Granada

He Teatro de la Zarzuela will live next Thursday 1 October una noche que no es exagerado considerar histórica. Después de ocho meses sin subir el telón, obligado por los desastrosos estragos de una pandemia infinita, este escenario único volverá a ser el centro mundial del género que le da nombre y que contiene muchas de las más brillantes páginas de nuestro patrimonio lírico. Y para un momento tan sumamente especial, el espectáculo programado y quienes lo levantarán cada día, no podía ser menos.

‘Granada’ es el título genérico escogido para reunir dos composiciones cruciales en la obra de sus autores. Granada es ‘La Tempranica’ de Gerónimo Giménez, y Granada es asimismo ‘La vida breve de Manuel de Falla de la que aquella es referente musical y escénico directo. Históricas serán las 14 functions (7 por título), también por la prolongada ausencia de estas tablas: El tren de ‘La Tempranica’ no para en esta estación desde hace la friolera de 36 years. ‘The short life’, ocho.

Y aunque, debido una vez más a las restricciones de la crisis el montaje se verá de forma diferente a como en un principio fue concebido (ambas obras escenificadas en una misma función), la apuesta preserva la fuerza escénica y musical de la idea originaria. Not in vain, son pesos pesados de la música y el teatro quienes se enfrentan a la genialidad de estos dos compositores andaluces: Por un lado será el Maestro Miguel Ángel Gómez-Martínez quien asuma la dirección musical desde el podio del foso (un granadino dirigiendo ‘Granada’), which will be in front of the Orquesta Titular del Teatro de la Zarzuela -Orquesta de la Comuni­dad de Madrid-, del Coro Titular del Teatro de La Zarzuela y de unos extraordinarios repartos.

And on the other hand, el director de escena veneciano Giancarlo del Mónaco se hará cargo, como en él es norma, de sacar los sentimientos recónditos, las emociones escondidas, las pasiones inesperadas; exprimirá el alma herida de los personajes, interpreters, del público en busca de verdades en ocasiones desconocidas y no felices, que a ninguno nos son ajenas.

Una trilogía española

Con esta producción de ‘Granada’ Del Monaco concluye en el Teatro de la Zarzuela lo que él mismo considera como una trilogía española que incluye ‘Las golondrinas’ -con las que se abrió la temporada 2016/2017 de este coliseo-, y ‘La Tempranica’ y ‘La vida breve’ (esta última la estrenó en 2010 at Palau de les Arts Reina Sofia in Valencia, a quien pertenece la producción). Centrándonos en estas dos últimas, la primera reflexión del director italiano gira en torno a cuál es el nexo que une las obras de Giménez y de Falla, y llega “irremediablemente” a la conclusión de que “ambas están ligadas por una atmósfera, una dramaturgia, una composición teatral de la psicología de la mujer abandonada”.

Gómez-Martínez, meanwhile, se sumerge en las emociones de los dos compositores y las ejecuta con suma fidelidad para que sean ellos a través de dos mujeres gitanas y granadinas -María y Salud- quienes conmuevan al público.

En el escenario se sufre, y mucho. Y también se goza. Eso sin duda. Y hay artistas a los que estas ocasiones dicotómicas los hace crecer, elevarse, transformarse en lo que la emoción exija en cada momento. Por extrema que esta sea. De esa naturaleza son los intérpretes que estos días, en estas funciones, recalan en la plazuela de Jovellanos. De una integridad escénica conmovedora, de un dramatismo contagioso y un talento musical diferente. Nancy Fabiola Herrera y Ainhoa Arteta serán respectivamente María en ‘La Tempranica’ y Salud en ‘La vida breve’, igual que Ana Ibarra y Virginia Tola. Jorge de León será ese Paco contradictorio de la obra de Falla, y le acompañará en el papel Francesco Pio Galasso. Rubén Amoretti hará de Don Luis en una, que alternará con Javier Franco, y de Tío Sarvaó en la otra. Y Ruth González será Grabrié en la de Giménez, Y Maria Luisa Corbacho también hará doblete encarnando a Salú en una y a la abuela en la otra. Y no paramos de contar. También harán de estos montajes una experiencia por momentos épica y siempre conmovedora, voces y actitudes como las de Gustavo Peña, Gerardo Bullón, Ricardo Muniz, Miguel Sola, Anna Goma, Andrés Merino Y Jesus Mendez.

Y en ‘La Tempranica’, el guiño viene a ser pefecto. El Premio Nacional de Literatura Dramática de 2019, Alberto Conejero, ha ideado un sueño. Una fantasía que se hace realidad en el prodigioso encuentro sobre el escenario de los propios Gerónimo Giménez, which will play Jesus Castejon, y Manuel de Falla, a quien dará vida Carlos Hipolito. Y los compositores tendrán una réplica en Julián Romea, autor del librero original de ‘La Tempranica’, a que encarnará el también actor Juan Matute.

La musicóloga Dácil González Mesa señala en sus notas al programa que “ciertamente las dos obras que aquí nos ocupan constituyen géneros distintos dentro de la música escénica, pero la deuda de Falla con ‘La Tempranica’ de Giménez es evidente. Buena muestra de ello es que una y otra tienen en común, además de su temática -ambientada en la Granada gitana-, tipos de personajes, formas y recursos musicales”.

Streaming en directo

Como viene siendo habitual en el Teatro de la Zarzuela desde hace varias temporadas, ambas producciones se emitirán en directo a través de YouTube, Facebook y la página web Coliseum: ‘La Tempranica’ el viernes 16 de octubre a las 20h00, y ‘La vida breve’ un día después, Saturday 17 a la misma hora.

Y todo con las más extremas medidas de seguridad.

El Escorial

The Auditorium Theater will open with a capacity of 50% and under strict safety and hygiene measures to guarantee the safety of the public and workers.

The opening of the festival will be carried out by the virtuoso Russian pianist Arcata Volodos, which will play works by Liszt and Schumann.

the soprano Ainhoa ​​Arteta and mezzosoprano Joyce DiDonato, two of the highlights of the festival, They will delight the public with their famous voices accompanied on the piano by Javier Carmena y Carri Ann Matheson, respectively.

The touch of humor can Goyo Jiménez -accompanied by piano Julio Awad-, the tenor Zapata and Maestrissimo, Yllana's comic-musical show.

Antiqva form, Sergio Bernal Dance Company and Joaquín de Luz, Chapel of Ministers, Noelia Rodiles, Antonio Galera or the RTVE Symphony Orchestra will be other protagonists of an edition with twelve shows for all tastes.

The San Lorenzo de El Escorial Auditorium Theater of the Community of Madrid reopens to the public next 23 July with the new edition of the Summer Festival, a classic in the summer nights of the Madrid mountains and one of the main festivals of the summer season in our country. From that day until 6 August the Festival presents twelve music shows, dance, theater and humor that will star Ainhoa ​​Arteta, Joyce DiDonato, Goyo Jiménez, Yllana, Arcadi Volodos or Zapata, among many others. The reopening of the Auditorium Theater for the Summer Festival will be carried out under strict safety and hygiene measures through a protocol that guarantees the safety of the public and workers.. It will open with a capacity of 50%.

