet.

Dos repartos se alternarán en las 19 representations Bohemian, from Giacomo Puccini, en las que el Teatro Real se ha unido una vez más a la Royal Opera House, coproductora de la nueva producción que se estrenará en Londres poco antes de su desembarco en Madrid. La puesta en escena será del prestigioso director teatral inglés Richard Jones y la musical del milanés y Puccini Paolo Carigniani. Ambos debutarán en el Real.

Para la reposición de la “super-producción” de Aida, from Giuseppe Verdi, que inauguró la segunda temporada del nuevo Teatro Real en 1998, Hugo de Ana, stage-manager, set and costume designer Opera, presentará una revisión de su creación anterior como un homenaje a la reciente historia del Teatro en el 20 anniversary of its reopening. Tres repartos participarán en las 17 representaciones de la ópera, que tendrá dirección musical de Nicola Luisotti.

La producción de la English National Opera de Lucia of Lammermoor, from Gaetano Donizetti, traerá nuevamente al Real al director de escena estadounidense David Alden, que dirigió Alcina and the Otello inaugural de la presente temporada. Dos repartos se alternarán en las 15 functions of the opera, que estará dirigida musicalmente por el israelí Daniel Oren.

Donizetti ha sido, a lo largo de la discontinua historia del Teatro Real, uno de los compositores más programados y más queridos del público. Su ópera Bookmark ─de la que existe la versión italiana La favorita─ fue la primera en subir a escena en el Teatro Real cuando abrió sus puertas en 1850. Para celebrar esta representación inaugural en el año del Bicentenario se han programado dos funciones de la ópera en versión de concierto, with musical direction Daniel Oren, with a Gala conmemorativa del 20 aniversario de la Reapertura del Teatro Real he 2 of November.

En versión de concierto se presentarán otras dos óperas con función única: Ariodante, from georg Friedrich Handel, con Les Arts Florissants dirigidos por William Christie, Y Thaïs, from Jules Massenet, under the baton of Patrick Fournillier, with Placido Domingo en el papel protagonista para barítono.

Las óperas de la temporada ordenadas cronológicamente por las fechas originales de sus estrenos:

1735 Ariodante, the Georg Friedrich Handel

1772 Lucio Silla, Wolfgang Amadeus Mozart

1835 Lucia of Lammermoor, de Gaetano Donizetti

1840 Bookmark, de Gaetano Donizetti

1871 Aida, de Giuseppe Verdi

1875 Carmen, Georges Bizet

1894 Thaïs, Jules Massenet

1896 Bohemian, Giacomo Puccini

1947 Street Scene, Kurt Weill

1953 Gloriana, Benjamin Britten

1965 The Soldaten, de Berne Alois Zimmermann

2000 Dead Man Walking, de Jake Heggie

2017 The painter, Juan José Colomer [sin estrenar]

Junto con la programación operística de la temporada se llevarán a cabo diversas Parallel activities buscando sus vínculos con la literatura, artes plásticas, who, fotografía, etc.

Esta interdisciplinaridad, que propicia el diálogo entre la ópera y otras formas de expresión artística, es posible gracias a la imprescindible colaboración, once again, de importantes cultural institutions as: National Library of Spain, British Council, Circulo de Bellas Artes, Reina Sofía Music School, Spanish Film Library, Juan March Foundation, Goethe Institut, French institute, Instituto de Historia y Museo Naval, International Institute, Museo Arqueológico, Museum of Romanticism, Reina Sofia Museum, Real Academia de la Historia, Student's residence Y Theaters Canal.

GRANDES RETRANSMISIONES, SEMANA DE LA ÓPERA Y UNIVERSAL MUSIC FESTIVAL

Una de las iniciativas más importantes que desarrolla el Teatro Real para impulsar su apertura a nuevos públicos y el acercamiento de la ópera a la ciudadanía son las retransmisiones nacionales e internacionales de sus espectáculos, que se incrementarán la próxima temporada, including proyectos pioneros en China y Iberoamérica.

A) Yes, tras el éxito y enorme repercusión de las retransmisiones realizadas en Facebook de I puritani Y The Flying Dutchman, el Teatro Real conmemorará sus aniversarios con la live broadcast of Carmen, in October 2017, and Lucia of Lammermoor, in july 2018, in more than 200 espacios de toda España, con pantallas instaladas en plazas y edificios emblemáticos, además de la retransmisión abierta en redes sociales y plataformas online de todo el mundo.

Sus producciones más populares se proyectarán en cines de todo el país, estando ya programadas La traviata, he 16 November 2017, Y Madama Butterfly, he 10 May 2018.

Proseguirán también las retransmisiones de los espectáculos infantiles y juveniles de El Real Junior en schools Y cinemas de todas las comunidades, estando previstas las proyecciones matinales de Summer night Dream, he 10 October 2017 ─para celebrar el día internacional de la música─ y The cat with boots, he 6 May 2018, coincidiendo con los Días Europeos de la Música.

stage Digital seguirá ofreciendo retransmisiones en directo de gran parte de las producciones del Teatro, ampliando su catálogo de espectáculos online de ópera, ballet y conciertos.

