White Angels2


Brío Clásica: In January he interpreted in La Monnaie in Brussels, Mother, from The Prisoner, y The woman, in The enclosure. Both characters of great difficulty, both vocally and in the interpretation and also with significant psychological burden. How do you approach this challenge?

A. B.:Angeles Blancas: The truth is that With great sense of humor! And with hard work, It is a challenge… In addition to full confidence and with love for the opportunity to face new challenges.

B. C.: This year also involved in Jenůfa de Janacek. After seeing his immediate agenda, the conclusion is that he likes the risk.

A. B.: Debut in Jenůfa Kostelnicka the character was in the 2015 Teatro Comunale in Bologna (Italy). I do not really consider it as a risk because the character is within my vocal possibilities and dramaturgical. Unlike, I think it's a great chance to do this kind of operas, so full of dramatic force and musical beauty. It is a repertoire that I love.

B.C.: It has an extraordinary ability and proves dramatic with these roles so characteristic of contemporary operas. ¿Made less roles in classical repertoire works more or emotionally easier?

A. B.: Yes, although nothing is ever really easy when you're onstage and at a score of any composer. You are right, I like to sing occasionally more traditional operas. They make work does not become monotonous, although this profession does not exist monotony.

THE ENCLOSURE Premiere: 16.01.2018
Musical direction / Direction musical: Franck wasn '
Regie / directed: Andrea judge
Decorations / Deecors : Martin Zehezgruber
Costumes / costumes: Nina von Mechow
Èclairages_Belichting: Alexander Koppelmann
Photo shows: Angeles Blancas Gulin, Georg Nigl


B. C.: How mimicked get that way with his characters when interpreted?

A. B.: loving them! Working to get to know in depth and even the smallest detail, not only in the musical aspect, also psychologically or the historical whether the case is given, always dialoguing with them and without resistance. I enjoy that process of mimicry.

B. C.: Not always extraordinary singers were underappreciated in Spain, such as the case of parents. Why do you think that sometimes we refuse to recognize the best of what our?

A. B.: Do not you think that this trend occurs in all professions in our country, not only in the artistic aspect? I love our land, but I know that with your kids sometimes is cruel.

B. C.: The characteristics of his voice did not have much to do with his mother had, but nevertheless, it seems that evolution is approaching toward a similar repertoire, Is that?

A. B.: it's possible… Even so, My voice will remain different from my mother. I never thought I could get to sing the repertoire that I'm doing now, that's true. Time and good vocal work over all these years have allowed me to get here. I see it as a gift.

“… monotony does not exist in this profession”


B. C.: You have known the operatic world at different times, one through your parents and you live today. It has changed a lot? What differences found?

A. B.: The media quickly today to which we are all subject makes all the difference. Before the pace of work of a professional opera was different, slower, less demanding in some ways as the dramaturgical, but perhaps more powerful vocal and musical level. Singers today "consumed" long before, racing seems to be shortened. Life today seems to demand urgency around, and our virtual life that adds, Internet and social networks, aspect that also influences races like ours, always exposed to the public.

B. C.: What is for you the victory?, How do you measure success in your profession?

A. B.: The triumph? For me it is a dream. Success for a singer, according to my point of view, It is to have good production on the agenda, interesting projects with good stage directors and music. Y, Of course, have time for family, to live… Therein lies the success for me, in such details.

B. C.: What music do you like listening?

A. B.: Opera, never! 😁 But I listen to everything, Even electronic music! I really like all kinds of music, Opera also, Of course, but I prefer to leave a little apart when I'm not studying, because I relate to the work.

B. C.: How do you feel more comfortable, in an operatic production or in the privacy of a recital Lied?

A. B.: In both. They are two very different worlds, and complementary. Introspection of chamber music helps concentration and targeting the operatic repertoire and vocal expressive expansion of the development of the first. In my case I need them both.

B. C.: How do you get along with stage directors? Have you had to spend some trouble or difficulty to realize a scenography?

A. B.: I do not usually have problems, I like to try new things and I think, even learn from the experiences not as rewarding. Everyone can learn something, as life itself.

B. C.: We miss him a lot in Madrid. When are we going to listen to him again??

A. B.: Soon! 😁 And surely with something complicated…



Artist and polyhedral solid personality, the Spanish soprano Angeles Blancas it feels stimulated to the difficult challenges. Proof of this is to have faced in recent years some of the most complex masterpieces of the twentieth century. Central European repertoire has marked his career in past seasons, something quite unusual for a Latin interpreter, It is increasingly sought internationally for works of authors such as Janacek (are Kostelnichka one Jenůfa recently she left the audience breathless Teatro Massimo Palermo) without forgetting others Richard Strauss or even Richard Wagner, authors broaden their repertoire header. Now is the turn of two heavyweights of contemporary music will take on a dual program Monnaie de Bruselas. the Prisoner, the Italian Luigi Dallapiccola, Y the Dehege, German Wolfgang Rihm, operas extremely difficult and programmed in the same session, They will have as absolute protagonist Angeles Blancas day 16, 18, 19, 21, 23, 25 Y 27 of January of 2018. "I have locked up literally for weeks to assimilate technical and organically both works, of great difficulty, both rhythmic and musical part as a member ", says the interpreter. In the work of Dallapiccola, one of the first Italian composers to embrace dodecaphony, the Spanish soprano will get into the role of Mother; It is an opera in one act of great dramatic intensity, whose action takes place in a prison in Zaragoza during the time of the Inquisition. Released in Italy 1949, in Spain he did not see the light until 2010; White it debuted in 2014 Hand Antonio Pappano.