The Festival opens on 23 July with the piano recital of Arcadi Volodos, performing works by Liszt(Ballad nº2, Legend nº1St Francis of Assisi: The preaching to the birds ’) y Schumann (Colorful leaves, Humoreske). The well-known Russian pianist has become a world reference in classical music, considered a genius for his unique ability to combine exceptional virtuosity with deep, expressive musicality. Since his New York debut in 1996, Volodos has performed all over the world, both in recitals and with the most eminent orchestras and conductors on the international scene.

The day 24 July will be the turn of the RTVE Symphony Orchestra, that will delight audiences with two symphonies by Ludwig van Beethoven. The renowned musical group will perform the symphony no. 1, the first of the nine that Beethoven composed; and the symphony no. 5, one of the most popular compositions in the history of classical music, whose allegro initial is present in the universal collective imaginary. The formation will play under the baton of Manuel Coves, Andalusian conductor with a long career in which he has conducted numerous Spanish and European orchestras. The concert is part of the Beethoven Year, so that in 2020 is celebrated on 250 anniversary of the German composer's birth in Bonn (1770).

Ainhoa ​​Arteta, one of the great voices of our country, will return to the Auditorium Theater on 25 July with the recital origins. Spanish music. Accompanied by the master pianist Javier Carmena, the soprano will tour the great musical pieces of the Spanish classical repertoire, to return to the roots of our musical culture thanks to the works of composers such as Joaquín Turina, Enrique Granados or Jesús Guridi. In this new proposal, the singer presents a program that goes beyond the concept of recital as a succession of works and that reveals part of her life and professional journey. Ainhoa ​​is a Spain brand and so wants to capture it in this evening, showing deep respect for the regions and their people, by the roots and, definitely, for traditions and customs.

Extraordinary women, classical and spanish dance, baroque music and humor

In this edition, viewers will travel to other times through the lives of two extraordinary women. He 26 July Capella de Ministres presents his particular musical tribute to Lucretia Borgia, daughter of Alexander VI, three times married, with a murdered husband and illegitimate son. And all in just 39 years and in full Renaissance. The Valencian set, directed by Carles Magraner, has been based on contemporary music to Lucretia to show his humanity, free her from the cliché of a dissolute woman and place her historical-social context, that will take the public to the fascinating daily life of the Italian Renaissance courts.

He 31 July Forma Antiqva premieres Damn, a new lyrical show staged in which the music of María Antonia Vallejo Fernández is recovered. This Spanish musical theater production -which features the voice of the soprano María Hinojosa and the scenic proposal of Pablo Viar- pays homage to the famous singer of the 18th century, returning to the sources that founded her legend, theme of numerous songs, books, zarzuelas and films from the 19th and 20th centuries. La Caramba was fascinated by its beauty, his enormous power of seduction, their mischievous occurrences, his grace in the art of singing and, Finally, for his unusual religious conversion and retirement at the height of his career.

Antonio Galera and Noelia Rodiles will offer two piano recitals on days 27 Y 28 of July. In the performance of the day 27 Antonio Galera will perform works by Beethoven, Liszt, Debussy y Ginastera, in an intimate evening to let yourself be carried away by the melody of sonatas, suites and argentinian dances. The day 28 Noelia Rodiles will play three sonatas, two by Beethoven and one by the Madrid composer Jesús Rueda (1961).

The touch of humor will come with the Goyo Jiménez shows, Yllana and Zapata. He 1 August, the television comedian Goyo Jiménez will present his Big hits accompanied on piano by Julio Awad. With this show, the Summer Festival has taken the license to include a proposal outside of its usual musical programming that is sure to entertain all types of audiences. Laughter is also guaranteed in Maestrissimo (Pagagnini 2), the comic-musical show that Yllana performs on 4 of August. A family show that reinvents the relationship between humor and classical music and in which they are shown, in true Yllana style, the adventures and misadventures of a string quartet in an undetermined period between the 17th and 18th centuries (Baroque and Neoclassicism). He 5 August José Manuel Zapata premieres Reverse, a lyrical monologue in which the tenor opens his heart to the public. This one-man and brave work begins as ‘one more concert’, but it soon becomes a journey through the life and music of the artist, full of humor, surprises and all kinds of anecdotes.

further, in this edition there will be space for dance with return, from classical ballet to the latest in Spanish dance, the montage that Sergio Bernal Dance Company presents the 3 of August. Passion, technique and great talent make up this show, that combines flamenco and bolero rhythms with choreographies of classical ballet and Spanish dance. Sergio Bernal will be on stage, first dancer of the National Ballet of Spain until 2019; Joaquín de Luz and the bailaora Lucía Campillo.

The Summer Festival will be closed in style on 6 August with the performance of Joyce DiDonato. The popular American mezzo-soprano will offer a colorful recital in which she will dazzle the audience with her voice co-ordination and hypnotic expressiveness, accompanied on piano by Carri Ann Matheson. DiDonato is one of the most requested mezzos today, proclaimed by The New Yorker as, possibly, "The most powerful female singer of her generation". With a voice of “nothing less than gold 24 carats ” (The Times), DiDonato has been honored with numerous awards, including three Grammys.

52 years have had to happen for Mirentxu, youth work Jesus Guridi, He has returned to be heard in the Teatro de la Zarzuela. A work that has a long history of transformations. During 30 years, one maverick Guridi not stopped modify and adapt to reach this latest version.

It premiered as zarzuela 1910 at the Theater Champs Elysees of Bilbao, libretto by Jesus Maria de Arozamena and Alfredo Echave and with great critical and commercial success. This first version had a huge orchestration, something very unusual in the Spanish composers of the time. In 1913 takes to Barcelona, this time as an opera, for it regardless of all dialogues. And the 1915 opens in the Zarzuela Theater as he envisaged initially, as zarzuela. After consulting his colleagues Arozamena and Fernández-sahw, Guridi made a new adaptation for premieres at the Arriaga Theater in Bilbao 1934. And it is in this same theater, Arriaga, where it is released in Basque 1947.

The version that has offered the Teatro de la Zarzuela is the latter, with an adaptation of Borja Ortiz de Gondra to the Castilian that, as a narrator, Carlos Hipólito declaims with great musicality narrating the sequence of events. Something so successful is making the Teatro de la Zarzuela with works in concert.

From the pit, a Oliver Diaz master performs a reading of the score filled with refinement and leads to the Community of Madrid Orchestra one of his most lucid interpretations. This is a score of great sound and very reminiscent of the Basque countryside in which the action, simple and everyday, of this work. The score is not complex. It has an almost cyclic structure, Music returns to the same note of the beginning, in a normal humdrum of everyday life, everything starts. Remember Wagnerian chords.

At the front of the cast an excited Ainhoa ​​Arteta as Mirentxu, which it is a vocal splendid moment. He conveyed to the audience the thrill and excitement of their land through music he has known since childhood. He sang all, even accompanying the choir at times. His final aria, which it is the largest lucimiento, He was the delight of an audience that was thrilled with her.

