First recital of the XXVII Lied Cycle of the Teatro de la Zarzuela and the CNDM, in charge of the baritone Florian Boesch, that this year is the resident artist of the Theater, accompanied by piano Justus Zeyen, with works Schubert, Wolf Y Martin.

Five Songs de Schubert have been chosen to start this first recital. This has undoubtedly been the most romantic and delicate part that the Austrian baritone has offered., that has been gaining in expressiveness over the years, becoming a perfect "interpreter". Use unusual resources to nuance a slight vocal line, which is more of a declamation, an almost whispery way of saying that adds theatricality. All with extreme sensitivity.

The second part of the recital was dedicated to a selection of the Italian songbook by Hugo Wolf (1860-1903). Wolf alternated moments of great creativity with others of absolute drought. This work is the product of creativity. They are short songs that speak of daily scenes of love, and does it with thoroughness. Boesch reels off these scenes with delicacy and showing off more baritonal colors, with powerful bass and, again, their declaimed whispers.

To end the recite, works by Frank Martin (1890-1974), a composer who searched for a long time for his own musical language, and thus be able to move away from the powerful counterpoint influences of Bach. The twelve-tone devised by Schoenberg provided him with a universe to explore. Six monologues out "Anyone" (1943), written in octosyllables and on which Martin projected an opera, is a kind of auto-da-fe that expresses, with extraordinary drama, the acceptance of death. It is in this part of the recital that Florian Boesch deploys, in apparent trance, all his dramaturgical and expressive capacity. The intensity with which Boesch approaches Martin's work is overwhelming.

Justus Zeyen's piano accompaniment was impeccable. Always attentive and at the service of Boesch's purpose, adding delicacy and sensitivity and without giving an iota of prominence.

A high-level start to a season full of quirks. A certain melancholic feeling hung in the air. The hubbub of other occasions and, what a milestone in this theater, there were no coughs at any time. Perfect health in times of pandemic.

Photograph: Rafa Martín

Florian Boesch

He Monday 28 of September, he National Dissemination Center Musical (CNDM) opens its XXVII Lied Cycle at the Teatro de la Zarzuela with the performance of the Austrian baritone Florian Boesch in a concert that is, Besides, the first in Madrid of the new season of the CNDM. The singer, as Resident Artist of the Lied Cycle in this new season, will offer three recitals throughout it, highlighting the levels of maturity and expressiveness that his voice has reached. In this first concert, accompanied by Justus Zeyen on piano, Boesch will perform a wide selection of lieders by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In successive recitals, Florian Boesch will immerse us in the eternal Winterreise of Schubert and in the important group of lieders that make up the Travel book from the Austrian Alps by Ernst Krenek.

With ten concerts scheduled between September 2020 and June 2021, Throughout the XXVII Lied Cycle we will be visited by some of the most important lyrical voices of today, as Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien and the Spanish Núria Rial. Different characters, styles, timbres and colors that will address vocal programs of excellence, always loaded with interest, either with lieder or songs of other signs. Tickets for all concerts, with a general price 4 a 35 euros, are already on sale in www.entradasinaem.es Y 902 22 49 49, as well as at the ticket offices of the Teatro de la Zarzuela and theaters of the INAEM.
Florian Boesch: expressiveness and maturity
Florian Boesch (Saarbrücken, 1971), He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, Staatskapielle de Dresden, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues by Jedermann (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.

CNDM

The general director of INAEM, Miguel's Amaya, next to Francisco Lorenzo, director of the National Broadcasting Music Center (CNDM), han presentado esta mañana en rueda de prensa the season 20/21 from said center, unit dependent on the National Institute of Performing Arts and Music (INAEM). He CNDM propone para su undécima temporada un extenso programa musical que apuesta por el apoyo al sector, la recuperación de los conciertos cancelados la temporada pasada y una extensa actividad en la capital y el resto del territorio español.

El CNDM mantiene en esta nueva edición sus valores fundacionales de recuperación y difusión del valioso patrimonio musical histórico español, el fomento de la creación contemporánea, la atención a repertorios menos habituales o de tradición popular, como el flamenco o el jazz, y el desarrollo de nuevos públicos a través de diversas actividades socioeducativas, organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

– He CNDM in its undécima temporada organizará 288 different activities Madrid and others 29 Spanish cities from 12 autonomous communities, además de estar en 4 ciudades extranjeras (a total of 33 ciudades distintas). Of the 230 concerts planned, 101 They will be offered in Madrid and 129 outside the Spanish capital.

– The presencia internacional se traduce en 8 concerts 4 cities from 4 countries: Paris (France), London (United Kingdom), Elvas (Portugal) y Trondheim (Norway).

Se mantienen las figuras de Compositor Residente, con el compositor catalán Joan Magrané (Reus, 1988), mientras que el barítono austriaco Florian Boesch (Saarbrücken, 1971) will be the Artista Residente del Ciclo de Lied.

Se articulan dos ciclos transversales a toda la programación dedicados a la música en la corte de Dresde en los siglos XVII y XVIII, #CortedeDresde, and the #ProyectoClavierÜbung, que desarrollará el clavecinista y organista Benjamin Alard, dando vida a algunas de las mejores páginas de Johann Sebastian Bach.

Contaremos con el estreno absoluto de 57 new scores, 35 of them por encargo del CNDM, de las cuales más de la mitad serán creadas por compositoras. HE recuperarán 40 composiciones del patrimonio musical español que verán su estreno en tiempos modernos en esta temporada.

La temporada contará con artistas imprescindibles de diferentes géneros como Jakub Jozef Orliński, una de las sensaciones de la escena barroca internacional; the great Vivica Genaux next to Fabio Biondi and his Europa Galante dando vida a la ópera Argippo Vivaldi; the pianist Christian Zacharias next to Azahar Ensemble; el conjunto Café Zimmermann, Il Giardino Armonico, he Cuarteto Emerson o el imprescindible Jordi Savall. También escucharemos a figuras como el pianista de jazz Brad Meldhau, la legendaria Ute Lemper, Alba Molina, componente de una gran saga flamenca, o a la renovadora del fado Katia Guerreiro, among others.

En esta temporada volverá a celebrarse la cita bienal ¡Sólo Música! que en su edición 2021 presents “Siete Séptimas“, un maratón de cuatro conciertos que se desarrollarán en una sola jornada en la Sala Sinfónica del Auditorio Nacional de Música. En esta gran fiesta musical se abordarán las sieteséptimassinfonías de Haydn, Mozart, Bruckner, Beethoven, Dvořák, Mahler y Shostakóvich interpretadas por las mejores orquestas nacionales bajo la batuta del director norteamericano James Conlon.

La educación tendrá de nuevo un papel relevante, with 58 activities, casi todas gratuitas, in 13 Spanish cities, in coproduction with 14 instituciones académicas y un centro educativo de primaria y secundaria de la Comunidad de Madrid, que participará en la décima edición del Proyecto Pedagógico “Todos creamos”.

El CNDM colaborará en la temporada 20/21 with 153 instituciones públicas y entidades privadas e incorporará nuevas alianzas, among others, with Palace of Catalan Music and the International Festival of Music and Dance in Granada.

La institución ha puesto el foco en reprogramar aquellos conciertos y ciclos afectados por la emergencia sanitaria declarada el pasado mes de marzo. A) Yes, se han reubicado en la nueva temporada 64 concerts, la práctica totalidad de los que tuvieron que ser cancelados, dando prioridad a los artistas y agrupaciones españolas, con el objetivo preferente de reforzar el tejido y la industria musical de nuestro país. Aquellos conciertos de la temporada 19/20 que no han podido reprogramarse en la 20/21 serán ubicados en las siguientes.
He National Dissemination Center Musical (CNDM), organizational unit of the National Institute of Performing Arts and Music (INAEM), propone para su undécima temporada un extenso programa que mantiene su espíritu de recuperación y difusión de nuestro vasto patrimonio histórico y las músicas cultas de raíz popular como el flamenco y el jazz, así como el apoyo a la creación actual y el desarrollo de nuevos públicos a través de las diversas actividades organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

The season 2020/2021 It is composed of a total of 288 activities que tendrán lugar desde el 16 September 2020 al 14 July 2021. El programa se desarrollará en Madrid y en otras 28 Spanish cities 12 autonomous communities, a las que hay que añadir 4 ciudades extranjeras with 8 conciertos repartidos por París (France), London (United Kingdom), Elvas (Portugal) y Trondheim (Norway), hasta alcanzar un total de 33 ciudades distintas, con una amplia oferta de conciertos, educational sessions, interpretation courses, clases magistrales y conferencias a cargo de destacados intérpretes y creadores. Total, se producirán 230 concerts, con música del siglo XII al XXI, of which 129 se ofrecerán fuera de la capital española.

The conciertos organizados en Madrid se reparten, again, in 10 cycles desarrollados en sus tres espacios habituales: he National Music Auditorium, he Teatro de la Zarzuela and the Museo Nacional Centro de Arte Reina Sofía (Nnchhahris): Baroque universe (Sala Sinfónica y Sala de Cámara), Series 20/21, Borders, Liceo de Cámara XXI, Andalucía Flamenca, Jazz at the Auditorium, Lied Y Bach Vermouth. A todo lo mencionado hay que añadir la décima edición del proyecto pedagógico y social “Todos creamos”, que estará dedicado al temaSombras de la Catedral.

En la próxima temporada el CNDM aumenta sus colaboraciones hasta las 153 instituciones públicas y entidades privadas. A) Yes, volverá a coproducir el XVIII ciclo Historical Music of Leon –junto al Auditorio Ciudad de León y el Ayuntamiento de la ciudad-, los ciclos de música actual de Badajoz, Malpartida de Cáceres (Museo Vostell Malpartida), Segovia Y Valencia (Festival ENSEMS) y los ciclos baroque in Oviedo Y Salamanca, además de los conciertos coproducidos por los cabildos catedralicios e incluidos dentro de la serie El Órgano en las Catedrales. Likewise, in co-production with Palace of Catalan Music and the Asociación Franz Schubert se celebrará la Schubertíada, al tiempo que continúan otras coproducciones estables con los festivales internacionales de música de Cádiz, Sevilla Y Úbeda-Baeza. En esta nueva temporada el CNDM volverá a coproducir el festival de Música Antigua en Betanzos.
En Palencia se celebrará el II Festival de Música Medieval y Renacentista Palencia Antiqva, que no pudo celebrarse este año por la emergencia sanitaria.

El CNDM impulsará también su actividad en el campo del jazz con el objetivo de contribuir al desarrollo de un circuito nacional estable para dicho género donde poner en valor a sus principales intérpretes. A) Yes, la institución presentará un nuevo ciclo, Oviedo Jazz, en coproducción con la Fundación Municipal del Ayuntamiento de la capital asturiana, y volverá a coproducir Salamanca Jazz, junto a la Universidad de Salamanca. Similarly, el CNDM volverá a colaborar con el Festival de Jazz de Madrid.

Beethoven Actual Y Beethoven por Liszt se celebrarán en Murcia y Cuenca respectivamente, reprogramándose en ambas ciudades los conciertos suspendidos en sus ciclos de la temporada 19/20.

El programa internacional repite la colaboración por sexto año con la localidad portuguesa de Elvas y por cuarto año con el Festival de Música Barroca de Trondheim (Norway) y se celebrará un concierto en Paris (France). Likewise, he Festival de Música Barroca de Londres 2020, in coproducción con el Instituto Cervantes, dentro de su Europe project, reservará una sección a la música española del Siglo de Oro, que resumirá en cinco conciertos más de dos siglos de música española entre piezas instrumentales y vocales, sacras y profanas, theater, cancioneros, danzas y sonatas, incluidos varios estrenos en tiempos modernos, que cobrarán vida en St John Smith Square de la mano de algunos de nuestros mejores intérpretes especializados. Total, a nivel internacional, se programarán 8 concerts 4 cities.

En el apartado de las residencias del CNDM, en esta entrega el Compositor Residente it will be Joan Magrané (Reus, 1988), un creador que, pese a su juventud, ha alcanzado altas cotas de reconocimiento a nivel nacional e internacional. A lo largo de esta temporada conoceremos en profundidad el universo sonoro de este compositor, del cual escucharemos un total de 17 works, between them, 4 prèmieres (tres de música de cámara y una obra sinfónica, Obreda, que interpretará la Orquesta Nacional de España en el Auditorio Nacional). En el Museo Reina Sofía podremos disfrutar de una amplia selección de sus obras en diferentes formatos, incluidos varios estrenos absolutos, encargos del CNDM, de la mano de Sigma Project, el Ensemble O Vos Omnes, el Ensemble Télémaque, el Cuarteto Diotima y la pianista Noelia Rodiles. Su obra podrá también escucharse en varias de las ciudades de Circuitos, como Badajoz, Alicante and Barcelona.

As artist in Residence del Ciclo de Lied, el CNDM cuenta esta temporada con el barítono austriaco Florian Boesch (Saarbrücken, 1971), uno de los más destacados intérpretes de Songs de nuestro tiempo. Con una amplia trayectoria tanto en salas de concierto como en teatros de ópera, Boesch ofrecerá tres conciertos en el Ciclo de Lied del Teatro de La Zarzuela, en los que se podrá advertir las cotas de madurez y expresividad que ha alcanzado su voz. A lo largo de tres sesiones y acompañado por el pianista Malcolm Martineau, el cantante abordará una selección de Songs de Schubert y Wolf así como los ciclos Sechs Monologe aus «Jedermann» de Frank Martin, Winterreise de Schubert y Reisebuch aus den österreichischen Alpen by Ernst Krenek.

The programing 20/21 del CNDM constará de dos ciclos transversales. #CortedeDresde acercará al público, through 8 concerts, la música de esta corte alemana, que en el siglo XVI se había convertido ya en un importante centro político y cultural. Los conciertos que conforman el ciclo recogen el fulgor de esta corte, en su mezcla de música religiosa, operística, orquestal y de cámara a través de repertorios vinculados a la misma. #ProyectoClavierÜbung, se articula en torno a la colección de composiciones para teclado que Johann Sebastian Bach publicó en vida y que incluye algunas de las páginas más brillantes que el genio de Leipzig compusiera a lo largo de su trayectoria. El gran clavecinista y organista francés Benjamin Alard, uno de los más acreditados intérpretes de la música del genial compositor, will offer dos recitales al clave dentro del ciclo Universo Barroco en la Sala de Cámara y un tercero al órgano dentro del ciclo Bach Vermut. He #ProyectoClavierÜbung proseguirá en la próxima temporada con otros 3 recitals, también a cargo de Benjamin Alard.

En esta nueva temporada se profundiza nuevamente en la recuperación de nuestro valioso patrimonio musical histórico with 40 estrenos en tiempos modernos. Likewise, se mantiene la tradicional cita con nuestro repertorio lírico menos conocido con la versión de concierto de la zarzuela barroca Júpiter y Semele, de Antonio de Literes in charge of Al Ayre Spanish bajo la dirección del especialista Eduardo López Banzo y protagonizada por un elenco de lujo de voces nacionales. Verán su estreno en tiempos modernos obras de Antonio Gallego, Juan Hidalgo, José de Herrando, Carlos Patiño o Juan Manuel de la Puente, a cargo de los mejores grupos e intérpretes españoles especialistas. Y asistiremos también a dos importantes hitos: the premieres in Spain, in concert, from Giulio Cesare in Egitto Haendel (en su versión de 1725), dentro del ciclo Universo Barroco y de la ópera de Vivaldi Argippo, en el marco del Festival de Música Antigua de Sevilla y un día después en el Auditorio Nacional de Música.

El CNDM mantiene su política de apoyo a la creación contemporánea, with 57 prèmieres, 35 de los cuales son encargos del CNDM a autores de reconocida trayectoria y jóvenes promesas, más de la mitad, composers, cuyas obras verán la luz tanto en los escenarios madrileños como en circuitos nacionales e internacionales, interpretadas por formaciones y músicos españoles y extranjeros de primera fila. further, este año rendimos homenaje a dos figuras clave de las últimas décadas, Cristobal Halffter Y Luis de Pablo, when they met noventa años de sus nacimientos.

Series 20/21 arranca con sendos conciertos-homenaje a Cristobal Halffter Y Luis de Pablo, que correrán a cargo, respectively, from Bambú Ensemble next to music y del grupo Taller Sonoro. Tras una nueva edición del Premio Jóvenes Compositores Fundación SGAE-CNDM, asistiremos al concierto “a tres” del violonchelista Jean-Guihen Queyras, el clarinetista Mark Simpson and pianist Pierre Laurent-Aimard. El compositor residente del CNDM, Joan Magrané, será el protagonista de cinco conciertos, el primero de ellos a cargo de Sigma Project, con el estreno absoluto de Chanson & frottola del autor catalán. Después de escuchar al Trío Isimsiz, Series 20/21 dará paso al Diotima Quartet, que interpretará los tres primeros cuartetos para cuerda de Magrané, Meanwhile he Ensemble O Vos Omnes contrapondrá obras del compositor renacentista Josquin Desprez con las de Joan Magrané. La violonchelista estadounidense Kathleen Balfe asumirá el reto de preparar diez nuevas partituras, fruto de la nueva edición del “Taller de mujeres compositoras”, iniciativa conjunta del CNDM y el Festival de Música Española de Cádiz. Seguirá una velada con Spanish Brass, uno de los quintetos de metales más veteranos del panorama español; after, Noelia Rodiles, sólido valor del piano español, dará forma a un repertorio que unirá obras de Joan Magrané y Schubert. La propuesta musical continuará con el concierto de la Sinfonietta de la Escuela Superior de Música Reina Sofía. Ya en la recta final del ciclo, asistiremos al estreno absoluto de A mitad del camino de la vida, obra encargo del CNDM a Mauricio Sotelo, protagonizada por el cantaor Archangel y la violinista Leticia Moreno. He Ensemble Télémaque cerrará el ciclo con los estrenos absolutos de las obras encargo de la Casa Velázquez y el CNDM a sus respectivos compositores residentes de las dos últimas temporadas.

Universo Barroco Sinfónico constará en esta temporada de ocho conciertos, uno de ellos extraordinario, in which Café Zimmermann, el conjunto fundado por el violinista Pablo Valetti y la clavecinista Céline Frisch, abordarán la integral de los conciertos de Brandemburgo de Bach. El ciclo ofrecerá otros grandes alicientes, como el concierto que escucharemos del joven contratenor polaco Jakub Jozef Orliński, una de las grandes sensaciones de la escena barroca internacional. Destacamos también el concierto de Al Ayre Spanish, with Eduardo López Banzo in front, en el que se escuchará Júpiter y Semele O El estrago en la fineza, zarzuela de Antonio de Literes de 1718 y rescatada por López Banzo en 2003; interpretará esta obra un fastuoso elenco nacional conformado por Sabina Puértolas, Maria Espada Y Maite Beaumont, entre otras grandes voces nacionales. Collegium 1704 dará forma al Magnificat de Bach y estrenará en España la Missa Omnium Sanctorum de Jan Dismas Zelenka, dentro del ciclo transversal #CortedeDresde.

Meanwhile, Robert King and his King’s Consort interpretarán el oratorio haendeliano Esther. Later, Lionel Meunier, al frente de los prestigiosos The voice of the Light, ofrecerá un programa basado en obras de Bernhard, Steffani y von Biber. Then, Fabio Biondi Y Europa Galante, next to Vivica Genaux y un elenco de grandes cantantes, ofrecerán la ópera de Vivaldi Argippo, un día después de su estreno en tiempos modernos en Sevilla. La propuesta de Universo Barroco en la Sala Sinfónica se cerrará con el estreno en España de la versión de 1725 from Giulio Cesare in Egitto Haendel, which provide Andrea Marcon Y La Cetra Barockorchester Basel, starring Emoke Baráth y con un reparto de grandes voces nacionales como Carlos Mena, Juan Sancho Y José Antonio López.

Universo Barroco en la Sala de Cámara will offer 16 concerts, uno de ellos extraordinario, in which Jordi Savall planteará un recorrido por la música europea entre los siglos XVI y XVIII. Otras propuestas son los dos conciertos que ofrecerá Les Arts Florissants, en los que la formación de Paul Agnew cerrará su “integral” de los madrigales a cinco voces de Gesualdo, el nuevo proyecto de la violinista Lina Tur Bonet Y Alchemy Music -que plantea un recorrido por la música instrumental italiana del XVII- o el monográfico haendeliano de Apotheosis. The Academy of Pleasure from Fahmi Alqhai will present Lamentum, un acercamiento a la visión tenebrosa de los terribles años centrales del siglo XVII (guerra de los Treinta Años) a través de obras de músicos que vivieron esa época, como Matthias Weckmann o Dietrich Buxtehude. López Banzo and his Al Ayre Spanish ofrecerán el programa de recuperación histórica “¡Ay, beautiful splendor!”. Great baroque Christmas carols, en cuyo repertorio comparten protagonismo el maestro José de Torres y su discípulo Juan Francés de Iribarren. Benjamin Alard, uno de los clavecinistas bachianos más reconocidos a nivel mundial, ofrecerá dos de los tres conciertos de esta temporada dedicados a las obras de Bach para teclado que conforman el transversal #ProyectoClavier-Übung. Junto a la mezzosoprano francesa Delphine Galou, Ottavio Dantone propondrá, leading his Accademia Bizantina, un programa de Barroco italiano. Ignacio Prego, liderando New Tiento, brindará un intenso programa en torno a la naturaleza con la soprano Nuria Rial y el flautista Maurice Steger. Marcel Ponseele and his group Il Gardellino trazarán una panorámica de la música creada en el siglo XVIII en Dresde, eje de uno de los ciclos transversales de esta temporada. Meanwhile, Emilio Moreno and his Real Cámara acercarán al público la obra del jesuita y músico sevillano Francisco José de Castro; the Retreat, with Josetxu Obregón al frente y acompañado de dos jóvenes solistas femeninas, nos sumergirá en uno de los géneros cuyas señas redefinió Scarlatti a lo largo de casi ochocientas obras: la cantata de cámara, algunas de las cuales verán su estreno en tiempos modernos en este concierto. También será la música de la corte de Dresde el eje central del concierto que planteará Vespres d’Arnadí junto a la célebre Vivica Genaux, with works, among others, de Johann Adolph Hasse. Finally, Il Giardino Armonico, with Giovanni Antonini in front, nos traerá un proyecto sobreMúsica y músicos emigrantes en la Europa del Renacimiento y el primer Barroco”.

He CNDM and the Instituto Andaluz del Flamenco, presentan en coproducción una nueva edición de su madrileño ciclo Andalucía Flamenca, que volverá a ser cita de los mejores artistas de ayer y de hoy de este arte: Antonia Contreras Y Fabiola Pérez ‘La Fabi’, unidas en un concierto bajo el genérico de “Andalucía Cantaora”; Lela Soto Y Mari Peña, también juntas en el recital “La mujer en el cante”. singers José Valencia Y Rafael de Utrera protagonizarán otra velada. Meanwhile, Alba Molina, continuadora de una celebérrima saga flamenca, nos mostrará lo mejor de su arte. El ciclo continuará con el cantaor Pedro ‘el Granaíno’, los guitarristas Rycardo Moreno Y Diego del Morao y se cerrará con una actuación a cargo de Maria Earthquake.

Jazz at the Auditorium regresa con un plantel de grandes nombres internacionales y una relevante representación del jazz nacional. Brad Mehldau, uno de los músicos imprescindibles del jazz moderno protagonizará los dos conciertos extraordinarios de la temporada con una velada íntima a piano solo en la Sala de Cámara y otra posterior en la Sala Sinfónica en formato trio con Brad Mehldau Trio; el programa sigue con Marco Mezquida, what revisitará a Beethoven, he CMS Trio, formado por tres músicos de excepciónPerico Sambeat, Javier Colina Y Marc Miralta-, the pianist Joey Calderazzo, a dúo con John Patitucci, los veteranos The Cookers and the formation Valencia Jazz Top 7.
El programa se completa con el pianista romano Enrico Pieranunzi, el trío liderado por el gallego Abe Rábade, and the Andrea Motis Quintet, encabezado por una de las jóvenes sensaciones del jazz español reciente.

The cycle Borders presents 10 concerts, dos de ellos extraordinarios y protagonizados respectivamente por dos artistas de muy diferentes perfiles: la fascinante y poliédrica Ute Lemper, y el influyente Max Richter, multipremiado pianista-compositor de música contemporánea y autor de culto de algunas de las bandas sonoras más alabadas del cine y las series de televisión actuales. En la Sala de Cámara podremos asistir a la actuación de la pianista Rosa Torres-Pardo with “Clásicos al cabaret”, next to Clara Muñiz y poemas de Luis García Montero y al viaje paralelo del Alternative History Quartet entre temas de Sting, Led Zeppelin y Genesis y canciones del siglo XVII. También asistiremos a la presentación en concierto en España del ambicioso proyecto en gira del pianista Rudolf Buchbindger Diabelli 2020, que reúne en diálogo las famosas Diabelli variations de Beethoven y once nuevos encargos, realizados por el CNDM y diversas instituciones y salas de concierto internacionales, a compositores de la talla de Tan Dun, Toshio Hosokawa, Max Richter, Rodion Shchedrin, Johannes Maria Staud o Jörg Widmann, among others, y que el pianista ha publicado recientemente con German Grammophon.

