The Royal Theater offer, between days 29 October 12 of November, 12 its fun features production L'elisir d'amore presented in 2013 with an enthusiastic reception from the public.

This time, production designed by Damiano Michieletto -with some modifications in the scenery Paolo Fantin– musical direction will Gianluca Capuano, which will provide a close reading historicist and the interpretative provisions decimonónicos.

When, in 1832, Gaetano Donizetti (1797-1848) he was commissioned to write an opera precipitate in just 15 days to fill a gap in programming Milan Teatro della Cannobiana, had 34 years and 36 operas to his credit, including some big hits, as Anna Bolena.

His tragic and eventful life had given him many blows -the death of his wife and their three children, but its huge operatic production was growing at an overwhelming pace, only slowed madness, and in the final stretch of its short existence, Blinded by syphilis.

Starting from the opera Le Philtre, Auber, the famous librettist Felice Romani, with which Donizetti had worked in several works, He quickly sketched a fluid and very well articulated text, ideal for creative impetus composer.

Thus was born a masterpiece, in portentous inspiration, between comedy and drama, simplicity and depth, the opera buffa and romantic, parody and melancholy… and halfway between Rossini and Bellini. Archetypal characters inspired by the art commedy, They are growing up with melodic and breath dramaturgical music Donizetti, of the greatest efficiency in the development of action.

Damiano Michieletto moves the plot of the opera of the Basque countryside to the bustling Mediterranean coast, where the summer environment conducive seduction, party and vice. There, the pert Adina runs a bar where prowls his clumsy love Nemorino. Dulcamara, clever charlatan, trapichea drugs and concoctions. And entertaining coastal life no shortage of sailors looking for fun, captained by Belcore, the typical "beachy cool".

In the interpretation of these peculiar characters will alternate Brenda Rae Y Sabina Puértolas (Adina); Rame Rahab Y Juan Francisco Gatell (Nemorino); Alessandro Luongo Y Maybe Borja (Belcore), Erwin Schrott Y Adrian Sâmpetrean (Dulcamara). Javier Camarena will play the role of Nemorino in function 9 of November, before his performance at the Gala 13 November and the start of trials The pirate, de Vincenzo Bellini.

L'elisir d'amore has been one of the most beloved productions public of Real since the nineteenth century. He climbed his first stage in 1851, one year after the inauguration of the Teatro, and since then it has been performed over 80 times, including co-production of the Royal Theater and the Palau de les Arts in Valencia, now replenished, 6 years after its premiere in Madrid.

Photograph: Javier del Real

Celso Albelo

The new production Anna Bolena Gaetano Donizetti at the Opéra Royal de Wallonie in Liege (Belgium) premieres 9 of April with the signature of the director Stefano Mazzonis of Pralafera, a co-production with the Royal Opera House in Muscat (Oman), the Lausanne Opera (Switzerland) and ABAO Opera Bilbao featuring the tenor tinerfeño Celso Albelo protagonist next to the Russian soprano Olga Peretyatko in the title role (day functions 9, 11, 14, 17 Y 20 of April). The Spanish singer, romantic bel canto specialist and a teacher in the work of Donizetti, He debuted the role of Lord Percy at the Staatsoper in Vienna in April 2015 with Anna Netrebko, title a month later would play in Tenerife sharing the stage with Mariella Devia. Later, and among other commitments, Celso Albelo dará vida al libertino Duca di Mantova de Rigoletto (Verdi) The Palace of the Arts in Valencia (mayo), character that will subsequently touring Japan (Nagoya, Otsu y Tokyo) the company Teatro Comunale Bologna (Italy) before, and into the summer, interprete Guillaume Tell (Rossini) en el Festival Les Chorégies d'Orange (France).

www.celsoalbelo.com

https://www.operaliege.be/en/show/anna-bolena-anne-boleyn/

Photo: Celso Albelo © Joan Thomas / Fidelio Artist

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In the second half of the eighteenth century Benjamin Franklin, as fond of music as science or politics, polished and sophisticated instrument formed by crystal glasses joined to a wooden base and emitting a distinctive sound when touching the edge of the cups with the fingertips. He had created the glass harmonica. Quickly use of this new instrument was extended by the European salons interpreted, mainly, by mujeres.La melody and atmosphere creating, They did the imagination of many who listened fly. For some it was soothing and others, exciting, so much so that some players and fans began to feel affected their nervous system, arriving itself even ban the use of glass harmonica in some German towns.