The role of Raimundo, more extensive and complex than Mirentxu, He was in charge of Mikeldi Atxalandabaso. With a beautiful singing line, He was threshed with his light voice every intense moment of the character and plot. After initially somewhat forced, He gave everything in the second half.

The Presen of Marifé Nogales, character in the shadow of the protagonists, But his companion was perfect. always solvent, created a pinched with the precise level of drama.

Christopher Robertson has been impeccable Txanton. Sober expression, as the character of his character. One step below the performance was a headstrong Jose Manuel Diaz, as Manu. Mario Villoria, choir component, he was a pastor with solvency and efficiency.

Very well Holder Choir Teatro de la Zarzuela. It was less to more and their work was assessed with the Basque. Special mention was the intervention of the White Voices Choir Sinan Kay, directed by Lara Diloy. A chorus formed 2015 with didactic vocation whose headquarters are in school Holy Trinity Alcorcón. A brave and highly effective initiative in many aspects, not only academic or didactic. Special mention two solitas Patricia Valverde Y Azahara Bedman. It seems that the future of opera is guaranteed.

A new success of the Teatro de la Zarzuela in his invaluable work search and retrieval of great works of Spanish lyric. And anxiously we hope next.

Photograph: Javier del Real

The days 22 Y 24 of November They can be considered Historic for him Teatro de la Zarzuela. At that time the public will hear (in concert), Y for the first time in Basque In this theater, one of the most unknown works of Jesus Guridi: the lyrical idyll in two acts ‘Mirentxu’. And it will be after 52 years of silence in this scenario, only where it has been heard complete in Two occasions along its 163 years of history, the last one in 1967. Again theater the Plazuela de Jovellanos meets one of its essential tasks such as the preservation, study, Recovery Y divulgation of our operatic heritage. The Colisseum, after starting the season with The village ', and culminates its particular tribute to one of our most brilliant musicians.

Libretto by Jesus Maria de Arozamena Y Alfredo Echave, of 'Sandy', the words of the expert musicóloga Maria Nagore Ferrer, "It is indisputable beauty, which explains the popularity of some numbers as the prelude to the first act or the beautiful and lyrical aria end ". A) Yes, Nagore Ferrer stresses that " compositional mastery Guridi It is set to the service of a poetic text that is treated with flexibility, simplicity and orchestral palette rich and elaborate but wrapped in soft hues”.

The various 'Mirentxus'

'Mirentxu' premiered at the Theater des Champs Elysees in Bilbao 1910, and since that first occasion he suffered constant changes. Nagore Ferrer speaks even "Six or seven 'Mirentxus' different', even to become opera, thus adding to the parties dialogued music. In this format was presented at its premiere in Barcelona 1913, but Guridi was not at all satisfied, convinced, despite the rave reviews, that the public did not understand the work precisely because that format opera. So, two years later, in 1915, presents in Madrid, at the Teatro de la Zarzuela, but in its original version.

A new adaptation of 'Mirentxu' It premiered at the Arriaga Theater in Bilbao 1934, Guridi commissioning recast the libretto to his usual collaborators Federico Romero Y Guillermo Fernández-Shaw. For this new version, the composer It reinstrumentó whole score; modified some numbers and added new ones, trying not to undermine the work.

In 1947, the composer asked writer Jesus Maria de Arozamena a new review of the work. Arozamena departed version 1934, also using elements of the original libretto by Echave, Y He wrote two versions, in Castilian and Basque. This last and final 'Mirentxu' was released by the Company Lyrical Theater Donostiarra at the Grand Kursaal in San Sebastian precisely 24 November 1947, receiving Ruperto Chapi National Theater Award. Y It is this "final" version that can be heard these days in the Teatro de la Zarzuela in Madrid.

Although they have not been able to find documented evidence that the work was presented as an opera beyond its premiere in Barcelona, remains always the same question: Is 'Mirentxu' an opera or an operetta? Nagore Ferrer responds: "As rightly says Ramon Lazkano in his introduction to the critical edition published by the Complutense Institute of Musical Sciences in 2009, the imprecision of the work did not stop Guridi pose problems for more than thirty years of gestation of the definitive work: It is a work "halfway between a singspiel and éuscara zarzuela, or a verismo drama and a pastoral scene».”

The double date in La Zarzuela

In the double date with 'Mirentxu' at the Teatro de la Zarzuela, the podium will be assumed by Oliver Diaz, who must face the master orchestrator Guridi; to its inspiration in creating melodies or the detailed architecture vocal of the work. To address all these are demands, It will feature a balanced distribution voices outstandingly suitable to the requirements of the composer.

the soprano Ainhoa ​​Arteta will play the role of Mirentxu, Manu the miller's daughter, and premium Raymond, living with them and who is in love unsuccessfully. The role of Raimundo, love to turn Presen, Mirentxu friend, I assume the tenor Mikeldi Atxalandabaso. Bass-baritone Christopher Robertson It will act as a Txanton, the old man who cares for children whose older sister is presented in the house next door to the mill where they live Manu, Mirentxu and Raimundo. Presen's role will be played by mezzo-soprano Marifé Nogales. Meanwhile, baritone Jose Manuel Diaz Manu will play. All of them will also join the baritone solo Mario Villoria, component of Holder Choir Teatro de la Zarzuela, and children Patricia Valverde Y Azahara Bedmar, members of the White Voices Choir Sinan Kay.

The story of 'Mirentxu' this time is recreated by renowned playwright Borja Ortiz Gondra and will be the actor Carlos Hipolito who among the musical numbers go unfolding succession of events which lead to the final tragedy.

The Community of Madrid Orchestra, Titular del Teatro, and the Holder Choir Teatro de la Zarzuela, completes the artistic picture of this historic recovery will have a milestone: recording and subsequent broadcast of the work by Classical Radio RTVE. The critical importance of this record is that to date there are no recordings valid 'Mirentxu'.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Teatro de la Zarzuela He has started the new season with a heartfelt tribute to Montserrat Caballé. A Spanish lyric gala which is "your home in Madrid", as he never tires of repeating Daniel Bianco, director of this theater, he was excited in the words dedicated to the soprano at the beginning of the gala.

The gala has been starring exclusively for music. No projected images, only one at the beginning and end. Very suitable for honoring who lived for music. "He was looking for the music behind the music", Bianco noted in a speech that has thrilled children and siblings of Caballé, present at the event from stage No. 8, that take today the name of Montserrat Caballe.

Caballé debuted at La Zarzuela in 1964 with "Anthology of tonadilla and short life", under the direction of Maestro Alonso Odon. Since then there have been numerous their holdings, both operas and zarzuelas.

They participated in the gala Celso Albelo, Rubén Amoretti, Ainhoa ​​Arteta, Yolanda Auyanet, Maria Bayo, Maite Beaumont, Gabriel Bermúdez, José Bros, Mariola Cantarero, Carlos Chausson, Andeka Gorrotxategi, Airan Hernandez, Nancy Fabiola Herrera, Ismael Jordi, Pilar Jurado, David Menendez, Marina Monzó, Sabina Puértolas, Jose Luis Sola and Virginia Tola. All under the direction of maestro Oliver Diaz, in front of the Titular Orchestra of the Teatro de la Zarzuela, Community of Madrid Orchestra. It should be noted that all interpretations have been at a high level, as the occasion deserved. At the end of the gala, his great friend Nuria Espert, everyone was excited recalling the great soprano in its human aspect.