Le seguirán el islandés Víkingur Ólafsson –firmante también de un premiadísimo proyecto discográfico, DebussyRameau, en torno al cual girará su recital- o el conciertoa tresen torno a Bach que protagonizarán Antonio Serrano (harmonica), Pablo Martín Caminero (violone y contrabajo) Y Daniel Oyarzabal (clave y Fender Rhodes). El programa se completa con un recital de la catalana Maria Rodés y su delicado cancionero y el ensemble del pianista madrileño Moses P. Sánchez, que nos acercará a su visión de la obra de Bartók desde una perspectiva contemporánea. Katia Guerreiro, representante de la generación de fadistas que han revitalizado el género en el último cuarto de siglo, pondrá broche de oro a este ciclo.

La nueva edición del exitoso Bach Vermouth ofrecerá en Madrid ocho conciertos que reunirán a los organistas más prestigiosos de la actualidad. A los recitales de este ciclo hay que añadir otros ocho conciertos enmarcados en el ciclo El órgano en las catedrales, que se desarrollará en Valencia, Murcia, Bilbao, Logroño, Barcelona, Santiago de Compostela, Tui y Segovia. Escucharemos entre ambos ciclos a Christian Schmitt, Herman Jordaan, Iveta Apkalna, Alberto Sáez Puente, Benjamin Alard, Gunther Rost, Paolo Oreni, Olivier Latry, Daniel Oyarzabal junto al percusionista Joan Castelló, Aarón Ribas, Enrique Martín Laguna, Jean-Baptiste Robin, David Briggs, Jordi Vergés Y Thomas Ospital.

Liceo de Cámara XXI está conformado por 16 concerts, uno de ellos extraordinario protagonizado por el dúo formado por los hermanos Isata y Sheku Kanneh-Mason. El ciclo contará con el trío VibrArt, the young man Azahar Ensemble with pianist Christian Zacharias, Gautier Capuçon Y Gabriela Montero; and the Cuarteto Quiroga Y Juan Manuel Cañizares, con el estreno absoluto de su Quinteto de cuerda nº 1, encargo del CNDM. El público podrá también disfrutar del Cuarteto Modigliani next to Clemens y Veronika Hagen -con el estreno absoluto de un nuevo cuarteto de cuerda del británico Mark-Anthony Turnage-, and Cuarteto Doric junto al brillante pianista Benjamin Grosvenor. Asistiremos al viaje musical que protagonizará el cuarteto formado por Nikita Boriso-Glebsky, Maxim Rysanov Y Narek Hakhnazaryan junto a un pianista bien conocido entre nosotros como es Nikolái Lugansky. He Cuarteto Gerhard will perform the Quartet No. 2 de Ramon Humet -compuesto recientemente para la agrupación, junto a obras de Debussy y Bartók; también escucharemos a Renaud Capuçon Y Beatrice Rana, al gran Cuarteto Emerson, y regresará también a Isabelle Faust en “formato noneto“, con algunos de los mejores solistas del momento. Le seguirán el cuarteto Belcea next to Amihai Grosz and the Takács, y ya a en la recta final del ciclo, se escuchará al Cuarteto Schumann with soprano Katharina Konradi. El cierre lo pondrá el Cuarteto Elias with the tenor Mark Padmore.

He Lied, en su vigesimoséptima edición en el Teatro de la Zarzuela reunirá un año más a algunas de las mejores voces del género en diez conciertos, tres de los cuales correrán a cargo del artist in Residence de dicho ciclo en esta temporada, el barítono austriaco Florian Boesch. La programación contará también con la presencia de voces como las de Juliane Banse, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, countertenor Bejun Mehta, Christoph Prégardien Y Nuria Rial.

El CNDM mantiene el interés en incentivar y promover la incorporación de nuevas audiencias a sus diferentes programas divulgativos y educativos con 58 activities, casi todas gratuitas, in 12 Spanish cities, in coproduction with 14 instituciones académicas: siete Spanish universities (Oviedo, Lion, Salamanca, Complutense de Madrid, Granada, Cádiz y CEU), cinco Conservatorios de Música españoles (Alicante, Badajoz, Mérida, Madrid y Oviedo), and a centro educativo de primaria y secundaria de la Comunidad de Madrid (que participará en la décima edición del Proyecto PedagógicoTodos creamos”, coordinado por el pedagogo Fernando Palacios y dedicado este año aSombras de la Catedral”). In the University of Salamanca tendrá lugar, por octavo año, un intenso programa de clases magistrales y talleres de interpretación de carácter transversal, centrado en el ámbito de la música antigua y barrocahistóricamente informada”. Y en el Auditorio Ciudad de León se celebrará el X Curso de Interpretación Vocal Barroca, que anualmente imparte el director, clavecinista y musicólogo Eduardo López Banzo.

También se mantienen los descuentos para jóvenes menores de 30 years, con diversas ofertas e importantes ventajas en la adquisición de entradas o abonos, sobre todo a través del programa Último Minuto (with a discount from 60%, para localidades adquiridas desde una hora antes del inicio de los conciertos) y acuerdos estables con numerosos schools para que los estudiantes que participan activamente en los cursos y ciclos coproducidos conjuntamente, puedan asistir for free a los conciertos y otras actividades programadas por el centro en las diferentes ciudades españolas. Se beneficiarán también del descuento Último Minuto the unemployed y se mantiene el descuento del 20% for all students, grupos de más de 20 personas y mayores de 65 years, y el del 50% a familias numerosas.

Este año la venta de entradas se realizará en dos fases. For the “pretemporada”, que comprende los conciertos programados en Madrid entre los meses de septiembre y diciembre, solo habrá entradas sueltas y se podrán adquirir a partir del 21 of July. The “temporada”, que comprenderá los conciertos programados en la capital entre los meses de enero y junio dispondrá de abonos y localidades sueltas. La adquisición de dichas localidades se podrá realizar a partir de otoño y se informará más adelante de todos los detalles, en función de las medidas que dictamine la Comunidad de Madrid.

Las entradas de la pretemporada de los ciclos programados en el National Music Auditorium and the Teatro de la Zarzuela se podrán adquirir entre el 21 Y 29 de julio y a partir del 1 de septiembre en las taquillas del Auditorio Nacional de Música y de los teatros nacionales del INAEM, y a partir de la misma fecha (21 of July) y de manera ininterrumpida también en www.entradasinaem.es y el servicio telefónico 902 22 49 49.

Las entradas para todos los conciertos programados en otoño en la Symphony hall tendrán un coste between the 5 and the 30 euros y los programados en la Sala de Cámara entre los 10 Y 20 euros. He XXVII Ciclo de Lied of the Teatro de la Zarzuela, mantiene sus locations 4 a 35 euros, Y Series 20/21 programmed into the Reina Sofia Museum mantendrá el free access hasta completar el aforo de la sala.

He National Dissemination Center Musical (CNDM) cuenta con una plantilla de dieciséis personas, entre funcionarios y contratados. Las imágenes de la temporada 20/21 son obra del diseñador Francesc Freixes (“PacoDesign”), que ha aplicado su estilo minimalista a la imagen de la nueva temporada del CNDM así como a cada uno de los ciclos que la componen, resumiendo con expresividad e imaginación la esencia de cada uno de ellos.

Teatro de la Zarzuela

The Theater's wish is that this new season be a long-awaited reunion: a great collective hug from the public with the artists.

They will be presented 9 musical theater titles, 4 recoveries lyrical heritage, 5 large repertoire productions and 6 new productions

They offer 173 functions, a 50% more since the arrival of Daniel Bianco to the direction

All shows canceled by the pandemic have been rescheduled

  • One of the main lines of programming is the figure of women in Spanish music, dedicating entirely to the Spanish composers the cycle Chamber Sundays Women with Ñ, the recital of "Notes of the Ambigú" Zarzuela in feminine and the concert of Women of Music, by Sole Giménez
  • He Strengthened Zarza Project -zarzuela made by young people for young people will again be one of the jewels of the season, and the didactic projects suppose already more than 20% programming
  • He Concerts cycle increases its offer with 13 proposals of some of the most outstanding voices and instrumentalists of the lyric, he flamenco, he pop or popular music
  • Recitals cycle 'Notes ambigú', which continues to sell all entries, offers 12 recitals, one more than last season and more than double which in its first edition
  • They will return, Likewise, he Musical Chamber Theater in co-production with Juan March Foundation and the ciclo de Lied, coproduced with CNDM
  • Remain the reasonable prices (4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute.

 

 

He Teatro de la Zarzuela presents Season 2020/2021 whose 173 functions suppose a increased 50% since what Daniel Bianco He would stop at the Coliseum on Madrid's Jovellanos street in 2015. Regarding the new reality that inevitably stems from the health crisis, the theater director is optimistic, confident in the future and says "yes, son very difficult times, but here we are to present a season that makes them brighter”. A season that, in his words, "He pretends to be a big hug to offer us that warmth in the heart that always ignites Spanish music ”.

And despite the optimism, the manager does not stop being cautious, because this is imposed by the complex circumstances that we must face: "Beyond our illusion and our desire, we have chosen the path of prudence, that she is a better counselor than haste ”. In this sense, stresses that he sincerely believes that “facing a future with optimism, illusion and prudence paves the way and somehow dissipates their difficulties no matter how great they are. ”

White, who has always been a staunch defender of public theater, Maintains that, as such, "This is our first responsibility and our priority commitment: that prudence is what the theater opens the day 1 October with the start of this new season, thus guaranteeing the strict compliance with all the recommendations and standards that protect us from the coronavirus. ” And it is categorical when insisting that "we must have all guarantees not only to be able to offer shows of the highest excellence, but also the protection for our artists, to our workers and our public at any risk ”.

Rescheduled shows

Another of the great concerns of the director of La Zarzuela is recover all those shows that could not be held due to the pandemic. Thus, from the zarzuela theater, "In order to mitigate the enormous impact of this mandatory stoppage", and following the guidelines of INAEM and its general director, Miguel's Amaya, all canceled shows have been rescheduled. Some can be enjoyed in the season presented today, and others will resume in future seasons already committed.

"The objective is protect our artists and offer them a horizon of hope why no one can be left behind”, explica Daniel White, who adds that "we are very happy to have achieved it, and all thanks to the fact that we are a public theater. ”

Online theater

In reference to the intense online activity from the world of culture in general and theaters in particular, say what "this terrible virus has attacked in its very essence the theatrical event. It has hurt its root, his reason for being ”, and in consequence, think, "The theater has sought a resource, a crack to break through the online broadcasts ". According to your opinion, “is grateful for this possibility that technology gives us, but the theater is much more, it is an unrepeatable act, it is that fleeting moment in which the artist's life is combined with that of the public. The music and the scene –Continues– only flourish with human contact and its miracle is present when the public and artists share the same rhythm, the same song, the same dream and the same breath. ”

And that the numbers registered in the social networks of the Teatro de la Zarzuela in the period of confinement are not negligible: in Facebook It has been a growth of 17,85% in the number of followers with a total of 1.800.000 impressions and 485.883 video views. In Twitter the rise has been 8,87% and the scope of 784.500 impressions; in YouTube impressions have been 965.440 and the rise in subscribers of the 110% (the main consumption of the channel was the complete zarzuelas available, as well as previously broadcast live concerts). By last, through Instagram the Theater has reached 422.870 users.

The season

The season 2020/2021, whose first lyric title will be presented on 1 October and will run until 18 of July, presents 9 musical theater titles, 4 lyrical heritage recoveries –‘Marianela ’, ‘Las calatravas’, ‘Benamor’ and ‘The Three Gobbi’–, 5 productions of great repertoire -‘La tempranica’, ‘The short life’, ‘The one with the bunch of roses’, ‘Luisa Fernanda’ and ‘The King Who Raged’Y 6 new productions -‘La tempranica’, 'Luisa Fernanda', ‘Loves at Zarza’, ‘Benamor’, ‘The King Who Raged’ and ‘I Tre Gobbi’–.

Likewise, the concert cycle grows so much (with 13 proposals) like the Notes from the Ambigu (with 12 recitals) and the Chamber Sundays cycle starring musicians from the Titular Theater orchestra, BARREL. Similarly, The already veteran collaborations with the National Dissemination Center Musical (CNDM) in the Lied cycle, and with the Foundation Juan March in the Cycle of Chamber Music Theater.

Regarding the tickets, the reasonable prices (from 4 a 50€), e discounts (between 20 and the 60 % del PVP) for young boys, greater, unemployed, large families, groups or last minute. Daniel Bianco states in this regard that this is one of the essential functions of a public theater: be "truly" everyone's theater. Maintaining this price scale ”is a huge effort, a sacrifice that is absolutely necessary ”, indicates.

LYRIC

He will start the season with 14 show functions ‘Granada’, that gathers and unites two titles especially representative of our lyrics: On the one hand ‘La tempranica’, zarzuela in an act of Gerónimo Giménez in a new production of the Teatro de la Zarzuela, and on the other, that lyrical drama that is ‘The Brief Life’ from Manuel de Falla in a production Palau de les Arts Reina Sofia in Valencia. The two titles have a lot in common: A love story, Granada as a landscape and that ‘La vida breve’ looked at itself in the mirror of temp La tempranica ’because of the admiration that Falla professed for Giménez. The playwright's text Alberto Conejero tells the story of La Tempranica through three imaginary encounters of the two composers throughout their lives. Both stage proposals are signed by Giancarlo del Monaco, and they will have Miguel Angel Gómez-Martínez in musical direction, scenery William Orlandi, wardrobe Jesus Ruiz and a elencos headed Nancy Fabiola Herrera, Ainhoa ​​Arteta, Ana Ibarra, Virginia Tola, Rubén Amoretti, Javier Franco, Jorge de León O Francesco Pio Galasso; ‘Granada’ it will be playing of the 1 al 18 October.

After this singular start, it will be the turn for the replacement of one of the most successful productions in the contemporary history of the Teatro de la plazuela de Jovellanos: the production of ‘The one with the bunch of Roses’ devised by Emilio Sagi in 1990, what supposed (among many other joys) the stellar debut and discovery of that unique singer who is Carlos Alvarez. For commemorate 30 years gone by since then, the Malaga baritone himself will play the character of Joaquín in 6 of the 12 functions of the incontestable lyrical sainete of Pablo Sorozábal, scheduled of the 10 al 22 of November; with the musical director of the Theater, Guillermo García Calvo on the podium of the pit, the cast, as well as with arlos Álvarez, It will have, among others, Ruth Iniesta, Raquel Lojendio, Gabriel Bermúdez, Stephen Vincent, Enrique Baquerizo O Ángel Ruiz. The scenery is Gerardo Trotti and costumes Pepa Ojanguren.

The days 27 Y 29 of November the public can enjoy ‘Marianela’, the opera in three acts of Jaime Pahissa premiered at the Gran Teatre del Liceu in 1923, whose script is an adaptation of the play written by Serafín and Joaquín Álvarez Quintero based on the famous novel of the same name by Benito Pérez Galdós, precisely in this year in which the centenary of the death of the canarian and universal writer occurred in Madrid when he was counting 76 years. Today's fan will face for the first time this more than interesting title that, like so many others, fell into the most unfair of forgetfulness and that comes in concert version. Jaime Pahissa, belongs to that generation of musicians who, despite its quality, have been practically forgotten. Like so many others, had to leave Spain during the Civil War, and in his case the destination was Argentina. Oliver Diaz assume the musical direction, and the cast will be composed of Adriana González, Paola Leguizamón, Alejandro Roy, Luis Cansino, Simon Orfila, Luis Méndez Silvagnoli Y María José Suárez.

Then, the stage will revive Madrid in the mid-19th century (also that Extremadura that closes the story) to welcome the comings and goings of one of the undisputed masterpieces of our lyrics: 'Luisa Fernanda' from Federico Moreno Torroba, with a script by one of the most prolific couples, successful and enlightened genre, as they are Federico Romero Y Guillermo Fernández-Shaw. Initially scheduled for the Season 2019/2020, finally had to be postponed due to health crisis. The premiere of this new production promises to be quite an event, and more if one takes into account that the Teatro de la Zarzuela and this play have been closely linked since 1934, two years after its premiere at the Teatro Calderón in Madrid. Musically directed by Karel Mark Chichon Y David Gomez-Ramirez, Another of the many attractions of this project is the vision that the Turin stage director will give of this popular and beloved play. Davide Livermore. The scenery is Giò Forma and costumes Mariana Fracasso. Yolanda Auyanet, Maite Alberola, Jorge de León, Alejandro del Cerro, Juan Jesus Rodriguez, Javier Franco, Rocío Ignacio or Leonor Bonilla are some of the voices that make up a double cast of absolute bells. The 14 scheduled functions will go of the 28 January to 14 February.

The statutes that govern the spirit and operation of the Teatro de la Zarzuela say it very clearly: the coliseum erected in 1856 should, without any pretext, safeguard and spread the Spanish lyric genre. Thus, as it happened in the previous season, a second title will be recovered in concert version. In this new time will be ‘Las calatravas’, lyrical comedy in three acts of Pablo Luna. It will be directed musically by Guillermo García Calvo, with a cast made up Miren Urbieta-Vega, Lola Casariego, Lucia Tavira, David Menendez, Andeka Gorrotxategi or Carlos Cosías and with the young playwright and actor Paco Gamez adapting the libretto by Federico Romero and José Tellaeche in narrative form. two passes will be offered, he 12 and the 14 of March.

The opportunity to see and hear will be cause for celebration ‘Benamor’. The Recovery of this operetta in three acts of Pablo Luna (whose masterful music is one of the indisputable protagonists of the season), complete what is known as the "oriental trilogy" next to ‘The Amazement of Damascus’ and ‘The Jewish Child’. Libretto by Antonio Paso Y Ricardo González del Toro, this time in a version of Enrique Viana which also assumes the stage direction, the play that premiered at the same Teatro de la Zarzuela now 97 years will have among the many values ​​of this new production the baton of José Miguel Pérez-Sierra, the scenery of Daniel Bianco, your wardrobe Gabriela Salaverri or the choreography of Nuria Castejón, in addition to a bright double cast with Vanessa Goikoetxea, Susana Cordón, Carol Garcia, Cristina Faus, Damian del Castillo, César San Marín, Gerardo Bullón, Irene Palazón, Amelia Font, Gerardo López, Francisco Javier Sánchez, Emilio Sánchez and himself Enrique Viana. They will ten functions of the 14 al 25 of April.

If it is necessary to highlight the best and most influential composers of the zarzuela genre, in all the lists without exception the name of Ruperto Chapí. The stage of the Teatro de la Zarzuela will once again host a new production of 'The king who raged' 130 years after its premiere on these same tables. Emotion is served, pure Chapí (that dominating monster equal parts of the theatrical and musical to the point of turning his creations into an explosive all-stage) and a satirical script of Miguel Ramos Carrión and Vital Aza with veiled allusions and not so much to the Spain of the moment, that exposes the reasons why the zarzuela audience so often leaves the room with a bright smile. It will be hard to wait a whole year to have the opportunity to enjoy the leftover charms of this title, and more if the artistic team is made up of names such as that of the maestro Ivan Lopez Reynoso –Who several seasons ago conducted the Zarzuela concert of Javier Camarena–, Barbara Lluch, the stage director who made the operatic miracle of ‘La casa de Bernarda Alba’ possible - with music and direction by Miquel Ortega and winner of the Opera XXI Award for best opera production of the season 2018/2019–, that of the set designer Juan Guillermo Nova, that of the figurine maker Clara Peluffo or that of the master of enlightening masters Vinicio Cheli. The double cast also has no waste: Enrique Ferrer, Jorge Rodríguez-Norton, Rocío Ignacio, Sofia Esparza, María José Suárez, Carlos Chausson, Miguel Sola, José Manuel Zapara, Carlos Cosías, Igor Peral O José Julián Frontal. They will 14 functions of the 3 al 20 of June.

With the introduction of these 8 theater titles will remain unique example in conservation, diffusion and exhibition of our lyrics, tan fertile as heterogeneous.

CONCERTS: MAIN ROOM, NOTES Ambigú, Sunday Chamber, LIED

After the success obtained in its first four seasons (the latter irreparably diminished by the pandemic), he CONCERT SERIES in the main hall increases its offer, and proposes 13 concerts with some of the leading voices of lyric, the popular song, he flamenco and the pop. Among the proposals, It includes the concerts that in this course could not be held due to the health crisis: this is precisely the case of the Maria Bayo. ‘Baroque echoes’, in which the always surprising and charismatic Navarrese soprano will present a program that goes from José de Nebra, Sebastian Duron Emanuele Ricón Astorga, hasta Alessandro Scarlatti, Antonio Lotti, Handel o Vivaldi, accompanied by the baroque orchestra On the eve Arnado (27 of September); Celso Albelo, Tenor of poignant highs and admirable projection, in this concert the public will be able to discover, Besides, one of its most unknown facets. And is that this Tenerife born and convinced, will alternate a program of immortal zarzuela romances with traditional songs from his venerated land (5 October); singer Sole Giménez presents ‘Women of Music’, project that brings together great songs composed and written by women with the intention of making women's work in the world of music visible (6 October); the tenor Ismael Jordi, one of our most international singers, guest in the most important opera houses in Europe, will celebrate with this concert their 20 year career reviewing some of the great titles of our lyrical heritage and will be accompanied on the piano by Rubén Fernández Aguirre (28 of November); Rodrigo Cuevas is one of the artists with the greatest impact in recent years in the field of popular music that, with its groundbreaking and cutting-edge concept of folklore, combines the popular of yesterday and today, rural and urban. This time, his show ‘Barbián’ will change folklore for zarzuela (30 of November); the traditional Christmas Concert, with the teacher Victor Pablo Pérez as musical director, who will accompany the soprano Yolanda Auyanet and mezzosoprano Nancy Fabiola Herrera (30 from December); Amancio Prada. ‘Voices and footprints’, an anthological recital that shows the wide and varied horizon of Spanish poetry of all time. Encounter and revelation of the traces and voices that beat in their own song and that according to the interpreter have braided the thread of their artist life (2 February); In 'Navarra is music ’, soprano Sabina Puértolas, mezzosoprano Maite Beaumont and tenor José Luis Sola, accompanied by the pianist Rubén Fernández Aguirre, They will lead the audience on an intense and profound journey through the music of that prolific land. (13 of March); Saioa Hernández and Francesco Pio Galasso, accompanied by pianist Vincenzo Scalera: the soprano baptized by her teacher Montserra Caballé as "the diva of the XXI century", He returns with the Italian tenor to the Teatro de la Zarzuela after his debut on this stage with ‘El Gato Montés’ in 2012 and the resounding success of ‘Curro Vargas’ in 2014, and it does so after having carved out a high-rise international career embodying the leading figures of opera in the most relevant theaters in the world (28 of March); Argentina. ‘The artist's life’: from his conception of flamenco and the possibilities that this art allows, from joy to melancholy, going through other states of infinite depth, Argentina vindicates art and the true artist in a hard time. In this project sister flamenco, the song, Fado, the tango, theater, the painting, the literature, classical music and in this concert, Besides, also the zarzuela (20 of April); Sonya Yoncheva, with musical direction Miquel Ortega: the bulgarian soprano, one of the most acclaimed voices currently by international critics and audiences from the most famous opera venues in the world, has developed an intrepid and successful artistic itinerary embodying the main and riskiest opera characters, from Baroque to Verism. With this concert, Yoncheva debuta en este teatro, only one in the world, Y adds the Zarzuela Grande to its exquisite repertoire thus highlighting the growing attraction and recognition that our lyrical genre arouses outside our borders (29 of April); Joaquín Achúcarro: the universal pianist celebrates at the Teatro de la Zarzuela the 75 year career elapsed since his debut as a soloist as a child of 13 years (8 of May); Lucero Tena and Xavier de Maistre: two masters come together in this concert to delight us with some of the most beautiful pearls of Spanish music. With the passionate and bizarre sound of castanets, in irresistible conversation with the sweet and evocative sound of the harp (23 of May).

Since its inception, four seasons ago, All concerts CYCLE NOTES Ambigú They have hung the sign 'sold out'. That is one of the reasons why in the next season continue offering more than double of recitals that at the beginning of the cycle: this time the protagonists will be the guitarist Ricardo Gallén with 'Romantic Guitar' (12 October), soprano Raquel Lojendio and pianist Rubén Fernández Aguirre that pay tribute to Lorenzo Palomo, one of our most international composers (20 October), baroque set the Retreat directed by cellist Josetxu Obregón with 'The Spiritillo Brando' (1 of November), he trio Arbós with the third installment of 'Chamber music' (9 of November), the violinist and violist Cecilia Bercovich, the pianist and bandoneon player Claudius Constantine and the cellist and guitarist Sergio Menem, that offer a concert dedicated to the pulsating and imperishable music of the maestro Jose Padilla (24 of November), soprano Berna Beads and Rubén Fernández Aguirre, which in turn honor the sublime music of Joaquin Turina (3 from December), the Chapel Jerome Carrion directed by Alicia Lazaro, with whom we will undertake a journey from the Renaissance to the Spanish Baroque through the influences that profane and sacred music exerted on each other in times when theatrical performances, formerly attached to the liturgical field, they began to take on a more profane character for, little by little, leave ‘From the temple to the theater’ (15 February), soprano Cristina Toledo accompanied by the pianist Aurelio virivay, will offer the concert ‘Zarzuela in feminine’ on the occasion of International Women's Day. The Teatro de la Zarzuela wants to give visibility to the women who, despite the difficulties in doing so and the ingratitude of oblivion, they dedicated themselves to the composition of

zarzuelas and spanish music (8 of March), Shiggaion. Music found, unknown works representative of the Spanish baroque, more specifically from the Valencian school of sacred music. This is the lamentations of the Prophet Jeremías composed by the prolific chapel master of the Cathedral of Valencia, Pasqual Fuentes and Alcàsser (22 of March), mezzosoprano Maria Antunez, accompanied by Rubén Fernández Aguirre on piano, will offer a recital dedicated to ‘Uruguayan music’ (19 of April), soprano Rocío Pérez and pianist Ramón Grau they will present the Integral of the cycle ‘Spanish classical songs’ of Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will honor those artists, musicians and lyricists who, from across the Atlantic, they seduced and inspired him as part of his life and his artistic baggage in ‘Tribute to Iberoamerica’ (15 of June).