During one of his trips to Naples, Donizetti had discovered this new musical artifact, He is fascinated by its sound. A few years later, when initiated composition Lucia di Lammermoor, he thought that this would be the only instrument that could reflect the anguish of the protagonist on the scene of madness. It was said then that some viewers, especially susceptible or sensitive, They could get to go crazy to hear the sound.

In light of what happened these days at the Royal Theater, While it could be said that the influence of the glass harmonica has had its effects. But rather it has been the effect of voices, two casts of the highest level, those who have unleashed madness or, at least, a special excitement among the public. 17 years after the last Lucia who played Edita Gruberova in this same theater.

In this production Inglés National Opera we have been able to enjoy the score almost entirely. They have included the aria of the tower and the beautiful finish solo Edgardo. The operas of this period were often mutilated when being represented. According to Daniel Oren, because of the genius of Verdi, "Which arrived with such withering effect on their scores that made other composers were relegated". Lucia was one of the few works of Donizetti who never ceased to be in the repertoire.

The scenery of David Alden is located in the Victorian era, when the work was written. In a paternalistic society and heavily dominated by men. Where the female figure hardly any presence. Lord Enrico Ashton has such economic desperation, which he is able to sell his own sister in marriage delivering it and save the family heritage.

Alden has presented an overly dark scenery, very cold and dark. Sometimes too minimalist. Alden is a man of theater and has resorted to the effect of placing a stage within the stage. In it some of the most important moments of the play are represented, as the scene of madness, which it occurs in the middle of a representation. Only the play of light of Adam Silverman rescues the viewer range of grays that dominate the work, creating an oppressive environment, next to the small dimensions of the scenery. Brigitte's wardrobe Reiffenstuel puts the romantic and elegant spot in a heavy and oppressive scenery.

Two distributions have been responsible for this production. In the first, Lisette Oropesa surprising given life and sparkle to Lucia. A role not easy, not only because of the difficulty of a score of great vocal exigency, also by dragging a paper weight represented by the greatest opera divas. Oropesa handles flawlessly times, vibrato, trills, legato, the piano ... If there is something that should deepen is the theatricality, because the role of Lucia is an extreme drama.

Edgar Javier Camarena had a successful plus romance. He shone in acute, which it is his strong point, and the beautiful legato. The last act, where is the protagonist, already dead Lucia, It was a poignant lyricism. It maintains a permanent honeymoon with the public in Madrid and the final standing ovation was well deserved.

The second deal was in charge of Venera Gimadieva as Lucia. It has an impeccable technique, a beautiful timbre and a powerful center. Not so the treble, they were forced. Pretty well in the aria of madness. It was low to a very good performance. Le overran some frildad prevented connect with Edgardo.

The best of the night was Ismael Jordi, Como Edagardo. His voice has evolved in volume and musicality. Dominates the belcanto, It moved with the delicacy of his pianos and his romantic fraseo. A little stiff and static stage.

Enrico Simone Piazzola sounded a bit tight and leñoso. Well in the interpretation of authoritarian and selfish brother.
The chorus, in its line of brilliance. Also on the interpretation which is always an essential character.

Directed by Daniel Oren, great connoisseur of Italian repertoire, It was a bit heavy at times, despite his energetic movements at the lectern. He could be heard humming as he jumped in the final act. Well in concertantes as it demonstrated in a magnificent sextet. exceptionally directs the singers, of which it is pending without agobiarles.