A deserved and heartfelt tribute Teatro de la Zarzuela in Madrid and the public a unique singer.

Ainhoa ​​Arteta

With the already sold out, Gipuzkoa soprano debut a song cycle commissioned by the composer CNDM Lorenzo Palomo straight cycle anniversary

the soprano Ainhoa ​​Arteta, accompanied by Roger Vignoles, one of the best pianists specialized in Lied, will hold the next Monday 10 of diciembrs going on 25 Lied cycle years that he National Dissemination Center Musical (CNDM) coproduced with Teatro de La Zarzuela.

It will do so with a recital in which premiere the song cycle magical path, commissioned work by composer Lorenzo Palomo CNDM straight cycle anniversary. Alongside this premiere, Vignoles Arteta and interpret the Three Petrarch Sonnets but Liszt and works Jaime León, Jayme Ovalle, Osvaldo Lacerda, Fernando Obradors and Enrique Granados. Las localidades para este concierto están exhausted.

Arteta starred in October, with great success of critics and audiences, the operetta Katiuska Paul Sorozábal, which he opened the season 2018/2019 the Teatro de la Zarzuela.

stylish “mark Spain” lyric

Tras resultar vencedora de los Concursos Metropolitan Opera National Council Auditions de Nueva York y del Concours International de Voix d’Opera Plácido Domingo de París, inicia una brillante carrera internacional en teatros como el Metropolitan Opera, Carnegie Hall, Covent Garden, Bavarian State Opera, Operas de Washington, Houston, Dallas, Seattle, San Francisco, Scala, San Carlos in Naples, Arena of Verona, Teatro Bellas Artes in Mexico, Amsterdam, Deutsche Oper Berlín y un largo etc., playing the lead roles of operas La Traviata, Bohemian, Romeo and Juliet, Faust, The swallow, Eugene Onegin, Turandot, Manon Lescaut, etc.

Combina sus actuaciones operísticas con recitales y conciertos dirigida por los más reputados maestros como Sir Neville Marriner, Christian Badea, Gianandrea Noseda, Christopher Hogwood, Vasily Petrenko, Pablo González, Adrian Leaper, Victor Pablo Pérez, Friedrich Haider, Pier Giorgio Morandi, Gustavo Dudamel, Miguel Ángel Gómez Martínez, Günter Neuhold, Frédéric Chaslin, etc, y por renombrados pianistas repertoristas como Marco Evangelisti, Rubén Fernández Aguirre, Roger Vignoles y Malcolm Martineau con quien graba para el sello Deutsche Grammophon Recital, una exquisita selección de canción francesa y española.

En los últimos años ha recibido numerosos galardones como la ‘Medalla de Oro al Mérito en las Bellas Artes’, Doctor Honoris Causa by the Universidad Rey Juan Carlos, Embajadora de la Marca España, 'Prize Hispanic Society of America' for his contribution to the arts, Premio al “Mejor Artista de Música Clásica” en la V Edición de los ‘Premios de la Música’, ‘Premio ONDAS’ a la labor más notoria en música clásica, ‘Premio Federico Romero’ de la Fundación Autor a su carrera de proyección internacional, 'Gold Medal of the Palau de la Música', Presidenta de Honor de la Asociación Maestro Segovia, Academic of the Royal Academy of Fine Arts of Cádiz, Vasca Universal, Patron of the Foundation Choir-Catalan Music Palace, artista en residencia de la Orquesta de Cadaqués, ‘Micrófono de Oro de la Federación de Asociaciones de Radio y Televisión de España’, 'Enric Granados Prize' and Gold Medal of the Association of Friends of the Opera Lleida, así como el ‘Premio Ciudad de Alcalá de las Artes y las Letras’.

Of his greatest successes should be highlighted their participation in Cyrano de Bergerac junto a Plácido Domingo en San Francisco Opera y en el Teatro Real, Bohemian en el Metropolitan y La Scala de Milán, Otello in Corunna, Turandot, Carmen Y Bohemian at the Lyceum, Dialogues des Carmelites, Eugene Onegin Y Simon Boccanegra en ABAO, as well as the premiere of the opera in Paris Le dernier jour d’un condamné junto a Roberto Alagna, Don Carlo at the Opera de Oviedo y Don Giovanni at the Theatre Royal, su papel como Alice Ford de Falstaff junto a Bryn Terfel en la Ópera de San Francisco, he Requiem de Verdi en el Suntory Hall y Fukushima con la Orquesta Filarmónica de Tokyo bajo la batuta de Nicola Luisotti, Manon Lescaut at the Teatro de la Maestranza, AAdriana Lecouvreur en la ABAO, Tosca in Bologna Teatro Comunale of Reggio Emilia and, La Wally at the Grand Theater de Geneve, Bohemian in the Fine Arts in Mexico and Tosca junto a Marcelo Álvarez en Sao Paulo. Han sido igualmente grandes éxitos su Falstaff in Covent Garden, Tosca en la Welsh National Opera junto a Bryn Terfel, opera gala at the Vienna Konzerthaus Wiener Kammer Orchester with, Tosca en la German Opera de Dusseldorf, Manon Lescaut en ABAO, Alice Ford Falstaff en el Teatro San Carlo de Nápoles y A Coruña y su debut en el Teatro Bolshoi de Moscú con el rol de Manon Lescaut, as well as the Sydney Opera House with Tosca.

His recent and upcoming engagements are Tosca in the arena of Verona, Teatro San Carlos de Nápoles y en la Deutsche Oper de Düsseldorf, Manon Lescaut en el Teatro San Carlo de Nápoles y Bolshoi, Requiem de Verdi junto a la Royal Liverpool Philharmonic bajo la dirección de Vasily Petrenko, Andrea Chenier Opera in Oviedo, Bohemian en ABAO, Adriana Lecouvreur In sevilla (Maestranza), I Pagliacci (Nedda) in the Currency of Bruselas, Madama Butterfly en el Liceo y Don Carlo at the Theatre Royal.

Photograph: The small room mr

Ainhoa ​​Arteta

He Teatro de la Zarzuela in Madrid starts next monday, 9 October (20h00) its cycle of concerts of the season. He will do it in style with a recital in which the Gipuzkoan soprano Ainhoa ​​Arteta, one of our most popular and international artists, will claim the figure of Federico Garcia Lorca, the newly memorialized 80 years after his assassination, through his music and his poetry. In addition to the well-known songs played by the Granada poet, the singer will address compositions of Antón García Abril, Manuel García Morante, Xavier Montsalvatge Y Miquel Ortega about some of his poems.