He CYCLE SUNDAYS OF CAMERA: WOMEN WITH Ñ with soloists from the Community of Madrid Orchestra, Theater Titular Orchestra, and dedicated exclusively Spanish music, bursts forth with strength and personality into his second season. The cycle is dedicated this time to music composed by women. For the Teatro de la Zarzuela, it is important to give visibility to women composers who rarely obtained the deserved recognition for their musical work and whose works have remained ingratitude of oblivion.. With this, the Theater wants to value some of our composers of the XX and XXI centuries as Maria Rodrigo, Maria Teresa Prieto, Pilar Jurado, Teresa Catalán, Zulema de la Cruz, Marisa Manchado, Rosa Alarcó O Diana Pérez Custodio among many others. The five appointments of this edition will be: 'Crossed looks' (18 October), ‘Contemporary images’ (15 of November), ‘Christmas with Ñ’ (20 from December), ‘Modern and classic’ (14 of March) Y ‘Make the Americas’ (6 of June). As the Theater understands that this repair should not only focus on history, but also today, the cycle will host four absolute premieres of students of the Royal Conservatory of Music of Madrid: Laura de las Heras, Miriam Sanz Ortega, Amanda Garrido and Sofia Sainz.

On the other hand, he CICLO THE SONG, in co-production with National Dissemination Center Musical (CNDM), will celebrate its XXVII edition with 10 recitals: baritone Florian Boesch (28 of September), soprano Juliane Banse (13 October), soprano Sabine Devieilhe (16 of November), the tenor Matthew Polenzani (14 from December), baritone Florian Boesch (25 from January) baritone Christian Gerhaher (8 February), countertenor Bejun Mehta (15 of March), the tenor Christoph Prégardien (12 of April), soprano Nuria Rial (17 of May) and again the barirono Florian Boesch (14 of June), complete the proposal for the new season.

TEACHING PROJECTS. ZARZA PROJECT. MASTERCLASSES

The Teatro de la Zarzuela continues to give special importance to the training and information to the wider public young which will correspond to fill the room of this theater in the future and that, at the same time, must train the generation that takes over. "We have an obligation seduce and make them affordable zarzuela in this century in which we”, asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that more than 20% Theater programming is dedicated to young audiences, and to such an extent that the response is positive the average age of viewers has fallen Theater in the last four seasons in ten years: from 69 a 59 years.

In the new Season a total of 36 functions between the three shows that make the didactic project.

Zarza PROJECT, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 spectators between 12 Y 18 years, who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others 90.000 that they were able to see them through ‘streaming’. How could it be otherwise, In the season 2020/2021 the project returns strongly and renewed: It will present the new production of the Theater ‘Loves at Zarza’, with music Pablo Sorozábal, Gerónimo Giménez, Federico Chueca, Ruperto Chapí O José Serrano, among other great composers of our genre. The text will be by the novelist and playwright Nando Lopez, that this season he signed the version of 'Water, Sugar and brandy ’. With stage director Rita Cosentino, musical of Miquel Ortega, scenery and costumes of Elisa Sanz, lighting Juanjo Llorens and choreography Nuria Castejón, the cast will be formed, as it happened with the previous titles, by a group young singers and actors from among 18 Y 30 years elected after a audition process and accompanied by a chamber music ensemble. The 13 functions, four of them open to the general public, They will be offered of the 26 February to 5 March 2021.

In the season 2020/2021 will be presented, Likewise, a participatory didactic show "intergenerational and interactive" that under the title ‘From Z to A’ It has been devised to bring the Zarzuela closer to an audience not accustomed to the genre, from the connection between the musical memory of the grandparents and the audiovisual languages ​​and aesthetics of the grandchildren. This production of Diabolus in Musica It is a show in which each function will be unique, unlike any other for its participatory nature, in which the involvement and interaction of the public will determine its development.

And the educational projects stand out once again because, thanks to them, he Ambigú del Teatro has for the fourth consecutive year the function of a show space. After two exciting deliveries 'Lost in Bosco' and the overwhelming success of 'The incredible story of Juan Latino', will return to our Ambigú puppetry with live music. The proposal will be the replacement of this last title, co-produced by the Claroscvro Theater and Company, after the 1.800 children between 6 Y 10 years that last January they filled day after day their 18 functions. This time they will be others 18 functions (four of them open to the public) of the 9 al 19 of January of 2021.

Also framed in educational projects, stage director José Carlos Plaza, which name, synonymous with theater capitals, it is so important for this Teatro de la Zarzuela, will offer master classes this generation of Spanish singers who need a master of the scene to complete their training. Of the 6 al 13 October 2020. The last session will be held open to the public in the main hall of the Theater.

DANCE

Next season will be starring dance through the two national companies: The National Dance Company will present a new production of ‘Giselle’ choreographed and directed by its artistic director Joaquin de Luz from the original of Jules Perrot and Jean Coralli about the music of Adolphe-Charles Adam. It will have the musical direction of Oliver Diaz, dramaturgy of Borja Ortiz Gondra, scenery Ana Garay, wardrobe Rosa García Andújar and lighting and audiovisuals of Pedro Chamizo. They will twelve functions 9 al 22 from December. Meanwhile, he National Ballet of Spain arrives with the ABSOLUTE PREMIERE from ‘The beautiful Otero’, with music Manuel Busto, Alejandro Cruz, Ruben Diaz Y Augustine Diassera, choreography and stage direction of the director of the Company, Ruben Olmo, own musical direction Manuel Busto, dramaturgy of Gregor Acuna-Pohl, scenery Eduardo Moreno, wardrobe Yaiza Pinillos and lighting Juan Gómez-Cornejo. They will ten functions of the 7 al 18 of July.

CHAMBER MUSICAL THEATER

Another cycle that prevails each year renewed in energy and intent is the one dedicated to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 10 al 18 of January of 2021 the seven functions will be presented (three of them schoolchildren) from 'The Three Gobbi' (‘The Three Hunchbacks’) from Manuel García, with a libretto by the Sevillian musician of the 18th century based on the intermission of Carlo Goldoni. It is a New coproduction between the two institutions, which again shows that the combined efforts It lets go further. The musical direction of this chamber opera will Rubén Fernández Aguirre, one of the most prominent experts in the work of Manuel García, who will also perform music on the piano. The stage direction is José Luis Arellano, the scenery of this and Paul Minor, your wardrobe Ikerne Giménez and the cast make it up Serena Saenz, David Alegret, David Oller Y Javier words. As usual, The representations will be at the Fundación Juan March.

CNDM 19-20. LIED. SIMON KEENLYSIDE

Today we are going to start this chronicle by the end. The end of the recital of Lied which jointly organizes the Teatro de la Zarzuela and the CNational Center for the Diffusion of Music (CNDM). Simon Keenlyside, the British baritone who had just performed a meritorious repertoire of romantic works, german and french, modestly asked the audience to wait ten more minutes, after, they could go home.

Keenlyside reminded us then, that those days commemorated the 75th anniversary of the liberation of the Auschwitz-Birkenau concentration camp. He wanted to pay tribute and remember the suffering of the Jewish people by interpreting the song that his grandfather, the great violinist Leonard Hirsch, played the violin when he was little, el Kadish de las Two Hebrew melodies by Maurice Ravel. The deep intention in the interpretation of this work, the sensitivity and feeling with which Keenlyside evoked its origins, left the entire audience excited and awed, barely able to react with applause. This moment of momentous communication, that hits and shakes us inside, should not go unnoticed, nor be wasted. Auschwitz didn't just appear out of nowhere. Until you get to him, millions of, apparently, small events were happening throughout Europe. Auschwitz can start over each day before our disinterest or dissimulation.

But as i say, this was the end of a recital, even if it was the beginning of another. Before Keenlyside had already excited us with a first part interpreting the Schwanengesang D 657 (1828) from Franz Schubert. A repertoire dominated by the experienced British baritone but before which, this time, seemed not too comfortable at first. It was with the progress of the works that he gained in the dramatic intensity of works such as Der Atlas (The atlas) o The Doppelganger (The double), to be abandoned later in the romanticism of Am Meer (By the sea).

The second part was much more fluid. The French romantic repertoire with works by Maurice Ravel, Francis Poulenc, Claude Debussy Y Gabriel Fauré, fits like a glove to an athletic Keenlyside, also vocally, that allows you great expressiveness in your performance. His refined technique and flexibility give him good projection and extraordinary phrasing.

The South African Piano Accompaniment Caroline Dowdle it was correct. Better in the second part, where the weight and absolute prominence was the voice of a Simon Keenlyside who at that point in the recital had already deployed all his magic, that is not little.

One more success of this Lied Cycle before an audience grateful to a Simon Keenlyside who did not save anything in his performance and who generated a beautiful consternation and deep emotion.

Photograph: (c) CNDM_Rafa Martín

Simon Keenlyside

He Monday 3 February at 20h, National Dissemination Center Musical (CNDM) in co-production with Teatro de La Zarzuela, British baritone presented at the XXVI Cycle of Lied Simon Keenlyside with pianist Caroline Dowdle. Both artists address a program with the best of German and French Romantic musical tradition through Schubert pages, Ravel, Fauré, Poulenc y Debussy. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Simon Keenlyside was born in London. He made his operatic debut at the Hamburg State Opera as Count Almaviva in The Marriage of Figaro. Keenlyside sang in the great opera houses of the world and has a particularly close association with the Metropolitan Opera House in New York, the Royal Opera House in London, Bavarian State Opera and the Vienna State Opera, where he has played Prospero (The Tempest), Rodrigo (Don Carlo), Giorgio Germont (La traviata), Papageno (The Magic Flute), Count Almaviva and key roles in Don Giovanni, Eugene Onegin, Pelléas et Mélisande, Wozzeck, Billy Budd, Hamlet, Macbeth Y Rigoletto. Recently, Rigoletto has played in Luxembourg, Paris, Bratislava and Munich, Giorgio Germont and Ford at the Vienna State Opera, Count Almaviva at the Royal Opera House, Wolfram in German Opera Berlin, and his Don Giovanni at the Bavarian State Opera. In concert, Simon Keenlyside sang Sibelius songs with the Cleveland Orchestra, under the direction of Franz Welser-Möst, and the Radio Symphony Orchestra Vienna Konzerthaus ORF in with Ryan Wigglesworth. It is a renowned recitalist who sings in the main scenes of the world. Last season offered some recitals in Vancouver, Quebec, Washington D. C., Atlanta, Schenectady, Philadelphia, Cleveland, Strasbourg, Amsterdam, Vienna and London, accompanied by Malcolm Martineau piano, Emanuel Ax, Natalia The tyukova the Julius Drake. He has recorded an album of Schumann Lieder with Graham Johnson and four with Malcolm Martineau with works by Schubert, Strauss y Brahms, and more recently, one of song, Songs of War, which he won the Gramophone Award 2012. She has sung under the direction of the main directors of the world with the Chamber Orchestra of Europe, the City of Birmingham Symphony Orchestra, London Symphony Orchestra, the Czech Philharmonic Orchestra, as well as Cleveland, Vienna and Berlin. He has also recorded Britten's War Requiem with the London Symphony Orchestra under the direction of Noseda, Mendelssohn's Elijah with McCreesh, Des Knaben Wunderhorn con Simon Rattle, as well as Don Giovanni with Abbado, Carmina Burana con Thielemann, Bohemian Chailly, Billy Budd, Die Zaruberflöte con Mackerras, The Marriage of Figaro with Jacobs and The Tempest with Adès, who won in the category of best opera recording (Grammy 2014) music recording and DVD Year (echo Klassik 2014). In 2006, he was awarded the Olivier Award; in 2007, Echo Klassik in the category of male singer of the year and, in 2011, el Musical America’s Vocalist of the Year. Y, in 2017, was appointed Kammersänger the Vienna State Opera. Simon Keenlyside has participated in three editions of the Lied: XIII (06-07), XV (08-09), XXI (14-15).

Photograph: © Robert Workman

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela, will present the Monday 25 November at 20h00 in the XXVI Cycle of Lied to the Canarian mezzo-soprano Nancy Fabiola Herrera together with the American pianist Mac McClure. The program chosen for this evening, what It will be held at the coliseum plaza de Jovellanos, immerses us in a varied and colorful redoubt that takes us from the Viennese saltshaker Oscar Straus the lilting sounds of Astor Piazzolla, through the iconoclastic world Erik Satie, cabaret Kurt Weill, the evocation of the great Edith Piaf and humor Poulenc, with Cuban sones Ernesto Lecuona, two pieces of the now forgotten Joaquim Zamacois Y, back to the cabaret, four Mexican boleros and Antillean. tickets, with a general price from 8 a 35 euros, and are on sale at the box office of the Teatro de la Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

The constant presence of Nancy Fabiola Herrera on the international stage makes one of the great mezzo-sopranos today, the trade press has called "The Carmen of the XXI Century". In 2018 two recordings made in interpreting Rosario Goyescas, Granados, with the BBC and Health La vida breve, de Falla, with the BBC Manchester. Isabella highlight their performances in The Italian Girl in Algiers at Teatro Colon in Buenos Aires and as Bernarda The House of Bernarda Albto the Teatro de la Zarzuela. He has sung Stabat Mater (Rossini), he Requiem (Verdi) in San Sebastian and Guadalajara (Mexico), directed by Placido Domingo, and he has given concerts in Moscow Tchaikovsky Room and you recitals at the Palau de la Música and the Festival of Benicàssim, next to Ainhoa ​​Arteta. His interpretation Health La vida breve It has led to St. Petersburg, Tanglewood, Toronto, The Angels -with the teacher Frühbeck de Burgos—, Madrid, Cincinnati and the Orchestra of Capitole. His Carmen has been in the Metropolitan Opera, he Covent Garden, he Bolshoi theater, the Tokyo Opera, the German opera, the Bavarian State Opera, the Baths of Caracalla, he Dresden Semperoper, he Masada Festival, the Opera Tel Aviv, the Los Angeles Opera Y Spanish theaters such as the Opera de Sabadell, the Villamarta Theater in Jerez, the Kursaal in San Sebastian and the Teatro Perez Galdos de Gran Canaria, among others. In 2009, He opened the season of the Arena di Verona as Carmen, under the direction of Sunday. Between his recordings highlight Witch Chapí para German Grammophon, Dante Granados for ASV, Tonades of the seventeenth and eighteenth centuries Gerhard for Columna Música, the symphony No. 3 Mahler for New Art, The love wizard Failure to Naxos and Italian Concerto Llorca, in addition to The postman Catan and Luisa Fernanda, both also Domingo. Among his distinctions include the Current Opera Award 2018 an entire career and Placido Domingo Award. In 2019, He has acted in Houston Grand Opera, in Florence, at Amazon Catan, The Wildcat in the Los Angeles Opera, The Tales of Hoffmann at Beijing National Theater Y Samson and Delilah in La Maestranza in Seville. Nancy Fabiola Herrera has participated in an edition of the Lied: XVII (10-11).

Photograph: ©Shirin Tinati

He Monday 7 October at 20h, National Dissemination Center Musical (CNDM) in co-production with Teatro de La Zarzuela, present the German baritone at the XXVI Lied Cycle Matthias Goerne, which this year celebrates two decades since its debut in the cycle. Goerne has been the artist who more times has participated, with a total of twenty concerts throughout seventeen editions. Always with particularly demanding programs, Goerne's surprising proposals for male voice reveal his permanent concern in this genre. The baritone will perform with pianist Alexander Schmalcz, a mixed program featuring the music of Frank Martin, Dmitri Shostakóvich, Hans Pfitzner y Richard Strauss. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, entradasinaem.es Y 902 22 49 49.

Goerne: 20 anniversary

In the words of Miguel Angel Gonzalez Barrio program notes: "Matthias Goerne and Alexander Schmalcz offer us a dense and varied recital. In every part, two contemporary composers converse about the same topics. They and their poets, their voices, respective styles and viewpoints are confronted. In the process we look at the issue from different angles, with different light, acquiring a richer and more complete picture. "

Matthias Goerne It is one of the most versatile and internationally requested singers and a frequent guest at festivals and renowned concert halls. He has collaborated with orchestras, directors and the most important pianists in the world. Born in Weimar, he studied with Hans-Joachim Beyer in Leipzig and later with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Matthias Goerne has performed in major opera houses in the world, as the Metropolitan Opera in New York, el Royal Opera House Covent Garden, the Teatro Real in Madrid, the Paris Opera and the Vienna State Opera. Their roles range from Wolfram, Amfortas, Wotan, Orest and Jochanaan to major roles in Duke Bluebeard’s Castle y de Bela Bartok Wozzeck by Alban Berg. The art of Goerne has been documented in numerous recordings, many of which have received prestigious awards, among them, four Grammy nominations, the ICMA Award, the Gramophone Award, el BBC Music Magazine Vocal Award 2017 and the Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, He recorded a number of songs by Schubert selected twelve albums for Harmonia Mundi (The Goerne/Schubert Edition) with eminent pianists. His last recordings have received rave reviews. In addition to his residency at the New York Philharmonic, Other highlights of the season 2018-2019 included concerts with other orchestras in the United States, Europe and Japan. Matthias Goerne has sung accompanied by Daniil Trifonov, Ove Andsnes and Antonio Leif Pappano, at the Philharmonie in Berlin, the Philharmonie de Paris, Wigmore Hall in London, the Palau de la Música in Barcelona and other important places in Europe. By last, Goerne has attended summer festivals 2019 one Ravinia, Salzburg and Verbier. Matthias Goerne has participated in seventeen editions Lied: V (98-99), WE (99-00), VII (00-01), VIII (01-02), IX (02-03), X (two recitals, 03-04), XII (05-06), XIII (06-07), XIV (07-08), XV (08-09), XVI (09-10), XVII (10-11), XIX (12-13), XXI (14-15), XXIII (16-17), XXIV (three shows, 17-18), XXVI (19-20).

Photograph: Caroline Bon

Mahler He had said "I statelessness in triplicate: native of Bohemia in Austria, Austrian among Germans and Jews worldwide. Always an intruder, never welcome ", he was a prisoner of the time he lived. Viennese decadence and imperialism entered step opened new artistic currents, intellectual and philosophical, encabezas by Klimt, Olbrich, Hoffmann steel or Freud, his personal friend.

It took to reach him recognition. The originality of the compositions, on the one hand, and the rise of Nazism in Germany and Austria on the other, They made their work was classified as "degenerate". Add to that the anti-Semitic atmosphere joined the Viennese society of the time that, after a press campaign aimed at their expulsion from the Vienna State Opera, He succeeded in making 1907 Marler moved to New York, where he led the Metropolitan Opera between 1908 Y 1910. The following year return to Vienna where he died 18 of May, suffering from a serious illness.

After World War II, two of their brightest students, Bruno Waltter y Otto Klemperer, They began distributing his work, after more than 50 years of indifference.

Great admirer of Wagner, He had tried unsuccessfully to compose opera, but if he developed a brilliant career as a composer of symphonies and orchestral lieder. Although it is two different genres, Mahler is not understood without each other. Throughout his compositional career, both genders fed off. From 1890, Mahler orchestrated all songs, providing them with a symphonic entity notably enriched his vocal music.

The Teatro de la Zarzuela dedicated XXVI Lied two complete series of works by Gustav Mahler Lied. In this first installment are interpreted Llieder a moving join (1884-1885), Wayfarer songs. This was the first song cycle as such, he composed at the end of his stormy affair with the soprano Johanna Richter, while he was director of the opera house in Kassel, Germany.

Lieder accompanied by piano should not be considered minor work. Mahler was an extraordinary pianist and is the absolute knowledge of the instrument, with clarity and perfection he sought in his compositions, which they make these voice and piano versions are treated as an orchestrated version, full of nuances and symphonic textures.

Christian Gerhaher y Gerold Huber raise its peak the term interpenetration. Both were students of the great Dietrich Fischer-Dieskau, note what, among other things, in faithful interpretation made. Dieskau thought that Mahler not have to read between the lines, "Observing only his instructions exactly can be demonstrated fully the art of Mahler".

Gerhaher modulated his voice to provide a clearer record, closer to its natural tenor baritone. He demonstrated once again its ability to articulate, to say the outline and exact verse with a refined and smooth voice. As usual, without stylistic ornaments. Done accurately the journey to the depths in the interpretation of lieder. No one as he goes through the different characters and demands that contain these song cycles. Dota expressive of deep intimacy Songs of Wayfarer, where nothing is accessory. then flows into Des Knaben Wunderhorn (The wonderful horn Boy) and voice rises with roundness conclusive.

The grand finale came with a deep understanding of Kindertotenlieder (Songs on the Death of Children). Not abandon elegance never, or is carried away by the drama, but it gives each one of these songs an abyssal intensity and always sober.

A great start to this traditional Lied CNDM and Teatro de la Zarzuela. Definitely, the quality of this cycle is already a very important cultural heritage for Madrid. It sets an example.

Photograph: Elvira Megías

Director General of INAEM, Amaya de Miguel with Fracnsico Lorenzo, director of the National Broadcasting Music Center (CNDM), They presented this morning at a press conference season 19/20 This center. CNDM, organizational unit of the National Institute of Performing Arts and Music (INAEM), propone para su décima temporada un intenso y extenso programa que mantiene su espíritu de recuperar y difundir nuestro vasto patrimonio histórico y las músicas cultas de raíz popular como el flamenco y el jazz, incentivize the current membership and attract new audiences to classical music, o aquellos géneros menos frecuentes, a través de las diversas actividades organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

El CNDM en su décima temporada organizará 301 activities diferentes en Madrid y otras 31 Spanish cities from 14 autonomous communities, además de estar en 12 ciudades extranjeras (a total of 44 ciudades distintas). Of the 241 concerts planned, 101 They will be offered en Madrid y 140 fuera of the Spanish capital.

– The presencia internacional se fortalece with 21 concerts in 12 cities from 8 countries repartidos por Bogotá (Colombia), Montreal (Canada), Paris (France), Roma, Milan, Naples and Palermo (Italy), London (United Kingdom), Lisboa y Elvas (Portugal), Trondheim (Norway) y Luxemburgo (Luxembourg).

Se programarán dos conciertos sinfónicos en el Auditorio Nacional dentro de la temporada: National Orchestra of Spain Y Symphony Orchestra of Galicia.

Se mantienen las figuras de Compositor Residente, with José Manuel López López (Madrid, 1956); artist in Residence, con la violinista alemana Isabelle Faust (Esslingen am Neckar, 1972) Y Grupo Residente with L´Apothéose.

Se articulan tres ciclos transversales a toda la programación dedicados a la intensa interrelación musical entre España e Italia en los siglos XVII y XVIII (#Spain Italy), la conmemoración de los 250 años del nacimiento de Beethoven (#Beethoven2020) y la huella del cabaret alemán en otros géneros sonoros (#Cabaret).

– HE recuperarán 46 obras inéditas del patrimonio musical español. Contaremos con el estreno absoluto de 56 new scores, 32 por encargo del CNDM, of which la mitad serán creadas por compositoras.

Vuelven artistas imprescindibles en los diferentes géneros musicales como Cecilia Bartoli (con un concierto extraordinario dedicado a Vivaldi), William Christie, Frank Peter Zimmermann, Elisabeth Leonskaja, Chick Corea o Arcángel y se presentan por primera vez en nuestra temporada nombres fundamentales como Herbie Hancock, Wynton Marsalis, Carminho o Nancy Fabiola Herrera.

– The educación tendrá de nuevo una importancia capital con 60 activities gratuitas in 14 Spanish cities and 2 foreign, in coproduction with 16 instituciones académicas, y se organizarán 73 conciertos de entrada libre. further, se organizará un congreso internacional en torno a la figura de Ignacio Jerusalem together with Universidad Internacional de Andalucía.

El CNDM colaborará en la temporada 19/20 with 145 instituciones públicas y entidades privadas, creando nuevas alianzas, among others, con el Círculo de Bellas Artes, City of Madrid (Slaughterhouse) y la Universidad Internacional Menéndez Pelayo de Santander.

He National Dissemination Center Musical (CNDM), organizational unit of the National Institute of Performing Arts and Music (INAEM), propone para su décima temporada un intenso y extenso programa que mantiene su espíritu de recuperar y difundir nuestro vasto patrimonio histórico y las músicas cultas de raíz popular como el flamenco y el jazz, incentivar la composición actual y atraer a nuevos públicos hacia la música clásica, o aquellos géneros menos frecuentes, a través de las diversas actividades organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

The season 2019/2020 It is composed of a total of 301 actividades diferentes que tendrán lugar desde el 12 September 2019 al 16 July 2020. The program will take place in Madrid and in other 31 Spanish cities 14 autonomous communities, a las que hay que añadir 12 ciudades extranjeras with 21 conciertos repartidos por Bogotá (Colombia), Montreal (Canada), Paris (France), Roma, Milan, Naples and Palermo (Italy), London (United Kingdom), Lisboa y Elvas (Portugal), Trondheim (Norway) y Luxemburgo (Luxembourg), hasta alcanzar un total de 44 ciudades distintas, con una amplia oferta de conciertos, educational sessions, interpretation courses, clases magistrales y conferencias a cargo de destacados intérpretes y creadores. Total, se producirán 241 concerts, con música del siglo XII al XXI, of which 140 se ofrecerán fuera de la capital española y 73 tendrán carácter gratuito.