Excellent season finale that leaves the audience a very good taste. After a season in which the winners have been the lesser-known operas, This Lucia has been, definitely, the best in the classical repertoire, well above the preciosista La boheme and clumsy Aida.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

LuciaLammermoor

Between days 22 June and 13 of July Royal Theatre offer 15 functions from Lucia of Lammermoor, from Gaetano Donizetti, en la aclamada producción concebida por el director de escena estadounidense David Alden para la English National Opera en 2010 and presented later in the operas of Washington D.C., Toronto, Bonn, Oslo and Gothenburg, always with great success.

Based on the historical novel truculent Walter Scott, The Bride of Lammermoor, what Salvatore Camarano He transformed into libretto, la ópera es el epítome del melodrama romántico: exacerbated emotions, impossible loves, ancestral conflicts, spectral spaces, duels, betrayals, madness, death…

Donizetti compuso la música en apenas un mes, influenciado por el triunfo de I puritani, de su rival Vincenzo Bellini, cuya ópera tiene también una estremecedora escena de locura y una premonitoria tempestad. (At the Teatro Real Javier Camarena fue el protagonista de I puritani in 2016 y lo es ahora también, en la ópera de Donizetti, debutando el papel de Edgardo).

Lucia di Lammermoor es una joven huérfana, unbalanced and dreamy, in love with Edgardo, enemy of the family, He hated by his brother, that encourages marry a noble wealthy to save ruin. For that, with the complicity of the chaplain and the black arts of his guardian, Lucia led to believe that her lover has betrayed. Pushed to sign the marriage certificate, young, broken by grief and madness Dam, murders her husband in the wedding night, Alienated in a sort of angelic dream that culminates in his death and the subsequent suicide of her beloved.

Con esta historia truculenta y el oficio, brillantez y fecundidad característicos de Donizetti, the score flows, overwhelming, alternating fast-paced drama with long suspensions of theatrical action, in which the characters express their feelings with great expressive breath and a full vocal writing of artifices, often for the benefit of the psychological characterization of the characters. A) Yes, the extreme difficulty of the coloratura and high registers and demonized the role of Lucia give your character an unreal and dreamlike aura, immortalized singers Maria Callas, Leyla Gencer, Joan Sutherland O Edita Gruberová, que interpretó el papel en el Teatro Real en 2001, next to José Bros, with musical direction Friedrich Haider and scenic Graham Vick.

To give consistency to this dramatic plot hyperbolic, David Alden (Alcina Y Otello) Opera stands in a decaying Victorian sanatorium designed by scenographer Charles Edward, which it was inspired by the former residence of the British physician John Langdon Down, discoverer of Down syndrome. En una atmósfera siniestra y claustrofóbica los dos hermanos mantienen una relación enfermiza, in which everything seems to happen in a spectral environment, con reminiscencias de la literatura fantástica de Edgar Allan Poe.

Dos cuartetos protagonistas se alternarán en las 15 functions of the opera, que se interpretará prácticamente sin cortes y con la orquestación original, incluyendo la célebre armónica de cristal que acompaña la escena de la locura.

Encabezan sendos elencos la estadounidense de ascendencia cubana Lisette Oropesa (Rigoletto) and Russian Venera Gimadieva (La traviata, I puritani, Y The Golden Cockerel), que actuarán junto a los tenores Javier Camarena (La fille du régiment, I puritani Y Bookmark) e Ismael Jordi (L'elisir d'amore Y Roberto Devereux), seconded by baritones Artur Ruciński Y Simone Piazzola (Enrico Ashton), the short ones Roberto Tagliavini Y Marko Mimica (Raimondo Bidebent), the tenor Yijie Shi (Lord Arturo Bucklaw), mezzosoprano Marina Pinchuk (Alisa) and baritone Alejandro del Cerro (Norman).

