AnnalisaStroppa-1

AnnalisaStropa-2

AnnalisaStropa-3

AnnalisaStropa-4

AnnalisaStroppa-5

 

AnnalisaStropa-6

AnnalisaStropa-7

AnnalisaStropa-8

 

We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Rule

Music, drama and emotion will be the absolute protagonists of the stage of the Royal Theater with the arrival of Rule, opera Vincenzo Bellini (1801-1835), of which will be offered 12 functions between 3 and the 19 March in a new production conceived by the stage director Justin Way, with musical direction Marco Armiliato.

Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, and with it Bellini manipulates the most fiery emotions of melodrama like no one else. Rule has, Besides, an extraordinary dramaturgy that exposes the characters on different levels and bravely shows feelings and attitudes almost hidden until then in women. Is, maybe, that strong and modern perception of the feminine world that makes this opera one of the most desired titles of the season.

Justin Way set the action inside an old Italian theater with the whole company rehearsing Norma. Abroad, XIX century, which has begun marked by the Congress of Vienna after the defeat of Napoleon, keeps northern Italy under Austrian rule, whose reactionary government provokes the birth of the first nationalist movements. Between both worlds, the two main performers of the show have a secret relationship subjected to personal and social tensions, immersed in a conflict that they do not know how to manage.

The proposal raises a parallel between the plot of the opera and the historical reality of the moment of its premiere in Milan in 1831, offering the viewer the prima donna / Norma duality, Austrians / Romans, Italian choir / patriots ... in a narrative of which he is doubly observant.

The scenery Charles Edwards reproduces the structure of a theater in decline, with old painted backdrops similar to those used by the great romantic ballets, and costumes Sue Willmington draw imaginative clothing for druids and romans, very to the taste of the time, alternating with 19th century figurines for "real" life. Nicolas Fischtel, responsible for lighting, evokes the footlights of the stages of other times, whose warm light contributes to the dreamlike game in which both realities coexist.

Teacher Marco Armiliato, whose sensitivity we could enjoy in Tosca (2004) Y Madama Butterfly (2017) returns to the moat of the Teatro Real to take charge of the Chorus and Orchestra Headlines, along with a double cast led by the Spanish soprano Yolanda Auyanet - who we listen to at Real as Vitellia in La clemenza di Tito (2016); Mimi in Bohemian (2017) and Liu in Turandot (2018)- and Russian fiber Gerzmava, interpreter of Leonora in The Troubadour del Real in 2019.

The leading trio is completed by the tenors Michael Spyres Y John Osborn, embodying the roman Pollione and the mezzo-sopranos Clementine Margaine Y Annalisa Stroppa, giving life to the virginal Adalgisa. The role of Oroveso will be in the hands of the low Roberto Tagliavini Y Fernando Rado.

Around this title, the Royal Theater will offer a new session of approaches in which the main artists of the production will participate and where the aria by Oroveso composed in 1837 by Richard Wagner "in the manner of Bellini", in complicity with the composer of Siegfried, whose performances will alternate during this month with Rule. The appointment will be next Wednesday, 24 February, to 20.15 hours in the Sala Gayarre (which can be attended with limited capacity) Y on line through Youtube channel of the Theater. And the day 14 of March, with the cheerful and carefree tone of family workshops Everyone to the Gayarre!, between potions and spells, they will discover the other side of Norma.

Due to the curfew in force in the Community of Madrid, related to Covid-19 protocols, all functions of Norma will start the 19.00 hours, except for Sunday 7 of March, what will be at 18.00 hours.

PARALLEL ACTIVITIES · NORM

National Archaeological Museum

24 of March, to 17.30 hours. Guided tour: Rule. Come, see, jokes. Conquering rome

Limited capacity. information

Come, see, jokes. This is how Julius Caesar pointed out the speed with which a success is achieved. In this itinerary we move to Roman times to learn how what would end up being one of the greatest empires was forged. A very well structured army, a common language, Roman law and other aspects will be key to the Romanization of Hispania.

National Museum of Romanticism

March. a work, an opera.

Free activity

For a work, an opera, the Museum of Romanticism has selected a set of polychrome figures from its collection, dated to 1840, reminiscent of a scene from the opera in which Norma, knife in hand, enter the room where the children sleep. Polio, meanwhile, with his right hand on his heart, he seems moved in the final scene of the play, at the moment in which Norma expresses before the people her love for Pollio and acknowledges having violated her sacred vows.

Photograph: Javier del Real

Annalisa Stroppa

The Italian mezzo-soprano returns to the Madrid Coliseum now with Bellini's opera and playing one of her favorite characters in a season that will also take her to perform in Naples, Piacenza, Florence, Savonlinna Festival in Finland and Verona Arena Festival.

Adalgisa is a character of extraordinary purity”, affirms the Italian singer Annalisa Stroppa before her next Madrid commitment to opera Rule de Vincenzo Bellini. Born in Brescia, Stroppa has established itself in the programming of the great theaters of the international circuit and now has just arrived in Madrid to begin rehearsals for the Bellinian opera, summit of the romantic bel canto, that the Teatro Real has programmed. With stage direction by Justin Way and with Marco Armiliato on the podium, Annalisa Stroppa will assume the role of the young priestess on days 4, 7, 10, 13, 17 Y 19 March on the Madrid stage.

Every time I play Adalgisa I enjoy the experiences of this young priestess trapped in the nets of her first love. In her everything is ethereal and I see her as a great dreamer who, but nevertheless, matures throughout the opera due to the reality he faces, very far from your fantasies, because of Pollione's deception. He is a character full of nuances that I try to convey by immersing myself in all the feelings that the composer captured in the score”, the Italian half continues. “From a vocal point of view it is a difficult role to play and, at the same time, wonderful; I am clear that the beauty and weightlessness of Bellini's melodies help bring out the most intimate and profound feelings of the human being; his is undoubtedly the song of the soul, reason why i love his music”, concludes.

Annalisa Stroppa knows the character of Adalgisa very well, since he has performed it on large stages such as the Teatro Massimo in Palermo, Gran Teatre del Liceu in Barcelona, the Calderón of Valladolid, the Verdi Theater of Padua, el State Theater Wiesbaden, the Carlo Felice of Genoa, the Colon of Buenos Aires, the Bayerische Staatsoper in Munich or the Teatro San Carlo in Naples.

The Italian mezzo-soprano is excited to return to Spain, a country, assures, in which you feel "like at home. I love food, language, the character of the people… And it is one of the few countries where, despite the pandemic that has so negatively affected society, has known how to defend culture with open theaters, who are making great efforts to continue with their programming with all the necessary security measures. That is why I feel an immense desire to return before the Madrid public”.

After passing through Madrid, Annalisa Stroppa will continue with her international agenda that will take her to the San Carlo Theater in Naples to give life to Suzuki in Madama Butterfly, besides singing the Requiem by Verdi at the Municipal Theater of Piacenza, Preziosilla's role of The force of Destiny in the Maggio Musicale Fiorentino, his acclaimed Rosina from The Barber of Seville at the Savonlinna Festival in Finland and Fenena from Nabucco at the Verona Arena Festival.

