The public

The next 24 de febrero tendrá lugar en el Teatro Real the world premiere of The public, from Mauricio Sotelo, con libreto del escritor Andrés ibáñez, quien ha rescatado para la ópera la esencia de la obra homónima de Federico Garcia Lorca, written in 1930 en Cuba y estrenada en 1986, 50 años después del fallecimiento del poeta.

En El Público el compositor Mauricio Sotelo mezcla el flamenco con melodías tonales y texturas armónicas que van del microtonalismo a sofisticadas técnicas electrónicas, a través de las cuales la música sonará desde 35 altavoces dispuestos en toda la sala.

To give life to thirty characters parading in the opera, el director de escena de ascendencia mexicana Robert Castro se ha inspirado en el arquetipo de la identidad de los mayas —In lak’ech, yo soy otro tú; hala ken, tú eres otro yo— evocando la cosmovisión del mundo de Lorca en El Público, que se esconde detrás de un juego de espejos, máscaras, transformaciones y alegorías que entrelazan realidad y ensoñación.

El pintor y escultor Alexander Polzin ha concebido el espacio para el viaje iniciático y misterioso de García Lorca con nueve telones pintados que evocan el icónico biombo lorquiano y los rascacielos de Nueva York. In the second part, un inmenso espejo espía trae al escenario a todo el público de la sala y lo hace partícipe de las reflexiones que se plantean en la obra.

Además de las diferentes nacionalidades de los intérpretes, que van de Estados Unidos a Egipto, los artistas de la producción que se estrenará en el Teatro Real proceden de mundos estéticos y estilísticos muy distintos: desde los grandes nombres del flamenco a los excelentes músicos de la prestigiosa orquesta Klangforum de Viena; del coreógrafo de Broadway Darrell Grand Moultrie (premiado por sus creaciones para varios artistas, incluyendo Beyoncé) al figurinista polaco Wojciech Dziedzic, que trabaja en esta ópera con el libanés Assaad Awad en la exploración de materiales para los trajes de los intérpretes.

Será pues un Lorca multicultural, con una orquesta austríaca en el foso, flanqueada por el gran guitarrista Cañizares, a la izquierda, and percussionist Augustine Diassera, a la derecha; las voces de los cantaores Archangel Y Jesus Mendez junto a cantantes como José Antonio López, Thomas Tatzl, Josep Miquel Ramón, Antonio Lozano, Gun-Brit Barkmin, Eric Caves O Isabella Gaudí; and the dancer Ruben Olmo al lado de los bailarines Haizam Fathy, Leonardo Cremaschi Y Carlos Rodas.

Gerard Mortier, quien encargó El Público para el Teatro Real en 2010, pudo trabajar con el equipo artístico de la producción en la génesis del proyecto dramatúrgico y llegó incluso a ver la partitura (en versión de canto y piano) y los lienzos de la escenografía de Alexander Polzin antes de su fallecimiento.


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

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

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

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

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

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

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

The blank page

The Blank Page. "Betting on evolution, not for the revolution " (B. Bartok)

The blank page is the first opera premiered a composer in Teatro Real. It was commissioned to Pilar Jurado within the policy that the theater has been established to give way and promote new composers. The first question that arises is whether it would be better not to select a work already completed. It is possible that in a drawer somewhere be a hidden gem.

The first opera Pilar Jurado, of which he is also scriptwriter and protagonist voice, It could be one of those gems but contains too many shortcomings.
The start is very encouraging. It is a cool music, without fanfare, sometimes delicate. A succession of silence marks the beginning of a plot fall in which boredom takes over the room. Only the end of the first act becomes tension. A positive aspect is that it is not long in his hour and fifty minutes long.

The work is musically interesting, It may well be one of those contemporary operas with more travel than just some representation premiere and more. Pilar Jurado has done a great job of composition and giving voice to Aisha Djarou, female protagonist of this work. But try as well as writing the libretto, Maybe there's been a bit pretentious for its part and has proved unsuccessful. It is a script literarily poor, with an argument mediocre and almost childlike. Evident and boring and detracts from an opera whose music is hopeful the case of a contemporary score. I do not understand the reluctance of some musicians to take an interest and use to his compositions, arguments indisputable literary quality existing.

The work wants to show the workings of the brain of a composer during the process of creating his work. The multitude of hallucinations and contradictions seize him now. All through a thriller emotions where music overemphasis minimaliza the libretto.

One of the greatest successes of this production of the Teatro Real is the scenery. Alexander Polzin It has built a large box as a triptych with predela. It is a result of great originality. In the middle box real-virtual life of the protagonist represents composer. In the side boxes appear allegorical images on the work that Ricardo, the protagonist, is writing. They are images animated "Hell" of the "Garden of Earthly Delights" by Hieronymus Bosch. Predela in the sordid reality shows, where the plot of deception and manipulation develops other characters.

The musical and aesthetically beautiful moment is produced in the central box, Ricardo's house, when he has just completed his work. The musician, rendered by fatigue and deeply in love, She falls into the arms of Aisha on a beautiful cloud holding both.
The box is very balanced vocals. They resolve all their participation with dignity. There is a very demanding score but allows the brilliance of voices. To emphasize the character of the robot Kobayashi, played by countertenor Andrew Watts. Their participation is short but demanding, in his short speech, His voice runs three octaves.
As we have pointed, The blank page is hopeful of Pilar Jurado inside the melancholic national panorama of contemporary music. Trust in the evolution of his music and his compositions and a better choice of librettos.

Pilar Jurado (1968)
Opera in two acts in Spanish
Libretto by the composer
D. musical: Titus Engel
D. scene: David Hermann
Scenography: Alexander Polzin
Lighting: Urs Schönebaum
Video address: Claudia Rohrmoser
D. Choir: Andrés Máspero
Otto Katzameier, Nikolai Schukoff, Pilar Jurado,
Natasha Petrnsky, Hernán Iturrarlde,
Andrew Watts, José Luis It used
World Premiere
Work commissioned by the Royal Theater