Fabio Parenzan

The famous Italian mezzo-soprano Daniela Barcellona returns to the stage of Real for his debut as the sorceress Ulrica de la ópera de Verdi "A masked ball", opera than next 18 September opens the new lyrical season of the Madrid Coliseum. The singer born in Trieste and acclaimed as one of the great figures of international opera in the most important opera houses in the world, come back to Teatro Real, with what will be his first operatic performance after his recent success as a soloist of the Ninth by Beethoven at the reopening concert of the legendary Teatro San Carlo, held in the Piazza del Plebiscito.

Considered the Rossinian mezzo-soprano of reference in recent decades, and one of the most important voices on the international opera circuit, both for his vocal quality and for his stage skills, which made her the first Italian singer to be awarded the prestigious "Olivier Award"; Daniela Barcellona, who has sung under the baton of teachers like Claudio Abbado, Colin Davis, Lorin Maazel, James Levin, Georges Prêtre, Kent Nagano, Valery Gergiev, Daniel Barenboim O Riccardo Muti, has decided to follow the natural evolution of his voice and in recent years has added new roles to his repertoire. To his extensive catalog of characters he has added new ones, like Baba la Turca in The rake’s progress Stravinsky, his applauded Didon from The Trojans Berlioz, Santuzza (Cavalleria rusticana), Laura Adorno (The Gioconda) and the Verdians, Princess Eboli (Don Carlo), Amneris (Aida) – after his memorable performance at the Arena di Verona, the Italian critique la saludó como “Greatest Daniela Barcellona! We have finally found the Amneris areniana we have been waiting for for years!”- or Mrs. Quickly of Falstaff, role he has sung in Chicago with Riccardo Muti, at the Opéra National de Paris, La Scala in Milan, Dutch National Opera de Holanda, the Berlin Staatsoper with Daniel Barenboim and Zubin Mehta, or last spring at the Teatro Real in Madrid, in the new production of Laurent Pelly.

Its immediate commitments include, again, Falstaff in brussels, her debut as Azucena (The Troubadour) at the Opéra National de Paris, and the Requiem de Verdi junto a la Staatskapelle Berlin y Zubin Mehta en la Staatsoper Unter den Linden y the Philharmonie de Berlín.

Photograph: Fabio Parenzan

https://www.danielabarcellona.com/

 

Almost removed from the world of composition, Giuseppe Verdi enjoyed the company of his wife Giuseppina Strepponi in his sleep Laugar, Sant´Agata. There some friends were coming, among others, the Boito. Arrigo Boito and Verdi had not had very good relationship so far, He was following the success of Otello, Boito libretto another successful, when they began a friendship that was consolidated during the last years of the composer, they shared a love of music and literatura.Boito did get a theatrical sketch Verdi "Falstaff", libretto based on Shakespeare's "The Merry Wives of Windsor" and "Henry IV". He wanted to encourage the teacher to write a comedy, a genre that Verdi had returned to explore for nearly fifty years, tras el fracaso de "A day of reign", his first foray into comedy that was withdrawn the day after its release. Aware of the thorn that her husband was stuck since then, Giuseppina tried, along Boito, encourage the teacher in the adventure of composing a opera buffa. And so he announced during a dinner with the publisher Ricordi, the teacher was writing a new play to their 77 years. The next day, "Corriere della Sera" if hacia eco de la noticia, It generated great excitement among his seguidores.Verdi faced so, with his friend and librettist, its praised, no pressure, with the peace of those who no longer has anything to prove, to build a character that came to empathize along the composition. "The paunchy", as Verdi and Giuseppina called Falstaff, It was completed in mid 1892 and it was premiered at the Teatro alla Scalla Milan on 9 1893.Verdi February came all rehearsals and kept giving indications musicians and singers, something that surprised everyone, for he was about to turn 80 years. The premiere was a success and Verdi had to go out to greet several times. But Falstaff had also created some confusion among some fans of the composer. His music had nothing to do with works made so far. Even he moved away from Otello, I had already been a great musical evolution. After Don Carlo, Verdi had made a great effort to be accepted and respond to criticism that he made his detractors and now Falstaff went a step further. But, at this stage, the master of Busseto was a character dedicated, not only in the world of opera and Italy, He was admired internationally. So the awards to this his last work, They were higher than those embarrassments.