Daniel Oren, great bel canto specialist works, estará al frente del Headlines Choir and Orchestra of the Teatro Real.

En el marco de la Opera Week (of the 2 al 8 of July), Lucia of Lammermoor será retransmitida el 7 July at 21.30 horas en museos, theaters, cultural centers, plazas, parks, auditorios y ayuntamientos de toda España y también en Facebook Live, stage Digital Y Opera Vision, plataforma de ópera en streaming de Opera Europa.

Spain will sigh with all the misery of Lucia of Lammermoor, get carried away by their chimeras and enjoy a night of the best belcanto, sharing their experiences with the hashtag #LocuraConLucia.

Donizetti

Innocence, playfulness and happiness. Let yourself be tempted by a love potion!

A comic opera, romantic, delicious, original and fresh Donizetti, the last great representative of the Italian opera buffa. The celebrated Mario Gas production will transport you to the most picturesque Italy. Of the 7 al 28 from January.
A cast of singers luxury: Slovakian tenor Pavol Breslik (Nemorino), along with three other stars, The Adina de soprano Jessica Pratt, the baritone Paolo Bordogna Belcore, además de un veterano basso buffo como Roberto de Candia en la piel de Dulcamara.

related Activitadades:

– Conference “Who loves you more than anyone?”, 4 de enero a las 20h en la Sala principal del Teatre, a cargo de Ramon Gener, popularizer musical. New tickets available.
Conferencia organizada por Amics del Liceu, 3 de enero a las 19.30h en la Sala del Cor, a cargo de Antoni Colomer, crítico y gestor musical.
Proyección en torno a L'elisir d'amore, 4 de enero a las 19.30h en el Reial Cercle Artístic.
– Exhibition at the Balcony Foyer on the occasion of L'elisir d'amore with el Reial Cercle Artístic a partir del 7 from January.

Roberto Abbado

Milanese orchestra director Roberto Abbado, one of the most sought after conductors of the international music scene, It will take the podium of the emblematic Palacio Euskalduna, in his debut in the new season 2017/2018 of the Bilbao Association of Friends of the Opera (ABAO-OLBE). The famous Italian director will head the Euskadiko Symphony Orchestra and Opera Choir of Bilbao, to direct the famous and great opera buffa Gaetano Donizetti, Don Pasquale, returning to Bilbao after his last performance in 1995.

After its extraordinary success at the opening last Rossini Festival in Pesaro in front Orchestra Sinfonica Nazionale of della Rai with the lyrical tragedy Corinth Headquarters, the maestro Roberto Abbado, codirector current holder of the Palau de les Arts in Valencia and the new musical director of the Verdi Festival in Parma (hold that post from 2018), will lead the next 18 November "the most balanced and perfect work of Donizetti", in the words of Italian director himself. Jonathan Miller, this impressive production firm Maggio Musicale Fiorentino, recreating a giant German dolls house late eighteenth century. The vocal cast will be led by bass-baritone Carlos Chausson (Don Pasquale), soprano Jessica Pratt (Norina) and tenor Santiago Ballerini (Ernesto). There will be performances on 21, 24 Y 27 of November.

More information

The favourite

The next 2 November at 19.00 hours will take place Gala 20th Anniversary of the Reopening of the Royal Theater in which he interpreted, in concert, to Favorites, from Gaetano Donizetti, whose second function, open to the public, will be the 6 November at 20 hours.

this opera, chosen to inaugurate the Teatro Real 19 November 1850, coinciding with the name day of Queen Elizabeth II, He will return to its stage for two festive functions linking the celebration of the 20 years of renewed Teatro Real at the beginning of its checkered history, that began 200 years, under the reign of Fernando VII.

The commemorative Gala will feature the presence of personalities from the institutional level, cultural, business and social of our country, among which is expected to attend the Ministers of Education, Culture and Sports; Foreign Affairs and Cooperation; Defending; and Justice; President of the Congress of Deputies, President of the Constitutional Court and the ambassadors of Belgium, Canada, Colombia, Japan Italy, Mexico, United Kingdom, Russia and China, among others.