The conciertos organizados en Madrid se reparten, again, in 10 cycles desarrollados en sus tres espacios habituales: el Auditorio Nacional de Música, el Teatro de La Zarzuela y el Museo Nacional Centro de Arte Reina Sofía (Nnchhahris, in which, además del ciclo en el Auditorio 400, se celebrarán algunos conciertos en otras partes del museo, en comunicación con las exposiciones de la temporada próxima, under the name Series2), a lo que se suman dos citas en la Nave 10 del Matadero del Ayuntamiento de Madrid y todo un ciclo, Beethoven Actual, con nueve conciertos en el Circulo de Bellas Artes, a las ya clásicas Universo Barroco (Sala Sinfónica y Sala de Cámara), Series 20/21, Borders, Liceo de Cámara XXI, Andalucía Flamenca, Jazz at the Auditorium, Lied and Bach Vermouth. A todo lo mencionado hay que añadir la novena edición del proyecto pedagógico y social “Todos creamos”, que estará dedicado a las islas recónditas.

En la próxima temporada el CNDM aumenta sus colaboraciones hasta las 145 instituciones públicas y entidades privadas. In Spain lo hará para coproducir el XVII ciclo Músicas Históricas de León (el ciclo en el Auditorio Ciudad de León junto con Ayuntamiento), los seis ciclos de música actual in Alicante, Badajoz, Barcelona, Malpartida de Cáceres (Museo Vostell Malpartida), Segovia and Valencia (en coproducción con el Festival ENSEMS), y los dos baroque in Oviedo Y Salamanca, además de los conciertos coproducidos por los cabildos catedralicios incluidos dentro de la serie El Órgano en las Catedrales. The cycle Beethoven Actual, que incluye las 32 Sonatas para piano de Beethoven junto a los 18 estudios para piano de G. Ligeti y 9 obras de compositores españoles, este año llegará a Murcia y, at last, to Madrid. Meanwhile, the cycle Beethoven por Liszt sonará en Cuenca y Santander, dentro la programación estival de la Universidad Internacional Menéndez Pelayo. Continúa la colaboración estable con los festivales internacionales de música de Cádiz, Sevilla y Úbeda-Baeza, refuerza sus alianzas con el L´Auditori de Barcelona (con la tercera parte del ciclo Schubert Lied, coproducido por la Asociación Franz Schubert de Barcelona, y un nuevo ciclo, Sampler Sèries), con la Universidad de Salamanca (nace un nuevo ciclo de jazz nacional), y repetimos las colaboraciones iniciadas en la pasada temporada en Betanzos (A Coruña, this time, en formato ciclo en coproducción con el Ayuntamiento y el cabildo) and the Diputación de Palencia (II Festival de Música Medieval y Renacentista Palencia Antiqva). Después de algunos años sin conexión directa, el CNDM colaborará de nuevo con el Festival de Jazz de Madrid (para traer a la capital a la leyenda del piano Herbie Hancock) y presentará dos conciertos sinfónicos en colaboración con la Orquesta Nacional de España y la Fundación Excelentia (Symphony Orchestra of Galicia).

He programa internacional repite la colaboración por quinto año consecutivo con el Festival de Música Sacra de Bogotá (Colombia) y con la vecina ciudad portuguesa de Elvas Y, for the third year, con el Festival de Música Barroca de Trondheim (Norway). El éxito de las pasadas ediciones del Europe project junto al Instituto Cervantes ha hecho que en esta temporada apostemos por una gira italiana por cuatro ciudades del Grupo Residente L´Apothéose con un programa centrado en la influencia de la música italiana en España en el siglo XVIII, además de coproducir el festival de música barroca de London, que este año se centra en los Siglos de Oro hispanos. Para redondear la apuesta fuera de nuestras fronteras se realizarán ocho conciertos más en Montreal (Canada), Paris (France), Lisboa (Portugal) Y Luxembourg (Luxembourg), hasta alcanzar un total de 21 conciertos repartidos por 12 cities.

En el apartado dedicado a las “residencias” del CNDM, en esta entrega José Manuel López López (Madrid, 1956) it will be Compositor Residente, autor que hoy se encuentra en plena madurez creativa y presentará un total de 18 works, escritas entre 1993 Y 2020, donde se incluyen cuatro estrenos absolutos, tres de ellos por encargo del CNDM. La prestigiosa violinista alemana Isabelle Faust (Esslingen am Neckar, 1972) será nuestra artist in Residence. Faust ofrecerá cinco conciertos en Madrid, en cuatro ciclos que mostrarán la versatilidad y excelencia que la caracterizan: desde Bach en Universo Barroco (junto a la AKAMUS de Berlín) a obras de autores contemporáneos como George Benjamin, que interpretará a solo, pasando por piezas de cámara de Schubert, Webern, Berg o Messiaen junto a Jean-Guihen Queyras, Jörg Widmann y Pierre-Laurent Aimard, hasta llegar al concierto sinfónico junto a la Orquesta Sinfónica de Galicia y la versión original del Violin Concerto de Sibelius. A esas dos secciones se añade la de Grupo Residente, que ostentará el joven conjunto barroco L´Apothéose. Representantes de una generación de jóvenes de incontestable calidad, este conjunto, en sus apenas tres años de vida, son parte del futuro de la música en este país con una interpretación histórica al más alto nivel, que transmite el contenido emocional y retórico propio de cada compositor. En esta residencia presentarán cinco programas diferentes en diez conciertos programados en Madrid, Lion, Oviedo, Bogotá, London, Roma, Milan, Palermo y Nápoles.

Tres ciclos transversales ocuparán nuestra atención este año. Bajo la denominación #Spain Italy mostraremos a lo largo de 24 concerts realizados en 15 cities las relaciones e influencias musicales entre España e Italia en los siglos XVII y XVIII. Nacido para recordar el esplendor de la música en la época en la que los Borbones regían los destinos de España y del Reino de las Dos Sicilias, este ciclo impulsa el intercambio de grupos españoles en Italia y viceversa. Los programas mostrarán las influencias de los músicos italianos que viajaron a Madrid para trabajar en la Corte, como Alessandro Scarlatti, Luigi Boccherini o Carlo Broschi “Farinelli”, en los compositores españoles y cómo esa circunstancia repercutió en la música de la época. Al hilo de la conmemoración en 2020 del 250º aniversario del nacimiento de Beethoven llegará #Beethoven2020, serie musical de 30 citas en 4 ciudades con la obra pianística del genio de Bonn como punto de mira. A los dos ciclos ya mencionados, Beethoven Actual (en Madrid y Murcia) y Beethoven por Liszt (en Cuenca y Santander), se unirán las revisiones fronterizas en Madrid de los pianistas Uri Caine (junto al Cuarteto Lutoslawski) y Marco Mezquida en formato cuarteto (flute, contrabajo y batería). El tercer eje será el protagonizado por el cabaret. #Cabaret nos hará revivir los ecos de la Alemania de Weimar y su influencia en la chanson française, el tango y el jazz con 4 conciertos en Madrid repartidos en 4 ciclos diferentes.

Hay que destacar la recuperación histórica y difusión de una amplia muestra de nuestro rico y extenso patrimonio desde la Edad Media hasta el Barroco tardío. Se rescatarán del olvido 46 works que hasta ahora permanecían inéditas –muchas de ellas estreno en tiempos modernos– de compositores como José de Nebra, Pere Rabassa, José de Torres o Juan Francés de Iribarren, además de algunas obras anónimas y de creadores nativos o activos en Italia como Diego Ortiz, Giacomo Facco, Antonio Lolli, Maurizio Cazzati o Marco Antonio Ziani. Destacan la recuperación y estreno en tiempos modernos, de parte de Luis Antonio González and whole Musicians Your Highness, of the Opera Coronis, atribuida a Sebastian Duron junto con José de Cañizares, y el programa que el grupo Nereydas dedicará a la obra del músico Ignacio Jerusalem, en conmemoración del cuarto de siglo desde su muerte. Al hilo de esa efeméride, se organizará un congreso internacional together with Universidad Internacional de Andalucía para estudiar su figura y la relación de las músicas galantes entre Italia, la península ibérica y el Nuevo Mundo. Esos estrenos se repartirán por diez ciudades españolas (Madrid, In addition to the own cycles of Leon, Oviedo, Salamanca, Palencia y Betanzos, la coproducción o colaboración con los festivales internacionales de Sevilla, Úbeda-Baeza y dos conciertos puntuales en Segovia y A Coruña), una capital americana (Bogotá) Y cinco ciudades europeas (London, Roma, Milan, Palermo y Nápoles).

The creación contemporánea sigue siendo un pilar fundamental en la programación del CNDM que incentiva la composición de nuevas páginas y amplia el conocimiento del repertorio menos transitado del pasado siglo. Este año verán la luz 56 nuevas obras, 32 de las cuales serán por encargo del CNDM y la mitad de ellas creadas por compositoras. Con la creación más actual visitaremos este año Alicante (concierto del percusionista Miquel Bernat al hilo de las clases magistrales en el Conservatorio alicantino impartidas por nuestro Compositor Residente, José Manuel López López), Badajoz (coproducimos el XI Ciclo de Música Actual, que este año estará formado por una docena de conciertos y 8 talleres en diferentes Conservatorios de la región), Barcelona (estrenamos Sampler Sèries, dos citas en las que la música amplificará su fuerza uniéndose a otras disciplinas artísticas: in the first, la protagonista será la histórica coreógrafa Martha Graham y el estreno absoluto del primer encargo de danza del CNDM, en coproducción con L´Auditori, acompañando una obra del compositor Ramon Humet y, in the second, asistiremos al estreno de la obra La trace José Manuel López López, que irá vestida por la videocreación de Pascal Auger, artista que ya ha colaborado previamente con el compositor), Malpartida de Cáceres (coproduciremos el XXI Ciclo de Música Contemporánea que se desarrollará en el Museo Vostell Malpartida y contará con cinco conciertos), Segovia (coproducción de las XXVII Jornadas de Música Contemporánea) Y Valencia (comenzamos la coproducción con el insigne Festival ENSEMS con dos fechas, la primera de ellas, a cargo del histórico Cuarteto Arditti). Pero saldremos también de nuestras fronteras con conciertos en las localidades portuguesas de Lisboa Y Elvas (Grupo de Música Contemporânea de Lisboa, en el CCB lisboeta y en el Conservatorio de Elvas, donde habrá un segundo recital a cargo del Ensemble Regards), Luxembourg (United Instruments of Lucilin, conjunto formado por músicos luxemburgueses), Milan (Sandro Gorli y su Divertimento Ensemble presentarán un programa dedicado a la música espectral) Y Paris (con el famosísimo Ensemble 2e2m en el Colegio de España). A todo este despliegue actual se unirán de nuevo los estrenos de generaciones más jóvenes, como los que formarán parte del XXX Premio de Jóvenes Compositores Fundación SGAE-CNDM.

Este año visitarán nuestro ciclo flamenco Andalucía Flamenca voces que mostrarán el amplio espectro de la sensibilidad de este género: those of Antonio Reyes, Archangel, “La Macanita”, “La Yiya”, Israel Fernández, Maria Earthquake, Antonia Contreras y “La Fabi”. El mejor toque estará representado por Rafael Riqueni y otros maestros como Dani de Morón, Diego del Morao, Salvador Gutiérrez, Manuel de la Luz, Manuel Valencia, Antonio García, Juan Ramón Caro y Nono Jero.

Jazz at the Auditorium dará cita de nuevo en Madrid a un conjunto de carismáticos intérpretes en busca de nuevas emociones, convocando al pasado, presente y futuro del género: de los míticos Herbie Hancock, Wynton Marsalis with the Jazz at the Lincoln Center Orchestra Y Chick Corea trio format (junto a los imprescindibles Christian McBride y Brian Blade) a grandes pianistas como Jacky Terrason Y Marcin Wasilewski (ambos en trío) pasando por el quinteto del inquieto Pablo Martín Caminero, sin olvidar la genial trompeta de Tom Harrell, la voz de la nueva dama del género Cécile McLorin Salvant y el buen hacer de los veteranos The Cookers.

The cycle Borders reincide, tras recibir el año pasado a Mariza, en la esencia musical portuguesa con la diva del fado Carminho, que presentará su nuevo álbum en la Sala Sinfónica del Auditorio. In the meantime, en la Sala de Cámara se alternarán las improvisaciones y revisiones de Vivaldi con el Tarkovsky Quartet; el duelo sonoro entre Philip Glass y Bach en las manos del pianista islandés Víkingur Ólafsson; las conexiones, a priori lejanas, entre los grandes clásicos de Joan Manuel Serrat y piezas del Barroco español con la Cappella Mediterranea, viaje paralelo al que realizará el Alternative History Quartet what, con dos voces y dos laúdes, interpretarán canciones de estreno de Sting, Led Zeppelin y Genesis junto a obras del siglo XVII; los ya comentados homenajes pianísticos beethovenianos de uri Caine next to Cuarteto Lutoslawski Y Marco Mezquida Grupo; la Antología del cante flamenco heterodoxo del sin par Elche boy y el recuerdo cabaretero alemán de la pianista Rosa Torres-Pardo junto a Clara Muñiz y poemas de Luis García Montero.

La exitosa programación para órgano continuará con el ciclo Bach Vermouth with a nueva entrega de siete conciertos que ampliarán el repertorio y contarán con nombres imprescindibles del mundo organístico en Madrid y en las siete catedrales españolas (Bilbao, Murcia, Pamplona, Málaga, Segovia, Las Palmas y Girona) que componen la tercera edición de la serie The organ in the Cathedrals. Este año disfrutaremos de David Cassan, Jeremy Joseph, Thierry Escaich, Daniel Oyarzabal, Jean-Baptiste Robin, Paolo Oreni, Karol Mossakowski, Jordi Vergés, Mar Vaqué, Ángel Montero y los dúos formados por las organistas Ana Aguado Y Ana Belén García y por el organista Oscar Candendo Next to the Coral de Cámara de Navarra.

The cycle Liceo de Cámara XXI mantendrá la excelencia interpretativa en la Sala de Cámara con prestigiosos solistas como el violinista Frank Peter Zimmermann and pianist Martin Helmchen, que ejecutarán la tercera parte de la integral de las Sonatas de Beethoven iniciada el año pasado; el trío formado por Vilde Frang (fiddle), Lawrence Power (viola) Y Nicolas Altstaedt (cello) también homenajeará al genio de Bonn; nuestra versátil Artista Residente, violinist Isabelle Faust, acudirá en dos ocasiones, para abrir y cerrar este ciclo: la primera en solitario y en la clausura junto a otros tres virtuosos: Jörg Widmann (clarinet), Jean-Guihen Queyras (cello) Y Pierre-Laurent Aimard (piano); he Trío Ludwig se atreverá con Rachmaninov y el dúo escandinavo creado por Truls Mork (cello) Y Havard Gimse (piano) presentarán un programa postromántico. Como no puede ser de otra forma, en un ciclo centrado en la música de cámara, recibiremos a algunos de los más renombrados cuartetos de cuerda del mundo como son el asiduo y brillante Jerusalem Quartet (with soprano Hilda Baggio), he Emerson (con obras de Bartók y Beethoven), el joven Cuarteto Dalia, que compartirá escenario con el pianista coreano Seong-Jin Cho, and the Cuarteto de la Staatskapelle de Berlín que estará acompañado, nada más y nada menos, por la legendaria pianista rusa Elisabeth Leonskaja, en dos citas dedicadas a Brahms en sendos días consecutivos, y las jóvenes Clara Andrada (flute), Lorenza Borrani (fiddle), Simone Jandl (viola) Y Luis Buchberger (cello) se presentarán con obras de Beethoven, Mozart y Schubert.

He Lied, ya en su vigésimo sexta edición en el Teatro de La Zarzuela, It will continue to have the best voices that cultivate this special genre and have turned Madrid into one of the international reference centers. Este año volverán a esta serie voces indispensables del lied, como son los barítonos Christian Gerhaher (en dos conciertos dedicados a canciones de Mahler) Y Matthias Goerne and tenor Ian Bostridge; disfrutaremos de nuevo de Simon Keenlyside, Nancy Fabiola Herrera (con un programa dedicado al cabaret), Christoph Prégardien Y Marlis Petersen y se estrenarán en la capital española el barítono Manuel Walser y la joven soprano Anna Lucia Richter.

The Education adquiere, como en cursos pasados, paramount importance 60 activities diversas repartidas a lo largo de 14 ciudades españolas y dos extranjeras (Elvas -Portugal- y Bogotá -Colombia-) coproducidas con cinco universidades españolas (Oviedo, Lion, Salamanca, Internacional de Andalucía y Complutense de Madrid), cinco Conservatorios de Música en la península ibérica (Alicante, Badajoz, Madrid, Oviedo and Elvas in Portugal), dos centros educativos de primaria y secundaria of the Community of Madrid (que participarán en la novena edición del Proyecto Pedagógico “Todos creamos”, coordinado por el pedagogo Fernando Palacios y dedicado este año a las islas recónditas), tres festivales (Música Contemporánea Vostell Malpartida, Música Española de Cádiz y Música Contemporánea de Tres Cantos) and the Queen Sofía College of Music. In the University of Salamanca tendrá lugar, por séptimo año, un intenso programa de clases magistrales y talleres de interpretación, crosscutting, centrado en el ámbito de la música antigua y barroca “históricamente informada” y en el Auditorio de León se celebrará el IX Curso de Interpretación Vocal Barroca, que anualmente imparte el director, clavecinista y musicólogo Eduardo López Banzo. A todo ello sumar el ya citado congreso internacional around Ignacio Jerusalem with the Universidad Internacional de Andalucía and the Festival de Música Antigua de Úbeda y Baeza.

El CNDM mantiene el interés en incentivar y promover la incorporación de nuevas audiencias a sus diferentes programas divulgativos y educativos. Esta temporada se mantienen los descuentos para young boys (minor 30), para los que desarrolla una amplio abanico de posibilidades, including offers important advantages in acquiring inputs or fertilizers, sobre todo a través del programa Last minute (a discount 60%, para localidades adquiridas desde una hora antes del inicio de los conciertos) y acuerdos estables con numerosos schools para la asistencia gratuita de los estudiantes que participan en los cursos y ciclos programados por el CNDM en las diferentes ciudades españolas. Se beneficiarán también del descuento Último Minuto the unemployed y seguirá activo el descuento del 20% for all students, grupos de más de 20 personas y mayores de 65 years, aumentando al 50% el aplicado a familias numerosas. A este interés por impulsar la música en todas sus vertientes hay que sumar los 73 conciertos de entrada libre.

The renovación de abonos para todos los ciclos programados en el National Music Auditorium will be available of the 13 June to 4 of July en las taquillas del Auditorio Nacional, entradasinaem.es Y 902 22 49 49, y la venta de nuevos abonos, of the 10 July to 7 of September. The entradas libres, si las hubiere, para todos los conciertos programados en la Symphony hall, estarán a la venta from the 10 of July, con un precio de 5 a 50 euros (a excepción del concierto extraordinario de Cecilia Bartoli, cuyas localidades tiene precios a partir de los 25 euros), mientras que para los ciclos de la Chamber Hall se podrán adquirir from 11 of September, con precios from 10 a 20 euros. He XXVI Ciclo the Song, programmed into the Teatro de la Zarzuela, mantiene sus locations 4 a 35 euros, and the Series 20/21 programadas en el Reina Sofia Museum seguirán siendo con free access hasta completar el aforo de la sala.

He National Dissemination Center Musical (CNDM) cuenta con una plantilla de dieciséis personas, entre funcionarios y contratados. The imágenes de la temporada 19/20 son obras originales del artista británico Hugh Turvey, whose radiografías coloreadas con los tonos de cada ciclo del CNDM transmiten la esencia de cada serie, del propio centro y de la música, la energía que no vemos pero que es el alma de la belleza y de nuestro intenso y extenso trabajo.

Photograph: Elvira Megías

He National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela closed down next Monday 3 of June from 20h00 the XXV Ciclo the Song with a special program featuring baritones Thomas Quasthoff (as narrator) Y Florian Boesch with the tenor Michael Schade, accompanied by pianist Justus Zeyen. The program chosen for this evening is immersed in the essence Romantic, con songs, duos and compounds melodramas by big names in this genre: Franz Schubert, Robert Schumann, Felix Mendelssohn, Johannes Brahms, Franz Liszt O Hugo Wolf, on texts Joseph von Eichendorf Y Heinrich Heine. To all this will join the song 'The Broken Ringlein', written by Friedrich Nietzsche text rarity Von Eichendorf.

tickets, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es> Y 902 22 49 49.

Heine y Oaken village: poetry in the heart of lieder

According to the scholar Luis Gago, “'Heine in music', the catalog compiled by Günter Metzner, covered twelve thick volumes dedicated to exploring the musical wealth of the poems Heinrich Heine, despite which it can not even be taken by comprehensive: the figures are overwhelming, as it is more than in 2500 composers and a figure that exceeds eight thousand songs inspired by the German poet. And it is particularly significant that have been many musicians who decided to choose poems of Heine as textual inspiration from his op. 1, as if that twinning shall gain them symbolically Access to the pantheon of the most illustrious liederistas. Brahms himself even said at the end of his life that had music "almost all Heine" in his youth, definitely, an exaggeration, but revealing that the German poet had become part of the ritual of baptism of anyone who would venture down that path that had begun to clear Franz Schubert at the edge of his death. And the entrance It was not confined to the Germans: French -in which the poet lived in exile country the last twenty years of his life They endorsed a "Henri Heine" (as reads the plaque on the house he died, in the number 3 the Avenue Matignon parisiense) almost like a compatriot, and has not missed even one who has seen what the direct ancestor of Jean-Paul Sartre, more generally, French intellectuals engagés of the Second World war; in Italy, widely circulated poems "Enrico Heine '; Gustavo Adolfo Becquer adapted among us his verses; Y, without great effort, find songs with his poems translated into Russian signed by Chaikovski, Glazunov o Borodin. Poemas como "You're like a flower" o "Gently through my mind" acumulan bajo su modestísimo puñado de versos hundreds of musical versions.

Love for nature and the glare felt Joseph von Eichendorf to know the collection "Des Knaben Wunderhorn ' (which she led him to befriend their compilers, Achim von Arnim Y Clemens Brentano) They left a deep mark in his own poems, Lavish musical references and descriptions of nature sounds, something that one ear as sensitive as Felix Mendelssohn I could not help but be receptive. Music also plays a decisive role in his prose work more widespread, 'The life of a ne'er-do' (The life of a useless), an example of poetic prose High School starring a vagrant violinist and hosts, Likewise, numerous poems and songs. Without reaching the prodigious figures Goethe o Heine, Eichendorff was the third great favorite poet of the Romantic composers: Dietrich Fischer-Dieskau He stood at more than five thousand songs composed from his poems since they began to be published, this is, in the last sixty-five years of the nineteenth century.“.

For nearly four decades, Thomas Quasthoff has moved the hearts of countless listeners with his art. He ended his distinguished career as a singer in 2012 although it has maintained close ties with music and singing professor at the Hanns Eisler Music Academy in Berlin and giving master classes. Quasthoff It was one of the most notable singers in their field, frequently invited to sing with the Berliner and Wiener Philharmoniker, among others with directors like Claudio Abbado, Daniel Barenboim, Christoph Eschenbach, James Levine, Bernard Haitink, Mariss Jansons, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Sir Simon Rattle, Helmuth Rilling, Christian Thielemann y Franz Welser-Möst. In addition to its commitments as a teacher He has developed other virtues storyteller, comedian, moderator and even as an actor. After its great success in fall 2012, where he first appeared as an actor in the role of Feste in 'Twelfth Night' by Shakespeare, He continued to play this role in the Berliner Ensemble for 5 years until May 2017.

Quasthoff in recent years has shown that likes to face new challenges. In 2010 launched its program soul / blues / jazz titled "Tell It Like It Is' that revolved around Europe. Since then, He returns again and again to jazz concerts with some internationally renowned instrumentalists: Frank Chastenier (piano), Dieter Ilg (double bass) y Wolfgang Haffner (drums). Last year concert 'My Favorite Things' closed cycle Jazz at the Auditorium of CNDM.