Photography © Silvia Lelli

Annalisa Stroppa

Teatro Real

Lisette Oropesa

The Bilbao Association of Friends of the Opera (ABAO) hosts the first recital in Spain of the soprano Lisette Oropesa, which opens the cycle of recitals ABAO On Stage, with leading figures of international lyric. After his recent successes in our country as Traviata (Verdi), at the Gran Teatre del Liceu in Barcelona and at the Teatro Real in Madrid, where she made history by becoming the first woman to sing an "encore" at the Madrid Coliseum, repeating the second part of the aria Farewell of the past, the American singer of Cuban origin - and recently nationalized Spanish - will take the stage of the Euskalduna Palace in Bilbao next 6 February to interpret, this time, various arias and songs from the Italian and French repertoire, with the pianist Rubén Fernández.

Lisette Oropesa will sing such well-known pages as “Ah! did not believe…. Ah! does not come " (La Sonnambula, Bellini), “O beautiful country” (the Huguenots, Meyerbeer), “Adieu, our little table ” (Manon, Massenet), o "Farewell from the Arab hostess" by Bizet, as well as works by Merchant, Schubert and Donizetti, who will perform for the first time on stage.

His upcoming engagements include a concert by Nice singing junto at the National Academy of Santa Cecilia and Antonio Pappano in the Auditorium Parco della Musica de Rome, his debut at the Opernhaus Zürich as the star of a new production by Lucia of Lammermoor de Donizetti at the firm por Tatjana Gürbaca, La Traviata by Verdi in the Arena of Verona, and her debut in the role of Elvira in a concert version of I Puritani Bellini, with Javier Camarena and the Orchester de la Suisse Romande, en el Gstaad Menuhim Festival.

Photograph (c) Steven Harris

https://lisetteoropesa.com/

Pérez-Sierra directs Standard

Madrid director Jose Miguel Pérez-Sierra returns to Pamplona this time to direct the opera Rule, the most popular works of Vincenzo Bellini, and will do so in the Baluarte Auditorium in Pamplona. The Spanish musician, one of the most prominent experts in the repertoire of the bel canto romantic represented mainly by works of Bellini, Rossini y Donizetti, It will be put to the command of an assembly Argentine director Mario Pontiggia scene and will feature soprano Lianna Haroutounian in the title role of Adalgisa next to Susana Cordón, to the Pollione of Sergio Escobar and the Oroveso experienced Simon Orfila. “Rule It is not only one of the top works of the bel canto style, but of the entire Italian repertoire”, says Pérez-Sierra, who directed the play for the first time more than a decade. “This is not only a test of fire for the star soprano, but for the entire company, and that is very demanding for the orchestra and chorus. Is challenging”.

Bellini's opera will be performed on 7 Y 9 February at the Baluarte Auditorium of Pamplona. Then they await the master Pérez-Sierra three functions of L'elisir d'amore Donizetti in the season of Las Palmas and as many zarzuela The barberillo Lavapies at the Teatro de la Maestranza in Seville.

Web José Miguel Pérez-Sierra

web Baluarte

The pirate 1

 

IlPirata-2

IlPirata-3

IlPirata-4

IlPirata-5

IlPirata-6

IlPirata-7

 

 

 

 

Il Pirata in Teatro Real 192 years later
Brand an opera in one of the great operatic temples 192 years after it was written, must be justified. In the case of Il Pirata is a very important, the difficulty in interpreting main roles makes this work almost impossible. These vocal demands are caused his absence during decades of the repertoire and the big stage. As well the teacher says Benini, "It all depends on having good singers with. A good tenor, a good soprano and baritone good "final .In, and despite the success with which premiered, first to La Scala in Milan, in 1827 and subsequently in Naples, Bologna, Trieste, Vienna, Dresden, Lisboa, Barcelona, Cádiz (in 1834), NY, Mexico and Madrid (in 1830 at the Teatro de la Cruz), Il Pirata suffer the same fate so many romantic operas of the time were absent from the stage since the second half of the nineteenth century, until the fifties of the twentieth century. It is at this time when it appears in 1958 figure with Callas, which updates the main character in Imogene, Il Pirata placing again in the repertoire. It was subsequently Montserrat Caballe who, assuming the difficulty of the role, He incorporated it into his repertoire bringing it to the main theaters of the mundo.Un little history
Il Pirata catapulted a young Bellini always attentive to the trends and influences coming, especially, from Germany. Your search for a new musical language and its taste for innovation, make Il Pirata is positioned halfway between the classic tragedy, the Age of Enlightenment, and romance and music more symphonic, who came from the hand of Schubert and Beethoven.Esta transition from classicism to romanticism is also noted in his libretto, escrito por Felice Romani, based on the work of Justin Severin Taylor, Bertram, or Pirate. Romani had great admiration for the Italian poets of the eighteenth century, but it is now at the romanticism that at that time already wrapped Europa.Pero, Il Pirata why so rarely it represented?
Javier Camarena and Celso Albelo, two tenors who play Walter in this new production of Teatro Real, say: "I prefer to chant a Puritani morning and afternoon, before singing Il Pirata ".There Keep in mind that these operas were written for certain singers, with a specific vocalism and under certain performance conditions, small theaters and orchestras components and very tight sound volume. At that time the singers were accustomed to sing in falsetone. Natural tessitura of the tenor of the time led them to sing in falsetto everything that was found above the natural or Bb. Today's falsetto is not regarded as broadcast mode. The theaters are larger and, let alone the orquestas.Bellini wrote a score for tenor of great vocal and dramatic demands. I wanted a tenor who dominate the treble and bass records at the same time as the fiato and legato. Also he wanted to be a virtuoso declamation and phrasing. All this accompanied, to the same as in the role of Imogene, Agilita of inherited Rossini and thus achieve greater expression in a work with so much excess sentimentalismo.Para carry out all these demands reflected in the score, Bellini resorted to which was then the most acclaimed tenor, Giovanni Battista Rubini, to which he demanded two types of singing, the virtuous and the contraltino Tenore acute and baritenore, with powerful bass, but equally virtuous. Walter was born with the myth of the cold tenor.Escenografía, not ugly
Romantic bel canto is considered by many stage directors one of the most difficult genres lead to a scenario. They think that romantic bel canto operas have no clear dramaturgy within the plot of the play. Emilio Sagi is not one of these directors. The fact that the argument is not fully closed offers many scenic possibilities. The result is elegant and a great visual strength, with many elements trademark, like chairs or moon. The scenery of Daniel Bianco is cold, to highlight the enormous scenic passions experienced by the characters and mirrors grandre to enhance the elements and get a multiplier effect. The stage becomes a big box fully closed, almost smothering, but greatly facilitates the work of the singers. They are always kept in proscenium, which allows a better projection without forcing the instrument too much The different scenarios are not defined or give clues to the place where the events take place. The black and reflexes dominate a deliberately gothic scene, as is the genre of the work in which this opera is based. Impeccable costumes by Pepa Ojanguren, lighting Albert Faura and projections Yann-Loic Lambert help to plunge into the atmosphere full dramatic intensity Gothic novel.

There have been three deals that have gone to the scene of the Real. If it is difficult to find one good, Imagine three. Undoubtedly the main attraction was represented the participation of Javier Camarena and Sonya Yoncheva in the first division, and they did not disappoint a devoted audience and thanked the end of each performance.
He also received his award for the effort that Celso Albelo, although a escaloncito below Camarena, He gave a remarkable interpretation of Walter.