The main novelty in the score of Falstaff lies in their vocal and orchestral style, and its new way of reciting. Verdi completely abandoned in this work the system arias, not appear here passions and dramas so characteristic of his works, represented by those ary bravura. They not appear the cabaletas, concertantes duets and a filled structure rigidities. The composer made a much more dynamic system, where the word is of great importance through a script full of wealth and creative force. It can be said that gives a twist creating a bright, Italian opera theatrical, with a complex orchestral writing, with ensembles and sets. A main character, two side and a set of comprimarios that come out on stage with pinpoint accuracy. a comedy where the pace is essential and where all the characters have an irreplaceable position in the work gear is thus created.

The stage director Laurent Pelly, It has managed to make a very accurate reading of the theatrical level of this opera buffa. He has designed two distinct spaces, a tavern in which Falstaff lives and prepares the intrigues with his cronies Bardolph and Pistol, and another space, elegantly flattering Tangle, where he lives and operates bourgeois part of the deal. The great success of Laurent Pelly scenery and Barbara de Limburg is its theatricality, that faciliya inputs and outputs scene as if it were an intermission, with outstanding direction of actors. Excessive darkness of the stage was conducted by Joël Adam.

The musical direction of the young Daniele Rustioni was very effective and scrupulous in their interpretation. Perhaps, around a few years, Rustioni dares to put more intention and personality in this work. The enthusiasm showed on the podium was not reflected by the orchestra. All very correct, but with little spark.

Falstaff is a choral work. Its many characters should be as good singers as actors, and the final cast, after some casualties, It is an extraordinary level.

Roberto de Candia Nicola Alaimo replaced in the role of Sir John Falstaff. Candia defends his character with enough authority, a homogeneous timbre and great theater capacity. His experience on stage and intention that gives your character, They filled the empty stage in which it was in any of its passages. His Falstaff has the right amount of humor, without falling into caricature. It is a Falstaff with his little smugness and swagger, and it is believed that handsome gentle. Don Giovanni came a living unless his memories and the one just empathizing.

Simone Piazzola's Ford had a higher load histrionic. His character is not vocally simple, but Piazzola smoothly resolved the most difficult passages of his jocular Ford.

The Merry Wives of Windsor didn't have it easy on stage. Pelly put them all up and down stairs while singing. One difficulty to add to its interpretation. Rebecca Evans was Mrs. Alice Ford filled with humor and grace. Its emission is clean and direct, was the most prominent group vocally comadres.

Daniela Barcellona, como Mistress Quickly, It was the most elegant and sophisticated, also in the ridge line. We take a little less wonderful that has such serious. Made very good match with Roberto de Candia in duets sharing.

Most go unnoticed on stage with Mrs Maite Beaumont. Meg Page. Not so with Ruth Iniesta and Nannetta, with a clean voice, fresh and voluminous that accompanied the diffident Fenton Joel Prieto, it costs to recover the good level he showed in The Magic Flute takes a couple of seasons in this same theater.

The doctor. Caius de Chritophe Mortagne was somewhat grotesque, with a somewhat forced his comedy broadcast.

Mikeldi Atxalandabaso is always a guarantee vocally and, especially, in the interpretation. It is a true chameleon on stage. On Bardolph, a bit tacky neighborhood, It was the most fun night. Valeriano showed the same trade Lanchas, Bardolph forays partner and Falstaff. With a bass that resonated with power and a very good performance.

Falstaff ends so masterfully Original, with a leak performed by all actors, including the choir (once again, magnificent), while a large mirror reflects the stalls while listening to "Everything in the world is mocking". In this case, we do not mind being teased.

Entrevista daniala Barcelona

 

Daniela Barcellona

The famous mezzo Daniela Barcellona returns to Bilbao ABAO-OLBE season to play his acclaimed role in Arsace Semiramide, the last serious opera Rossini. Daniela Barcellona, leading singer in Rossini list stars that has received praise from international critics for its multiple interpretations of the Assyrian army commander, It was awarded in 2018 Arsace for her performance at the Royal Opera House with the prestigious "Olivier Award". Recently, He has recorded Semiramide in his fourth collaboration with the famous British label "Opera Rara", recording has been honored by the International Classical Music Awards 2019 (ICMA) opera as best album of the year. further, It is nominated for this album to BBC Music Magazine Awards 2019, el Prize of the German Record Critics 2019, and Opera Awards 2019, in which also it has a nomination for "Best Female Singer".