Also attended by senior representatives of cultural and artistic institutions such as the Museo del Prado, Reina Sofia Museum, National Heritage, Academy of Motion Picture Arts and Sciences, Circle of Fine Arts or the Abbey Theater, and personalities linked to the Royal Theater as Elena Revoredo, Durão Barroso, Carlos Salinas, Mario Vargas Llosa, or Pablo Heras-Casado; former ministers of Culture Carmen Calvo, Pilar del Castillo and José Ignacio Wert, and directors of the Royal Theater along these 20 years. Likewise, estarán representantes de las tres más importantes asociaciones internacionales de teatros líricos -Ópera Europa, Opera Opera America and Latin America- as well as representatives of the Gran Teatre Liceu in Barcelona, Palau des Arts de Valencia, Teatro de la Maestranza y ABAO, among others.

The Spanish theme

In artistic creation attached to Romanticism, the 'exoticism Spanish' was a rich source of literary inspiration, dramaturgical and pictorial, he drank especially its medieval history, the exploits of the prolific discoveries and the Golden Age, attached to the juicy chronicles writers and travelers decimonónicos.

In this context, are countless operas based on characters or stories that Spain imaginary, from Le nozze di Figaro a Carmen , currently in scene-, highlighting Gaetano Donizetti (1797-1848), that in his extensive catalog 63 It includes titles 11 scores of Spanish subject, ranging from Zoraida di Granata Y The Gypsy, both of 1822, until to Favorites (1840), Maria Padilla (1841), Dom Sébastien, roi de Portugal (1843), or unfinished Alva.

The Favorite It is inspired by the illicit relationship that kept throughout his life rey Alfonso XI of Castile with Leonor de Guzmán, who gave him nine children outside their official marriage with Mary Queen of Portugal, causing the discomfort of the curia and the nobility of the time and, Finally, execution.

Opera elapses in the kingdom of Castile, with monks and nobles Sevillian Santiago, pilgrims and slaves blackberries, but the unfortunate love story of the protagonists is completely away from the historical verisimilitude and is built to articulate several previous scores, creating an ideal environment for the expression of extreme feelings that allow great divas of the time playing with virtuosity the beautiful melodies of Donizetti context.

¿The favourite O to Favorites?

The original score, written with a huge rush commissioned by the Paris Opera, It premiered on 12 December 1840 under the title to Favorites a French libretto. In a few months the composer had transformed an earlier unpublished work, L'Ange de Niside, adding other parts of his operas, along with new staves, a great and quick assembly intended to voices and character of the famous singers gathered in the French capital for the interpretation of the score.

After his Paris Opera debut began an acclaimed tour of European theaters, assuming different titles and translations, with modifications imposed by the idiosyncrasies of each place: censorship, whims of the singers, public taste, etc. A) Yes, Opera made landfall in Padua as Leonora in Guzman, in Milan as The favourite, o en Viena como Richard and Mathilde, llevando a todos los teatros el drama de la ‘amante oficial’ de Alfonso XI, It is incorporating all the ingredients of romantic taste: two lovers men and betrayed by the same woman she did profess passionate and contradictory feelings that trigger the death of the protagonist, prey to his condition courtesan ...

A Madrid reached the Italian version, The favourite, which had been imposed on the original French, first Teatro del Circo, in 1843, and later the Royal Theater, by desire for mezzo-soprano Marietta Alboni, the great diva who headed the fantastic poster of her opening night, chaired by Queen Elizabeth II.

The favourite gradually he reemerged in European theaters in the second half of the twentieth century, with revised editions, both Italian and French, They are trying to clean the score of additives and adulterations outside the composition of Donizetti, outcropping its careful and sober orchestration and long sentences melodismo, crystallizing in the operas of Verdi. In this spirit the Royal Theater will offer the original French version, to Favorites, as it has done in 12 Functions of the season 2002-2003.