Photograph: Bernd Brundert

André Schuen

The National Broadcasting Music Center (CNDM) in co-production with Teatro de La Zarzuela will present the Monday 22 April at 20h00 in the XXV Lied German baritone Andre Schuen alongside fellow, pianist Daniel Heide. The program extends from the full German Romanticism Robert Schumann and Franz Liszt Hungarian until its last legs, and near the expressionist vocalism, with Swiss Frank Martin and powerful monologues about moralizing drama Anyone.

tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Schuen: in line with the great voices

According to the critic Arturo Reverter the voice of this young German singer, which soon has opened an interesting gap between the most conspicuous liederistas the moment "is timbrada, excellent baritone paste, homogeneous, malleable and well is issued. On the line, saving distances, of a Dieskau, one Prey, un Bahr, to Quasthoff o un Gerhaher, expressiveness and lyrical effusion, especially contagious, They are good guarantees to think that their versions of some of the most beautiful lieder of Schumann may have the ideal measure.”

baritone Andre Schuen (1984) he grew up in the region of Ladinia, specifically, Val in Tyrol (Italy). Although the cello was the instrument he chose and played for many years, He decided to attend the Mozarteum University of Salzburg, where he studied with horiana Branisteanu and Wolfgang Holzmair. Schuen completed his education with master classes organized by Kurt Widmer, sir Thomas Allen, Brigitte Fassbaender, Romualdo Savastano and Olaf Bär. He graduated from the Mozarteum in 2010. At the beginning of his career, Schuen received numerous awards. He started the season 2017-2018 singing Don Giovanni in the Opéra National de Lorraine, Nancy and the Grand Théâtre de Luxembourg. Then, He sang for the first time Pagliacci at the Grand Theater of Geneva and, by the end of the year, Così fan tutte Teatro Regio in Turin. He has given recitals of lieder on Bavarian Radio in Munich and the Concertgebouw of Amsterdam. It is resident, for the third consecutive season, en la Dortmund Concert Hall, junto con Young Wild. In 2018 sang the a German Requiem Brahms at the Salzburg Whitsun Festival and, since 2010, acts in Salzburg: First, as a member of the Young Singers Project and, later, en el Salzburg Festival, directed by Simon Rattle and Riccardo Muti. Between 2010 Y 2014 Schuen was a member of the Opernhaus Graz. It has been one of the few singers who has appeared in three roles simultaneously: Figaro, Don Giovanni and Guglielmo Da Ponte cycle, Harnoncourt, en el Theater in Vienna Viena. He has also sung The Barber of Seville Paisiello, under the direction of René Jacobs, Fidelio Beethoven, Capriccio Strauss and the world premiere of Hamlet The Schroder eggs, Christof Loy directed by. Likewise, It has appeared in the role of Marcello in Bohemian in Geneva and Count Almaviva in The Marriage of Figaro Angers Nantes in there.

With pianist Daniel Heide, Schuen has performed at the Wigmore Hall in London, Heidelberger Frühling and the Konzerthaus in Vienna. Gerold Huber is also one of his fellow recital, with whom he performed at the festival Schubertiade in Hohenems. In 2017 Andrè Schu corner in the Tanglewood Festival, as well as the Aspen Music Festival, Andreas Haefliger with. In their first two albums of lieder, Young Schuen interprets works of Schumann, And Martin Wolf, accompanied by Daniel Heide. He recorded, Likewise, works of Beethoven with the Trio Boulanger. Schuen and Heide participate for the first time in Lied.

Sarah Connolly

He Monday 11 March at 20 hours, National Dissemination Center Musical (CNDM) In co-production with the Teatro de La Zarzuela they present the British mezzo-soprano at the XXV Lied Cycle Sarah Connolly with pianist Julius Drake. The program chosen for the occasion combines pieces by composers of the late nineteenth and early twentieth centuries. According to Arturo Reverter: “Poetry that nests in the lieder of Brahms, in some cases from the popular heritage, requires this type of interpreter, which must also express the grace that is housed in Wolf's Italian notebook, subtly capture Roussel's airy universe, the exquisiteness of Debussy and the severe reflection contained in the Seis songs on Zemlinski's Maeterlinck texts”. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Connolly: Lady of the empire

Born in County Durham, Sarah Connolly studied piano and singing at the Royal College of Music. She has been honored by the Incorporated Society of Musicians and has received, among others, the Distinguished Musician Award, Singer of the Year Award from the Royal Philharmonic Society in 2012. In 2017 she was made a Dame of the British Empire. Among the highlights of last season are his presentation at the Wiener Staatsoper in Ariodante, the main role in Julius Caesar in Egypt at the Glyndebourne Festival and the role of Brangäne from Tristan and Isolde at the Gran Teatro del Liceo. His most prominent hits in previous seasons include Fricka (Covent Garden y Festival de Bayreuth), Brangäne en Tristan and Isolde (Covent Garden y Festival de Baden-Baden), the Composer in Ariadne auf Naxos and Clairon in Capriccio (Metropolitan Opera House), the main role in Julius Caesar, Brangäne and Gertrude at the world premiere of Hamlet, de Brett Dean (Glyndebourne Festival), the main role in Ariodante and Sixth in La clemenza di Tito (Aix en Provence), Jocasta in Oedipus, by Enescu (Covent Garden), Orfeo Gluck, and the main role in The Rape of Lucretia (Bavarian State Opera), Phaedra in Hippolyte and Aricie (Paris Opera) and the starring role in Agrippina and Nerone in The coronation of Poppea (Gran Teatro del Liceo). Other notable commitments have been his participation in important works of Elgar (The Dream of Gerontius), Mahler (symphony No. 2, Symphony n ° 3, The Song of the Earth, Des Knaben Wunderhorn), Tippett (A Child of our Time) o Berlioz (The death of Cleopatra). Committed to contemporary music, has participated in the premieres of The Colour of Fire de Judith Bingham (Two Moors Festival); A Welsh Night de Torsten Rasch (Three Choirs Festival); Relict Furies, de Gareth Farr (Edinburgh Festival); Songs of Li Po de Jonathan Harvey (Aldeburgh Festival), Y Tribute to Cavafy (Birmingham) Y Gnosis (BBC Proms) de sir John Tavener. His recordings include Dido and Aeneas Purcell (OAE), The boy's Wunderhorn (Champs-Élysées Theater Orchestra y Herreweghe), Tristan and Isolde (London Philharmonic Orchestra y Jurowski), Sea Pictures Y The Dream of Gerontius by Elgar (BBC Philharmonic y sir Andrew Davis), Phaedra Britten (BBC Philharmonic y Gardner), Elijah Mendelssohn, the Mass in C minor Mozart, and the Scene from Berenice Haydn (Gabrieli Consort y McCreesh). Sarah Connolly participates for the first time in the Lied Cycle.

SARAH CONNOLLY © Christopher Pledger
Dorothea Röschmann

He Monday 25 February at 20 hours, National Dissemination Center Musical (CNDM) In co-production with the Teatro de La Zarzuela they present the German soprano at the XXV Lied Cycle Dorothea Röschmann junto to pianist Malcolm Martineau. The program they have prepared is truly exceptional and covers almost a century of German art song, since 1815, date on which the first of the Mignon Lieder Franz Schubert, a 1902, which is when Gustav Mahler finishes off the latest of his Rückert-Lieder. These two impressive cycles will be joined by songs by Robert Schumann and Richard Wagner. A program marked by intensity and that supposes a complex expressive adventure for those who sing or accompany and an aesthetic experience of the first magnitude for its listeners.. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Röschmann: expressive intensity

Born in Flensburg, Germany, Dorothea Röschmann He was a member of the Ensemble of the Deutsche Staatsoper Berlin, where, in 2016, received the title of Kammersängerin. Closely associated with the theater, there sang roles as Agathe, Ännchen con Mehta, Nannetta with Abbado, Eva, Elsa, Pamina, Fiordiligi, Susanna, Zerlina, micelle, Donna Elvira, Countess Almaviva with Barenboim and the Marschallin with Sir Simon Rattle. In 1995 made her debut at the Salzburger Festspiele as Susanna with Harnoncourt to great success. There have been numerous times that he has returned to the festival to sing Donna Elvira, condesa Almaviva, their, Servilia, Nannetta, Pamina, Florinda and Vitellia, with directors like Abbado, Harding, Mackerras y Von Dohnanyi. In 2014 returned to the festival to sing Florinda in Fierrabras with Ingo Metzmacher and in 2016 to the Easter Festival to play Desdemona in Otello with Christian Thielemann. At the Teatro alla Scala in Milan the Countess and Donna Elvira sang on tour with the Bolshoi company and Daniel Barenboim. In the Wiener Staatsoper she has played Countess Almaviva, Susanna, Marschallin y, in 2016, He returned to debut the role of Jenufa. En la Bavarian State Opera, in Munich, sang Zerlina, Susanna, Ännchen, Marzelline, A mother Trulov, Elvira and Rodelinda. In theaters of Europe he has sung at La Monnaie in Brussels as Norina and at the Théâtre de la Bastille in Paris as Countess Almaviva and Pamina. Susanna sang at the Metropolitan Opera in New York, Pamina, Elvira and Ilia with Levine and, in the Royal Opera House in London, her roles have included Pamina and Fiordiligi with Sir Colin Davis, Countess Almaviva with Sir Antonio Pappano and Donna Elvira. She has sung the title role of Theodora at Carnegie Hall with Harry Bicket and The English Concert; Fist scenes by Daniel Harding y the Berliner Philharmoniker; a European tour with Mariss Jansons and the Royal Concertgebouw Orchestra with Symphony No. 4 Mahler; Seven Early Songs, the mountain, con Marc Albrecht y la Rundfunk Sinfonieorchester Berlin, y Dido and Aeneas, Purcell, en el Carnegie Hall con Les Violons du Roy.

As a renowned interpreter of lieder, He has performed at the Wigmore Hall in London, the Concertgebouw in Amsterdam, la Vienna Konzerthaus, and in Antwerp, Lisboa, Madrid, Colonia, Brussels, Oslo and Edinburgh festivals, Munich and Schwarzenberg. He sang with Daniel Barenboim at the Schiller Theater in Berlin and with Mitsuko Uchida at the Lucerne Festival, at Wigmore Hall in London and on a tour of the United States that culminated in a recital at Carnegie Hall in New York. Dorothea Röschmann has participated in two previous editions of the Lied Cycle: VIII (01-02) y XV (08-09).

DOROTHEA RÖSCH MAN © Harald Hoffmann – Sony Entertainment

 

Adrianne Pieczonka

the soprano Adrianne Pieczonka will play Winterreise Franz Schubert inside of the XXV Ciclo the Song which co-produced the National Dissemination Center Musical (CNDM) and the Teatro de la Zarzuela. The concert will be Monday 28 January at 20h00 at the coliseum itself the Plazuela de Jovellanos, and has raised a special expectation since 'Winter Journey' is considered one of the fundamental works of the genre, and Canadian singer, which will be accompanied by pianist Wolfram Rieger, one of his most representative voices.

tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Winterreise: the deep inner journey

Arturo Reverter critic indicates that: “The lyricism of Schubert's lyricism of lieder, whose deep and troubling backdrop as nothing less than the romantic idea of ​​death, intuits that, is eying, finally it becomes real, singular alone or in connection with the surrounding nature, after each instrumental effect, melodic or harmonic; after those subtle thematic chains, apparently improvised expressive or below tremolos, abundant chromaticism, the dissonances or the apoyaturas. Through the lyrical effusion things are transfigured into that romantic who eventually ascribed and where nothing will universe and what was. Winterreise (Winter trip) is, indeed, a real inner journey, a basic idea, as we said, Schubert's music. Rarely it has been painted in such a precise, justness and loneliness dramatics, desolation and despair; It not often has penetrated so deeply into the intimate drama of a human being and has delved into the antechamber of death itself and in these songs, real journey to nowhere. Two fundamental and recurring themes dominate the musician Wilhelm Müller's poems: again the idea of ​​travel, change of position in space, Shuttle, and loneliness”. Jordi Roch added: “Both were walkers, Franz Schubert, by the Vienna Woods and Müller, in the paradisiacal landscapes around Dessau, and later in Berlin, with the poet Friedrich Rückert, and Rome. In the late eighteenth century, he travels wanderer or equivalent to the idea of ​​verse Machado: "It is made by walking ', and the Wanderer ("walker"), from the first lieder that Schubert wrote this title 1816, It is a recurring theme throughout his work.”

“internationally renowned for his interpretations of Wagner, Strauss, Verdi and Puccini, Adrianne Pieczonka He has embodied powerful heroines like Senta, Chrysothemis, Sieglinde, la Mariscala, the Empress, Tosca, Elisabetta and Amelia in major venues in Europe, North America and Asia. She has sung at the Metropolitan Opera in New York, Royal Opera House Covent Garden, Vienna, Paris, Berlin, Madrid, Munich, Frankfurt, Los Angeles and La Scala, as well as the Salzburg Festival, Bayreuth, Glyndebourne is Aix-en-Provence, directed by James Levine, Riccardo Muti, Zubin Mehta, Sir Neville Marriner, Claudio Abbado, Richard Bradshaw, Lorin Maazel, Nikolaus Harnoncourt, Anthony Pappano and Sir Georg Solti.

Recent and future engagements include Elektra (Barcelona Liceu, San Francisco, Metropolitan Opera New York), Tosca (Toronto, Vienna, London), A masked ball (Vienna, Munich), Fidelio (Metropolitan Opera), Die Frau ohne Schatten y The Flying Dutchman (Munich), Der Rosenkavalier (Munich and New York Carnegie Hall) and Tosca (State Opera Berlín), among others. Pieczonka is also an accomplished artist in the concert repertoire and recitals, and it has been presented with great success at the Vienna Konzerthaus, Salle Pleyel in París, Lincoln Center and Carnegie Hall in New York, London Proms, Edinburgh Festivals, Lucerne, Montpellier and Salzburg. He has recently sung the Four Last Songs with the Vancouver Symphony Orchestra and Die Winterreise with pianist Rachel Andrist in Toronto.

Canadian soprano studied at the University of Western Ontario and Toronto, and he began his career at the Canadian Opera Company in Toronto. In 1989 He was hired as a soloist at the Vienna Volksoper and 1991 He joined the company of the Wiener Staatsoper, where he began his international career. In March 2007 Kammersängerin was named by the Austrian government.

Franz-Josef Selig

With a program consists of ballads Carl Loewe, Hugo Wolf and Rudi Stephan

He National Dissemination Center Musical in co-production with Teatro de la Zarzuela will present next Monday 12 of November, To the bass Franz-Josef Selig on his second visit to Lied. Selig comes accompanied by Gerold Huber the piano to provide program consists of ballads Carl Loewe, Hugo Wolf and Rudi Stephan. tickets, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

The elegant deep bass

According to musicologist Isabel García Adánez: “Franz-Joseph Selig is one of the most renowned low today, and his voice, as imposing as delicate and nuanced, has given life to many characters equally impressive and full of nuances opera from Monteverdi and Mozart to Wagner (He has interpreted the giant Fasolt of the Rheingold and King Marke of Tristan and Isolde). No less a success that has reached beyond the opera, for example, at Requiem Mozart or Scenes from Goethe's Faust Schumann, and has recorded a magnificent album of lieder on Prometheus, with texts by Goethe and versions that made them Schubert, Strauss and Hugo Wolf, accompanied on piano by Gerold Huber, whom we have had the pleasure of listening in various recitals of this Lied. The elegance of a big bass opera invites identification with the many characters of great dramatic scale starring texts ballads tonight: Archibald Douglas, the Great Emperor, Edward sanguinary, Knight Oluf, itinerant harpist Goethe's Wilhelm Meister or the god Odin himself ready for battle. Unlike other programs, more in line Liederabend understood as intimate evening to sing around the piano, tonight's meeting suggests the tradition of storytelling or theater depict scenes, since almost all are ballads, whose main feature is the narrative element. This tradition of telling a string of stories or novellas from a framework is well known since the beginning of the history of literature: Think of the Arabian Nights or Decamerón and, and at the time of the lieder, Novellen in cycles of German Romanticism, for example, by E. T.. Hoffmann. As a curiosity, in German, selig It means "happy, greatly happy, blessed "and is a word that appears frequently in stories. Thanks to this voice, Odin own, incarnating so many wonderful stories, Bliss will be to our ears.”

Franz-Josef Selig It has established itself on the international scene as one of the best known low. Usually sings the role of Gurnemanz, King Marke, Sarastro, Rocco, Osmin, Daland, Fiesco and Fasolt in major opera houses of the world as the Vienna State Opera, the Bavarian State Opera, the Scala Theater in Milan, the Teatro Real in Madrid, Parisian opera or the Metropolitan Opera in New York, and at prestigious festivals such as: Bayreuth, the Salzburg Festival and the Festival d'Aix-en-Provence. Operatic productions and its concert activity led him to collaborate with orchestras and conductors as James Levine, Christian Thielemann, Sir Simon Rattle, Marek Janowski, Semyon Bychkov, Riccardo Muti, Yannick NezétSéguin, Antonio Pappano, Phillipe Jordan, Zubin Mehta, among others. In addition to his many operatic engagements and concert performances, He devotes a large part of his time to Lieder recitals. He has recently sung solo pianist Gerold Huber next to Katowice, Cologne and Frankfurt, Markus Schäfer and with, Christian Elsner, Michael Volle in concert Liedertafel (Gerold Huber also accompanied by piano) one Stuttgart, Schaffhausen y Madrid.

Selig studied sacred music at the Staatliche Hochschule für Musik in Cologne before you start taking singing classes with Claudio Nicolai. Early in his career he was a member of the Aalto Theater in Essen. Since then he has been an independent singer. During last season 2017-2018 He has excelled in the following operatic roles: King Arkel (Pelléas et Mélisande) in Bochum and Paris, Seneca in a new production of The Coronation of Poppea Monteverdi at the Berlin State Opera, Daland (The flying dutchman) State Opera in Munich, Gurnemanz (Parsifal) with the Berlin Philharmonic under the direction of Sir Simon Rattle and Sarastro (The Magic Flute) with the Chamber Orchestra of Europe and Yannick Nézet-Séguin in Baden Baden Festival. In concertístico Franz-Josef Selig field has sung Missa Solemnis Beethoven with Thielemann and Rattle and opera Parsifal, concert version, at the Berlin Philharmonic.

His numerous recordings on CD and DVD ranging from St. Matthew Passion Bach to The Magic Flute Mozart (The Royal Opera, London / Sir Colin Davis) going by Don Giovanni (Vienna State Opera / Riccardo Muti), The Marriage of Figaro (Salzburg Festival / Nikolaus Harnoncourt), Y The abduction from the Seraglio (Gran Teatre del Liceu / Ivor Bolton / Christoph Loy), as well as The Coronation of Poppea (Gran Teatre del Liceu / David Alden / Harry Bicket). He has recorded the role of Gurnemanz in the opera Parsifal (Wagner) under the baton of Christian Thielemann (Vienna State Opera / German Grammophon) and Marek Janowski and the Radio Symphony Orchestra Berlin (Pentatone). The DVD The Ring of the Nibelung (DG, Metropolitan Opera in New York, 2010) where Selig sang the role of Fasolt, He received a 'Grammy' in 2013. This year the DVD launched The Flying Dutchman Bayreuth Festival (Thielemann / Gloger). June 2014 It came to light his first CD of lieder accompanied on piano by Gerold Huber. Under the title Prometheus (AVI) features songs by Schubert, Wolf y Strauss. In July 2015 Deutsche Grammophon released a new recording The abduction from the Seraglio Mozart (Festival production Baden-Baden, 2014).

ekaterina-semenchuk

He National Dissemination Center Musical (CNDM) in co-production with the Teatro de la Zarzuela, will present the next Monday 8 October the Belarusian mezzosoprano Ekaterina Semenchuk on his first visit to Lied, that this season celebrates its XXV edition. Semenchuk comes accompanied by Semyon Skigin the piano to provide monographic program of songs by great Russian composers of the nineteenth century: Rimsky-Korsakov, Chaikovski, Músorgski Y Borodin, to which are added Balakirev Y Cui. tickets, with a General price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Melancholy as the essence of a people

According to musicologist Cristina Aguilar: “Melancholy never was a sign of national identity as clear as in Russia. Fyodor Dostoyevsky held: "The really great men must experience, as far as I know, great sadness ". Music is sheltered under the broad umbrella of protiazhnaya (lingering), popular genre in which Russian composers were inspired by the eighteenth to twentieth centuries. Or so they wanted us to believe, because its characteristic outline melismatic which today is more about Kyrgyzstan or Kazakhstan- had very little space. But what Russian authors craved that feeling was feeding glimpse believed in the popular song: an ancient sadness emparentaba with that "great Russian soul" of Dostoyevsky, Tolstoy the Gogol, similar to the drippings of Soviet buildings”.

Excellent vocal qualities

Excellent vocal qualities of mezzo-soprano Ekaterina Semenchuk Belarus (Minsk, 1976) They have reaffirmed its reputation as a brilliant singer and belonging to the opera in its most dramatic side with their origin, They give a perfect background to run the program this evening. Semenchuk has sung at venues like the Metropolitan Opera House in New York, the Opéra National de París, the Mariinsky Theater in St. Petersburg, Carnegie Hall in New York, Suntory Hall in Tokyo, the Los Angeles Opera, the Teatro alla Scala in Milan, etc., with masters such as Valery Gergiev, James Conlon, Nicola Luisotti, Zubin Mehta y James Levine, among others. In the world of James Gaffigan has concertístico field (Verdi's Requiem played), Valery Gergiev, Gustavo Dudamel, James Levine, Das Complaining the Mahler en el Festival Ravinia, Dvořák's Requiem with L'Orchester de Paris and James Conlon, Giovanna d'Arco by Rossini and La mort de Cléopâtre Berlioz with the Lucerne Symphony Orchestra, under the direction of Gaffigan also. His repertoire also includes Stabat Mater by Pergolesi and Rossini, respectively, Beethoven's Missa Solemnis, Symphonies No. 2, 3 Y 8 Mahler, Pulcinella and Stravinsky's Oedipus Rex, Hour of Soul (Percussion Concerto, mezzo-soprano and orchestra) de Gubaidulina, Songs and dances of death of Mussorgsky, Jewish folk poetry Shostakovich, Kindertotenlieder the Mahler, Berlioz Summer Nights Scheherazade there Ravel, among many other works. This imtérprete collaborates regularly with great pianists such as Semion Skigin, Dmitry Efimov, Julius Drake y Helmut German.

More info.

Gerhaher y Huber

It started in the Teatro de la Zarzuela the celebrated Lied Cycle which jointly organizes with the National Center for Dissemination of Music. This season, Besides, celebrates 25 year cycle. And to start in style, Christian Gerhaher and his alter ego at the piano, Gerold Huber, have delighted everyone with swansong, Franz Schubert.

swansong (The swan song), It is made up of texts by different authors and they have nothing in common between them, unlike the other two Schubert cycles, the beautiful Miller (The beautiful molinera) y Winterreise (Winter trip), that we have had the opportunity to hear in previous seasons in the voice of Matthias Goerne and Gerhaher himself. The one that concerns us today was published posthumously by editor Tobias Haslinger who, after the composer's death, negotiated the purchase of the drafts of the last songs composed by Schubert with his brother Ferdinand. 14 unreleased songs with piano accompaniment that do not form a corpus, like the two previously mentioned, but whose quality leaves no doubt.

Gerhaher and Huber form a perfect binomial for the nostalgia from which to start towards the texts of Fridrich Rückert and Heinrich Heine. Two of the main romantic references of the time that were put to music by an already knowledgeable Schubert, at that time, of the proximity of his death. The swansong son un set of songs that pass between joy and sadness produced, mainly, for love situations enjoyed, as Love message, (Love message) or torn, as The Atlas (The atlas).

Gerhaher flees any expressive eloquence. Only give up discretion when her voice rises, firm and resounding, carried away by the drama of the moment, like in stay (Resting place). But always from an elegant and unalterable interpretive hermeticism that does not need to convey the eloquence of Rükert's texts, Ellstab, Heine y Seidl.

Gerold Huber, who handles the pedal like nobody else, always walk parallel to Gerhaher, recreating a nuanced atmosphere and precisely linked to the baritone voice. Between the two they form an indissoluble tandem.

A romantic and exquisite evening at a Teatro de la Zarzuela that this time hosted a large number of young fans. Let's hope they consolidate. Not in vain, the Teatro de la Zarzuela is making a notable effort to make this happen.

Hanna-Elisabeth Müller

Next Monday 2 of July, he National Dissemination Center Musical (CNDM) in co-production with Teatro de La Zarzuela, It presents for the first time in the Lied the German soprano Hanna-Elisabeth Müller (Mannheim, 1985), which will be accompanied on piano by Juliane Ruf. The show stars two of the most prominent composers of the genre, delimiters between early and very late Romanticism: Robert Schumann y Richard Strauss. According to Arturo Reverter: “Kaleidoscopic art of this singer, that unfolds beautifully in the traditional Italian opera, shines in this world more internalized”. The latest posts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49

Müller: wise youth

Hanna-Elisabeth Müller studied with Rudolf Piernay who still works. Multi-award winning, soprano continued perfecting his technique in master classes with Dietrich Fischer-Dieskau, Julia Varady, Elly Ameling y Thomas Hampson. In 2017 He made his debut at the Metropolitan Opera House in New York as Marzelline (Fidelio) y Jürgen Flimm, He debuted at La Scala in Milan as Donna Anna (Don Giovanni) and at the Zurich Opera as Ilia Idomeneo Mozart. In 2015 He was presented in Amsterdam singing the role of Sophie in a new production of Der Rosenkavalier. One year later, It premiered at the Salzburg Festival Opera as Zdenka with Renée Fleming and Thomas Hampson under the direction of Christian Thielemann. Shortly after he was honored by the magazine as Opernwelt “Young Artist of the Year”. Since 2012 until 2016, He has been a member of the Bavarian State Opera, where she interpreted Pamina, Zerlina, Susanna, Servilia, Gretel, Zdenka, the Infanta Dona Clara The Dwarf Zemlinski from there Sophie Werther, among others. This season he has sung with the Bavarian State Orchestra on a tour of Japan (Pamina) and at Carnegie Hall in New York (Sophie Der Rosenkavalier). In the summer of 2018 will return to Munich as Zdenka. This versatile singer is usual in the most prestigious concert halls such as the Elbphilharmonie Hamburg (with Beethoven's Ninth Symphony), the Philharmonie de Paris, Philharmonie Essen, Philharmonie Cologne (con WDR Symphony Orchestra), and Tonhalle in Düsseldorf. In season 17/18 He has played a German Requiem Brahms with the Berlin Philharmonic Orchestra, under the direction of Yannick Nézet-Séguin and Seven Early Songs Berg with the Symphony Orchestra of Bilbao and Erik Nielsen.