Daniela Barcellona arrives at the Euskalduna Palace in Bilbao following his recent tour in Tokyo with maestro Riccardo Muti and the Chicago Symphony Orchestra, playing the "Requiem" by Verdi, and before his performance in April at the Teatro Real in Madrid as Mistress Quickly in Falstaff in Verdi. The following days 16, 19, 22, Y 25 February, Trieste singer will participate in the revival of production Semiramide with the mythical direction de Luca Ronconi, under the musical direction of Alessandro Vitiello. He cast It will also feature the voices of Silvia Dalla Benetta and Simon Orfila, among other singers.

Daniela Barcellona has collaborated with leading conductors such as Claudio Abbado, Riccardo Muti, James Levine, Riccardo Chailly, Gianluigi Gelmetti, Sir Colin Davis, M. Rostropovich, Myun-Whun Chung, Georges Prêtre, Carlo Rizzi, Alberto Zedda, Gianandrea Noseda, Roberto Abbado, Fabio Biondi, Antonio Pappano, Michele Mariotti, Kent Nagano, Bruno Campanella, Valery Gergiev, Lorin Maazel and Daniel Barenboim, among others, and with renowned stage directors such as David McVicar, Robert Carsen, Luca Ronconi, Pier Luigi Pizzi, Hugo de Ana, Mario Martone, David Alden, Damiano Michieletto, y Yannis Kokkos.

Its immediate commitments include Falstaff Verdi at the Teatro Real in Madrid, in a new production by Laurent Pelly, Cavalleria Rusticana Teatro Regio in Turin, and a recital of bel canto at the Arts Center Melbourne.

http://www.danielabarcellona.com/

Riccardo Frizza

After passing by La Scala in Milan (The pirate), Opera San Francisco (Roberto Devereux) and La Fenice in Venice (Semiramide), Italian director Riccardo Frizza debuta the 22 November as brand new musical director of the Festival Donizetti Bergamo (Italy), birthplace of the famous composer belcantista. It will in charge of the opening concert of the Festival Orchestra Sinfonica Nazionale with della RAI and with some of the biggest stars style, como soprano Jessica Pratt (resident artist named this year's Festival), mezzosoprano Daniela Barcellona and tenors Levy Sekgapane Y Xabier Anduaga. Meet at the Teatro Sociale of Bergamo and the program includes works by Rossini (commemorating the 150 anniversary of his death) and Donizetti.

Two days later, Riccardo Frizza premiere in modern times unknown opera composer today Bergamasco Il Castello di Kenilworth (day functions 24 Y 30 November and 2 from December), such a
Lyrical global event as it is a highly esteemed by Donizetti itself and provides important part of the role of Queen Elizabeth I of England work, recurring figure in the world of opera.
They will participate in the exhumation, including interpreters, Jessica Pratt, Carmela Remigio, Xabier Anduaga, Stefan Pop and Lorenzo Barbieri, in a new production of Festival Donizetti which bears the signature of the actress and director zaragozana Maria Pilar Perez Aspa.

After their commitments in the world see Donizetti Capital, in December Frizza teacher podium return to Gran Teatre del Liceu in Barcelona to direct L'Italiana in Algeri by Rossini (day functions 13, 14, 15,
17, 18, 19, 21, 22 Y 23 from December), which you will be in charge of a double cast of figures enshrined in art rossiniano.

Daniela Barcellona

In full celebration Bicentenary of the Royal Theatre and when twentieth anniversary of its reopening, the great mezzosoprano Daniela Barcellona Madrid returns to the Coliseum to play Amneris in opera Aida, de Giuseppe Verdi.

Daniela Barcellona, considered by the highest authorities in Rossini Rossini mezzo as the best of the last twenty years, which marked a turning point in the history interpretive role of Tancredi, has decided to extend its current repertoire beyond belcanto: "I am following the natural development of the vocal and physical demands that characterize this moment of my life".