A) Yes, plus a selection of old Spanish songs from Lorca such as "El Café de Chinitas", «Nana de Sevilla», "You, jaleo», "The four muleteers" or "Zorongo", Ainhoa ​​Arteta will address, among other works «Nana, boy, nana »or« Baladilla de los tres rios »with music by García Abril, "Song of the mother of Bitter" or "Night" by García Morante, "Landscape" or "The lizard is crying" by Xavier Montsalvatge, or «Memento» or «Romance de la luna, luna »by Miquel Ortega, all of them on texts by García Lorca.

The evening will have, Likewise, two especially emotional moments: the recorded voice of Paco Rabal reciting the poem "Spilled Blood" by Cry for the death of Ignacio Sánchez Mejías, and Rafael Alberti doing the same with "Leonardo y la novia" by Blood Wedding.

 

Teatro de la Zarzuela

Earlier this season we were saying that something was happening in the Teatro de la Zarzuela Y, in sight of the Season 2017/2018 which was presented this morning, We can only confirm. This is the second scheduled by its director Daniel Bianco, with a firm commitment: reach out to all audiences, thus vindicating his inescapable condition of plural theater. The 161 functions that will make up the new course will therefore be directed, how not, al regular viewer of the theater, but also and to the same extent to those who approach him with curiosity and concern to know and even those people who don't know yet what is cooked between the centuries-old walls of the colosseum.

In that direction orient his words White by stating that The original intention of the new season is “to invite more and more people to join this trip, that they take our hand to walk that path ". A journey that involves, as recognized, a "colossal" job but worthwhile for that “the Spanish lyrical genre in its broadest sense continues to feel like one of the most deeply rooted cultural heritages, thus being a significant sign of each one of us ".

A path that, according to the director, must be traveled together and in a single direction: “To feel, enjoy and live the Spanish lyrical genre whose richness resides, precisely, in its extensive variety "; and states that "We can look to the future with total guarantee and optimism, since we have a clear objective and the tools to achieve it ".

This is the spirit with which this new season of La Zarzuela is presented: increasing the number of functions to a total of 161, representing an increase of 15% compared to the current season and a 41% in relation to the season 2015/2016.

A) Yes, the Season 2017/2018, what will start the next 6 October and will last until 14 of July, presents eight lyrical titles: six new productions the Teatro de la Zarzuela (among which are a co-production with the Lausanne Opera Y a premiere of a contemporary work), a replacement of own production, functions open to all audiences of the Zarza project (zarzuela made by youth for youth) Y a zarzuela in concert version.

Lyric

The season will start with 18 functions a new production from ‘The singer of Mexico’ by Francis Lopez in co-production with the Lausanne Opera. Signed by Emilio Sagi, with Oliver Diaz in musical direction, scenery Daniel Bianco, wardrobe Renata Schussheim and a cast headed by Rossy de Palma, José Luis Sola, Sonia de Munck, Esteve Manel O Luis Álvarez, it will be playing of the 6 al 29 October. After this start it will be the turn for the Spanish opera with two titles: ‘El gato Montés’ by Manuel Penella Y ‘Maruxa’ by Amadeo Vives. First, replacement of an own production premiered in 2012 and signed by José Carlos Plaza, of which are scheduled 8 functions 23 November to 2 from December; with Ramón Tebar in the pit the cast will be headed by Nicola Beller Carbone, Carmen Solis, Juan Jesus Rodriguez, César San Martín, Thiago Arancam O Alejandro Roy. The choreography is by Cristina Hoyos.

'Maruxa', meanwhile, is a new theater production whose music will be directed by José Miguel Pérez-Sierra. This story that takes place on the confusing border between love and desire will feature a scene and scenography by Paco Azorín; Session Hernández, Susana Cordón, Rodrigo Esteves, Maybe Borja, Ekaterina Metlova, Look at Urbieta or Simón Orfila, will integrate the cast of this long-awaited title whose 14 functions will of 25 January to 11 February.

He 16 and the 18 February the public will have the opportunity to taste ‘La Tempestad’ after more than half a century without being heard in Madrid. Scheduling this fantastic melodrama by Ruperto Chapí, one of the most celebrated works of the composer, It is only possible if you have a cast like the one presented this time by the Teatro de la Zarzuela: Carlos Alvarez, Celso Albelo, Mariola Cantarero, Ketevan Kemoklidze, Carlos Cosías and Alejandro González, all of them led by Guillermo García Calvo. Will be offered in concert version with an adaptation by Alberto Conejero to tell the story in which an unsolved crime strikes the conscience of a murderer mired in remorse.

In the season will also be presented, like happy novelty, he absolute premiere of a contemporary work, in another new colosseum production. ‘Policemen and thieves’ by Tomás Marco, with original booklet by Alvaro del Amo, It will be led by José Ramón Encinar, with Carmen Portaceli as creator of the staging. Manuel throws, José Antonio García, Rocío Pérez, Pablo García López and María Hinojosa will make up the cast in the 5 functions will of 5 al 11 of April.

The zarzuela grande will also be present on the Jovellanos street stage with one of its emblematic titles: ‘La tabernera del puerto’ by Pablo Sorozábal. There are many attractions in this new production of the Theater. As we say, the work itself, its stage director: Mario Gas, the musical: Josep Caballé Domenech, the master of masters of scenography Ezio Frigerio, the wardrobe designed by the Oscar winner Franca Squarciapino, or the dazzling cast with Sabina Puértolas, Marina Monzó, angel Ódena, Javier Franco, Antonio Gandia, Alejandro del Cerro, Rubén Amoretti or David Sánchez. Each of the 12 functions, of the 5 al 20 of May, promises to be a milestone. In parallel form, during the month of May he Zarzuela Theater and Thyssen-Bornemisza Museum will jointly organize a exhibition dedicated to the scenic work of Frigerio and Squarciapino in the Madrid headquarters of the art gallery. The collaboration between both institutions is carried out by second year in a row.

The season will conclude with the musical comedy by maestro Alonso ‘24 hours lying!’. In free version by Alfredo Sanzol, undoubtedly one of our most valuable playwrights, the stage direction of this new production will be signed by Jesus Castejon. The music will take over Carlos Aragon, that will face a more than adequate cast composed of Own Castejón, Yolanda Ramos, cross Beitia, Thomas Pozzi, José Luis Martínez and Enrique Viana. Of this vaudeville in which no one wants to show who they are for fear of knowing what they do not have will be offered 14 functions 29 June to 14 of July.

With the presentation of all these titles the theater will continue to be the only showcase for our lyrics, fertile and heterogeneous at once.

Concerts: Great room, ‘Notes from the Ambigu’, ciclo Lied

After success obtained this season, the number of concerts is maintained in the main hall. Eight will be the proposals, in which in addition to the lyric, will also have room other ways of feeling and unfolding music: soprano Ainhoa ​​Arteta with a tribute to Lorca entitled ‘The voice and the poet’ (9 October), Mexican tenor Javier Camarena in its first concert dedicated solely to zarzuela (19 of November), singer Silvia Pérez Cruz who will give a show under the name of the song his parents wrote more than 30 years: ‘Evening Dress’ (28 of November), he Christmas concert ‘Zarzuela in plural’, that under the baton of Oliver Diaz will bring together artists like Lucero Tena, José Antonio López, Carol Garcia, Svetla Kresteva and Enrique Ferrer, around zarzuelas from all Spanish regions (28 of November), the cantaor Archangel that will offer a new look at the Spanish lyric genre (30 from January); singer Marta Sanchez accompanied only by piano will offer the most intimate version of his voice (17 February); the Latvian mezzo-soprano Elina Garanca, with his highly anticipated debut in Madrid and the special participation of Andeka Gorrotxategi (11 of March) and mezzosoprano Maria Jose Montiel, that accompanied by the pianist Rubén Fernández Aguirre, will present ‘Discovering Padilla’ (6 of April).