In another step below it can be placed on the young Russian tenor Dmitry Korchak, they tried hard and did the role. Together with the Korchak, and Ernesto de Simone Piazzila (you must already have home in Madrid). His stage presence was not important in this occasion accompanied all the qualities of his voice, rang resounding, but dull.

Yolanda Auyanet was the most applauded of the night. The truth is that the work started back and nearly brought forward by herself. Although it has lost some smoothness of his voice, perhaps due to changing repertoire it is underway, It maintains its generous volume and sufficient fiato, something to keep in mind a demanding role.

Another thing was the participation of María Miró Barcelona, despite all give prominence to the role of Imogene, He wore his superb dramatic soprano voice, fluently unfolding on stage.

If there is a knowledgeable director of this repertoire, this is definitely Maurizio Benini. Its effectiveness to the front of the orchestra of the Teatro Real Titular was sufficiently demonstrated in "Il Trovatore" a few months ago in this same theater. Impregnates his address italianismo, essential in this type of work. Steady and smooth pulse accompanying the interpreters and the chorus, Outstanding once again, from the early stages.

Special mention deserves the participation of an unknown Marin Yonchev, in the role of Itulbo. It is not understood very well that doing there, until you find out who is the brother of Sonya Yoncheva, do not tell me more!

A good premiere of Il Pirata at the Royal Theater, even if it had to wait 192 years. It's never too late, especially this time.

The pirate
Vincenzo Bellini (1801-1835)
Libreto of Felice Romani, based on the work Bertram, or Pirate (1822) Justin Severin Taylor, translated into French by Charles Maturin
Premiere at the Royal Theater in co-production with the Teatro alla Scala in Milan
D. musical: Maurizio Benini
D. scene: Emilio Sagi
Scenographer: Daniel Bianco
Costume designer: Pepa Ojanguren
Lighting: Albert Faura
Video: Yann-Loïc Lambert
D. choir: Andrés Máspero
Distribution: Dmitry Korchak, Yolanda Auyandet, Simone Piazzola, María Miró, Felipe BPU, Marin Yonchev
Headlines Choir and Orchestra of the Teatro Real

Text: Paloma Sana
Photograph: Javier del Real
Videos: Teatro Real

Since its debut at the Teatro Real in 2014, Javier Camarena He has conquered audiences performing three operas of Madrid Gaetano Donizetti very different dramaturgical profile and vocal ─Daughter of the Regiment, Bookmark Y Lucia of Lammermoor─, and one of Vincenzo BelliniI puritani, the two largest bel canto composers, allowing Mexican tenor showcase the immense possibilities of his art: a voice large amplitude, beauty and plasticity, phrasing full of expressivity, an impressive virtuosity and vocal agility and an innate and natural musicality.

Now back Camarena, once again, with two very different composers and two papers fetish: naive and enamored Nemorino in dynamic production L'elisir d'amore, Donizetti, conceived by Damiano Michieletto; and passionate, spirited, irreverent and vindictive Gualtiero in the dark drama The pirate, Bellini, which will be staged at the Real between days 30 November and 20 from December.

Among these universes antagonistic dramaturgical, Javier Camarena offer a program melodismo and intensity in the Mediterranean Gran Gala 2019 The Royal Theatre, the next 13 of November, with pianist angel Rodriguez, devoted to arias and Italian songs and which will not fail, in the second part, a nod to the Spanish zarzuela.

GRAN GALA 2019 OF THE ROYAL THEATER

PROGRAM

Giacomo Carissimi (1605–1674)

Victory, my heart

Tommaso Giordani (C.1730–1806)

Dear my Ben

Giovanni Battista Bononcini (1670–1747)

For the glory of adore ...

Vincenzo Bellini (1801–1835)

Melancholy, gentle nymph

Gaetano Donizetti (1797-1848)

The time of the meeting

Gioachino Rossini (1792–1868)

Dance

Ricciardo and Zoraida: 'If she evermore faithful to me ... what will never be the joy'

Gaetano Donizetti (1797-1848)

L'elisir d'amore: 'A furtive tear'

Vincenzo Bellini (1801–1835)

The pirate: 'In the fury of the storms ... for you with vain tears'

Gerónimo Giménez (1854-1923)

Luis Alonso weddings: Intermezzo

Jacinto Guerrero (1895-1951)

The host of Seville: 'Woman of black eyes'

BIOGRAPHIES
Javier Camarena

Born in Xalapa, This Mexican tenor studied with mezzo-soprano Cecilia Perfect at the Universidad Veracruzana and graduated with Hugo Barreiro and Maria Eugenia Sutti at the University of Guanajuato. Awarded in competitions Carlo Morelli 2004 and Francisco Viñas 2005, he joined the International Opera Studio in Zurich before starting a career that has led him to the main stages of the world and which has worked with conductors such as Claudio Abbado, Marco Armiliato, Maurizio Benini, Bruno Campanella, Daniele Gatti, Fabio Luisi, Zubin Mehta, Evelino Pido and Franz Welser-Möst. He recently sang Ernesto de Don Pasquale at the Palais Garnier in Paris, nadir The Pearl Fishers in Bilbao, Spain, Edgardo Lucia of Lammermoor en la Bavarian State Opera de Múnich, Tonio Daughter of the Regiment at the Royal Opera House in London and Arthur I puritani Opéra Bastille in Paris. At the Teatro Real has sung in Daughter of the Regiment (2014), I puritani (2016), Bookmark (2017) Y Lucia of Lammermoor (2018).

angel Rodriguez

Cuban origin and living in Mexico, this pianist and composer studied piano with Gonzalo Gutiérrez, conducting with Gonzalo Romeu and vocal repertoire with Enrique Jaso and Kamal Khan. Throughout its three-decade career you has been pianist Ramón Vargas, Rolando Villazon, Javier Camarena, Nadine Sierra, Joseph Calleja, Pretty Yende, Veronica Villarroel, Ailyn Pérez, Alfredo Daza, Kate Lindsey, Arturo Chacón and José Bros, with whom he has performed in venues such as the Palacio de Bellas Artes in Mexico, the Teatro Real in Madrid, the Baths of Caracalla in Rome, the Konzerthaus Berlin, el Kennedy Center de Washington, el Harris Theater de Chicago, the Opernhaus Zurich and London Rosenblatt Recitals. As a pianist Cuba Opera and the Opera de Bellas Artes, He has worked with Placido Domingo, Luciano Pavarotti and Anna Netrebko. She currently teaches master classes and workshops in Mexico, and chairs the College of Arts Vocal, institution specialized in the art of singing which is founder.

CHARITY GALA

All donations from the Gran Gala 2019 The Royal Theatre will go to the Social program ─del part Royal Junior and introduces the youngest to the ópera─, and also the Social Hall, serving over a hundred minor from the ANAR Foundation, Foundation of Madrid Down Syndrome, Autism Federation Madrid, Spanish Federation of Parents of Children with Cancer, Foundation Victims of Terrorism (children), Social Action for Music and ActionAid, associations, All of them, nonprofit.

AMBASSADORS OF GALA

José Bogas, Demetrio Carceller, Alfonso Cortina, Jesus Encinar, Juan Pedro Moreno, Juan Antonio Pérez Simón, Isabel Preysler, Helena Revoredo, Pilar Solís-Beaumont.