Xavier Sabata

He Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM), will present on Monday 25 of June (20h00), first in the Lied, a Xavier Sabata, one of the most important countertenor today, which it will be accompanied by Anne Le Bozec floor.

the ambitious, unusual and heterogeneous program, sung in Catalan, italiano, Greek and French consists of works by Giovanni Battista Perucchini, Déodat Severac, Jatzidakis hands, Federico Mompou, Luciano Berio and Manuel de Falla. The theme of this wide selection makes us travel to popular music.

According to Enrique Martinez Miura, author of the program notes, “several of the composers of this program, If Falla and Berio, found in popular music a poetic manifestation that served them as an incentive for creating your own sound world. In the songs of Déodat of Séverac is present this phenomenon, well covered by a layer of regionalism Occitan. It is not very usual in the concert halls of Spain Greek composer Manos Jatzidakis, well known for inveterate moviegoers, but in their country of origin is a myth, in whose image the Greek song of the last half century is reflected. The composer not only related to cinema, since also he composed incidental music with a close cooperation with the Athens Art Theater. The final trip is an atypical song written for solo voice by Mompou in 1947 on a poem by Juan Ramón Jiménez. Luciano Berio had a very different attitude toward popular music. The Italian composer sought to create a new unity between the songs from that heritage and personal style.”

The latest posts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

shoe: BORN in the counter inquieto Avia, Barcelona, he graduated from theatrical performance at the Institut del Teatre of Barcelona. He completed his higher education in parallel saxophone. Between the years 2002/06 studies in the Department of Ancient Music of the ESMUC, in the classroom Marta Almajano. Then continue studies in Germany at the Hochschule Karlsruhe with Hartmut Höll in Liedgestaltung Mitsuko Shirai and. In 2005 participó con William Christie Les Arts Florissants are in the Jardin des Voix. He has worked and works habitualemnte with orchestras such as Venice Baroque Orchestra Andrea Marcon, De Europa Galante Fabio Biondi, The Spanish Concert Emilio Moreno, Al Ayre Spanish Eduardo López Banzo, Antiqua Form,
The Resonance, I Barocchisti, Musicians of His Highness Luis Antonio González, Ingenious labyrinths of Xavier Diaz-Latorre, The Tempest, Pulcinella Ensemble of Ophéle Gallard, Washington Symphony Orchestra and Symphonic Orchestra of Castilla y León. Sabata develops his operatic activity in opera houses such as the Gran Teatre del Liceu in Barcelona, the Teatro Real in Madrid, Opera Oviedo, Teatro de la Fenice in Venice, Theater Champs-Élysées in Paris, Caen Theater, the Grand Théâtre de Luxembourg, Nancy Theater, the Lincoln Center in New York, Aixen-Provence Festival, the Teatro Carlo, Freiburg Theater and the Theater Basel. He has performed in concert halls such as the Auditorium of Barcelona, Palace of Catalan Music, the Auditorio Nacional in Madrid, the City of Music is the Salle Pleyel in París, the Kennedy Center in Washington DC and the Barbican Center in London, among others. She has sung the roles of Ottone, Arnalta y la Nodriza en diferentes de Producciones The Coronation of Poppea y Peisander The Return of Ulysses to Ithaca, both of Monteverdi, Ruggiero de Vivaldi's Orlando Furioso, Perseus freed Andromeda de de
Vivaldi and others, Gernando Faramondo of Ottone and Agrippina, both of Haendel, Prince Go-Go Le Grand Macabre from Ligeti, Mother of Il Sant'Alessio by Landi and Endimione La Callisto Cavalli, among others. It has developed a number of projects from the lives of several characters: Undercastration, Francesco Bernardi y sobre Senesino, and Alonso The communique of Arrendó, capon. Sabata has recorded for the labels Harmonia Mundi Iberica, EMIVirgen Classics and Handel with Faramondo I Barocchisti, Cencic y Jaroussky. Aparté recorded for Bad Guys, with arias by Handel, junto a Il Pomo d'Oro y Riccardo Minasi.

CNDM

Director General of INAEM, Montserrat Iglesias junto a Antonio Moral, director National Dissemination Center Musical (CNDM), They presented this morning at a press conference season 18/19 This center. CNDM, organizational unit of the National Institute of Performing Arts and Music (INAEM), propone para su novena temporada un intenso y extenso programa que mantiene su espíritu de recuperar y difundir nuestro vasto patrimonio histórico y las músicas cultas de raíz popular como el flamenco y el jazz, incentivize the current membership and attract new audiences to classical music, o aquellos géneros menos frecuentes, a través de las diversas actividades organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

El CNDM en su novena temporada organizará 293 activities diferentes en Madrid y otras 28 Spanish cities from 12 autonomous communities, además de estar en 14 ciudades extranjeras (a total of 43 ciudades distintas). La programación de la 18/19 has 65 grupos españoles (145 artistas nacionales) Y 25 grupos extranjeros (97 artistas foráneos). Of the 241 concerts planned, 98 They will be offered en Madrid y 143 fuera of the Spanish capital.

– For the first time, se programan dos jornadas en el Auditorio Nacional de Madrid con el pop (en acústico) starring, under the name Auditorio Actual. Y presentamos un nuevo festival dedicado a la música medieval y renacentista española,Palencia Antiqua y la colaboración con las Jornadas Contemporáneas de Segovia.

– The presencia internacional crece de forma importante y se desarrollará en 14 cities from 11 countries with 18 concerts repartidos por Bogotá (Colombia), Trondheim (Norway), Elvas (Portugal), Amsterdam (Holland), Basel (Switzerland), Cracovia (Poland), Hamburg (Germany), Naples, Palermo y Roma (Italy), Londres y Oxford (United Kingdom), Tel Aviv (Israel) and New York (U.S).
Se mantienen las figuras de artist in Residence, con el violinista italiano Fabio Biondi(Palermo, 1961) y la de Compositor Residente, with Jesús Rueda (Madrid, 1961).

Se articula un gran ciclo transversal en la programación general dedicado al destacado compositor bilbilitano José de Nebra (#Nebra2.5.0, para conmemorar el 250 anniversary of his death).

– HE recuperarán 35 works inéditas del patrimonio musical español y se estrenarán 49 new scores, 30 por encargo del CNDM. further, They will be released 332 new scores, of which 164 serán por encargo del CNDM.

Vuelven artistas imprescindibles en los diferentes géneros musicales: William Christie, Thomas Hengelbrock, Philippe Herreweghe, Jordi Savall, Harry Christophers, Marc Minkowski, Frank Peter Zimmermann, Elisabeth Leonskaja o Tabea Zimmermann a los que se unen otros nuevos como Madeleine Peyroux, Mariza, Bobby McFerrin o Sabine Meyer.

– The educación tendrá de nuevo una importancia capital con 52 activities gratuitas in 11 Spanish cities and 3 foreign, in coproduction with 16 instituciones académicas y se organizarán 55 conciertos de entrada libre.

El CNDM colaborará en la temporada 18/19 with 121 instituciones públicas y entidades privadas.

He National Dissemination Center Musical (CNDM), organizational unit of the National Institute of Performing Arts and Music (INAEM), propone para su novena temporada un intenso y extenso programa que mantiene su espíritu de recuperar y difundir nuestro vasto patrimonio histórico y las músicas cultas de raíz popular como el flamenco y el jazz, incentivar la composición actual y atraer a nuevos públicos hacia la música clásica, o aquellos géneros menos frecuentes, a través de las diversas actividades organizadas de forma autónoma o en colaboración con más de un centenar de instituciones nacionales e internacionales.

The season 2018/19 It is composed of a total of 293 actividades diferentes que tendrán lugar desde el 6 July 2018 al 22 June 2019. The program will take place in Madrid and in other 28 Spanish cities 12 autonomous communities, a las que hay que añadir 14 ciudades extranjeras with 18 conciertos repartidos por Bogotá (Colombia), Trondheim (Norway), Elvas (Portugal), Amsterdam (Holland), Basel (Switzerland), Cracovia (Poland), Hamburg (Germany), Naples, Palermo y Roma (Italy), Londres y Oxford (United Kingdom), Tel Aviv (Israel) and New York (U.S), alcanzando un total de 43 ciudades distintas, con una amplia oferta de conciertos, educational sessions, music academies, interpretation courses, clases magistrales y conferencias a cargo de destacados intérpretes y creadores. Total, se producirán 241 concerts, con música del siglo XII al XXI, of which 143 se ofrecerán fuera de la capital española y 55 tendrán carácter gratuito. La programación cuenta con 65 grupos españoles (145 artistas nacionales) Y 25 conjuntos extranjeros (97 artistas foráneos).

The conciertos organizados en Madrid se reparten, again, in 10 cycles y tres espacios: el Auditorio Nacional de Música, el Teatro de La Zarzuela y el Museo Nacional Centro de Arte Reina Sofía (Nnchhahris). A los ciclos ya clásicos Universo Barroco (Sala Sinfónica y Sala de Cámara), Series 20/21, Borders, Liceo de Cámara XXI, Andalucía Flamenca, Jazz at the Auditorium, Lied and Bach Vermouth, se suma Auditorio Actual, primera incursión del centro en la música pop (en acústico) que se celebrará el fin de semana del 6 Y 7 of July (Friday and Saturday) y contará con tres grupos españoles por sesión, además de un DJ que acompañará el refrigerio que se ofrecerá cada tarde en el vestíbulo principal de la Sala Sinfónica. Será un non stop de más de cinco horas cada día con una muestra del pop más actual. Entre los grupos que se darán cita en esta primera edición figuran Xoel López, La Bien Querida, Anaut, Shica & Gutman, Nora Norman y Museless, además de los DJ´s Víctor Caballeira y Xácome Froupe. A todo lo mencionado hay que añadir la octava edición del proyecto pedagógico y social “Todos Creamos”.

En la próxima temporada el CNDM aumenta sus colaboraciones hasta las 121 instituciones públicas y entidades privadas. In Spain lo hará para coproducir el XVIciclo Músicas Históricas de León (el ciclo en el Auditorio Ciudad de León junto al Ayuntamiento que este año crece hasta los 9 concerts), los cuatro ciclos de música actual in Alicante, Badajoz, Malpartida de Cáceres (Museo Vostell Malpartida) YSegovia, los dos baroque in Oviedo Y Salamanca, además de los conciertos coproducidos por los cabildos catedralicios incluidos dentro de la serie El órgano en las catedrales. The cycle Beethoven Actual, que incluye las 32 Sonatas para piano de Beethoven junto a los 18 estudios para piano de G. Ligeti y 9 reestrenos de compositores españoles, este año llegará a Salamanca, Soria y Badajoz. Continúa la colaboración estable con los festivales internacionales de música de Cádiz, Sevilla y Úbeda-Baeza, refuerza sus alianzas con el L´Auditori de Barcelona (con la segunda parte del ciclo Schubert Lied, coproducido por la Asociación Franz Schubert de Barcelona) y comienza la colaboración con la Iglesia de Santiago de Betanzos (A Coruña) and theDiputación de Palencia (festival Palencia Antiqua). Este festival palentino nace para impulsar la música medieval y renacentista española y se desarrollará en su capital y en los pueblos limítrofes que cuentan con una colección de órganos sin parangón en nuestro país.

He programa internacional crece exponencialmente repitiendo la colaboración por cuarto año con el Festival de Música Sacra de Bogotá (Colombia) y con la vecina ciudad portuguesa de Elvas Y, por segundo año, con el Festival de Música Barroca deTrondheim (Norway). El éxito de los dos pasadas ediciones del Europe project: El cuarteto de cuerdas en España junto al Instituto Cervantes ha hecho que el ciclo llegue en esta temporada a 3 nuevas ciudades (Hamburgo -Alemania-, Londres -Reino Unido- y Cracovia -Polonia-), y que se añadan dos series de conciertos más con el IC: “Dialogue of old and new sones” proyecto de Rocío Márquez y Fahmi Alqhai que se presentará en Roma, Nápoles y Palermo y el “Proyecto Israel” (dos citas), además de un concierto dentro de la Bienal de Flamenco de Holanda. Para redondear la apuesta fuera de nuestras fronteras se realizarán tres conciertos más en Basilea (Switzerland), NY (U.S) y Oxford (United Kingdom) hasta alcanzar un total de 18 conciertos repartidos por 14 cities.

La actual temporada mantendrá las “residencias” del CNDM. Madrid Jesús Rueda(Madrid, 1961) it will be Compositor Residente, autor que hoy se encuentra en plena madurez creativa y presentará un total de veintitrés obras, escritas entre 1991 Y 2019, donde se incluyen tres estrenos absolutos. El prestigioso violinista italiano Fabio Biondi(Palermo, 1961) será nuestro artist in Residence. Biondi, que lleva décadas muy ligado a nuestro país, en la actualidad reside en Valencia, donde ha sido director musical del Palau de Les Arts hasta este año. Músico habitual de los ciclos Universo Barroco y Circuitos, ofrecerá cuatro conciertos en Madrid y uno en Salamanca, al frente de su orquesta Europa Galante, junto a cantantes de la talla de Vivica Genaux, Sonia Prina e Ian Bostridge o el joven pianista español Juan Pérez Floristán en el Liceo de Cámara XXI.

José de Nebra (Calatayud, 1702 – Madrid, 1768), ocupará la atención del ciclo transversal de este año. Bajo la denominación #Nebra2.5.0 conmemoraremos los doscientos cincuenta años transcurridos desde su muerte, obligado reconocimiento a uno de nuestros compositores barrocos más creativos, quien fuera organista de la Catedral de Cuenca, del Monasterio de las Descalzas Reales y de la Capilla Real de Madrid hasta convertirse en su Vicemaestro en 1751. Este ciclo de 17 concerts 8 cities different (Cádiz, Lion, Madrid, Oviedo, Palencia, Salamanca, Segovia and Ubeda) recuperará y estrenará en tiempos modernos varias obras importantes, como su segunda ópera Venus and Adonis(1729), en edición crítica de Luis Antonio González y una nueva Misa a ocho con violines y dos Cantatas al Santísimo, found in the Cathedral of Segovia and recovered by Alicia Lazaro. A ello se le sumará la interpretación de una muestra de su rica música sacra (tanto coral como para órgano) y de una selección de arias y dúos de algunas de sus óperas y zarzuelas más representativas como Love increases the value (1728), Viento es la dicha de Amor (1743), Vendado es amor, no es ciego (1744) e Iphigenia in Tracia (1747).

The creación contemporánea sigue siendo un pilar fundamental en la programación del CNDM, incentivando la composición de nuevas páginas (332 estrenos hasta el 2018 of which 164 han sido encargos del CNDM) y ampliando el conocimiento del repertorio menos transitado del pasado siglo. Este año verán la luz 49 nuevas obras, 30 de las cuales serán por encargo del CNDM. Entre los estrenos más importantes de los próximos meses destacan los cuartetos de Jesús Rueda (Cuarteto Gerhard), Gabriel Erkoreka (Cuarteto Granados), Gabriel Loidi (Cuarteto Leonor) y Antoni Parera Fons (Cuarteto de Leipzig), just like him Quinteto para clarinete “Joyce” but Peter Eötvös (Cuarteto Quiroga y Jörg Widmann). Se estrenará también una inusual composición para dos quintetos de cuerda, La rebelión de los ecos de Cristóbal Halffter; the play No longer para conjunto instrumental de César Camarero, en coproducción con la Fundación Pro Helvetia, y dos obras dedicadas a la memoria de Federico García Lorca encargadas a Manuel Martínez Burgos. A ello hay que añadir la Sexta sonata para piano de Jesús Rueda, las nuevas páginas en coproducción con la Casa de Velázquez y el Goethe-Institut de Madrid encargadas a Jorge Fernández Guerra y Hans-Jürgen von Bose respectivamente, y una nueva obra para trompeta (dedicada a Manuel Blanco), piano y conjunto de cámara del gran pianista de jazz Pepe Rivero. No podemos olvidar tampoco los estrenos de generaciones más jóvenes como los que formarán parte del XXIX Premio de Jóvenes Compositores Fundación SGAE-CNDM.

Los homenajes también llegarán a otros ciclos, como a Andalucía Flamenca, que contará con un concierto extraordinario en memoria del legendario cantaor José Menese en el que brillará una constelación de nombres propios como Carmen Linares, Rocío Márquez, Aurora Vargas, L'Mkanita, Laura Vital, Pansequito, El Pele, Tomatito, Rafael Riqueni, Antonio Carrión y Jorge Pardo. El segundo concierto extraordinario unirá la genial guitarra de Dani de Morón a las voces de cuatro cantaores de diferente estilo: Rocío Márquez, Antonio Reyes, Duquende y Pitingo. También visitarán este año nuestro ciclo flamenco voces que mostrarán el amplio espectro de la sensibilidad de este género: those of Esperanza Fernández, Argentina, Mayte Martín, Jesus Mendez, El Pele y David Palomar, Virginia Gámez, Melchora Ortega y Rocío Bazán junto a maestros del toque como Manuel Valencia, Miguel Ángel Cortés, Jose Quevedo, Niño Seve, Rafael Rodriguez, Alfredo Lagos, Andrés Cansino y Alejandro Hurtado.

Jazz at the Auditorium dará cita de nuevo en Madrid un conjunto de carismáticos intérpretes en busca de nuevas emociones, convocando al pasado, presente y futuro del género: de las indispensables voces de Madeleine Peyroux Y Bobby McFerrin a grandes pianistas como Fred Hersch (en solitario), Danilo Pérez (con su grupo Children of the Light), Kenny Barron (trio format) al quinteto del versátil Moses P. Sánchez, sin olvidar el jazz oriental del contrabajista Omer Avital. Velada destacada será también la protagonizada por el conjunto Valencia Jazz Top 7, un septeto capitaneado por los saxofonistas Perico Sambeat y Javier Vercher junto a otras importantes firmas del jazz valenciano que darán prueba de la buena salud del jazz nacional.

The cycle Borders reincide, tras recibir el año pasado a Cristina Branco, en la esencia musical portuguesa con la diva del fado Mariza, que presentará su nuevo disco en la Sala Sinfónica del Auditorio. In the meantime, en la Sala de Cámara se alternarán las bandas sonoras de las películas de Fellini con un cuarteto de destacados solistas nacionales que se han juntado bajo el nombre de Fellini Quartet; el inquieto Javier Limón, que nos descubrirá nuevos caminos y nuevas voces del mundo; Santiago Auserón vestido de Juan Perro volverá a enamorar con su mezcla de músico total: rock, jazz, música latina y caribeña; el gran flautista y saxofonista Jorge Pardo traerá ritmos de la otra orilla del Atlántico; el atractivo dúo de nuestro trompeta más internacional Manuel Blanco y el pianista cubano de jazz Pepe Rivero invocarán los espíritus de Piazzolla a Berstein pasando por Rimski-Korsakov, viaje paralelo al que realizarán la popular clarinetistaSabine Meyer en comunión con el Quinteto Alliage con obras de Bernstein, Shostakóvich y Stravinski; the pianist Marco Mezquida with guitar Chicuelodarán cuenta de la inspiración y química que les une en su segundo disco juntos y el singular dúo creado por el contratenor Carlos Mena y el acordeonista Iñaki Alberdi para interpretar “de otra manera” a J.S. Bach y Tomás Luis de Victoria.

La exitosa programación para órgano continuará con el ciclo Bach Vermouth with a nueva entrega de siete conciertos que ampliarán el repertorio y contarán con nombres imprescindibles del mundo organístico en Madrid y en las siete catedrales españolas(Bilbao, Logroño, Murcia, Palma de Mallorca -primera visita del CNDM a las Islas Baleares-, Salamanca, Segovia and Valencia) que componen la tercera edición de la serie The organ in the Cathedrals. Este año disfrutaremos del homenaje a la gran dama del órgano en España, Montserrat Torrent, por parte de algunos de sus ya muy famosos alumnos, además de extraordinarios improvisadores (David Briggs, Olivier Latry YWayne Marshall), el primer dúo de órgano y piano, de la mano de los hermanos Scott, su compatriota Stephen Tharp (que por diversas razones no ha podido estar en esta serie musical antes) y el suizo Yves Rechsteiner, autor de una amplia literatura de transcripciones interpretadas por organistas de todo el mundo que llegará acompañado del percusionista Henri-Charles Caget.

The cycle Liceo de Cámara XXI mantiene la excelencia en la Sala de Cámara con prestigiosos solistas como Frank Peter Zimmermann, que iniciará en esta temporada, with pianist Martin Helmchen, la integral de las Sonatas de Beethoven repartidas en tres conciertos; la singular violinista Leila Josefowicz, experta en el repertorio contemporáneo; Fabio Biondi, que ha invitado para tocar a dúo al joven pianista Juan Pérez Floristán; the pianist also Andreas Haefliger, junto al Louisiana Boathouse Ensemble, volverá la legendaria pianista rusa Elisabeth Leonskaja, esta vez junto a su recién formado trío; el joven pianista, fortepianista y clavecinista surafricano Kristian Bezuidenhout y tres virtuosos que unirán sus genios: Tabea Zimmermann, Jean-Guihen Queyras Y Daniel Sepec. Como no puede ser de otra forma en un ciclo centrado en la música de cámara, recibiremos a algunos de los más renombrados cuartetos de cuerda del mundo como son el Arditti Quartet (con obras de Kurtág, Rueda y Ligeti), he Prazak(con la violista española Isabel Villanueva), el asiduo y brillante Jerusalem Quartet, he Belcea (junto al pianista Anderszewski); he Quiroga (con Jörg Widmann en un importante estreno absoluto de Peter Eötvös), he Chiaroscuro que toca con instrumentos de época y el veterano Cuarteto de Leipzig (presentando el último cuarteto -el noveno- de Cristóbal Halffter tras haber interpretado en Madrid los ocho anteriores, el último por encargo del CNDM) y el joven Cuarteto Signum que compartirá escenario con la pianista Judith Jáuregui en este encuentro musical entre amigos.

He Lied, ya en su vigésimo quinta edición en el Teatro de La Zarzuela, It will continue to have the best voices that cultivate this special genre and have turned Madrid into one of the international reference centers. Para celebrar su medio siglo de vida la soprano Ainhoa ​​Arteta estrenará el ciclo de canciones magical path from Lorenzo Palomo. Volverá el barítono alemán Christian Gerhaher, uno de los mejores liederistas de hoy; el bajo alemán Franz-Josef Selig, indispensable en las producciones operísticas actuales; la cotizada soprano canadiense Adrianne Pieczonka, que ahondará en una nueva versión del Winterreise Schubert; la refinada y cálida mezzosoprano argentina Bernarda Fink (con un insólito programa checo e hispano-argentino) y la luminosa soprano alemana Dorotea Röschmann. Participarán por primera vez la poderosa mezzosoprano rusa Ekaterina Semenchunck, her too mezzo Sarah Connolly, que al fin debutará en esta serie tras su cancelación de hace dos años; el joven barítono austriaco André Schuen, un valor en alza y el veterano tenor suizo Michael Schade.

The Education adquiere, como en cursos pasados, paramount importance 52 activities diversas repartidas a lo largo de once ciudades españolas y tres extranjeras (Elvas -Portugal-, Bogotá -Colombia- y Tel Aviv -Israel-) coproducidas con cuatro universidades españolas (Oviedo, Lion, Salamanca y Complutense de Madrid) cinco Conservatorios de Música en la Península Ibérica (Alicante, Badajoz, Madrid, Oviedo and Elvas in Portugal), dos centros educativos de secundaria of the Community of Madrid (que participarán en la octava edición del Educational project, coordinado por el pedagogo Fernando Palacios y dedicado este año al misterioso Manuscrito Voynich), tres festivales (Música Contemporánea Vostell Malpartida, Música Española de Cádiz y Música Contemporánea de Tres Cantos), he Goethe-Institut (with the conference "Interactions XXI", dedicated to musical creation in both countries) and theQueen Sofía College of Music. In the University of Salamanca tendrá lugar, por sexto año, un intenso programa de clases magistrales y talleres de interpretación, crosscutting, centrado en el ámbito de la música antigua y barroca “históricamente informada”. En el Auditorio de León se celebrará el VIII Curso de Interpretación Vocal Barroca, que anualmente imparte el director, clavecinista y musicólogo Eduardo López Banzo.

El CNDM mantiene el interés en incentivar y promover la incorporación de nuevas audiencias a sus diferentes programas divulgativos y educativos. Esta temporada aumenta la edad de aplicación de los descuentos para young boys (que pasa de menores de 26 años a minor 30) para los que desarrolla una amplio abanico de posibilidades, including offers important advantages in acquiring inputs or fertilizers, sobre todo a través del programa Last minute (a discount 60%, para localidades adquiridas desde una hora antes del inicio de los conciertos) y acuerdos estables con numerosos schools para que los estudiantes que participan activamente en los cursos y ciclos coproducidos conjuntamente, puedan asistir gratuitamente a los conciertos y otras actividades programadas por el centro en las diferentes ciudades españolas. Se beneficiarán también del descuento Último Minuto theunemployed y se mantiene el descuento del 20% for all students, grupos de más de 20 personas y mayores de 65 years, aumentando al 50% el aplicado a familias numerosas. A este interés por impulsar la música en todas sus vertientes hay que sumar las 52 activities educativas gratuitas and the 55 conciertos de entrada libre.