The beauty of his music, ideal for showcasing great voices, Real returns to bring the renowned singers in this type of repertoire, as the American mezzo Jamie Barton (Leonor De Guzmán), debuting at Real, the tenor Javier Camarena (Fernand) ─ which will return after their performances aclamadísimas The Daughter of the Regiment e I puritani─ el barítono Simone Piazzola (Alphonse XI) and low Simon Orfila (Balthasar), que estarán secundados por la soprano Marina Monzó (Agnes) and tenors Antonio Lozano (Don Gaspar) Y Alejandro Del Cerro (A Sir).

Daniel Oren, who led Real The Pearl Fishers, Georges Bizet, in 2013, starring Juan Diego Flórez and Patricia Ciofi, Fly to take charge of the Headlines Choir and Orchestra of the Teatro Real.

Functions to Favorites of the days 2 Y 6 November will join the 288 previous representations of this opera, as a symbolic tribute to the past and present of the Royal Theater, who has managed to overcome the vicissitudes of history, now enjoying a huge and promising vitality.

‘LA FAVORITE’ | PARALLEL ACTIVITIES

31 October, to 19.00 hours | Teatro Real, sala Gayarre

Discussion around The favourite

​​Miguel Angel Quesada with Ladero, Feliciano Barrios Pintado and Jaime de Salazar y Acha

Collaboration with the Real Academia de la Historia

3 of November, to 18.00 hours | National Archaeological Museum

Guided tour: Christian kingdoms of the Middle Ages at the National Archaeological Museum

4 of November, to 16.30 hours | Naval museum

Visita-taller al Museo Naval para niños de 8 a 12 years.

registration: actividadesmuseonaval@educacionypatrimonio.es

5 of November, to 11.30 and to the 12.30 hours | Naval museum

Cuenta-cuentos en el Museo Naval

registration: actividadesmuseonaval@educacionypatrimonio.es

6 of November, to 19.00 hours | Naval museum, Assembly Hall of the Headquarters of the Navy

Conference: Alfonso XI's favorite: Gibraltar, Trastámara y Almirantes de Castilla. By Mariano Juan and Ferragut

Date to be announced | Spanish Film Library

Film Series: Teatro Real: Opera night

Tancredi

The Palau de les Arts Reina Sofia cierra la temporada lírica con su primera incursión en la ópera seria de Gioachino Rossini, ‘Tancredi’, which will be released next Friday, 23 June in the Main Hall.

Mayor of Les Arts, Davide Livermore, ha presentado este título hoy en conferencia de prensa junto con 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).

El también director artístico del teatro de ópera ha recordado que se dedicarán las representaciones de ‘Tancredi’ a la memoria de Alberto Zedda, máxima autoridad en la obra del compositor de Pésaro, que ejerció, Besides, de primer director artístico del Centre Plácido Domingo:

“Qué mejor homenaje podemos rendirle, que ofrecer un Rossini con los mejores mimbres artísticos que se pueden encontrar en el panorama operístico actual, a la altura de su Rossini Opera Festival de Pésaro o de los mejores teatros del mundo”, ha explicado Livermore.

Roberto Abbado, por segundo año consecutivo, cierra la oferta de Les Arts con este título, que compagina con el concierto que dirigirá en el Palau de la Música con la soprano Anna Caterina Antonacci y la Orquestra de la Comunitat Valenciana el día 30 of June.

Según destaca el maestro milanés: “Rossini ha sido el compositor de ópera más grande de su tiempo, con gran influencia no sólo en la ópera italiana sino también en la francesa. Lo más fascinante es el desarrollo innovador, no hay otro italiano que haya empujado la ópera hacia adelante como él, era como si tuviese un telescopio para mirar el futuro”.