With these words Annalisa Stroppa defines the character of the opera Rule Bellini will defend the days 2, 4, 5 Y 7 December in his anticipated return to the Teatro Colon in Buenos Aires: "Adalgisa is a fascinating role Norma faces of love, but who joins understand the drama that crosses ".

Italian mezzo-soprano debuted at the legendary Argentine scenario in August 2012 Hand Riccardo Muti (The two Figaro, Mercadante). "Singing in the colon is a great experience for any musician or singer, as it is one of the theaters with the best acoustics I've heard, and is also an immense and breathtaking beauty room”. Stroppa has not struck again in Argentina since that now distant debut. "It's been a long time and many characters from those unforgettable I due Figaro that took several cities with Maestro Muti and marked the beginning of my career, so it makes me especially excited that the public understood Buenos Aires to hear the vocal moment I am now living and has allowed me to expand my repertoire ", points singer. Italian interpreter, certainly one of the mezzosopranos that is most talked about on the international scene, It has gotten into the skin of Adalgisa Rule in various scenarios, from the Teatro Massimo of Palermo to Gran Teatre del Liceu in Barcelona, Passing through the Staatstheater Wiesbaden -together with Edita Gruberová-, the Teatro Verdi Padua or the Carlo Felice in Genoa.

Annalisa Stroppa land in Argentina after having played the lead character Carmen this summer at the Bregenz Festival (Austria), to Siebel Faust Gounod at the opening of the season of the Teatro Real Madrid and Fenena of Nabucco in Padua. His upcoming engagements include his return to Padua Cinderella, The Barber of Seville Berlin, his debut as Nicklausse of The Tales of Hoffmann in Naples, Madama Butterfly in Munich, he Stabat Mater Rossini in Verona and Così fan tutte in Las Palmas.

Annalisa Stroppa

Colon Theater

Photograph: Victor Santiago

Mariella Devia

Roberto Abbado He directs the Orquestra de la Comunitat Valenciana in this concert which includes orchestral pieces Bellini, Rossini y Verdi.

The Italian soprano, who has recently been fired from staged opera, It is considered one of the great divas of the genre.

Mariella Devia plays in the Palau de les Arts his most successful roles bel canto repertoire on Saturday, 2 of June, in the Auditorium.

The soprano will review of some of the pages that have cemented their 45 year career as a star of the genre, after his apotheosis withdrawal of opera staged last 19 May at La Fenice in Venice with three functions of 'Norma', Bellini.

Acompañada by the Orquestra de la Comunitat Valenciana, and directed by Roberto Abbado, interpretará arias como 'Of my life miserable' de 'Tancredi', Rossini; 'Casta Diva', of 'Norma', Bellini, or 'Goods beloved' de 'girlfriends I Vespri Siciliani', in Verdi, that is interleaved with the openings of passages as 'Semiramide', Rossini, the 'Luisa Miller', in Verdi.

Mariella Devia has been hailed by critics and audiences as one of the great divas for his vocal agility, high register and absolute mastery of technique, who has exhibited in major theaters of the international circuit.

His first meeting with the public of Les Arts took place in 2008 with 'Gala Puccini', Placido Domingo who directed the occasion of 150 anniversary of the birth of composer of Lucca. Her operatic debut, However, come seven years later.

In 2015, Chiusavecchia soprano starred in his first opera staged in Valencia, in a new production of 'Norma', Bellini, to be followed in 2017 a new production of "Lucrezia Borgia ', Donizetti, with which Les Arts made its first foray into opera broadcast in streaming.

Known for her work with the new generation of interpreters, Mariella Devia offered last April a series of master classes artists singing the ninth class of the Center Placido Domingo.

Norma in Bilbao

ABAO-OLBE (Bilbao Association of Friends of the Opera) Closing his 66th opera season Rule, ripeness of work of Bellini and emblematic title in the history of opera. The following days 19, 22, 25, 27 - Opera Berri - and 28 of May, sponsored by the BBVA Foundation, sponsor of ABAO-OLBE, up on stage this title, remarkable fusion of sublime melody, Vocal and dramatic power challenge.

this tragedy, compendium of ancestral rites, conflicts, allegiances and arcane customs, It tells the timeless story of a powerful woman who committed their ideals of love to finally be betrayed by her lover. To give life to the characters in this opera, ABAO-OLBE has assembled a cast led by the Neapolitan soprano Anna Pirozzi, who returns to Bilbao to debut the role of 'Norma', one of the most difficult characters to play in the bel canto repertoire that demands to dramatic voice combined with the agility and technique of coloratura singer. Beside the tenor Gregory customer like the Roman 'Pollione' and mezzosoprano Silvia Tro Santafe as 'Adalgisa' close on the trio. Joining them complete the lineup bass Roberto Tagliavini as 'Oroveso', mezzosoprano hope Mentxaka as 'Clotilde' and tenor Stephen Vincent as 'Flavio'. The musical part is by the young Italian master Pietro Rizzo, who returns to Bilbao for the front of the Bilbao Symphony Orchestra directing a score with huge emotional charge and melodic richness of one of the great legacies of bel canto. The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a co-production with ABAO-OLBE Royal Theater and the Palau de Les Arts in Valencia conceived by Davide Livermore. The action takes place in a timeless universe, the central element of the set is conceived as a tree inspiration legends.

Bilbao's opera accessible to all - Bilboko guztion esku Nordic operates the "Yggdrasil", The Tree of Life. An epic aesthetics of druids and priestesses cinematographic rhythm moves around making the witness of the events that unfold in the plot. Just provided with scenic elements to accentuate the theatricality of the story, uses video projections to provide a deeper insight into the characters and their relationships. New Opera
Standard representation 27 of May, forms the twelfth edition of Opera Berri, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this function return to Bilbao soprano Diana Axentii as 'Norma' and tenor Alejandro Roy as 'Pollione' and
debuta the mezzo Nazomi Kato como 'Adalgisa'. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 18:00 h.

Conference on "Norma"

In order to analyze, in advance the premiere, the most important aspects of this opera by Bellini, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 18 May in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time will be Ruben Amon, one of the journalists more
media and recognized today, He is working in the newspaper El País and regularly participates in various radio and audiovisual media as Onda Cero, Antena3 and La Sexta. He has published several books on different subjects as an investigation into the secrets of the Prado (Today's topics 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012) o The triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums (Today's Posts 1996).

BBVA Foundation: a comprehensive program to bring the public the best music The BBVA Foundation, whose distinguishing feature is the impulse to scientific knowledge and cultural creation, Music articulates its program as a complete tour of the various ways in which society can benefit and enjoy this art, own space on the web www.contrapunto-fbbva.es . A) Yes, It promotes the creation of new work with composition commissions and enables preservation and dissemination through Opera sponsored by: Bilbao's opera accessible to all - Bilboko operates guztion esku recordings in collaboration with seals and interpreters frontline. Promotes live music through concert cycles, for free, put within reach of ensembles and soloists public reference in the contemporary repertoire. Organizes lectures and issues publications to better understand the work of certain authors or
immerse themselves in the study of certain compositional periods and implements research projects and highly innovative creation with Leonardo Grants in Music and Opera. Organizes specialized symposiums on management of orchestras, collaborates with musical ensembles and theaters across the country-from the Teatro Real and the Teatro de la Maestranza the Gran Teatro del Liceu, through the Bilbao Association of Friends of the Opera and the Symphony Orchestra of Madrid and recognizes excellence through Frontiers of Knowledge Award in Contemporary Music Composition Prize and the Spanish Association of Symphony Orchestras-BBVA Foundation.