The renovación de abonos para todos los ciclos programados en el National Music Auditorium, will be available of the 25 May to 5 of July, en las taquillas del Auditorio Nacional, www.entradasinaem.es Y 902 22 49 49, y la venta de nuevos abonos del 11 July to 8 of September. The entradas libres, si las hubiere, para todos los conciertos programados en la Symphony hall, salvo el extraordinario en colaboración con Ibermúsica, estarán a la venta from the 11 of July, con entradas de 5 a 40 euros, mientras que para los ciclos de la Chamber Hall se podrán adquirir from 12 of September, con precios from 10 a 20 euros. He XXV Ciclo the Song, programmed into theTeatro de la Zarzuela, mantiene sus locations 4 a 35 euros, and the Series 20/21programadas en el Reina Sofia Museum seguirán siendo con free access hasta completar el aforo de la sala.

Matthias Goerne

With swansong (Swansong) It ends the cycle this season has offered Matthias Goerne on Franz Schubert. The whole universe of Schubert Lieder with The beautiful Miller (The beautiful molinera) Y Winterreise (Winter trip).

He 30 April Goerne and Hinterhäuser addressed Winterreise. A cycle of songs compounds initially tenor, but leaving open the possibility of being interpreted by most serious voices that can provide greater intensity and darkness each song. Sometimes also it is interpreted by female voices. And is that Winterreise, unlike other works, through its dynamic, times the phrasing, It provides an almost endless variety of interpretive possibilities.

And Matthias Goerne is of those interpreters who gives Winterreise of life. Goerne delves into the intimacy of this winter trip like no other. The flexibility of his baritone voice, always discover new nuances in this set of songs so you never get tired of listening. This dramatic journey to the solitude of verses Wilhelm Müller, describe the emotional moment of a Schubert abandoned by a woman. The songs are shelling, by hopelessness, Roving for that trip to melancholy.

Just one week later, he 8 of May, Goerne, this time accompanied on the piano by veteran Alexander Schmalcz, which he replaced a sick Hinterhäuser, he offered swansong. Poems that make up this cycle of songs, unlike the other two cycles, not belong only to one author. In this case there are three poets chosen, Ludwig Rellstab, Heinrich Heine and last Seidl which it has been omitted in this recital. It seems that was not part of the initial body and was only added by the superstition that they were not 13, if not 14, the songs that make up this cycle.

This latest collection of songs was made by the editor Hanslinger and Schubert's brother, after the composer's death, to the enormous production of songs he had composed, almost compulsively, before his death. Less well known than the two previous cycles, swansong not only is a matter. These contain themes dedicated to love, lost love, mythology and, one of the favorite themes of Schubert, trip, of dealing stay (Resting place).

Goerne has used almost all of the resources you have, which they are few, Shelling each parts forming this cycle. From vocal exaltation, perhaps somewhat exaggerated The Atlas (The atlas), the disturbing drama of The lookalike (The double), with which Goerne is capable of transmitting the most profound and wrenching psychological tensions. The execution of Alexander Schmalcz the piano, It was the setting and the perfect way for the interpretation of Goerne. Subtle, energetic and delicate. All at the moment and just measure.

Mathias Goerne

The cycle is a co-production between the National Broadcasting Music Center and the Teatro de la Zarzuela. After singing on Monday 26 February the beautiful Miller (The beautiful molinera) with pianist Markus Hinterhäuser, now it offers song cycles Winterreise (30 of April) Y swansong (8 of May)

He Monday 30 April at 20h00, he National Dissemination Center Musical (CNDM) in co-production with Teatro de la Zarzuela presented again in the XXIV Lied German baritone Matthias Goerne together with the excellent pianist Markus Hinterhäuser, this time to interpret the cycle Winterreise from Franz Schubert.

Always with particularly demanding programs, the Goerne surprising proposals for male voice reveal its permanent concern in this genre. In this season It is addressing the three cycles Schubertiads. After the beautiful Miller Y Winterreise, he 8 of May will end the cycle with swansong at the Teatro de la Zarzuela. Three recitals in just over two months with the same accompanist, which have become Dating indispensable this season for opera lovers.

The tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

As “artist in Residence” CNDM this season, Goerne has participated in two concerts more: with the Orchestra of the Community of Madrid (BARREL) with his homeroom teacher, Victor Pablo Pérez, He sang last November, Kindertotenlieder of Gustav Mahler. He has also walked the stage of the Royal Theater in Elijah Mendelssohn, Granada with Pablo Heras-Casado in front of two great Germanic sets (Rias Chamber Choir y Freiburg Baroque Orchestra) CNDM in a co-production with the Philharmonic and the Madrid coliseum last 8 of April.

Schubert: the lyricism of lieder

Arturo Reverter critic indicates that: “The lyricism of Schubert's lyricism of lieder, whose deep and troubling backdrop as nothing less than the romantic idea of ​​death, intuits that, is eying, finally it becomes real, singular alone or in connection with the surrounding nature, after each instrumental effect, melodic or harmonic; after those subtle thematic chains, apparently improvised expressive or below tremolos, abundant chromaticism, the dissonances or the apoyaturas. Through the lyrical effusion things are transfigured into that romantic who eventually ascribed and where nothing will universe and what was. Winterreise (Winter trip) is, indeed, a real inner journey, a basic idea, as we said, Schubert's music. Rarely it has been painted in such a precise, justness and loneliness dramatics, desolation and despair; It not often has penetrated so deeply into the intimate drama of a human being and has delved into the antechamber of death itself and in these songs, real journey to nowhere. Two fundamental and recurring themes dominate the musician Müller's poems: again the idea of ​​travel, change of position in space, Shuttle, and loneliness”.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

Last season include concerts with major orchestras in the US and Europe such as the Boston Symphony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris y Philharmonia Orchestra London, as well as a series of recitals with Leif Ove Andsnes songs and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London and the new concert hall in Seoul LOTTE, among many other places. He has made a world tour singing Winterreise with the famous William Kentridge and another with the Freiburg Baroque Orchestra by major European cities. further, Goerne made his debut as Jochanaan (Salomé) at the Vienna State Opera as Wotan (Siegfried) version in concert with the Hong Kong Philharmonic and Jaap van Zweden. In summer 2017, he returned to the prestigious Salzburg Festival, where he sang the title role Wozzeckplus a lieder recital with piano Danii Trifonov.

Matthias Goerne

Last monday 26 February, baritone Matthias Goerne, He offered the first of three concerts that will make this season in the Lied cycle of Teatro de la Zarzuela and the National Center for Dissemination of Music. The closing stages of the courts culminating recital I for a moment of silence before starting the applause. An intimate silence, introspection and meditation that always accompany those magical moments of inner turmoil. An almost unique experience, by unusual.

What had happened in the previous half hour and was, unbroken, the comminuted exposure wide variety of colors with which Schubert recreates poems Wilhelm Müller, "The beautiful Miller", (The beautiful molinera).

Goerne was evolving in depth from love songs to songs of death, passing an emotion to another brilliantly descriptively. Modula and expresses the character of each of the poems with his baritone voice that has grown in density and expressiveness. A deep, smooth voice that rises easily to high notes and full of volume and tension the worst records.

Accompanied on piano by Markus Hinterhäuser, who seems to be quietly in a corner, without prominence rests, Almost entirely, Goerne's voice, but traces the lines along which the voice unfolds with the ease that gives confidence mutual understanding.

If you have not been lucky enough to attend this recital, the Teatro de la Zarzuela and CNDM offers two new opportunities. Completing the cycle F. Schubert, Winterreeise, he 30 April swansong. He 8 of May. I will not miss it. are warned.

Diana Damrau

He Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM) will present the next Monday 5 of March (20h00), to acclaimed soprano Diana Damrau, in what will be his second visit to Lied. Damrau will be accompanied by Helmut Deusch at the piano to offer a program composed of works by two essential names in Liederistic composition: Hugo Wolf Y Richard Strauss. The latest posts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Damrau: total soprano

hailed as “soprano coloratura leading worldwide” (New York Sun) and "an incomparable soprano intelligence" (The Guardian), Diana Damrau continues to amaze audiences with his unique voice and powerful stage presence. Nacida en Günzburg on the Danube, This German soprano studied Singing at the Würzburg Conservatory with Carmen Hanganu and in Salzburg with Hanna Ludwig. He made his professional debut in 1995 at the Mainfrankentheater in Wurzburg and until the year 2002 He was part of the companies of the theaters of Würzburg, Mannheim and Frankfurt. Since then, She is one of the most requested sopranos on the main operatic stages, performing regularly at the Teatro alla Scala in Milan, la Bavarian State Opera de Múnich, the Royal Opera House Covent Garden in London, the Vienna State Opera and the Metropolitan in New York, under the direction of important directors like Zubin Mehta, Lorin Maazel, Sir Colin Davis, Christoph von Dohnanyi, Riccardo Muti, Ivor Bolton, Nikolaus Harnoncourt, Pierre Boulez, Peter Schneider, James Levine, Kent Nagano, Fabio Luisi, Jérémie Rhorer, Dan Ettinger o Christian Thielemann.

Among his most relevant performances are those of the Queen of the Night (The Magic Flute), Zerbinetta (Ariadne auf Naxos) and Adele (The bat) in Munich, Berlin and Vienna; the leading female roles in Salieri's L’Europa riconosciuta at La Scala in Milan; the world premieres of The giant from the stone field of Cerha in Vienna and 1984 the Lorin Maazel and Londres; the debuts in the roles of Marie (Daughter of the Regiment) in San Francisco, Donna Anna (Don Giovanni) in Geneva, Manon de Massenet in Vienna and Aminta (The Silent Woman) in Munich, and his regular presence at the Salzburg Festival with the Queen of the Night, Blonde, Konstanze, Fauno (Ascanio in Alba) and Susanna. Since 2005 sings every season at the Metropolitan in New York repeatedly getting big wins as Zerbinetta, Rosina, Aithra (The Egyptian Helena), Konstanze, Gilda, Lucia, Marie, Adele (Le comte Ory) and Adina. further, in the year 2007 caused a sensation by playing his first Pamina and his last Queen of the Night. In recent years she has added new roles to her repertoire as Philine (Mignon) and Elvira (I Puritani) and in the year 2011 achieved overwhelming success singing all three female roles of The Tales of Hoffmann in Munich. In 2013 Gilda sang in a new Rigoletto production at the Metropolitan in New York, where she also debuted with the role of Violetta from La Traviata.

Alongside his operatic career, Diana Damrau develops an intense activity in concerts and lied recitals. Accompanied by pianists of the stature of Helmut Deutsch, Julius Drake y Charging Matthias Mann, and also by the harpist Xavier de Maistre, has performed in the most important concert halls such as the Berliner Philharmoniker, Musikverein de Viena, Wigmore Hall de Londres, Carnegie Hall in New York, Salzburg Schwarzenberg Schubertiade Festival. Diana Damrau has participated in an edition of Lied: XIV (07-08). In season 17/18 will perform a wide range of operas and concerts on stages in Europe and Asia. further, to promote his latest album "Grand Opera: the music of Meyerbeer”, in a series of concerts with Jonas Kaufmann and take her touring Asia with her husband, Nicolas Tested, within opera productions, again sing the roles of Lucia di Lammermmor (the eponymous opera) and Violeta Valéry (La Traviata) that Maria Stuarda add those (protagonist of the opera of the same name) and Marguerite in the Faust the Gounot.

Piotr Beczala

It was the first time that the Polish tenor Piotr Beczala He participated in the Cycle Lied the Teatro de la Zarzuela, in collaboration with the National Center for Dissemination of Music and Polish Institute of Culture. Definitely, the participation of one of the most popular tenors of the moment raises the already high level of this cycle Lied.

Beczala is an unusual tenor. His vocation for music was late, He came while studying engineering and sang in a choir to rest books. To the 19 years and unhurried, He opted for a musical career that is providing great moments.

The repertoire selected for Zarzuela Theater can be divided into two distinct parts, three, if you count tips. The first part began with three works, Large melodic vocation, from Stefano Donaudy. From Ermanno Wolf-Ferrari He performed four respects, belonging to popular anonymous poem in Tuscan language Respect. From Anttonino Respighi He offered three short pieces that must be highlighted the overwhelming interpretation of Mists. To conclude this first part, three works of Francesco Paolo Tosti and thereby put the romantic accent to this exhibition of Italian popular song.

The second part consisted of works by Polish composers. A new feature also is an enrichment for some recitals lied which they tend to uniformity programmatic. Six Songs from Karol Szymanowski, whose compositions are inspired by the Central European tradition. Songs Mieczyslaw Karlowicz, We approached a composer who cut short his brilliant career because of his sudden death. To end, four Songs from Stanislaw Moniuszko. A compendium of beautiful, simple melodies that show the traditions and customs of Polish society of the nineteenth century.

Piotr Beczała interpretation is of extraordinary neatness. Elegant singing line and a registry change that seemed easy. gloss loss was noted in pianos, Those who lacked the tension that holds. But they are indisputable her beautiful timbre, perfect pitch and impeccable diction.

The best features of voice Beczcala were multiplied when it passed the lied opera in three arias which offered a tip. The first, the Morning, from Leoncavallo. He followed with an emotional Why wake me? of the Werther from Massenet. A role that is providing many successes and an aria that the public moved to other moments lived in this Theater. He finished with Tosca, Puccini and And the stars were shining that put the audience on its feet.

It was well accompanied on the piano by Helmut German who, despite some small oversight, makes a perfect reading of the score and singer.

Leo Nucci

The next Monday 18 from December, he Teatro de la Zarzuela, in coproduction with the National Broadcasting Music Center (CNDM), presents to mythical baritone Leo Nucci in a special concert inside of the XXIV Lied. Nucci returns to street theater Jovellanos after that historic concert, four seasons ago, which will remain in the memory of those who were fortunate enough to live it: 45 Tip minutes with the public completely given. This time, arrives accompanied by James Vaughan al piano to offer a program composed of works by Verdi, Rossini, Puccini, Tosti, Field y Buzzi-Peccia. tickets, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Last by far the sesentena, the indestructible baritone is still fit issue with prestancia, sense of phrasing, to express with passion. Very lyrical in its origins, though always provided with a bright timbre, communicative and a metal recognizable, in addition to a considerable extent, the artist, He born in a neighboring town to Bologna 16 April 1942, He has dark color and expanding issuance –Which he makes through curious grimaces in search of the most convenient directionality of the breath– to be able to undertake the most demanding characters. Nucci You can even give lessons to many younger baritones of how he studied and build a totally operatic figure. Whatever it is, he gets into his skin almost violently; It is transmuted and is no longer him to become another creature without forgetting a line very carefully canto. Mordant is surprising that still has the Bolognese artist in the acute area: makes, the sun and even the throat out of their propulsion. its singing, sincere and delivered, is offered to us through a first acting performance.

Nucci: a legendary baritone

Leo Nucci (Castiglione dei Pepoli, Bologna, 1942) was first presented to the public in 1967 at the Teatro Sperimentale (Adriano Belli) of Spoleto as Figaro in The Barber of Seville Rossini. He studied with Mario Bigazzi, completing his studies in Bologna with Giuseppe Marchesi. From 1977 sings the famous Rossinian title at the Teatro alla Scala in Milan. For this same theater he has recorded Don Carlo, two editions of Aida, The Barber of Seville, Simon Boccanegra, The Troubadour, Otello, Tosca, Gianni Schicchi, with directors like Claudio Abbado, Riccardo Chailly, Riccardo Muti, Lorin Maazel y Sir Georg Solti, among others. His close relationship with this mecca of the opera was recorded in 2007 with a historical concert on the occasion of the thirty-year career at the Teatro alla Scala: Leo Nucci: Thirty Scala. Their regular performances at Covent Garden in London, the Vienna Staatsoper (where he has sung about three hundred performances and has made multiple recordings, receiving the distinction as “Kammersänger” Y “honorary Member”), and in the Metropolitan of New York they began at the end of the years 70. In 1977 sang for the first time in the Arena of Verona, where he has been participating regularly for more than thirty years. Its interpretations of Rigoletto being, probably, the only baritone who has sung this Verdi role in all the most important theaters in the world, with more than five hundred official performances (the number 500, he performed it several years ago at the Vienna Staatsoper directed by Jesús López Cobos). Nucci has recorded under the direction of Herbert von Karajan, Sir Georg Solti, Riccardo Muti, Claudio Abbado, Carlos Kleiber, Lorin Maazel, Riccardo Chailly, James Levine, Zubin Mehta, Carlo Maria Giulini, Giuseppe Patane, Nello Santi, Bruno Bartoletti and Daniel Oren, among others, sharing the stage with the singers millin world of opera. Recently published a book dedicated to him: Leo Nucci, a baritone by chance, de Achille Mascheroni (Parma, Azzali Publisher). In recent seasons he has achieved great success at the Teatro alla Scala and Covent Garden in London with Nabucco in Verdi, Rigoletto on tour in Japan with the production of the Teatro alla Scala, in Simon Boccanegra e The Troubadour at the Teatro alla Scala and at La traviata at the Munich Opera and the Liceu Theater in Barcelona.

Matthias Goerne

He Monday 27 November at 19.30 hours, National Dissemination Center Musical (CNDM) concert series opens with the German baritone Matthias Goerne as "Resident Artist" center for the season 17/18. This first concert, in the Symphony Hall of the National Auditorium, It is co-produced with the Community of Madrid Orchestra (BARREL), and it will star the ORCAM with his homeroom teacher, Victor Pablo Pérez, in front. The program consists of the Ninth Symphony Bruckner and Kindertotenlieder of Gustav Mahler.

Throughout the season Goerne will participate in five concerts more: we can enjoy his art on three occasions in the Lied XXIV of the Teatro de la Zarzuela, where it is already a regular visitor and is possibly one of your favorite artists, because he has acted in 15 occasions. Always with particularly demanding programs, its amazing proposals in a male voice (as schumanniana collection Woman's love and Life) reveal its permanent concern in this genre. This season will address the three major cycles Schubertiads (The Schone miller, Winterrreise Y Schwanengesang) It has already addressed separately, but this time in three recitals that have little more than two months apart and with the same pianist, el excelente Markus Hinterhäuser. He also set foot in the scene Elijah Mendelssohn at the Royal Theater, Granada with Pablo Heras-Casado in front of two great Germanic sets (Rias Chamber Choir Y Freiburger Barockorchester) CNDM in a co-production with the Philharmonic and the Madrid coliseum. And also offer, within the Liceo de Cámara XXI cycling at the National Auditorium, and accompanied by the Quartet Belcea, the melancholic Night, on. 57 of Othmar Schoeck with poems by Lenau.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

Highlights of last season concerts with major orchestras in the US and Europe as: Boston Symphony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philharmonic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris y Philharmonia Orchestra London, as well as a series of recitals with Leif Ove Andsnes songs and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London and the new concert hall in Seoul LOTTE, among many other places. He has made a world tour singing Winterreise with the famous William Kentridge and another with the Freiburg Baroque Orchestra by major European cities. further, Goerne made his debut as Jochanaan (Salomé) at the Vienna State Opera as Wotan (Siegfried) version in concert with the Hong Kong Philharmonic and Jaap van Zweden. In summer 2017, he returned to the prestigious Salzburg Festival, where he sang the title role Wozzeck plus a lieder recital with piano Danii Trifonov.

Bulwark of the vanguard and model of care to Spanish repertoire since its inception in 1987, the Community of Madrid Orchestra (BARREL) It has distinguished itself by presenting some innovative programming, who they have combined the highlights of contemporary design with traditional repertoire. Critics and audiences have unanimously stressed the interest and appeal of the seasons payment of the ORCAM. Cycle of concerts at the National Auditorium has become essential reference in the Spanish musical life and meeting point for a varied audience and dynamic, interested in knowing all the musical currents and frequent premieres including different concert series. The solid guarantee representing subscribers and support the most demanding specialized media expressing relief activity ORCAM, He has extended the scope of its activities beyond the successful season fertilizer Madrid, It is having joined actively in seasons other community settings, like the Canal Theater and the Auditorium Theater San Lorenzo de El Escorial. Their presence has been required in the most prestigious halls and cycles throughout the State, as well as seasons and festivals, Having visited the Teatro Bellas Artes in Mexico D.F. and several venues in Beijing, Shanghai y Hong Kong. In Europe he has performed at famous landmarks such as the Théâtre du Chatelet in Paris, Teatro La Fenice in Venice, Turin Lingotto, Arsenal of Metz and the Konzerthaus Berlin. Italy is a country that frequently hosts performances of ORCAM, signally the Biennale di Venezia and the MITO Festival (Milan and Turin). Similarly it should be noted the performance held at Carnegie Hall New York with Placido Domingo, under the command of Master Miguel Roa.

The close relationship with the lyrical ORCAM is supported by the fact that the orchestra is, Since the year 1998, Titular Orchestra of the Teatro de la Zarzuela in Madrid, which it has placed him as the greatest exponent of the genre, performing in different seasons reruns, replenishments, recoveries, recordings and commissions of various kinds. In the record level, include more than forty recordings made for national and international labels like Emi, German Grammophon, To, Stradivarius, Decca, Naxos, etc. with artists like Placido Domingo, Ainhoa ​​Arteta, Carlos Alvarez and Rolando Villazón, among others. On the podium ORCAM teachers have been invited as prestigious as Fabio Biondi, Harry Christophers, Michel Corboz, Leopold Hager, Jean-Jacques Kantorow, Isaac Karabtchevsky, Lorin Maazel, Paul McCreesh, Shlomo Mintz, Krysztof Penderecki, Alberto Zedda, Libor Pesek and Jose Serebrier. Among the Spanish directors who have worked with include Edmon Colomer ORCAM, Rafael Frühbeck de Burgos, Enrique García Asensio, Miguel Ángel Gómez Martínez, Pablo González, Cristobal Halffter, Jesus Lopez Cobos, Ernest Martinez Izquierdo, Juanjo Mena, Victor Pablo Pérez, Pons and Josep Antoni Ros Marbà.

Ann Hallenberg

The XXIV temporada del Ciclo de Lied dará inicio mañana Tuesday, 10 October (20h00), at Teatro de la Zarzuela, con el esperado recital de Ann Hallenberg. Mezzosoprano known primarily for its ability to delineate the complex vocalizations proves true opera seria, we are also shown as a solid lied singer. La intérprete sueca estará acompañada al piano por Mats Widlund.

Tickets for this concert, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es and using the telephone number 902 22 49 49.

Hallenberg es una liederista capaz de penetrar, con su timbre oscuro y sugerente, en los vericuetos de los Zigeunerlieder from Brahms, de tan peculiar rítmica; en las lúcidas estructuras de las canciones de Clara Schumann; en las sorprendentes sinuosidades de la Suite on. 41 from Medtner; en los sombríos paisajes naturales de los Rückert-Lieder from Mahler Y, como gran hallazgo, in the Canciones del corazón, de aromas tan brahmsianos, de su compatriota De Frumerie.

Ann Hallenberg actúa con regularidad en teatros de ópera y festivales como Teatro alla Scala Milan, Teatro La Fenice Venice, Teatro Real Madrid, Theater an der Wien, Zurich Opera House, Opéra National Paris, Lyon Opera, Théâtre de La Monnaie Brussels, Netherlands Opera Amsterdam, Bayerische Staatsoper München, Berlin State Opera, Semperoper Dresden, Royal Swedish Opera, Salzburg Festival, Verbier Festival y Edinburgh Festival.

Su repertorio operístico incluye un gran número de roles de Rossini, Mozart, Gluck, Massenet, Haendel, Vivaldi Y Monteverdi.

En el formato de concierto se encuentra igualmente cómoda, apareciendo en salas de conciertos y festivales a lo largo de Europa y Norteamérica. Su repertorio comprende música desde el temprano siglo XVII (Monteverdi y Horses), through Mozart, Haydn, Beethoven, Berlioz, Brahms, Mahler Chausson, to the contemporary repertoire of Franz Waxman and Daniel Börtz.

Ann Hallenberg trabaja regularmente con directores como Fabio Biondi, William Christie, Sir John Eliot Gardiner, Emmanuelle Haïm, Philippe Herreweghe, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Christophe Rousset y Alberto Zedda.

He has recorded more than 40 CDs and DVDs with music by Bach, Haendel, Vivaldi, Mozart, Haydn, Gluck, Rossini, Mendelssohn, Brahms y Bruckner, among others. En los International Opera Awards de Londres de mayo de 2016 your CD Agrippina ganó el premio para Best Operatic Recital. Este fue su segundo premio en dicha categoría, habiéndolo ganado también en 2014.

Luca Pisaroni

The Lied XXIII first to receive polyvalent Italian baritone Luca Pisaroni accompanied by pianist Maciej Pikulski. In this last event of the season, which will be next Tuesday 20 of June at Teatro de la Zarzuela (20h00), Pisaroni perform works by Schubert (a selection of his latest song cycle swansong between them), Beethoven (with beautiful Adelaide first term) Y Mendelssohn. Tickets for this concert, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Luca Pisaroni It has positioned itself as one of the most charismatic and versatile bass baritone today. Since its debut at 26 years with the Vienna Philharmonic at the Salzburg Festival and Nikolaus Harnoncourt, He has toured the great opera houses, auditoriums and festivals. His operatic roles include Enrico VIII Anna Bolena Opernhaus in Zurich and Vienna Staatsoper, Alidoro in Cinderella and Caliban in The Enchanted Island at the Met, The Marriage of Figaro operas in Paris, San Francisco, Vienna and Bavaria, Leporello in Don Giovanni in Glyndebourne, the Metropolitan New York, the Salzburg Festival and Tanglewood with the Boston Symphony and James Levine, Guglielmo in Così fan tutte in Glyndebourne and Salzburg, Conte Dorval The Surly hearted Martin y Soler at the Royal Theater, Enrico in The Uninhabited Island from Haydn at the Musikverein in Vienna and Tiridate in Radamisto en la Ópera de Santa Fe. He also played the role of Argante in Rinaldo en la Lyric Opera de Chicago, the main role Ercole Amante from Cavalli with De Nederlandse Opera, Aeneas and Dido and Aeneas the Wiener Festwochen and Don Fernando in Fidelio Beethoven with the San Francisco Symphony.