Likewise, con el impulso del trienio conmemorativo de su Bicentenario, el Teatro Real llevará a cabo nuevas ediciones de dos propuestas artísticas muy diversificadas y ya consolidadas: the Opera Week, con una creciente participación e implicación del público, and the Universal Music Festival, in summer, que congrega a relevantes músicos de pop, rock, jazz, o flamenco para despedir cada temporada.

DANCE

La programación de danza estará compuesta por espectáculos protagonizados por cuatro compañías.

He Victor Ullate Ballet will play Carmen in the Canal Theatre, with choreography by Victor Ullate y música de Georges Bizet Y Pedro Navarrete, anticipando las funciones de la ópera homónima en el Teatro Real.

He National Ballet of Spain traerá al Real su espectáculo Sorolla, con coreografías de Arantxa Carmona, Miguel Fuente, Manuel Liñán y Antonio Navarro y música de Juan José Colomer, Paco de Lucía, Enrique Bermúdez, además de temas populares, con la participación de la Head of the Royal Theatre Orchestra, under the direction of Manuel Coves.

The Dresden Frankfurt Dance Company interpretará cuatro coreografías de Jacopo Godani: Metamorphers (music of Bela Bartok), Echoes from a Restless Soul (music of Maurice Ravel), Postgenoma Y Moto Perpetuo, with music 48NORD.

The Royal Ballet cerrará la temporada de danza del Teatro Real con su nueva y esperada producción de Swan Lake, with choreography by Liam Scarlett. The music of Piotr Ilich Chaikovski será interpretada por la Head of the Royal Theatre Orchestra en las seis funciones.

THE REAL JUNIOR, EL PROYECTO DE FORMACIÓN Y EL PROYECTO SOCIAL

El Teatro Real reafirma su compromiso con la education, formación y consolidación del público infantil, juvenil y universitario en colaboración activa con centros educativos y universidades a través de proyectos tan diversificados como Royal Junior, he BED (The opera, Learning a vehicle), he Club Joven, University scene, the workshops Exposed opera, the monographic courses etc., reforzados con una política de incentivos económicos a los menores from 30 Y 35 years que les permite acceder a los espectáculos por precios muy asequibles.

En la programación de Royal Junior destaca el estreno de cinco nuevas producciones del Teatro Real para diferentes edades y con distintos formatos: Mother Goose, con música de Maurice Ravel, en la Sala principal; old cinema with new music, con películas de Charles Chaplin y música en vivo, in the Sala Gayarre; The hidden face of piano en la Sala de orquesta; la ópera de Gian Carlo Menotti The phone, or love three, en la Sala principal y Pulcinella, espectáculo de danza con música de Stravinsky en la Sala Gayarre.

 

Aida

Ramón Tebar (Valencia, 1978) officially debuts as Principal Guest Conductor of the Palau de les Arts Reina Sofia with Aida, from Giuseppe Verdi, which opens next 25 February.

It is about, However, the second incursion of the Valencian master at Les Arts, as recalled by the Mayor Davide Livermore in the presentation of this opera. Ramón Tebar assumed the musical direction of the latest features of Nabucco last season, that was settled "with unanimous success from the public and critics".

Aida is for Ramón Tebar a symbolic title for his return to Valencia as musical director at the opera house in his hometown. Aida, known among others, for the aria 'Winner Returns', is for the Valencian a masterpiece, loaded with a message around human passions and warfare, which ends with an evocation of peace in the mouth of the character of Amneris.

The Valencian arts center has scheduled five functions of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. Les Arts recovers the montage of David McVicar, made in co-production with London's Covent Garden and the Oslo Opera House, in the year 2010 premiered in Valencia Lorin Maazel Y Omer Meir Wellber.

The montage features scenography by Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts. Allex Aguilera is in charge of the stage direction of the revival of Aida.

During his explanation of the play, Davide Livermore has defended the Scottish stage director's proposal, "As heir to the true provocation that Verdi was looking for with Aida".

“Aida has come to our days as a synonym for Ancient Egypt, of pyramids, elephants, camels ... but for Verdi that "Ancient Egypt" is nothing but the framework in which to synthesize his greatest concerns, between them, the big nation that oppresses the little one, the brutality of the empire to destroy the individual and the overwhelming power of the Church over all classes… Variables that Verdi could never have set in Europe ”, Livermore explained.

"That pharaonic Egypt of the first representations, -has qualified Livermore-, it is no longer exotic for us ". Therefore, David McVicar draws on a multitude of ancient civilizations to create a mythical land that causes distancing, rejection and rebellion among the spectators before the barbarities that Aida relates and the beauty of the score. "That is the essential social function of opera", the Mayor has pointed out.

A solid cast

Aida, in Verdi, requires, Besides, of excellent stable bodies such as Heart of the Government and the Orquestra de la Comunitat Valenciana, of a powerful cast, led by sopranos in Les Arts María José Siri Y Lucrecia garcia in the role of Aida.