Celso Albelo

Celso Albelo will return earlier this month at the Opéra de Monte-Carlo (Monaco) to interpret the fearsome character-for difficult-Arthur I Puritani (Bellini, 3 Y 6 from December), She sang the title last summer at the Savonlinna Festival (Finland) with soprano Jessica Pratt and company Teatro Real in Madrid. The Spanish tenor reconnects with the public the principality before which has interpreted Rigoletto (Verdi), La Sonnambula (Bellini) and Guillaume Tell (Rossini). The latter traveled title, by the Monegasque company, Parisian Théâtre des Champs-Élysées getting an unforgettable personal triumph. "Singing in Monaco is a pleasure, because the public is very affectionate. Room, which is attached to the famous Casino, It is a marvel of theater architecture, created by the same architect as the famous Paris Opera. But these Puritani, to be in concert, It will be in the modern Rainier III Auditorium and the Orchester Philharmonique with Monte-Carlo », says the singer.

Celso Albelo will travel later to the Teatro Carlo Felice in Genoa (Italy, 23, 27 Y 29 from December) with his acclaimed Duke of Mantua in Rigoletto, all this after debuting the role of Fernand de La Favorite (Donizetti) in the Royal Opera Wallonia (Liege, Belgium) and before adding a new character to his repertoire, el del Chevalier des Grieux in Manon (Massenet) in Bilbao season ABAO-OLBE (20, 23, 26 Y 29 of January of 2018).

More information

Riccardo Frizza

The Italian Master Riccardo Frizza, who has just been appointed music director of Opera Festival Donizetti Bergamo (Italy), It is not only an authority in the bel canto repertoire and Italian in general, but also, and especially, the verdiano. And if last year he put himself in charge of more than fifty functions of works of Verdi, Donizetti Y Bellini in some of the most important theaters in the world, in November he returned to Japan to take command of the production of Verdi's La Traviata at the New National Theater in Tokyo. The popular Verdi masterpiece, one of the most beloved of the Japanese public, will feature a cast led by Romanian soprano Irina Lungu, a star in the international lyrical firmament.

This Japanese Traviata arrives on the agenda of maestro Frizza after having achieved a new success in his career with the swan song of the genius Verdiano, Falstaff, at the Teatro Regio in Parma, cradle of the art of Giuseppe Verdi. And from Tokyo he will then travel to the Opéra National de Paris to direct nine performances of Il barbiere di Siviglia by another of the most relevant bel canto authors: Gioachino Rossini.

More information

Ricardo Frizza

Although the repertoire Riccardo Frizza It is as broad as eclectic, It is true that the world is known especially for its teaching in the field of bel canto and the entire Italian opera production. And after reviewing Norma, Bellini, en la Lyric Opera de Chicago, Rigoletto, from Verdi, at Gran Teatre del Liceu in Barcelona, Y Lucia of Lammermoor, from Donizetti, he Gran Teatro La Fenice in Venice, Italian master returns Bellini with I puritani, one of the peaks of romantic bel canto style, this time in the Bela Bartók National Concert Hall Budapest, in Hungary.

The teacher will Frizza commanded the Kolozsvár Opera Choir, the Pannon Philharmonic and a cast headed by Australian soprano consecrated Jessica Pratt, one of the most prominent defenders of style, and the rising Italian tenor Francesco Demuro, Both protagonists of a production firm Csaba Némedi. There will be two performances on 18 Y 21 of May.

More information

http://riccardofrizza.com/

Celso Albelo

Ten years after his debut in the role of Arturo in I Puritani, Celso Albelo She has received high praise for its recent premiere in Modena: “It is confirmed at the highest level”. “stranglehold”. “Nostalgic and poetic”. “Deserved final victory”. Masterpiece Bellini, high demand for tenor, He became the voice and art of the canary tenor in a new career success. After strolling the character of several cities in Italy, May continues touring the Alpine country this time as Leicester, the male protagonist Maria Stuarda of Donizetti at Teatro Carlo Felice de Génova, a scenario that had played another character of the Italian composer, Ernesto sympathetic comic opera Don Pasquale.

This time you return to the Carlo Felice with a very different role, serious and dramatic. This is the paper with the singer debuted at the Metropolitan Opera House in New York last year with great success. In his own words, Maria Stuarda is an opera “who has everything, a love affair and a political”, states. “There is love women and power, resulting in a very contemporary story. My role falls in the middle of the struggle of two women, two queens, among which I try to impose peace, but not
to get it”.

The Spanish tenor will perform the opera in Genoa see Donizetti day 17, 21, 24 Y 28 May in a production of Alfonso Antoniozzi and under the musical direction of Andriy Yurkevych.

More information

José Miguel Pérez-Sierra

José Miguel Pérez-Sierra, the main Spanish romantic bel canto representative, returns to Spain after having triumphed in Italy with the rare opera by Bellini Adelson and Salvini. That appointment was followed by his debut on the podium of the National Orchestra of Spain (ONE) and an unforgettable tribute to the figure of Alfredo Kraus in Las Palmas de Gran Canaria directing a legend of bel canto: Italian soprano Mariella Devia, a concert that marked a milestone on the island. And from one myth to another: in December, in A Coruña, Pérez-Sierra leads the Galicia Symphony and the Gaos Choir to lead another lyric legend, the italian baritone Leo Nucci, in his reunion with the public from A Coruña.

As an expert in voices that you are, the Madrid teacher will start the 22 January a tour with the Basque soprano Ainhoa ​​Arteta that will take you through several cities in the Levante area: they will start in Teulada, Valencia, to follow the 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.

Angela Meade as Norma

Not surprising that Rule, which they say is the masterpiece of bellcantismo, and one of the repertory operas, it has taken 102 years to be represented at the Teatro Real in Madrid.

Bellini, bridge between classicism and romanticism, It took the curiosity of everyday emotions to a timid society by Catholicism. A true revolutionary of the romantic feelings he knew influence other composers. Chopin Bellini inherited the flexibility to address the tempo and harmony. Verdi Bellini moved the revolution from the private to the public, using the political connotations to create collective emotions. Wagner, one of the composers influenced by Bellini, he even compose a new version of the aria of the second scene Oroveso.

Why then it is not Bellini one of my favorite composers? Because of tastes ...

Norma is certainly a great work. It is full of small details, those who usually lives in the devil, but here they hide the delicacy of some extremely slow tempos that trace the romantic philosophy of work and full of complexity the work of singer, forced a slow release. Dilated melodies that require a well worked fiato, as it evidenced in one of the arias which is a "hit" from the opera, the long-awaited by the public "Casta Diva”, and summarizes the value of romantic time.

A time that Wagner had in mind to create Tristan und Isolde. A Isolde that, as Standard, It detonated himself on a wide and increasing melody.

But get down to earth. More specifically representation 21 October. This is a co-production with Teatro Real Palua Les Arts in Valencia, which already it premiered last season, y ABAO.

The scenery Davide Livermore It has clear cinematic influences. Through Game of Thrones or King Arthur, produces a dreamlike and fantastical atmosphere that features an overwhelming tree. It occupies much of the stage, rotates and moves as totemic element and oracle, where everything happens and everything is fulfilled. The intention is to create a claustrophobic atmosphere, as is the story itself. And it does.