In concert she has sung the Missa Solemnis Beethoven with the Los Angeles Philharmonic, The seasons de Haydn en el Musikverein con Nikolaus Harnoncourt, he Stabat Mater from Rossini con Franz Welser-Möst, Paradise and the Peri from Schumann with Sir Simon Rattle and the Philadelphia Orchestra,Faustszenen Schumann with Daniel Harding and the Berlin Philharmonic, the Ninth Beethoven with Michael Tilson Thomas Y Gustavo Dudamel, he Requiem Mozart with Yuri Temirkanov and the Accademia di Santa Cecilia, A German Requiem from Brahms with Edo de Waart, the Mass in B minor Bach cantatas with the Gewandhaus Orchestra and of Bach with Nikolaus Harnoncourt and the Concentus Musicus Wien. In the field of opera recital he has performed at Carnegie Hall, Ravinia Festival, the Concertgebouw, Edinburgh Festival, Musikverein, Vancouver Recital Society and the Konzerthaus Dortmund, among other large rooms. He was awarded in 2015 con el premio "Wiener Flötenuhr", awarded by the city of Vienna in collaboration with the Mozarthaus in recognition of his interpretations of Mozart live and recording.

MAtthias Goerne

The cycle is a coproduction between Teatro de la Zarzuela and the National Broadcasting Music Center. Baritone disciple mythical Dietrich Fischer-Dieskau, Goerne is one of the most significant names in the genre Regular cycle Lied, This time it comes with a program that has Robert Schumann, one of the leading exponents of German song, starring

He XXIII Ciclo the Song You will receive next Monday, 27 February (20:00h), at Teatro de la Zarzuela, one of the great baritones of this genre: Matthias Goerne. The German interpreter, disciple of the legendary baritone Dietrich Fischer-Dieskau and career liederística sublime, He has chosen Schumann as the backbone of its program in Madrid. The piano will accompany Alexander Schmalcz. Tickets for these concerts, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de la Zarzuela, INAEM theaters, www.entradasinaem.es and using the telephone number 902 22 49 49.

Matthias Goerne, natural de Weimar (Germany), He studied with Hans-Joachim Beyer, Elisabeth Schwarzkopf y Dietrich Fischer-Dieskau. He collaborates with leading orchestras and conductors in the world in the most important concert halls, opera houses and festivals, as the Royal Opera House, Teatro Real, operas in Paris and Vienna and the Metropolitan in New York. Their roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the main roles of Wozzeck by Alban Berg, Bluebeard's Castle Béla Bartók, and Hindemith's Mathis der Maler. For his recordings have received numerous awards, including four Grammy nominations, one ICMA award and a recently Diapason d'Or. After his legendary recordings with Vladimir Ashkenazy and Alfred Brendel just recorded a series of 11 CDs de lieder de Schubert con Christoph Eschenbach y Elisabeth Leonskaja. From 2001 a 2005 fue profesor honorario de canto en la Music Academy Robert Schumann de Dusseldorf, and in 2001 He was named Honorary Member of the Royal Academy of Music in London.

In season 15/16 he starred with the St. Petersburg Philharmonic and Yuri Temirkanov, the Orchester de Paris, la London Philharmonic y Christoph Eschenbach, the Concertgebouw Orchestra of Amsterdam and Manfred Honeck, y la New York Philharmonic Christoph von Dohnányi, la Leipzig Gewandhaus Orchestra, Tonhalle Orchester Zurich's and Lionel Bringuier, the Swedish Radio Symphony and Daniel Harding and the NHK Symphony and Paavo Järvi, and a series of readings with Daniil Trifonov, Markus Hinterhäuser, Alexander Schmalcz and the Ebène Quartet at Lincoln Center in New York, Opera San Francisco, Wigmore Hall in London, Lille Opera, the Philharmonie de Paris, el Fine Arts Bruselas, it Gulbenkian Lisbon, Abu Dhabi, the Schubertiade Hohenems and the Sydney Festival, among other rooms. Orest will sing at the Vienna State Opera debut as Wotan and the concert version of Wagner's Walküre with the Hong Kong Philharmonic and Jaap van Zweden. In August 2016 He has been invited to numerous festivals, including Salzburg and Verbier.

Mark Padmore

The cycle is a coproduction between the Teatro de la Zarzuela and the National Broadcasting Music Center Y, And it is composed of 9 concerts scheduled October 2016 to June 2017.

London tenor Mark Padmore is one of the great specialists in the work of Schubert and it will be accompanied by Roger Vignoles al piano.

The Teatro de la Zarzuela will host the next Monday, 21 of November, to 20 hours, the Cycle XXIII Lied co-produced by the National Center for Musical Diffusion (CNDM). On this occasion presented tenor Mark Padmore to London, one of the great specialists in the work of Schubert, which will play The beautiful molinera (The Fine Mullerin) the mythical cycle 20 Frank Schubert songs that marks one of the peaks of Lied. He will be accompanied by pianist Roger Vignoles the, one of the essential names in the genre. Tickets for this concert, with a general price 8 a 35 euros, They are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

The first great cycle of Schubert, the beautiful Miller, as the second, Winterreise, poems by 3, It is the beginning of a long journey, the optimistic principle, Searching for love; a transfer confident, effusive and dreamer who will soon see you muddied your expectations for the slights. A myriad of emotions, new experiences that we will count the protagonist viva voce from the cheerful game (The walk) until the final post, the almost funereal The brook Lullaby. The vicissitude will be in fine voice stylist who is Padmore, linking to the domain effusion accent and regulators.

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Mark Padmore, tenor

Mark Padmore was born in London and grew up in Canterbury. After starting his clarinet studies, He won a scholarship to study at King's College, Cambridge, graduating in music. It has forged a brilliant career in opera, concerts and recitals, with interpretations of Bach's Passions that have achieved worldwide recognition. In opera he has worked with directors Peter Brook, Ka tie Mitchell, Mark Morris y Deborah Warner, recently playing the roles of protagonists Harrison operas Birtwistle The Corridor and The Cure at the Aldeburgh Festival and the Linbury Theatre, and Handel Jephtha for WNO and ENO, Captain Vere in Britten's Billy Budd and the role of the Evangelist in a production staged in the St. Matthew Passion at Glyndebourne. She also played Peter Quint ( Turn of the Screw de Britten) unaproducción on television for the BBC and recorded the title role in La Clemenza di Tito with René Jacobs for Harmonia Mundi. His upcoming roles include the Third Angel (John) en Written on Skin de George Benjamin en la Royal Opera House de Londres.

Roger Vignoles, piano

It is internationally recognized as one of the most distinguished companions current world. During his career he has collaborated with leading singers like Elisabeth Soderstrom, Dame Kiri Te Kanawa, Sir Thomas Allen, Barbara Bonney, Kathleen Battle, Christine Brewer, Brigitte Fassbaender, Bernarda Fink, Susan Graham, Thomas Hampson, LorraineHunt Lieberson, Dame Felicity Lott, Mark Padmore, John Mark Ainsley, Roderick Williams, Joan Rodgers, Sarah Walker, Measha Brueggergosman y Kate Royal. He has received numerous accolades for his series of recordings of lieder by Strauss for the Hyperion label, with Christine Brewer, Anne Schwanewilms, Andrew Kennedy, Christopher Maltman, Alastair Miles, Kiera Duffy and Elizabeth Watts. Other recent recordings and upcoming releases include Schubert Der Wanderer, Songs & Ballads de Carl Loewe con Florian Boesch, lieder de Tommy con Renata Pokupic, el Italienisches Liederbuch de Wolf con Roger Rodgers y Roderick Williams para Champs Hill y Before Life and After de Britten con Mark Padmore para Harmonia Mundi, He received in 2009 the prestigious Diapason d'Or prize and the Prix Caecilia. Church Parables has directed Britten for Opera Mahogany office in St. Petersburg and the UK. Other recent engagements included recitals with Elina Garanca, Clara Mouriz, Matthew Polenzani, Christine Rice, Angelika Kirchschlager, Miah Persson, Anne Schwanewilms, James Gilchrist, Elizabeth Watts, Christoph Prégardien and Christine Brewer. His upcoming engagements include recitals with Antoine Tamestit, Marita Sølberg, Joan Rodgers, Renata Pokupic, Christopher Maltman, Marie-Nicole Lemieux, John-Mark Ainsley, Mark Padmore, Florian Boesch, Roderick Williams y Dmitry Sitkovetsky.

Mark Padmore

the tenor Mark Padmore participates in the XXIII Lied organized by the CNDM and it takes place in the Teatro de la Zarzuela. He will be accompanied on the piano by Roger Vignoles. The first great cycle of Schubert, the beautiful Miller, as the second, Winterreise, on poems by Wilhelm Müller, It is the beginning of a long journey, the optimistic principle, Searching for love; a transfer confident, effusive and dreamer who will soon see you muddied your expectations for the slights. A myriad of emotions, new experiences that we will count the protagonist viva voce from the cheerful game (The walk) until the final post, the almost funerealThe brook Lullaby. The vicissitude will be in fine voice stylist who is Padmore, linking to the domain effusion accent and regulators.

Mark Padmore was born in London and grew up in Canterbury. After starting his clarinet studies, He won a scholarship to study at King's College, Cambridge, graduating in music. It has forged a brilliant career in opera, concerts and recitals, with interpretations of Bach's Passions that have achieved worldwide recognition. In opera he has worked with directors Peter Brook, Katie Mitchell, Mark Morris y Deborah Warner, recently playing the roles of actors Harrison Birtwistle's operas The Corridor and The Cure at the Aldeburgh Festival and the Linbury Theatre, and Handel Jephtha for WNO and ENO, Captain Vere in Britten's Billy Budd and the role of the Evangelist in a production staged in the St. Matthew Passion at Glyndebourne. She also played Peter Quint (Turn of the Screw de Britten) in a TV production for BBC and recorded the title role in La Clemenza di Tito with René Jacobs for Harmonia Mundi. His upcoming roles include the Third Angel (John) en Written on Skin de George Benjamin en la Royal Opera House de Londres.

In concert he has performed with leading orchestras in the world, including the Bayerischer Rundfunk and Berlin Philharmonics, Vienna, New York and London, and the Royal Concertgebouw, Boston, London Symphony y Philharmonia. He appears regularly with the OAE in their productions passions J.S. Bach. It offers concerts worldwide with Kristian Bezuidenhout, Jonathan Biss, Imogen Cooper, Julius Drake, Till Fellner, Simon Lepper, Paul Lewis, Roger Vignoles y Andrew West. Composers like Sally Beamish, Harrison Birtwistle, Jonathan Dove, Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, Huw Watkins, Ryan Wigglesworth and Hans Zender have written music for him. His discography includes the Missa Solemnis by Beethoven and Haydn Die Schöpfung with Bernard Haitink and the Bayerischer Rundfunk, and Beethoven lieder, Haydn and Mozart with Kristian Bezuidenhout for Harmonia Mundi. Other albums include Handel arias with The Inglés Concert (As Steals the Morn, Premio BBC Music Magazine), Schubert cycles with Paul Lewis (Winterreise, Gramophone Award 2010), Dichterliebe the Schumann con Kristian Bezuidenhout (Premio Edison Classic 2011) y Serenade, Nocturne Finzi and Britten Dies Natalis the Britten Sinfonia (Premio ECHO Klassik 2013). also he won a BBC Music Magazine Award 2013 by Matthew Passion staged with the Berlin Philharmonic and Rattle. He was elected Vocalist of the Year 2016 Musical America magazine and received an honorary doctorate from the University of Kent in 2014. He is Artistic Director of the St. Endellion Summer Music Festival de Cornwall.

Monday 21 November 2016, to 20:00h. at the Teatro de la Zarzuela.

Tickets

Violeta Urmana

The cycle is a co-production between the National Broadcasting Music Center and the Teatro de la Zarzuela.

The Lithuanian singer has chosen works by Schubert and Strauss in this his third visit to Lied cycle, and it will be accompanied by Helmut Deutsch at the piano.

The next Monday 7 of November el XXIII Ciclo de Lied recibirá a la mezzosoprano lituana Violeta Urmana, a great international opera diva world, accompanied by pianist Helmut Deutsch German, nombre indispensable dentro de este género. In this appointment, as usual, en el Teatro de La Zarzuela a las 20 hours, la cantante interpretará canciones de Frank Schubert y Richard Strauss, dos compositores que elevaron el lied a sus cotas más altas. Tickets for this concert, with a general price 8 a 35 euros, and are on sale at the box office of Teatro de La Zarzuela, INAEM theaters, www.entradasinaem.es Y 902 22 49 49

La diva camaleónica

El critico musical Arturo Reverter comenta sobre Urmana: “¿Soprano?, ¿mezzo? ¿Qué clase de soprano o de mezzo? Sabemos que Urmana comenzó su carrera dentro de este segundo apartado, con papeles como el de Kundry en la ópera Parsifal Wagner, rol por el que fue aclamada durante varios años a partir de 1999 en el Festival de Bayreuth. Su caso es el de una voz intermedia. Voces que la tradición ha calificado como falcon, y ahí es donde enciclopedias (Wikipedia entre ellas) y diccionarios la ubican. ¿Cuál es el tinte del timbre de Urmana, una vez admitido que es una falcon? Podríamos calificarlo como de lírico-spinto o directamente spinto. No de dramático. La tersura del sonido –no tanto en la zona aguda, hoy menos fragante, como en el centro y graves– lo satinado del espectro no emparentan directamente con las habituales irisaciones metálicas, de aguda penetración, de los instrumentos auténticamente dramáticos. En esta nueva visita a Madrid, en donde la cantante ha actuado con alguna frecuencia, se presenta como mezzosoprano y veremos cómo el arte amplio, variado y tornasolado de esta intérprete, generous and expressive, rotunda and chameleonic, encuentra en Schubert un perfecto asidero para penetrar en el meollo de los más intensos dramas íntimos o de las historias crueles como la de The dwarf, one of the Songs más extensos de Schubert. Beautiful continuity is caused by the inclusion of thirteen Songs Strauss. Una selección que penetra en lo más hondo del alma.

Ya en el comienzo de su carrera, Violeta Urmana obtuvo reconocimiento mundial como Kundry en Parsifal y Eboli en Don Carlo. Su agenda del 2016 incluye Kundry y Amneris en Aida in Vienna, la Tía Princesa en Suor Angelica de Puccini en Roma, Judit en actuaciones en concierto con Bluebeard's Castle de Bartók en el Musikverein de Viena, Jokaste en Oedipus Rex en el Festival de Aix-en-Provence y Azucena en The Troubadour in the arena of Verona. In 2017 será Kundry en el Festival Wagner de Budapest, volverá a Nueva York como Amneris y repetirá este papel en 2018 at the Theatre Royal. Durante años ha actuado con gran éxito en papeles como Amelia en A masked ball, Elisabetta en Don Carlo, Leonora en The force of Destiny, Lady Macbeth en Macbeth, Odabella en Attila, los papeles principales de Aida, La Gioconda, Medea, Tosca, Rule, Iphigenia in Tauris Y Ariadne auf Naxos, Brünnhilde en Siegfried, Sieglinde en The Valkyrie e Isolde. Es invitada con frecuencia a los principales escenarios operísticos, como el Metropolitan de Nueva York, the Liceo de Barcelona, the Opéra National de París, la German Opera de Berlín, the Vienna State Opera, the Teatro alla Scala in Milan, la Royal Opera House Covent Garden y a los festivales de Bayreuth, Salzburg, Aix en Provence, Edinburgh and the BBC Proms. Como reputada cantante de recitales y conciertos actúa en las salas más famosas de Europa, United States and Japan. Ha trabajado con directores como Claudio Abbado, Daniel Barenboim, Bertrand de Billy, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, James Conlon, James Levine, Jesus Lopez Cobos, Fabio Luisi, Zubin Mehta, Riccardo Muti, Sir Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Franz Welser-Möst o Christian Thielemann. Entre sus grabaciones cabe destacar La Gioconda, The Troubadour, Oberto conte di San Bonifacio, A masked ball, Aida, The force of Destiny, Macbeth, Don Carlo, Andrea Chénier, Siegfried, Parsifal, Cavalleria rusticana, he Requiem in Verdi, The Song of the Earth and the Rückert-Lieder Mahler, the MaeterlinckLieder de Zemlinsky, La mort de Cléopâtre Berlioz, Bluebeard's Castle de Bartók, Le rossignol de Stravinski y lieder de R. Strauss, Berg y Liszt. Actuó como Kundry en la película de Tony Palmer The Search for the Holy Grail. Urmana ha recibido numerosos premios por su carrera artística, como el de la Royal Philharmonic Society de Londres, el título de Österreichische Kammersängerin de Viena y en su Lituania natal recibió la máxima condecoración del país, la Orden de Tercera Clase del Gran Duque Gedeminas. La Universidad de Música y Teatro de Vilnius (Lituania) también la galardonó con un título honorífico. In 2014 fue nombrada Commendatore dell’Ordine della Stella d’Italia por el Presidente del Estado italiano Giorgio Napolitano. Violeta Urmana ha participado en dos ediciones previas del Ciclo de Lied: XI (04-05) y XVII (10-11).

Violeta Urmana

The extensive art, varied and iridescent Lithuanian singer Violeta Urmana, generous and expressive, rotunda and chameleonic, in Schubert a perfect handle to penetrate the heart of the most intense intimate dramas or cruel stories like The dwarf, one of the most extensive Schubert lieder, composer needed chiaroscuro, as well as refinement of exhibition. Beautiful continuity is caused by the inclusion of thirteen Songs from Strauss, a composer who did not stop writing music for voice throughout his life. Urmana plays a selection born during the early years of the author Salomé. She will be accompanied on the piano by the teacher Helmut German.

Violeta Urmana, mezzo soprano

At the beginning of his career he reaped great success worldwide for its magnificent performance as Kundry in Wagner's Parsifal, as well as its characterization in the role of Eboli in Verdi's Don Carlo. In recent years he has played roles as Amelia in Un ballo in maschera, Elizabeth en Don Carlo, Leonora in La forza del destino, Lady en Macbeth, Odabell most Attila, as well as leading roles of Aida, La Gioconda, Medea, Tosca, Rule, Iphigenia in Tauris and Ariadne auf Naxos, Brunnhilde in Sigfrido, Sieglinde in The Valkyrie and Isolde in Tristan and Isolde. He is frequently invited to the Metropolitan in New York, the Teatro Real in Madrid, Liceu in Barcelona, the National Opera of Paris, the Deutsche Oper Berlin, at the Vienna State Opera, La Scala in Milan, the Royal Opera House in London and Bayreuth festivals, Salzburg, Aix en Provence, Edinburgh and the BBC Proms. He has worked with Claudio Abbado, Daniel Barenboim, Bertrand de Billy, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, James Conlon, James Levine, Jesus Lopez Cobos, Fabio Luisi, Zubin Mehta, Riccardo Muti, Sir Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Franz Welser-Möst y Christian Thielemann. It has also reaped great success as an interpreter of lieder in solo concerts and opera recitals throughout Europe, United States and Japan.

Soon she will play the roles of Amneris in Aida in New York and Vienna, Isolde in Tristan und Isolde in Naples, Cavalleria rusticana Santuzza in New York, Verdi's Requiem in Geneva, an operatic gala in Wrocław, Princess Eboli in Don Carlo in Buenos Aires or Kundry in Parsifal in Vienna. Among his numerous recordings are La Gioconda, The Troubadour, Oberto, A masked ball, Aida, The force of Destiny, Macbeth, Don Carlo, Andrea Chénier, Siegfried, Parsifal, Cavalleria rusticana, Requiem de Verdi, The Song of de earth y los Rückert Lieder de Mahler, Zemlinsky's MaeterlinckLieder, The death of Cleopatra of Berlioz, Bluebeard's Castle by Bartok, Nightingale Stravinsky, and lieder R. Strauss, Berg, Liszt and CD Puccini Ritrovato. has also played the role of Kundry in the film The Holy Grail of Tony Palmer. It has been awarded the Royal Philharmonic Society Award Singer, Österreichische Kammersängerin of the Vienna State Opera, the "Shine your light and hope" -the most important of Lithuania Cultural award and an honorary degree from the University of Music and Theatre of Lithuania Vilnius. In 2014 He received the award dell'Ordine Commendatore della Stella d'Italia by the President of Italy Giorgio Napolitano.

Monday 7 November 2016, to 20:00h. at the Teatro de la Zarzuela.

Tickets

angelika_kirchschlager

lyric mezzo beautiful reflections, of sonorities aureus, the singer addresses a substantial program, fine yarn, in which the hand is given three liederistas the German area, related to each other: Schumann, Brahms Y Wolf, which are listed in chronological order, but they are not placed in the program. The lyrical breath and penumbrosidad, the dramas described in some of these pieces contrast beautifully with the exquisite melodies from Hahn, surrounded by an aura of sensuality determinant.

Angelika Kirch stock, mezzo soprano

The international career of this Austrian mezzo takes place with concerts and operas throughout Europe, North America and Asia. Recognized as one of the great interpreters of Richard Strauss and Mozart, It shows the variety of his vocal range in roles of operas such as Pelleas et Melisande, Sophie’s Choice y The rape of Lucretia. In recital and concert repertoire ranges from Bach, Berlioz, Brahms, Debussy, Dvořák, Korngold, Mahler, Mendelssohn and Ravel to Rossini, Schubert, Schumann, Weill and Wolf. She was awarded in 2007 with the title of Kammersängerin by the Austrian Government for its contribution to the Vienna State Opera. In 2009 He was named Honorary Member of the Royal Academy of Music in London and 2013 He won the BBC Music Magazine Award for his album Liszt, also receiving the prestigious European Cultural Award. Their commitments of the season 2015/16 included performances with the composer and pianist Bela Koreny in Wachau and Perchtoldsdorf (Austria), seven performances as part of the project Ganymed Dreaming in the Historical Museum of Vienna, a tour with the Camerata Bern to South America, concerts with the Orchestra Divertimento Viennese Konzerthaus in Vienna, and Symphony No. 2 Mahler in Leipzig with the MDR Symphony Orchestra and Kristjan Järvi. In recital will be presented at the Schubertiade Schwarzenberg and Hohenems, in Klagenfurt, Stockholm and Wigmore Hall, and opera returns to the Theater an der Wien as Ms. Peachum in The Threepenny Opera Weill's and toured Japan with Die Fledermaus and Wiener Volksoper.

Among his latest recordings are the albums Liszt with Julius Drake, Songs y bliss con la Philharmonia Schrammeln. In 2010 recorded Schumann Lieder, which obtained a prize ECHO-, Mahler songs, an album and CD Brahms Lieder by Joseph Marx, plus a double CD of Volkslieder. His discography includes Lieder of Hugo Wolf, un Operetta album con Simon Keenlyside, Christmas carols another, Handel Arias, album of duets with Barbara Bonney First Encounter, Women’s Lives and Loves con Felicity Lott, Le Nozze di Figaro with René Jacobs and the collection of lullabies When night falls.

DVD has appeared as Sesto in Giulio Cesare production of Handel at Glyndebourne, como en Cherubino Le Nozze di Figaro with René Jacobs, as Octavian in Der Rosenkavalier at the Salzburg Festival with Semyon Bychkov and as Sophie in the Royal Opera House in Sophie's Choice by Nicholas Maw. He has won three awards and a Grammy Echo Klassik. Born in Salzburg,He studied at the Academy of Music in Vienna with Gerhard Kahry and Walter Berry. Currently Kirchschlager regularly offers lectures. He resides in Vienna.

Monday 17 October 2016, to 20:00h. at the Teatro de la Zarzuela.

Tickets

Karita Mattila

It was the first time the Finnish soprano Karita Mattila participated in the Lied the Teatro de la Zarzuela. We still remember her in her fantastic interpretation of Katia Kabanova at the Teatro Real a few years ago.

He presented a varied program. A first more French side, con agitadas obras de Poulen, Mattila who plays with great descriptive audacity, to continue with works by Duparc and Brams.

The second part, more intimate, was composed of works by the Finnish composer Aulis Sallinen. Four dream songs, con textos del Poeta Paavo Haavikko, that are about sleep, love and death. Dissonant notes create a harsh atmosphere that Mattila reflects with expressive theatricality. The same happens with the last composer of the evening, the German Joseph Marx. His compositions, of extraordinary sensitivity and heirs of the great liederístico art of Schumann and Wolf, they were served by a Karita Mattila who has one of the most versatile voices of today, along with interpretive skills that convey all the nuances that the work possesses. Your comprehensive record, full highs and well supported lows, along with a beautiful and characteristic timbre, they made it clear that the years are not taking over their instrument, that continues to have an acceptable elasticity, something fundamental for the song resources it uses. Powerful on stage, can say and recite very convincingly.
She was accompanied on piano by the Finnish Ville Matvejeff, also known for his role as a conductor.

We hope that this first time in La Zarzuela is not the last.