In the second part of the evening will be performed The enclosure, the Rhim (1952), a key composer in the European music scene. "I discovered this work my limits were farther than I thought", says the singer; "my character, Anita, It is of overwhelming complexity and put it in my skin was all a litmus test; It is very demanding in all -Musical sense and escénico¬- since the dramatic burden is on him -no other roles that allow you to give a respite-and so I very passionate and moving ", judgment.

La Monnaie Angeles Blancas will be directed musically in both operas by Franck wasn ', in a staging that bears the signature of Andrea judge, who for White is "a director who works in a meticulous way, very constructed and prepared, giving meaning to every detail; his vision of The enclosure is interesting: the character's psychology is of great contrasts and Breth sharpens both his dramatic side as the comic. In this history, Anita releases an eagle from his cage before killing, for what has inspired Breth A week of kindness, a series of drawings created by Marx potent Ernst, key artist of the Dada movement and Surrealism. In any case, both works form a diptych that explores the complex and ambivalent relationship between a victim and executioner, an issue highly topical ". It is a co-production between the Belgian Coliseum and the Stuttgart Opera, theater in which various functions of this diptych are also displayed during spring, always with the Madrid artist as protagonist.

More information

Angeles Blancas

Angeles Blancas continúa abriendo caminos. There are very few Latino sopranos who dare with the Central European repertoire or high risk verismo roles, as Minnie, de la pucciniana La Fanciulla del West, opera debuts this month at the Palacio Bellas Artes in Mexico. "I'm interested above all the heroines who have something to say", says the singer, "Characters with personality and represent a good channel for the expression". De ahí su interés por Wagner, Janácek, Rhim O Richard Strauss, sin olvidar a otros autores que le apasionan, as Verdi, Puccini O Mozart.

Sus particulares características vocales y su vocación dramática la ha llevado a interesarse por papeles de gran complejidad musical y psicológica como Lady Macbeth (Macbeth, Verdi), Elisabetta de Valois (Don Carlo, Verdi), Emilia Marty (Vec Makropulos, Janácek), Kostelnicka (Jenufa, Janácek), Salome (Salome, Richard Strauss) o Katia (Close Kabanová, Janácek). Después de inaugurar la temporada 2017/18 interpretando a Minnie de La fanciulla del West (Puccini) en el Palacio de Bellas Artes de México, entre sus próximos compromisos destacan Das Gehege, de Wolfgang Rihm para soprano, mimo y orquesta– y el papel de la Madre de Il Prigioniero de Dallapiccola en La Monnaie (Brussels) y en la Ópera Stuttgart. Before, in October, inaugurará la temporada de la Orquesta Sinfónica de Extremadura con los Vier letzte Lieder de Richard Strauss bajo la dirección del titular del conjunto extremeño, Alvaro Albiach, y ofrecerá un recital con obras de Verdi y Wagner para los Amigos de la Ópera de A Coruña, cuya programación 2017 está dedicada a la me-moria de la madre de la cantante, la también soprano Ángeles Gulín, en el 15º aniversario de su fallecimiento.


He 9 December the Teatro Real It provided a fitting tribute to one of the greatest performers of the international opera, Montserrat Caballé. At 81 years, Caballe made gala, once again, his extraordinary sense of humor. Despite his difficulty walking, He took the stage after the concert to thank the Orchestra, the public and Joan Mataboch, This tribute.

During the concert videos of his best performances were interspersed with arias in the Real which has been his operatic repertoire and congratulations on deferred Placido Domingo, Josep Carreras and Renne Fleming.

It all began with an interpretation, somewhat cold, de "Weep you guide me ... Al dolce", Anna Bolena of Donizetti, in charge of Mariella Devia. A real lady on stage showing that the passage of time has not been dusted or iota of vocal technique, and retains its impeccable and excited legatos. All in their second and final aria "Il Pirata", from Bellini.

Jessica Nuccio last minute replaced the announced Maria Agresta. The Nuccio started with "Semper libea" La traviata Verdi, with an unpleasant voice and screaming he did not improve in the "Addio del passato". He is singing like a student under examination, to suspend.

Irina Churilova, It has a powerful and intense voice and his good performances of "Pace, pace, my God "de Verdi y un" A nice we'll see ", de Madama Butterfly, from Puccini, just they missed him more delicacy and refinement canoro.

Montserrat Martí could not miss this tribute to her mother with two arias, "Since the day" Louise, from Charpentier y "O my dear papa", Gianni Schicchi, Puccini.

Angeles Blancas he performed "Ah, You did not want minch ... "el aria final de Salomé, from Richard Strauss, and did so with a sensuality and a dramatic impressive capacity. Cries a stronger visit to Madrid.

Ann Petersen nos regalo un "How softly and gently he smiles", Isolde Tristan one of Wagner. Weighed voice at times but their highs are bright.

Montserrat Caballe called us for an upcoming recital, in no very distant date, when he recovers from his difficulty walking. the hope.