The scenes are completed with projections D-Wok. that advance, as an oracle, the future that awaits the protagonists.

The energetic baton of maestro Roberto Abbado the overture began with excess volume. Onstage the dancers came and went, choir, scenic elements and projections amid an apparent bafflement. When it seemed that chaos had taken over the representation, He appeared on the scene, at the top of the tree, Angela Meade singing "Casta diva " Y, suddenly, reigned peace and harmony, everything is put in place and only then began Norma.

Before he made his appearance Meade, and part of the initial confusion, Roberto Arónica had begun its representation Oroveso. In woody and strident voice lacks depth and serious character. He improved in the second act and put more intention and nuance to their arias. His interpretation was cold and dispassion.

Simon Orfila He composed a Oroveso with good stage presence, but his voice, although well-pitched, not dark tones that have endowed his character that requires packing.

Angela Meade not only it came to bring order, It was the key to the appearance of the bel canto. powerful voice and clean emission, although with notable shortcomings interpretative, not stopped going up and down the many steps of the protagonist tree while singing. something worthwhile.

The Roman Veronica Simeoni, as Adalgisa, He was correct. Best in the duet with Norma second act, for which it seemed had been saving.
While Barcelona María Miró as Clotilde. It did not go unnoticed.

Norma waiting so long and has come up with a fundamental lack, the passion. It will have to wait. But other than another hundred years.

RULE
Vincenzo Bellini (1801-1835)
llirica tragedy in two acts
Libreto of Felice Romani, based on the work
Rule, or infanticide (1831) Alexandre Submits
First performed at the Teatro alla Scala in Milan 26 December 1831
Premiered at the Teatro Real 13 November 1851
New production of the Royal Theatre in co-production with
Palau de les Arts in Valencia and ABAO
D. musical: Roberto Abbado
D. scene: Davide Livermore
Scenography: wind Forma (Florian Boje)
Lighting: Antonio Castro
Video: D-Wok
D. choir: Andrés Máspero
Distribution: Roberto Aronica, Simon Orfila, Angela Meade,
Verónica Simeoni, María Miró and Antonio Lozano
Choir and Orchestra of the Teatro Real holders
Teatro Real in Madrid 21 October 2016

Text: Paloma Sanz
pictures: Javier del Real

Roberto Abbado

After more than a hundred years of absence on stage at the Madrid coliseum, Rule, great bel canto opera composer Vincenzo Bellini, arrive at Teatro Real the next 20 October with a leading stage production firm Davide Livermore and teacher Roberto Abbado, in front of the orchestra and choir of the Teatro Real holders, and the triple vowel cast.

Maria Agresta, Angela Meade Y Mariella Devia They will alternate in the role Maria Callas He immortalized on stage in the late forties; tenors Gregory customer, Roberto Aronica Y Stefan Pop, serán Pollio; Karine Deshayes, Veronica Simeoni Y Ketevan Kemoklidze They sing Adalgisa, Y Michele Pertusi, Simon Orfila and Fernando Rado Dara life Oroveso.

The Milanese master, Norma has already addressed on numerous occasions, before 12 functions (20 October to 4 of November) which you can see at Real, He noted: "This masterpiece, whose recitatives are among the most complex in the history of opera, It has its origins in neoclassicism, but his romantic heartbeat is evident and their mark is clear in later composers as different as Chopin Y Wagner”.

The next 4 November will be released the last recording of Roberto Abbado, again, for the label German Grammophon: Revive, the new CD of Latvian mezzo Elina Garanca, Returning to rely on the musical direction of Abbado, in front, this time, of the Orchestra of Valencia. musical director Palau de les Arts since 2015, Roberto Abbado ofrecerá of de lectura de The Sicilian Vespers Verdi, to be presented in Valencia on 10, 13, 16, 18 Y 21 from December.

More information.

Celso Albelo

This season that is ending has been one of the most prolific in terms of debuts and successes in the ascending career of the Canarian tenor Celso Albelo. After debuting in the Metropolitan New York and the Bolshoi Theater Moscow and to sing his first Werther, Albelo prepares for a new debut, this time at the Summer Festival of the The State of Banská Bystrica, one of the most important cities in the Slovak Republic, great musical tradition. He will take his Robert Dudley, Earl of Leicester, protagonist of the opera Donizetti Maria Stuarda, precisely with the one that debuted in New York. “Provides you with unique personal satisfaction”, affirms the singer referring to the character, “because it is at all times a vocal challenge with which to establish good technical and interpretive bases”. The appointment is next 23 of August.

Celso Albelo has recently closed the cycle of concerts of the season of the Juan March Foundation from Madrid and has returned to Teatro Real with I Puritani from Bellini. After his Slovak debut, The Spanish tenor will begin the course next with his return to the Bolshoi Theater in Moscow with Don Pasquale (Donizetti) in September.

More information.

Puritans

The next 4 of July will arrive on the stage of the Royal Theater I puritani, last opera by the Italian composer Vincenzo Bellini (1801-1835), of which will be offered 10 functions until the day 24 of July, in a co-production of the Teatro Real and the Municipal Theater of Santiago de Chile with stage direction of Emilio Sagi and musical of the Italian master Evelino pido.

I puritani marked the debut of Bellini in Paris, where it was released in 1835 at the Théâtre-Italien with a resounding public success. In it are the best ingredients of the Italian melodrama of romanticism: historical drama, love, jealousy, political intrigue, madness ... built on a score in which the orchestration is richer than in previous works by the composer, but where he does not renounce sublime melodies, heroic hymns and arias and duets of difficult coloratura.

Bellini carefully balances lyrical effusiveness and dramatic needs, composes arias and duets of devilish coloratura, that in the functions that we will see at the Royal Theater will be faced, in the lead roles, by the tenors Javier Camarena Y Celso Albelo (Lord Arturo Talbo), las sopranos Diana Damrau Y Venera Gimadieva (Lady Elvira Valton), baritones Ludovic Tezier, George Petean Y Damiano Salerno (Sir Riccardo Forth) the short ones Nicolas Tested Y Roberto Tagliavini (Sir George), mezzosoprano Annalisa Stroppa and soprano Cassandre Berthon (Henrietta). With them, he Choir and the Titulares Orchestra of the Royal Theater.

Emilio Sagi, head of stage direction, in this production he moves away from a realistic version of the libretto to focus on the abstract world of daydreaming and feelings. In this dream world, portrayed in black and white, dotted with surreal elements, it will be the voices that convey the dramatic reality through melodies that convey more than words. To Sagi, the score I puritani it's crystal clear, romantic, sublimates emotions and is full of sensuality, for that reason it strips the space of all realism and focuses it on music and voices.

As on other occasions, Emilio Sagi has had some of his regular collaborators, which the Real public has always received with great enthusiasm in productions such as Le nozze di Figaro, The Barber of Seville O Luisa Fernanda, among other. Daniel Bianco takes over the scenery, Peppispoo (Pepa Ojanguren) designs the costumes and Eduardo Bravo directs the delicate lighting in this co-production signed by the Teatro Real and the Municipal Theater of Santiago de Chile, where at its premiere in May 2014, received numerous accolades.