The Arts reports that Oksana Diving has suspended its presence in Valencia for health reasons and will be the Uruguayan María José Siri, who starred in Manon Lescaut last season, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mephistopheles, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila plays Radamès, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close Aida's love triangle Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in 2009 performed for the first time in Spain two complete cycles of Der Ring des Nibelungen, from Wagner in Arts.

They also return to Les Arts, baritone Gabriele Viviani, who embodies Amonasro -except in the representation of the day 9, sung by Ionut Pascu- and low Riccardo Zanellato which gives life to Ramfis, High priest.

Four emerging artists from the Center Placido Domingo, Alejandro López, in the role of the king, Lara Fabian, as Messenger, y las sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of the Priestess, complete the cast of Aida.

Sold out

The Palau de les Arts Reina Sofia announced that tickets for Aida, in Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at Aida's rehearsals on days 16 Y 17 February. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

About Aida

Aida is an opera in four acts with music by Giuseppe Verdi and a libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette. It premiered on 24 December 1871, at the Cairo Opera House.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, y Radamès, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, who wishes for herself Radamès.

Aida

The Palau de les Arts Reina Sofia communicates that the inputs for Aida, from Verdi, They are sold out within two weeks of its release, except 5% the capacity of the room that the regional law reserves for sale the same day of each performance.

Les Arts has scheduled five performances of Aida: the days 25 Y 28 February, just like him 2, 5 Y 9 of March. The arts center revives its co-production with London's Covent Garden and the Oslo Opera House.

David McVicar is the stage director of Aida, with scenery Jean-Marc Mighty, wardrobe Moritz Junge and lighting Jennifer Tipton. The choreography is the work of Fin Walker, while David Greeves is the director of martial arts.

Ramón Tebar officially debuts as Principal Guest Director of the Arts Center with this title, that they directed at its premiere in Valencia Lorin Maazel Y Omer Meir Wellber. Will be, However, the second foray of the Valencian master in Les Arts, after directing the last functions of Nabucco last season.

The sopranos María José Siri Y Lucrecia garcia they sing the role of the slave Aida. The Arts reports that Oksana Diving has canceled its presence in Valencia due to unavailability and it will be the Uruguayan María José Siri, who starred in last season Manon Lescaut, from Puccini, who replaces the Ukrainian diva in the representations of the 25 Y 28 February.

The Venezuelan Lucrecia García will sing the three performances of Aida in March. García, which debuted in Les Arts in 2011 with Mefistofele, from Arrigo Boito, has been revealed in recent years as one of the new voices of the Verdi repertoire.

The Puerto Rican Rafael Davila interprets Radamés, captain of the egyptian guard. the tenor, who sang for the first time in Valencia with María José Siri in Manon Lescaut, develops an intense career in the United States where, among others, has worked with Ramón Tebar himself.

Close the love triangle of Aida Marina Prudenskaya as Amneris, the daughter of the king of Egypt. The Russian mezzo-soprano was part of the cast that in June 2009 performed for the first time in Spain two complete cycles of The Ring of the Nibelung, from Wagner in Arts.

Gabriele Viviani, who embodies Amonasro except in the representation of the day 9, who sings Ionut Pascu, Riccardo Zanellato (Ramfis), Alejandro López (The king), Lara Fabian (Delivery courier) along with the sopranos Federica Alfano (25, 2, 5) Y Tatiana Irizarry (28, 9), that alternate the role of Priestess, complete the cast of Aida.

Aida is an opera in four acts with music by Giuseppe Verdi and libretto in Italian by Antonio Ghislanzoni, which was based on the French version of Camille du Locle of the story proposed by the French Egyptologist Auguste Mariette.

Set in Egypt, tells the love story between Aida, an ethiopian princess, but a slave in the land of pharaohs, and Radames, Egyptian military man and captain of the forces that occupied the land of Aida. Amonasro opposes this love, father of the ethiopian princess, that demands revenge, and Amneris, daughter of King, that she wishes for herself Radames.

The composer of Busseto discovers within himself the issues that most concerned him: the difficult father-daughter relationship, love versus honor and obligation, Y, especially, the war theme, the big nation that tries to crush the smaller ones.

Success of the guided tours of the Aida

Likewise, the public has also exhausted the 100 places available for guided tours of Les Arts with attendance at rehearsals Aida next week. Last season, the arts center launched this new visit format that allows attendees to know 'in situ' the work prior to the premiere of an opera production, in addition to touring the different spaces and rooms that the building designed by Santiago Calatrava houses.

From the boxes of the Main Hall, the days 15 Y 16 February 50 people, for each shift, enjoy a part of the last rehearsals prior to the premiere of Aida he 25 February. Before the excellent answer, Les Arts will repeat this proposal on the occasion of the rehearsals of the next lyrical productions: Idomeneo, from Mozart, Kafka coffee, Francisco Coll, Y A Midsummer Night’s Dream, from Britten.