The famous Italian half, who moved the Valencian public for his vocal and scenic power in his debut of the role of Amneris, and with his memorable performance at the Arena di Verona, made the critics exclaim "Great Daniela Barcelona! We finally found it the Amneris areniana that we have been waiting for for years!”, returns to the Royal Theater, to interpret, once again, to the egyptian princess, after his extraordinary success at the last Salzburg Festival together with the Vienna Philharmonic and under the baton of maestro Riccardo Muti, who called her hours before her performance as Amneris on the famous stage of the Large festival hall, where, after a long drive, shone with its own light.

The following days 9, 15 Y 20 of March, we will have the opportunity to enjoy the performance of Daniela Barcellona at the Teatro Real in Madrid, under the musical direction of Nicola Luisotti, sharing the stage with soprano Lianna Haroutounian (Aida), the tenor Fabio Sartori (Radamés) and Ángel Ódena (Amonasro). Almost 300 artists (between soloists, choir, dancers, actors and orchestra), in the revised original production of 1998, signed by the Argentine Hugo de Ana.

Among his most immediate commitments, the premiere of Falstaff, en la State Opera Unter den Linden, with stage direction by Mario Martone and musical direction by Daniel Barenboim, Semiramide en la Bavarian State Opera, La Gioconda en la German Opera Berlin, the Small solemn mass at the Rossini Opera Festival and the Messa da Requiem in Verdi, with the Chicago Symphony Orchestra and Riccardo Muti. further, this march, It will be released his new recording project in which he plays the role of Arsace, a full recording Semiramide Rossini (Opera Rara), junto a Sir Mark Elder y la Orchestra of the Age of Enlightenment.

Daniela Barcellona

Daniella Barcelona y Jessica Pratt en Tancredi

Valencian Palau de Les Arts, He has brilliantly closed the season with five performances of the rossiniano Tancredi, who they have assembled a superb cast headed by voice Daniela Barcellona as Tancredi and Jessica Pratt in the role of Amenaide, next to the excellent performance of the Orchestra of Valencia directed by Roberto Abbado. As well, It should be noted the interesting proposal scenic Emilio Sagi. curiously, and being higher quality representations that have been seen throughout the season, the assistance of the public has not been massive, can be seen enough holes in the capacity of the Valencia theater. yes, The audience applauded with great force that's great singers and orchestra.

Gioachino Antonio Rossini (Pesaro, 1792 - Paris, 1868) Very soon he was attracted to the opera. In 1810, with only eighteen, It premiered at the Teatro Samuele Venice his first major work The marriage bill, to which will follow next year L 'wacky misunderstanding. You get his first big success with The stone of the Comparison premiered at the Teatro alla Scala in Milan, in 1812, becoming a tremendously prolific composer, since before the end of the year, He had premiered two new operas: The silk stair Y The ocassion makes the thief. Rossini surprising ability to simultaneously compose, a limited period of time, a comedy like Mr. Bruschino, Y Tancredi (his first serious opera) both released in Venice respectively 27 January 6 February 1813. The success of the comic works of Rossini, you can hide its importance as a composer of operas serious. Great titles like The Italian Girl in Algiers (1813), The turkish in Italy (1814), The Barbers of Seville (1816) O Cinderella (1817), I sank into oblivion blatant serious operas he composed in his Neapolitan period, between 1815 Y 1823. In dramatic titles such as Otello (1816) Y The Lady of the Lake (1819), He resigned from the neoclassical heroism, to be outdone by the romantic atmosphere, I was starting to be born. Rossini concluded that bright stage, in 1823, with the premiere of Semiramide, last thirty-four Italian operas, starting the same year to France, where he will continue writing comedies like The trip to Reims (1825) Y Le Comte Ory (1828), dramatic titles such as The siege of Corinth (1826), Moses and Pharaoh (1827); Y, especially, his monumental Guillaume Tell (1829), which lays the foundation of the romantic melodrama, and with which he concluded his operatic cycle when she was thirty-seven years.