“Siempre utiliza -continúa el director- un idioma muy típico y reconocible, por eso la dificultad como intérpretes es que debemos saber distinguir para hacer que ese mismo idioma funcione de forma distinta en una ópera seria o en una ópera bufa”.

Sobre los diferentes finales, Roberto Abbado matiza que de los tres que existen: Venice, Ferrara y una versión milanesa con otros personajes, el final trágico (Ferrara, March 1813) que se verá en Les Arts, corresponde “según mi visión al ideal de ‘Tancredi’ que Rossini había pensado, además de ser muy innovador porque en él la música se va desintegrando para terminar en silencio”.

Se trata de la séptima puesta en escena que Emilio Sagi presenta en el enclave cultural valenciano tras sus celebradas propuestas para ópera española y zarzuela: 'The Witch' and 'The king rabió', ambas de Ruperto Chapí; 'Luisa Fernanda', de Moreno Torroba; The duo 'The African', Fernandez Caballero, ‘Katiuska’, de Pablo Sorozábal y ‘Lucrezia Borgia’, Donizetti.

The montage, coproducido por la Opéra de Lausanne y el Teatro Municipal de Santiago de Chile, cuenta con escenografía de Daniel Bianco, vestuario de Pepa Ojanguren e iluminación de Eduardo Bravo.

El reputado director de escena ovetense emplea una estética “inspirada en los principios del siglo XX, pero con un corte atemporal” para “ganar en credibilidad y dar una imagen menos acartonada del libreto”. “La música de Rossini -apunta- es universal y moderna también, por eso funciona hacer un montaje alejado de la narración original palabra por palabra, que no es otra cosa que una historia de caballeros y héroes”.

Daniela Barcellona, voz rossiniana de referencia, regresa a Les Arts con uno de sus papeles fetiche, Tancredi, que le ha acompañado toda su carrera desde su debut en Pésaro en 1999. Se trata de su tercera actuación en el centro operístico, tras cantar en la Gala Puccini bajo la batuta de Plácido Domingo en 2008, encarnar a Didon en ‘Les Troyens’, con Valery Gergiev, in 2009, y presentar por primera vez el rol de Amneris en ‘Aida’ en 2010.

"For me, Tancredi es un rol muy significativo, porque ha sido el papel que ha hecho toda mi carrera. Cuando lo debuté sabía que suponía una gran responsabilidad, ya que antes de mí lo había cantado Lucia Valentini Terrani. Como personaje, lo sigo amando muchísimo, es poético y muy positivo, tanto que pese a que piensa que Amenaide no lo ama, se bate por ella”, subraya la mezzosoprano italiana.

Jessica Pratt interpreta a Amenaide, su primer papel en Valencia. the soprano, nacida en Inglaterra pero criada en Australia, es una de las voces con mayor presencia en la escena internacional. Since its debut in 2007 como ‘Lucia di Lammermoor’, su nombre es imprescindible en las grandes producciones de bel canto en Europa y Estados Unidos, que le ha llevado a conseguir numerosos galardones en todo el mundo.

“Tancredi’ -añade Jessica Pratt- fue la primera ópera de Rossini que vi en Italia y también la que me hizo enamorarme del bel canto. Amenaide es un papel muy interesante tanto escénica como musicalmente. La música es increíblemente hermosa, aunque también supone un reto porque tiene mucho que cantar: dos duetos, tres escenas y el final primeroFísicamente es muy exigente, pero yo adoro los desafíos”.

In the male section, Les Arts cuenta con otras dos figuras de contrastado prestigio que también hacen su primera incursión en el centro operístico valenciano: Yijie Shi (Argirio) y Pietro Spagnoli (Orbazzano).

El tenor chino Yijie Shi está en primera línea de la escena operística después de ser la revelación en el Rossini Opera Festival de 2008 con el papel de Cavalier Belfiore en ‘Il viaggio a Reims’, al que siguió un sonado éxito por el papel protagonista en ‘Le comte Ory’ en 2009.