The fact that I hung poster of ‘sold out places’ in all concerts of the cycle ‘Notes from the Ambigu’ of this season, it originated naturally not only its consolidation, but also the increase concerts that compose: this time the protagonists are the soprano Carmen Romeu with ‘A French afternoon’ (30 October), mezzosoprano Marta Infante with 'Tonadas and baroque zarzuelas' (12 from December), he trio Arbós with 'Chamber Music' (22 from January), baritone Javier Franco with 'Song Galicia' (13 February), soprano Ruth Iniesta with ‘To Joaquín Rodrigo’ (13 of March), the formation music with "Music Sephardi ' (16 of April), the Guatemalan soprano Adriana González, winner of the recent Viñas Contest, with 'Song Mexican camera' (21 of May) and Charo Reina with 'A song and a glass' (4 of June).

On the other hand, the Lied cycle also grows. In coproduction with the National Broadcasting Music Center (CNDM), will fulfill his XXIV edition with 11 recitals, one of them extraordinary offered by the baritone Leo Nucci. the mezzosoprano Ann Hallenberg (10 October), her too mezzo Anna Caterina Antonacci (24 October), the tenor Piotr Beczala (8 from January), baritone Matthias Goerne (26 February, 30 April 8 of May), soprano Diana Damrau (5 of March), soprano Ana Lucia Richter (9 of April), countertenor Xavier Sabata (25 of June) and soprano Hanna-Elisabeth Müller (2 of July) will complete the proposal for the new season.

educational projects. Zarza project. Master classes

The Teatro de la Zarzuela continues to give a very special importance to offer training and information to this young audience 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 the obligation to seduce them and make the zarzuela affordable in this century that touches us ", asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that he 22% Theater programming is dedicated to educational projects.

He Zarza project, that promotes zarzuela made by youth for youth and how important success has been achieved in 2016/2017 registering 9.000 spectators between 'La revoltosa' by Chapí and the show 'Zarzuela en dance', back strongly in the new season ‘The duo of“ La africana ”’ by Manuel Fernández Caballero in free version of Susana Gómez. With stage direction by Susana Gómez herself and musical by Miguel Huertas, this new theater production will be represented, just as it happened with ‘La revoltosa’, for group of young singers and actors chosen after an audition process and accompanied by a chamber group. The 12 functions, three of them open to the general public, They will be offered of the 28 February to 7 March 2018.

At this point it is important to add that 'The revoltosa', in free version by Guillem Clua and stage direction by José Luis Arellano, how many accolades you have received this year, will go on tour in different Spanish cities.

The didactic projects will also stand out in the next season. Thanks to them, the Ambigú del Teatro will also be discovered as a show space. In that place the puppet theater with live music ‘Lost in Bosco’, new production of the Teatro de la Zarzuela in co-production with Claroscvro for children from the 6 years. They will 12 functions 5 al 10 February.

To be continue, Likewise, the collaboration between the Teatro de la Zarzuela and the Carlos III University. On this occasion they will present the new production ‘Master Chez’, during 5 functions and 16 al 21 of April, will challenge schoolchildren to see who can prepare a succulent snack or a healthy breakfast faster at the pace of Chueca, Fernández Caballero, Giménez, Luna or Moreno Torroba. The stage direction will be Enrique Viana and the musical of Carlos Chamorro. cross Beitia will act as presenter, and the cast will consist of Irene Palazón, Yauci Yanes and David Oller.

Also framed in educational projects, soprano Isabel Rey, A regular contributor to the Salzburg Festival and a regular claim on the most important opera houses for years, will offer master classes to young singers of the 9 al 16 October. This last session will be performed open to the public in the main hall of the Theater.

Dance

In the next season dance will also be one of the great protagonists. It could not be otherwise, since in the Teatro de la Zarzuela the two public companies will call: the National Ballet of Spain (BNE) by Antonio Najarro and the National Dance Company (CND) by José Carlos Martínez.

He BNE will present of the 9 al 23 from December 11 performances of the show ‘Electra’, first proposal for a complete plot work under the direction of Najarro. It is a creation of the choreographer Antonio Ruz in which this gives life, delving into different dance languages, to classical tragedy with a contemporary vision. Music is from Pablo Martín Caminero, Diego Losada and Moisés Sánchez and the musical direction of Manuel Coves. The BNE will also offer the 19 December a Gala tribute to Mariemma, one of the great figures of dance of the 20th century, and he will do it with him Royal Mariemma Professional Dance Conservatory and with him María de Ávila Superior Dance Conservatory.

The CND, meanwhile, will return to the stage of La Zarzuela of the 29 May to 10 June with 12 functions of “Kylián-Galili-Duato”, a program designed for the occasion by Martínez that invites the viewer to a journey through the history of the Company. The program includes ‘I die for you’, one of the choreographies of Nacho Duato most represented and applauded during his stage at the CND and that he originally created for this. Duato thus returns to the repertoire of the National Company after 7 year absence. Similarly, the public will be able to enjoy the talent of Itzik Galili and the Czech master Jiri Kylián of whom the CND has staged more than ten ballets throughout its history.

Musical Chamber Theater

Another cycles continue and remain full health is to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 9 al 16 of April will be presented 'The elements' by Antonio Literes in a New coproduction between the two institutions. The musical direction will Aarón Zapico in front of the group Antiqva form that shares with his brothers Daniel and Pablo. The stage direction will be Tomás Muñoz and costumes Gabriela Salaverri. The cast will consist of Eugenia Boix, Aurora Peña, Ana Cristina Marco, Olalla Alemán or Soledad Cardoso. As usual the representations will be at the Juan March Foundation.

Creation Contest

Bearing in mind that the secret that an art lasts in time does not consist only in preserving what has already been conceived, but also promote that creation continues on the right path, the Teatro de la Zarzuela will launch a Lyrical Work Creation Project Contest whose bases will be published next 30 of June.

Plural theater, reasonable prices

That stands out, by last, he important effort that the INAEM and the Theater carry out to maintain the same popular prices on tickets -of 4 a 50 €–, also preserving the discount from 20% for subscribers, Y expanding the discount for youth under 35 years of 35 al 50%, thus equating it to the discount for older than 65 years. Similarly, those under 35 years will be able to benefit from additional discounts of the 40% in the compost of Zarzuela and 30% in the tickets for Zarzuela and Dance and Concerts.