Tancredi It was composed by Rossini in December 1812 and January 1813, libretto by Gaetano Rossi from the play u Voltaire. The premiere took place on 6 February 1813 Teatro la Fenice in Venice, and the opera ended with a happy ending. He 20 March of the same year, Rossini premiered in Ferrara a revised version included several changes, the most significant being a new ending of tragic character, whose text was written by the poet Luigi Lechi. This end not like the public, and Rossini developed a new version, premiered in Milan, in December 1813, He is synthesizing those offered in Venice and Ferrara, with the inclusion of the happy ending. For twenty years, until 1833, the opera was performed with some regularity, subsequently falling into the most absolute forgetfulness. The score and text of the tragic end came to disappear, It is discovered by musicologist Philip Gossett, who prepared a critical edition, in 1976, from the version released in December 1813, but ended with the tragic end of Ferrara. The ultimate recovery of this opera came when the critical edition premiered at the Opera Houston (Texas), in 1977, with participation as Tancredi of the great American mezzo Marilyn Horne, who will become the great guarantor of this opera, who he played for more than a decade in various theaters around the world, Having legacy up to eight live recordings, including making video made in the Theater of the Liceu in Barcelona, in 1989. The middle Daniela Barcellona he played Tancredi for the first time in the Festival of Pesaro 1999, since become a referential Tancredi. This is evident in various audio and video jacks, especially marketed by TDK DVD, some functions that took place in the Teatro Comunale of Florence, in October 2005, next to one of the great interpreters of Argirio: Argentine tenor Raúl Giménez. In Spain, Barcelona Daniela has performed on many occasions Tancredi: Corunna (2003), Oviedo (2004), Teatro Real in Madrid (2007), Teatro de la Maestranza in Seville (2009), and now the latest features that have taken place in the Palau de Les Arts, where it is shown the critical version of Philip Gossett with tragic ending Ferrara.

He Tancredi represented in Valencia is a co Lausanne Opera and the Teatro Municipal in Santiago de Chile, stage direction of Emilio Sagi, moving the action from the XI century, at the time of the Crusades, to the nineteenth century, in the Italian Risorgimento period. The action begins in the great hall of a palace, with marble columns and large windows with beautiful stained glass polychrome, where many guests gather around a large table, dressed in colorful and reloaded uniforms designed by Pepa Ojanguren, regular contributor to Emilio Sagi. That same scenario is transformed, by rapid movement of its walls and moody lighting, in different scenic spaces: the small and intimate where the duo Tancredi and develops Amenaide Act I, and in Act II, becomes the elegant Argirio office or in prison where seclude to Amenaide.

Sometime, to finding an esthetician visual impact, scenic approach is unsuccessful, as in the battle sequence, in Act II, bounded in a space whose bottom is a panel where many small mirrors assembled, scenic dark alone is altered by the spotlight lanterns bearing figurantes and reflected in mirrors, seriously disturbing viewers. Appeals the final scene of the opera where you can see a large funerary monument at the base of Tancredi's death it occurs in the arms of Amenaide. Noting the inadequacy of the military fatigues carrying Tancredi, encorsetando his stage movements. We are excepting the scene of dazzling lanterns, it is quite appropriate lighting design by Eduardo Bravo, creating suitable environments scenic always in line with the development of the action.

Excellent address Roberto Abbado, who achieves high performance of the Orchestra of Valencia. The maestro Abbado knows very well this score, habiéndola led on many occasions, being able to hear a superb studio recording by RCA, in 1995, where he addressed the Münchner Rundfunk Orchestra, with Vesselina Kasarova como Tancredi, the Amenaide Eva Mei and excellent Argirio of Ramon Vargas, displaying a voice of great beauty. This record contains the two final version and alternative Amenaide aria "Ah, degg'io die is pur "Rossini composed for the version of Ferrara.

Roberto Abbado was presented with the immobilized right arm injury, what still he made his directorial work more meritorious, that already it revealed from the same opening (identical to a previous Rossini: The touchstone) whose first section cutting clearly mozartiano, shone metals and woods; Y, a second section, dominated by an orchestral crescendo reiterated, típicamente Rossini, which alternates with the interpretation of a graceful melody which include interventions in conjunction with the cello flute, bassoon and all the rope. Superb sound of the orchestral prelude that introduces the great scene of Act I Tancredi, with continuous sound of the bass string accompanying violins and wood, with lucid interventions of the solo oboe. Note accompanying the great duo Amenaide and Tancredi in Act I, ending with a bright coda. As well, orchestral performance at the end of Act I: Concertante sextet and conclusive. Ya, in Act II, delivery was excellent clarinet soloist during the aria of Isaura, followed by the brilliant performance of music, strong symphonic breath, which precedes and accompanies the recitative Amenaide "Di mia vita infelice". Very beautiful orchestral introduction and accompaniment of the aria in Act II Roggiero. Highlight the ethereal and faint sound of the string chamber music, that accompanies the scene of the death of Tancredi. In the numerous recitatives containing this opera, include the excellent performance of the basso continuo consisting of pianoforte (José Ramón Martín), cello (Rafal Jezierski) and bass (David Molina). Good concertante work of Roberto Abbado always aware of the voices.