Representations I puritani will coincide with the celebration of the Week Opera Theater Royal, that will take place between 11 and the 17 July and what, between scheduled events, will broadcast on the screen installed on its facade the function of the day 14. This broadcast can also be followed live in some of the most important cultural spaces in Spain such as the Prado Museum, he Reina Sofia Museum, he Niemeyer center Aviles, Bilbao Guggenheim Museum Y The Alhambra of Granada, among others. further, the audiovisual platform of the Teatro Real, stage Digital, will offer representation in streaming, for free, for all those who cannot approach the Plaza de Oriente.

Sonnambula

ABAO-OLBE (Bilbao Association of Friends of the Opera) Starts 2016 with La Sonnambula obra de madurez de Bellini considerada cumbre del bel canto romántico italiano. Con el patrocinio del INAEM, the days 23, 26, 29 January 1 February at 20:00h. and the 30 Opera Berri January to 19:00h., up to stage this melodrama that contains all the ingredients of amorous intrigue of a grand opera, con momentos de extraordinaria belleza y pureza lírica para el cuarteto protagonista, así como una relevante actuación coral.

El recurso del sonambulismo que origina el argumento de este drama de amores contrariados, responde al axioma romántico que asegura que, cuando un sentimiento es muy intenso, como el amor de Amina la protagonista, no se puede comunicar con un discurso racional, y que sólo en estados como el sueño, la locura o el sonambulismo es posible expresarlo. Para dar vida a los protagonistas de esta prodigiosa ópera de Bellini, que exige una técnica de canto depurada y elegante así como una habilidad para la agilidad vocal (coloratura), ABAO-OLBE ha reunido un elenco encabezado por la soprano británica Jessica Pratt, quien debuta en la temporada bilbaína tras ser aclamada por la crítica internacional para hacerse cargo del difícil rol de ‘Amina’ y su famosa aria “Ah!! Non credea mirarti…”. Junto a ella el tenor italiano Antonino Siragusa presente en los principales teatros del mundo vuelve a Bilbao para dar vida a su enamorado ‘Elvino’. Completan el cartel los retornos del bajo italiano Mirco Palazzi como ‘Il Conte Rodolfo’, la soprano donostiarra Elena Sancho Pereg como ‘Lisa’, la mezzosoprano lekeitiarra hope Mentxaka como ‘Teresa’, el barítono bilbaíno Jose Manuel Diaz como ‘Alessio’ y el tenor Alberto Nuñezcomo ‘Un Notaio’.

In the pit, teacher José Miguel Pérez Sierra, skilful connoisseur of Italian bel canto, quien al frente de la Bilboko Orkestra Sinfonikoa dirige una obra que, in his own words, es “cima absoluta del bel canto italiano. Y no sólo por ser superior a otras óperas del primer tercio del ottocento, sino por la pureza con que representa todos los parámetros que configuran el estilo belcantista”. This section complete Opera Choir BilbaO, with Boris Dujin in front.

En el escenario una producción muy visual procedente del Teatro Bolshói de Moscú, concebida por el polifacético Pier Luigi Pizzi con una puesta en escena poética, plastic, con un delicado equilibrio cromático y mucho movimiento escénico.

New Opera

Representation La Sonnambula of the 30 from January, abre la décima edición de New Opera, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. En esta función debutan en Bilbao la soprano Marina Monzó como ‘Amina’ y el tenor Juan Antonio Sanabria como ‘Elvino’. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 19:00 h.

Conferencia sobre “La Sonnambula”

In order to analyze, in advance the premiere, the most important aspects of this opera by Bellini, ABAO-OLBE has organized a conference, Free entry, which will take place on friday 22 January at 20.00 hours at the Hotel Ercilla. This time, Carlos Imaz, compositor y cantante, colaborador de ABAO-OLBE descubre los entresijos de La Sonnambula.

Pérez-Sierra

The international agenda of the young Spanish teacher José Miguel Pérez-Sierra not to. After directing in Trieste's Falstaff Verdi, The Italian Girl in Algiers en el Bel Canto Opera Festival Rossini de Wildbad (Germany) and Il Turco in Italia at the Teatro Municipal in Santiago de Chile, in November will dive into this last work of genius Gioacchino Rossini, esta vez in the Opera Theater of Metz Métropole (France) day functions 22, 24 Y 26.

Although his repertoire is as wide as your interests, Rossini and bel genre of romantic song marked the trajectory of the Madrid manager, He is having debuted on a podium at the Rossini Opera Festival in Pesaro (Italy), world capital of the work of Italian composer. His regular collaborations with experts in style as Marianna Pizzolato or great Mariella Devia (who in December will redirect in a concert at the Opera A Coruña) they have become a reference point in Italian opera. And if in November is the turn of Il Turco in Italia in Metz and in December a date with Devia, in January and February will return to the podium of the season ABAO-OLBE bilbaína another example belcantista, La Sonnambula, from Bellini.
In any case, proof of his interest in all kinds of repertoire and avoiding any typecasting, su will be expected debut as director Wagnerian: will be in A Coruña, in June, Der Fliegende Holländer when lead.

ABAO-OLBE

He 24 October starts the 64 season ABAO-OLBE with a lyrical program that includes five major representative works of the best opera. Verdi, Donizetti, Bellini, Puccini Y Rossini traen the Bilbao scene two unusual titles: Manon Lescaut y Roberto Devereux; two of reference in the history of opera: Dizzy and The Barber of Seville; and a premiere: the original version of 1867 Don Carlos. further, ABAO program for the first time in its history the colossal Messa da Requiem by Verdi.

A new season of great stories. Opera and music literature as catalyst, voices and feelings, and where fifteen singers debut, Scene two directors and two top-level teachers with outstanding performers in Bilbao known as: Daniela Barcellona, orlin Anastasov, Gregory customer, Elena Mosuc, Antonino Siragusa, Mirco Palazzi, Jose Antonio Sanabria, Ainhoa ​​Arteta, Angela Meade O Erwin Shrott.
further, ABAO-OLBE keeps all the activities of its socio-cultural program, in a further step to integrate society in a large multidisciplinary project that includes: training, divulgation, arts and publishing, fully or partially subsidized by the Association: the publication of the magazine and book Scena season, with unpublished articles by specialists; A new edition of the free cycle Introductory Lectures to the opera scheduled to discover the ins and outs of each title; Verdi ABAO Week which celebrates its tenth edition like the Opera Berri program to attract new fans; Abao Txiki season and instructional program that meets 25 years of activity.

64 ITALIAN OPERA SEASON WITH FLAVOR

DON CARLOS
· Full version in French, with the act of Fontainebleau and ballet Peregrina, played by Malandain Ballet Biarritz.
Extraordinary debuts by Giuseppe Gipali, Mª José Siri Y Mika Kares.
Don Carlos of Giuseppe Verdi opens the season 24 October. Based on the drama "Dom Karlos, Infante of Spain "de Schiller, narrates the historical facts and conflict of Infante Don Carlos, Isabel de Valois and King Philip II. Almost five hours of monumental opera. Undisputed jewel that is seldom seen and which opens for the first time in Bilbao.
The cast is headed by Giuseppe debuts Gipali, Maria José Siri and Mika Kares and returns Daniella Barcelona, orlin Anastassov Y Juan Jesus Rodriguez. In the pit master Massimo Zanetti, returning to Bilbao after successfully leading Madama Butterfly last February, to take charge of the Bilbao Symphony Orchestra. Stage a new production of ABAO, in coproduction with Sevilla, Oviedo and Tenerife, signed by the multitalented Giancarlo del Monaco. Elegant, suggestive, very careful in the theatrical and very colorful thanks to the lighting and costumes rich in nuances and full of sumptuous details.