It is significant to highlight the new discount aimed at unemployed people, who can purchase their tickets with a 50% deduction, and what will be applied for the first time at the Teatro de la Zarzuela from next season. This novelty adds to the already usual discounts for large families (50%), last minute (60% from two hours before the start of each performance) Y groups (30%).

"We do all this", says Daniel Bianco, "Led by the same spirit that moves us forward every day: We want this Teatro de la Zarzuela to be a plural theater”; a need, assures, that reality itself demands. “The present demands a substantial and urgent change. We have opened the doors and windows with the intention that a new air circulates from the stalls to the stage and vice versa”.

Current Opera Award

CURRENT OPERA, the only magazine in Spanish dedicated exclusively to opera in the world, He has delivered this afternoon its Awards 2017 in a ceremony that took place at the Circulo del Liceo de Barcelona.

Delivery of OPERA ACTUAL Awards 2017, that have been given to the soprano Ainhoa ​​Arteta for his international career, to School of Music Reina Sofia in Madrid, founded and chaired by Paloma O'Shea, for his contribution to lyrical, and the soprano Elena Sancho Pereg as most promising young Spanish interpreter.

The food has brought together representatives of the country's leading lyric programmers, from the Palau de Les Arts in Valencia, Opera Bilbao or Barcelona Liceu, Festival Castell de Peralada, and representatives of various institutions of the Spanish operatic world and businessmen patrons of Culture.

The OPERA ACTUAL Awards were established in 2002, year of the tenth anniversary of OPERA ACTUAL, with the intention to support and highlight paths and entities, with effort and tenacity, They have been devoted to the promotion and dissemination of the opera in Spanish society. Therefore to established artists are rewarded internationally recognized, a
institutions that promote the lyrical genre through their institutional management and Spanish young singers.

OPERA ACTUAL awards 2017

AWARD FOR AN INTERPRETER FOR YOUR INTERNATIONAL CAREER

The Spanish soprano Ainhoa ​​ARTETA

AWARD AN INSTITUTION

The Queen Sofía College of Music

Its president collects award, Paloma O'SHEA

YOUNG ARTIST AWARD brighter

The Spanish soprano Elena SANCHO Pereg

The OPERA ACTUAL Awards 2017 It has the patronage of:

Barcelona Porsche Center and Circle of Liceo,

José Miguel Pérez-Sierra

José Miguel Pérez-Sierra, the main Spanish romantic bel canto representative, vuelve a España después de haber triunfado en Italia con la rara ópera de Bellini Adelson e Salvini. A esa cita le siguieron su debut en el podio de la National Orchestra of Spain (ONE) y un inolvidable homenaje a la figura de Alfredo Kraus en Las Palmas de Gran Canaria dirigiendo a toda una leyenda del bel canto: Italian soprano Mariella Devia, un concierto que marcó un hito en la isla. Y de un mito a otro: in December, in A Coruña, Pérez-Sierra se pone al frente de la Sinfónica de Galicia y del Coro Gaos para dirigir a otra leyenda de la lírica, el barítono italiano Leo Nucci, en su reencuentro con el público coruñés.

Como experto en voces que es, el maestro madrileño arrancará el 22 de enero una gira junto a la soprano vasca Ainhoa ​​Arteta que los llevará por varias ciudades de la zona de Levante: comenzarán en Teulada, Valencia, para seguir el 24 de enero por el Auditorio Víctor Villegas de Murcia, the day 26 estarán en el Auditorio ADDA de Alicante y el 27 The Palace of the Arts in Valencia. Se trata de los conciertos conmemorativos del vigésimo aniversario de la Universidad Católica de Murcia cuya orquesta sinfónica será coprotagonista de las cuatro veladas junto a la Coral Discantus en un programa que integrará selecciones de ópera y zarzuela.

More information.

Don Giovanni

Mortier defends against the evident failure of Don Giovanni, saying that the Spaniards do not have ownership of the character, since this is universal, y habla también del derecho de Tcherniakov a exponer su particular visión de la obra. Of course, Sr. Mortar, missing more. Don Giiovanni But this is not the result of a provocative scenery and caused public and stimulated. Tampoco es el resultado de un madurado planteamiento intelectual que exija una mayor reflexión por parte del público. Ni siquiera es una propuesta contemporáneamente arriesgada e incomprensible producto del delirio de un artista. El resultado es, simply, un Don Giovanni malo y aburrido. Si prefiere, extraordinariamente malo y aburrido, que para eso es el Real.

Ha estado bien pensado programar a Don Giovanni tras el Così fan tutte. Las dos hablan de amor, libertad y fidelidad, pero ambas son obras muy diferentes. La versión que nos ofrece en esta ocasión el Teatro Real es la de Viena, que tiene dos arias para tenor y una de Donna Elvira, más que la de Praga.
Don Giovanni es un mito de largo alcance. Cuando Mozart escribe el suyo, existen ya 80 óperas dedicadas al personaje. Un mito que puede caminar en muchas direcciones diferentes. Aunque en alguna de ellas, como es esta, camine torpemente hacia el fracaso.
Dicen que todos llevamos un Don Juan dentro. Todos menos Russell Braun. Que casualidad y que mala suerte para el público del Real.
Una lástima que para el Sr. Mortier no existan cantantes españoles de calidad. Debe ser esa la razón por la que se haya visto obligado a contratar un cuadro de cantantes con este nivel de mediocridad tan difícil de superar. Being Ainhoa ​​Arteta (famosa soprano australiana) la única intérprete en esta producción que se mantuvo a flote.

Es importante resaltar el talento artístico y teatral de Tcherniakov. Baste con recordar su Eugene Onegin en este mismo Teatro. Talento que quedaría indubitablemente de manifiesto con la creación de una obra desde sus inicios. Una obra contemporánea que le permitiese exponer sus planteamientos artísticos de manera directa, sin necesidad de retorcer a capricho un planteamiento inicial y llevarlo hasta el abismo de la contrariedad.
La insistencia de Tcherniakov por despojar de dignidad a los principales personajes de las obras que dirige, y la rectificación permanente a los maestros que las escriben, requiere mejor de una revisión terapéutica que artística.
Con la excusa de desmitificar al personaje, ha creado un Don Giovanni inseguro, irresponsable, desprovisto de toda galanura, visiblemente alcohólico y lastrado por la incoherente puesta en escena.
La escenografía es absolutamente plana. Insiste Tcherniakov una vez más en grandes salones en exclusiva, puesto que toda la obra se representa en el mismo decorado, empequeñeciendo una vez más el escenario. Contribuyendo así al tedio de la producción.

En Arteta estaban puestas gran parte de las esperanzas de un público madrileño que, tras su actuación de la pasada temporada junto a Plácido Domingo, la esperaba generoso e ilusionado. Se puede decir que entre el desconcierto de esta producción casi es la única que se salva. El haber aceptado este papel a propuesta de Mortier, ha sido todo un acierto. El cambio hacia roles más exigentes y complejos puede hacer que su carrera abandone la mediocridad y adquiera, por fín, una nueva dimensión. Qualities not lacking.
His voice, de potente emisión y timbre agradable, comenzó algo destemplada, tal vez incomodada por el montaje y el fracaso del estreno, pero se hizo de inmediato con las riendas de una Donna Elvira enérgica y burlona, aunque menos doliente. Tuvo dificultades en los graves en el primer acto que se hicieron evidentes en “Gli vo cavare il cor”. Mejor en el segundo acto donde se mostró rotunda, aunque escasa de fiato en algún aria de prolongada volata. Reconocerle también sus mejoras interpretativas.