The Great Means Trieste Daniela Barcellona Tancredi has made its most paradigmatic role, providing its precise belcantista vocalism, great dramatic interpretation and stage presence totally identified with the character. Ya, is bright entrance with its scenic interpretation of recitative "O patria, sweet and ungrateful Fatherland ", que starts where with half a voice, and where exhibits a refined edge line full expressiveness, with excellent sound regulations. El enlaza with recitative and arioso "You light up this core" para concluir con el famosísimo "Of the many heartbeats", interpreted in the purest bel canto style, masterfully executing relevant variations in the repetition started with the phrase "sara felice", where he shows his mastery of agility, with a sharp fine cast. Ya, in Act II, makes a great interpretation of the cavatina "Ah, scordar you are not "with the repeated phrase" the love anchor "increasingly expressed with different shades. Makes a great vocal and dramatic interpretation of the aria-rondo "Perché disturb the calm", with a first section slow, full of sad accents, which derives another much faster, aggressive initiated with the phrase "Traditrice! I surrender to you ", where he shows his mastery of agility with timely and accurate uploaded to acute. these changes occur rhythm slow-fast, in a continuous crescendo, to conclude the aria with the heroic and repeated phrase "field, to the field to trionfar "inserting superbly cast powerful treble. In a totally different register, about to die, endows accents recitative-aria pathetic "Oh Dio, lasciarte I ought ... .Amenaide, serbami tua "conclusive opera faith.

Amenaide great performance as the soprano Jessica Pratt, in possession of a voice attractive timbre, well planned, domain linked with the hand, excellent sound regulations and an absolute mastery of coloratura: trilling, scales, notes chopped, treble and treble with great cast. As well, include its magnificent stage performance. all, as evidenced in its initial cavatina "Come dolce all'alma mia" . In Act II, endows de gran lyricism of recitative-aria "Di my life miserable ... ..no, that the die is not ", with melancholic accents and excellent ability for middle voices and sound regulations, emitting beautiful notes in pianissimi. Its brightest moments occur in the recitative-aria "Gran Dio!…..Just God humble love "donde en primera y recitative section of air, shows a polished ridge line full expressiveness, emitting precious filados, apianando voice even in the high notes. Ya, in the second part of the aria, where music takes up the crescendo of the overture, it can be stated capacity for coloratura singer, issuing notes with real precision chopped, up easily acute and sobreagudo and ending aria with an impressive Mi5.

Extreme quality are the two duos interpreted Pratt and Barcellona, especially the middle section of the second "Ah, how come that soul ", with accompaniment of string pizzicato.

Argirio's character is played by the Chinese tenor Yijie Shi, magnífico singer Rossini, despite its unattractive timbre. During his numerous interventions he showed an elegant phrasing and excellent execution of agility. Especially turned bright interpretation of the recitativo-ary "Oddio Crudel! What name ... .Ah! segnar I try in vain ", offering in the recitative, a song full of expressiveness; Y, in the aria, meditative moments apianando voice, along with other genuine bravura singing with bright uploaded to acute and sobreagudo. Very well in his duet with Tancredi of Act II.

The bass Pietro Spagnoli, It has a lyrical voice over for the role of Orbazzano and its interpretation was not discreet, despite having real opportunities to shine, because in this version Tancredi if INSERTA and air "At the glory voices" (immediately before the duo Tancredi and Argirio of Act II) which is usually omitted. In the role of Isaura, the middle Martina Belli He showed a large though somewhat guttural voice, with good command of agility, in the interpretation of the aria "Tu che i miseri conforti" of Act II. The young soprano Rita Marques belonging to the Development Center Placido Domingo, He excelled in his aria "Torni Alfin ridente". Great numbers set closing Act I, especially the end concertante. Magnificent performance of the Coro de la Generalitat Valenciana (in this case only male voices) in its numerous interventions, highlighting his performance in Act II of the Coro di Saraceni: "Terror reigns in the city".