ROBERTO DEVEREUX
· Great voices in the international Olympus: Gregory customer Y Elena Mosuc.
Duel of divas with the long-awaited debut of Clementine Margaine.
In the musical direction, Josep Caballe-Domenech, one of the most important conductors of today.
In November Roberto Devereux Donizetti arrives, work that closes the cycle Tudor or "trilogy queens" of the Italian composer. Gregory customer, Elena Mosuc, debut Clementine Margaine Y Vladimir Stoyanov the protagonist quartet. In front of the Euskadiko Orkestra Sinfonikoa the great international master Josep Caballé Domenech. On stage a production of the Opera Las Palmas-ACO Classic cut, with sublime moments of dramatic tension in some passages, designed by debutant Mario Pontiggia.

La Sonnambula
Summit opera of the Italian romantic bel canto and one of the most performed by Bellini.
Jessica Pratt plays the role of Amina in her presentation in Bilbao.
2016 It opens with La Sonnambula by Bellini, one of the pinnacles of Italian bel canto romantic. Of the two main characters are responsible Jessica Pratt, debutante season in Bilbao, Y Antonino Siragusa. In a very visual scene production Moscow Bolshoi Theatre conceived by Pier Luigi Pizzi, poetics, very visual and very scenic movement. In the pit, José Miguel Pérez Sierra skilful connoisseur of Italian bel canto, leading the Bilbao Symphony Orchestra.

MANON LESCAUT
An exceptional duo: Ainhoa ​​Arteta Y Gregory customer.
· Pedro Halffter in the pit and Stephen Medcalf in stage direction debut in ABAO.
Puccini's work comes in February to engulf us in a fascinating and tragic story that exalted the Tuscan master as one of the leaders of the verismo school. They put voice to this symphony in four movements that will not leave anyone indifferent, a duo of emergency: Ainhoa ​​Arteta and Gregory Kunde. ABAO presentation at the prominent music director Pedro Halffter ago to face one of the most complex scores of Puccini repertoire. Watch a fire baton of the Symphony. based on flashbacks from the Teatro Regio di Parma devised by debutant production ABAO Stephen Medcalf, with a great visual efficiency scenery full of versatile items.

THE BARBER OF SEVILLE
· Debuts de Marco Caria Y Annalisa Stroppa in the main roles and Ottavio Datone in musical direction.
Award-winning staging of Emilio Sagi, to celebrate the bicentenary of the premiere of this opera.
In May the quintessential opera buffa by Rossini, full of grace, humor and vitality, It puts a magnificent climax to the season in the year the bicentenary celebrated its premiere. The cast presentations Marco Caria Annalisa y junto a Stroppa MIchele Angelini, Carlos Chausson Y Nicola Uliveri. On stage an exquisite production, Campoamor Theater Award 2005 Emilio Sagi agile scenery and spectacular costumes from the Royal Theatre. Debut of one of the best known conductors such repertoire internationally, Ottavio Dantone, in front of the Symphony Orchestra of Navarra.
The Bilbao Opera Choir, directed by Boris Dujin, deals with the choral part of the season.

FOR THE FIRST TIME IN ABAO: STARTING FROM VERDI REQUIEM DE
He 16 April ABAO debuts for the first time in its history this sacred composition, considered the masterpiece of Giuseppe Verdi. It is a composition in seven movements with an indescribable dramatic power, for large orchestra, great chorus and four solo voices. In Bilbao will be played by newcomer Angela Meade, Erwin Shortt, painful Zajick, and a tenor tbc; also accompanied by the chorus of Opera Bilbao, directed by Boris Dujin, and the Symphony Orchestra of Navarra, under the baton of Italian conductor Francesco Ivan Ciampa.

REACHING THE OPERA BERRI X EDITION
· The program of two titles is recovered in the 10th edition of Opera Berri: Dizzy and The babiere Seville.
· They wait 4.200 spectators and re-hang the sign "no entry".
Esta iniciativa de ABAO-OLBE, developed with the aim of bringing opera to new audiences with well-known titles and entries that are around 50% of their usual price, It is a project with huge acceptance, serving a socio-cultural function adding value to society and in its tenth anniversary program retrieves two titles.
This edition will be represented operas: La Sonnambula of Bellini's 30 January to Irina Duvrovskaia Y Jose Antonio Sanabria in the roles of Amina and Elvino, and the 15 de mayo de Rossini's Barber of Seville with Damian del Castillo Y Marifé Nogales as Figaro and Rosina.

ABAO TXIKI, ENTERTAINMENT FOR THE WHOLE FAMILY
Five titles up to the tables Teatro Arriaga, an absolute premiere in Basque and four replenishments, in the eleventh season of opera aimed at younger viewers and for the enjoyment of the whole family. A reaffirmation of social and educational commitment assumed ABAO-OLBE to arouse public cultural interest younger.
The concert dramatized Soñando The Carnival of the Animals with music Debussy Y Saint-Saëns and devised by the Company Etcetera season opens in October.
In January arrives The Pied Piper of Hamelin, an opera based on the folk tale of the Brothers Grimm with music Iñigo Casalí, and stage director Pablo Ramos.
In late February up on stage, ashen; an adaptation for young audiences of La Cenerentola by Rossini conducted by comedians.
The premiere of the season comes in March, Txanozuritxu, opera in Basque for five musicians and eight singers. A free version of the popular children's story with music Carlos Imaz and stage director fake Santamarina produced by ABAO-OLBE to commemorate the 25 anniversary of the Educational Programme.
Closes this program in late May William Tell, a fast-paced and fun adaptation of Rossini's opera produced by the Gran Teatre del Liceu.
The eleventh season ABAO TXIKI has seventeen sessions family functions and roles in five school involved 35 schools and 4.000 students.

MEETS THE TRAINING PROGRAM 25 YEARS
The Educational Program ABAO-OLBE complements the children's opera season with its wide range of activities to bring the world of opera to young people through educational talks, workshops, theater visits and attendance at trials and general pregenerales. 180 schools and over 19.000 people participate annually in the various activities undertaken.
ABAO-OLBE celebrated this year 25 anniversary of this initiative, pioneer in the state with the premiere of the opera in Basque Txanozuritxu.

ALL GREEN
This season the flagship project of ABAO-OLBE, ALL GREEN, reaches its tenth edition and continues faithful to its goal of discovering the great Italian master in its all its facets. On the artistic side, the two premieres of the season: Don Carlos and Verdi's Messa da Requiem. In the cultural, among other activities, la X Semana Verdi de ABAO, in collaboration with Deusto Forum, that Bilbao has already brought more than fifty speakers from Europe and America and that this edition will be attended among others Chrisytian Merlin, Luisa Cymbron, Suddeutsche Zeitung Y Jorge Volpi, to place the figure of Verdi in France, Portugal, Germany and Latin America; Ignacio Cobeta to provide the relationship of Verdi and vocalism, and a cross-sectional view of the master's work and gastronomy.