Otra de las voces a destacar fue la de Leporello, interpreted by Kyle Ketelsen. Una gran voz, rotunda y armónica que, junto con la de Arteta, puso en evidencia las carencias del resto del reparto.
Christine Schäfer se limitó a cumplir con su papel. Fue de menos a más hasta llegar a “Batti o bel Masetto” que interpretó con gusto. Lo mejor, el dramatismo que impuso a sus recitativos.
Paul Groves, del que disfrutamos en Iphigénie en Tauride y Perséphone, fue una triste sorpresa como Don Ottavio. Con problemas permanentes para mantener la afinación, con voz chillona, gutural y feamente falseada, fue amonestado por el público al terminar alguna de sus intervenciones. Don Ottavio no entró en él, ni él en Don Ottavio.
La joven soprano alemana Mojca Erdmann solventó su papel de Zerlina de manera discreta. Se apunta una hermosa y mozartiana voz,, aunque pequeña. Debe mejorar mucho su dramaturgia, y si pueden mejorar también su vestuario, ganaría mucho el personaje.
David Bizic, como Masetto, era un armatoste que como tal se movía por el escenario. Frío e inexpresivo, parecía estar en una representación escolar.

Russell Braun fue el mayor desatino de la noche, that's saying. Una voz quebradiza, little, inconsistente. Apunto del derrumbe en varios momentos, no se si por miedo o por mimetismo. No es la de Russell Braun una voz para Don Giovanni. No lo fue en ningún momento, a pesar de los muchos que la partitura ofrece para el lucimiento. Ni siquiera fue capaz de dejarse llevar por la bellísima interpretación de la mandolina, en las hábiles manos de Araceli Yustas interpretando el aria “Deh vieni alla finestra”. Le esperó a la entrada, apianando delicadamente para no taparle, le indicó el camino correcto para el lucimiento pero, todo fue en vano.

The musical direction Alejo Pérez es inexistente. Desde una obertura a veces irreconocible, hasta la progresiva decadencia del segundo acto. Como aspecto positivo decir que su rutina al frente de la orquesta permitió, at least, el plácido sueño de algún espectador. Se quejaba Alejo Pérez, días antes del estreno, que l escenografía había afectado y alterado el tempo de la obra. Pero el resultado musical evidenciaba más alteraciones que esa. The orchestra, que nos tiene acostumbrados a grandes noches, sonó rala, plana y a destiempo.
Ser coro en la producción de alguien que, como es el caso de Tcherniakov, no le gustan los coros, es resignarse a permanecer oculto durante toda la representación. This time, como en otras, estuvo escondido en el foso, y a foso sonó.

Don Giovanni
Il dissoluto punito ossia Don Giovanni
W. A. Mozart (1756-1791)
Libreto de Lorenzo da Ponte
D. musical: Alejo Pérez
D. scene: Dmitry Chernyakov
D. choir: Andrés Máspero
Don Giovanni: Russell Braun
El Comendador: Anatoli Kotscherga
Donna Anna: Christine Schäfer
Don Ottavio: Paul Groves
Donna Elvira: Ainhoa ​​Arteta
Leporello: Kyle Ketelsen
Masetto: David Bizic
Zerlina: Mojca Erdmann
Fortepiano: Eugène Miichelangeli
Coro y Orquesta Titulares del
Teatro Real

Cyrano de Bergerac

This Cyrano reaching the Royal Theatre seems to be granting or "detail" that Gerard Mortier has with the public in Madrid. Placido should think a year, It does not hurt, but only one unadorned. No "Approaches", only five functions, no initial advertising on the web, etc, etc.. but Domingo, as an institution that is, above other considerations, He has hung the sign no bills with this heroic comedy Alfano, Italian composition with obvious French evocations.

Placido Domingo is a teacher, among other things, to discover scores know and dust that perfectly conform to their characteristics, vowels first, and performing after. He Cyrano de Bergerac from Franco Alfano (known for concluding the Puccini's Turandot) is a character with a focused vocalism and undemanding at the ends. Suitable for a tenor lyric spinto and wide. This allows to Sunday have some quality time, where it is possible to recognize his voice that color so beautiful and characteristic, although he never owned metal in acute. the need to take breaks more often is also seen to fiato shortages and difficulty in some props that were insufficient in serious tour. lack of testing is also seen, which it was evident in asynchrony with the other participants, and difficulty remembering the text.
At canoros elements, themselves, we must add the evident difficulty moving scene. Sunday continues displaying excellent physical shape given its age, But since his Simon Boccanegra two seasons ago, there has been a certain physical decline that makes the ease of his movements is not the same.

With Placido Domingo, and the least the first two representations, substituting disease Sondra Radvanovsky, He made his official operatic performance at the Royal, soprano Ainhoa ​​Arteta. Aware of the character of Roxane, He solved the night with great dignity and so was rewarded by the public, which it gave him a warm ovation Welcome. His voice has widened a little and making the transition to acute narrows and is a little tight, but it is robust and bulky and half voice They were filled with beauty. He continues to have problems of expression and theatricality, It seems tense and unnatural, hopefully relax for Doña Elvira in Don Giovanni, that bring again the next season Real.

Of the other singers not much to say, Disappointing Michael Fabiano, as a Christian and very reliable angel Ódena De Guiche as.

The choir was brilliant, as he usually does. Perhaps one step below but not demerit his, but because the work itself is in the second tier.

After checking throughout the season, all of which is capable Madrid Symphony Orchestra when directed by brilliant and demanding Batons, Today has been a poor performance in nuances and expressiveness. In favor of Pedro Halffter, say that the score is not exactly lucida.

scenography, too spectacular and too. Sometimes there were many people on stage that made, Besides, too much noise and was feeling some chaos. A little unbearable was the beginning of the work with actors on stage while tunings sounded unpleasant Orchestra. Poor lighting and children had to leave blind more than a spectator in the stalls by reflections.

In summary, a boring opera whose sole purpose is to receive at home, one more season, a Placido Domingo who always has the affection of his only satisfied audience with his presence. But there is something that continues doing as anyone, die on stage. This specialty which provided a poignant ending, as only he is capable of doing.

Cyrano de Bergerac
Franco Alfano (1875-1954)
Opera in four acts and five paintings
Libretto by Henri Cain, based on the eponymous heroic drama of Edmond Rostand
New production of the Royal Theater from the Theater du Chatelet in Paris
D. musical: Pedro Halffter
D. scene and lighting: Petrik Ionesco
D. choir: Andrés Máspero
Choir and Orchestra of the Teatro Real holders
Arteta, Lamprecht, Toledo, Sunday, Ódena, Pomponi, Fabiano, Alvaro, Helmer