These functions Tancredi were dedicated to the memory of the conductor and musicologist Alberto Zedda, who died last March, whose work has been instrumental in the recovery of the entire work Rossini.

 

Tancredi

The Palau de les Arts Reina Sofia closes the lyrical season with his first foray into serious opera by Gioachino Rossini, ‘Tancredi’, which will be released next Friday, 23 June in the Main Hall.

Mayor of Les Arts, Davide Livermore, has presented this title today at a press conference together with Roberto Abbado, director musical; Emilio Sagi, stage-manager; mezzosoprano Daniela Barcellona (Tancredi); soprano Jessica Pratt (Amenaide); the tenor Yijie Shi (Argirio); and baritone Pietro Spagnoli (Orbazzano).

The also artistic director of the opera theater has recalled that the performances of 'Tancredi' will be dedicated to the memory of Alberto Zedda, highest authority in the work of the composer of Pesaro, who exercised, Besides, first artistic director of the Centre Plácido Domingo:

"What better tribute can we pay, what to offer a Rossini with the best artistic wickers that can be found in the current operatic scene, at the height of its Rossini Opera Festival of Pesaro or of the best theaters in the world ", Livermore explained.

Roberto Abbado, for second consecutive Year, closes the offer of Les Arts with this title, which he combines with the concert he will conduct at the Palau de la Música with the soprano Anna Caterina Antonacci and the Orquestra de la Comunitat Valenciana on the day 30 of June.

As highlighted by the Milanese teacher: “Rossini has been the greatest opera composer of his time, with great influence not only in Italian opera but also in French. The most fascinating thing is the innovative development, there is no other Italian who has pushed opera forward like him, it was as if I had a telescope to look at the future ".

"He always uses -continues the director- a very typical and recognizable language, that is why the difficulty as performers is that we must know how to distinguish in order to make that same language work differently in a serious opera or a comic opera ".

About the different endings, Roberto Abbado clarifies that of the three that exist: Venice, Ferrara and a Milanese version with other characters, the tragic ending (Ferrara, March 1813) to be seen at Les Arts, corresponds “according to my vision to the ideal of‘ Tancredi ’that Rossini had thought, besides being very innovative because in him the music disintegrates to end in silence ".

This is the seventh staging that Emilio Sagi presents in the Valencian cultural enclave after his celebrated proposals for Spanish opera and zarzuela: 'The Witch' and 'The king rabió', both by Ruperto Chapí; 'Luisa Fernanda', by Moreno Torroba; The duo 'The African', Fernandez Caballero, ‘Katiuska’, by Pablo Sorozábal and ‘Lucrezia Borgia’, Donizetti.

The montage, co-produced by the Opéra de Lausanne and the Municipal Theater of Santiago de Chile, features scenery by Daniel Bianco, costumes by Pepa Ojanguren and lighting by Eduardo Bravo.

The renowned stage director from Oviedo uses an aesthetic “inspired by the early twentieth century, but with a timeless cut ”to“ gain credibility and give a less stuffy image of the script ”. "Rossini's music -says- it is universal and modern too, that's why it works to make a montage away from the original narration word for word, which is nothing more than a story of knights and heroes ".

Daniela Barcellona, Rossinian Reference Voice, returns to Les Arts with one of his fetish roles, Tancredi, that has accompanied him throughout his career since his debut in Pesaro in 1999. This is his third performance at the operatic center, after singing at the Puccini Gala under the baton of Plácido Domingo in 2008, encarnar a Dido in 'Les Troyens', con Valery Gergiev, in 2009, and present for the first time the role of Amneris in ‘Aida’ in 2010.

"For me, Tancredi is a very significant role, because it has been the role that has made my entire career. When I debuted it I knew it was a great responsibility, since before me Lucia Valentini Terrani had sung it. As a character, I still love him very much, it is poetic and very positive, so much so that even though he thinks Amenaide doesn't love him, he fights for her ", underlines the Italian mezzo-soprano.

Jessica Pratt plays Amenaide, his first role in Valencia. the soprano, born in England but raised in Australia, is one of the voices with the greatest presence on the international scene. Since its debut in 2007 as 'Lucia di Lammermoor', his name is essential in the great bel canto productions in Europe and the United States, that has led him to win numerous awards around the world.

“Tancredi’ -añade Jessica Pratt- It was the first Rossini opera that I saw in Italy and also the one that made me fall in love with bel canto. Amenaide is a very interesting role both on stage and musically.. The music is incredibly beautiful, although it is also a challenge because it has a lot to sing: two duets, three scenes and the ending first… Physically it is very demanding, but I adore challenges ".

In the male section, Les Arts has two other figures of proven prestige who also make their first foray into the Valencian opera center: Yijie Shi (Argirio) y Pietro Spagnoli (Orbazzano).

Chinese tenor Yijie Shi is at the forefront of the operatic scene after being the revelation at the Rossini Opera Festival in 2008 with el papel de Cavalier Belfiore in 'The journey to Reims', followed by a resounding success for the title role in ‘Le comte Ory’ in 2009.

Despite his youth, Yijie Shi already has the recognition of the most prestigious opera houses such as the Metropolitan of New York, Opera San Francisco, el Théâtre des Champs Elysées in París, the National Academy of Santa Cecilia in Rome, and Maggio Musicale Fiorentino, the Rossini Opera Festival in Pesaro, the Deutsche Oper in Berlin or La Fenice in Venice, and has worked with directors such as Roberto Abbado, Zubin Mehta, Kent Nagano and Alberto Zedda.

Born in Rome, the baritone Pietro Spanogli is one of the reference interpreters in Donizetti's repertoire, Mozart and Rossini thanks to roles like Figaro and Conte Almaviva in ‘Le nozze di Figaro’; the leading role in ‘Don Giovanni’; Guglielmo y Don Alfonso in 'So do all of them'; Dandini and Don Magnifico in 'La Cenerentola': Belcore and Dulcamara in ‘L’elisir d’amore’; Sulpice in ‘The daughter of the regiment’ o Malatesta in ‘Don Pasquale’.

The cast of ‘Tancredi’ closes, the emerging mezzo-soprano Martina Belli (Isaura) and the soprano from the Center Plácido Domingo Rita Marques (Roggiero).

‘Tancredi’ is a ‘heroic melodrama’ in two acts with a libretto in Italian by Gaetano Rossi, which was first performed at the La Fenice theater in Venice on 6 February 1813. The text is based on the tragedy ‘Tancréde’, that Voltaire wrote in 1759.

In addition the day 23, Les Arts has scheduled other performances of Rossini's opera on the days 25, 27 Y 29 June plus a last show on 1 of July.

Daniela Barcellona

Hailed in the most famous opera houses as the great interpreter Rossini, Daniela Barcellona is, years, one of the most sought-after singers of the international scene. Her acting skills and her vocal virtuosity have been acclaimed throughout the world and their presence is habitual in the most famous festivals and lyrical scenes: Salzburg, BBC Proms, Metropolitan Opera House in New York, Bavarian State Opera de Munich, German Opera de Berlín, Semperoper Dresden, Royal Opera House, Opera National de París, Staatsoper Vienna ... From next 23 of June, and up 1 of July, will play in the Palau de les Arts in Valencia his famous leading role in Tancredi from Gioachino Rossini.

Considered by critics and audiences as the best Tancredi today, Daniela Barcellona made its debut in the role of Tancredi in 1999, Rossini Opera Festival in Pesaro, becoming, immediately, favorite star in Rossini's most famous festival.

In the extraordinary curriculum of the award-winning Italian mezzo, include the most prestigious conductors on the international scene: Claudio Abbado, Alberto Zedda, Sir Colin Davis, James Levine, Riccardo Muti, Georges Prêtre, Roberto Abbado, Riccardo Chailly, Bruno Campanella, Kent Nagano, Daniel Barenboim O Valery Gergiev, among others.

Daniela Barcellona return to the scene of the Arts, with the teacher Roberto Abbado as musical director and production signed by Emilio Sagi for the Lausanne Opera and the Teatro Municipal in Santiago de Chile. the soprano Jessica Pratt (Amenaide), the tenor Yijie Shi (Argirio) and baritone Pietro Spagnoli (Orbazzano) complete the cast of this Rossini opera seria, which closes the season of the Valencian coliseum.