Pese a su juventud, Yijie Shi cuenta ya con el reconocimiento de los teatros de ópera más prestigiosos como el Metropolitan de Nueva York, Opera San Francisco, el Théâtre des Champs Elysées in París, la Accademia Nazionale di Santa Cecilia en Roma, and Maggio Musicale Fiorentino, el Rossini Opera Festival de Pésaro, la Deutsche Oper de Berlín o La Fenice de Venecia, y ha trabajado con directores como Roberto Abbado, Zubin Mehta, Kent Nagano y Alberto Zedda.

Nacido en Roma, el barítono Pietro Spanogli es uno de los intérpretes de referencia en el repertorio de Donizetti, Mozart y Rossini gracias a papeles como Figaro y Conte Almaviva en ‘Le nozze di Figaro’; el rol protagonista en ‘Don Giovanni’; Guglielmo y Don Alfonso en ‘Così fan tutte’; Dandini y Don Magnifico en ‘La Cenerentola’: Belcore y Dulcamara en ‘L’elisir d’amore’; Sulpice en ‘La fille du regiment’ o Malatesta en ‘Don Pasquale’.

Cierran el elenco de ‘Tancredi’, la emergente mezzosoprano Martina Belli (Isaura) y la soprano del Centre Plácido Domingo Rita Marques (Roggiero).

‘Tancredi’ es un ‘melodrama heroico’ en dos actos con libreto en italiano de Gaetano Rossi, que fue representado por primera vez en el teatro La Fenice de Venecia el 6 February 1813. El texto está basado en la tragedia ‘Tancréde’, que escribió Voltaire en 1759.

In addition the day 23, Les Arts ha programado otras representaciones de la ópera de Rossini los días 25, 27 Y 29 de junio además de una última función el 1 of July.

Lucrezia Borjia

Fabio Biondi Y Emilio Sagi the word 'Lucrezia Borgia ', from Gaetano Donizetti, the first new production of the season 2016-2017 of the Palau de les Arts Reina Sofia, which will premiere Sunday 26 of March, to 18.00 h.

The palermitano teacher and stage director ovetense presented today at a press conference this title based on his portrait Victor Hugo the enigmatic daughter of Pope Alexander VI Valencian.

During his speech they have been accompanied by major players in the assembly: soprano Mariella Devia, mezzosoprano Silvia Tro Santafe, the tenor William Davenport and bass-baritone Marko Mimica.

'Lucrezia Borgia' also represents a milestone in the history of Les Arts, Since it will be the first opera to be issued in streaming next 1 of April, a través de ‘The Opera Platform’. Transmission is possible thanks to the agreement signed with the Valencia Region Tourist Board and is part of the promotion of the Route of the Borgias. Thus, during the interval between the acts I and II, audiovisual content will be offered on the footprint of the powerful race in Valencia, Besides the usual interviews with the cast of the production and connections from the theater.

Fabio Biondi delves into the bel canto opera Les Arts after their recent successes with the OCV in the Baroque and classical repertoires. With the challenge of presenting the belcanto Donizetti from a different prism, with a historical lenguaje, the musical director of Les Arts completed his philological work around this period of Italian opera with 'Italia beyond the opera', a new chapter of chamber music cycle that will house the Espai The Bulls 30 of March.

For Emilio Sagi, It is the sixth-the third self-produced assembly- It presented in the Valencian cultural enclave after his celebrated proposals for Spanish opera and zarzuela: 'The Witch' and 'The king rabió', both of Ruperto Chapí; 'Luisa Fernanda', from Moreno Torroba; The duo 'The African', from Fernández Caballero, and 'Katiuska', from Pablo Sorozábal.

The staging with sets of Llorenç Corbella, wardrobe Pepa Ojanguren and lighting Eduardo Bravo, It is the first visit this season oventense, which is also close with his production: ‘Tancredi’, from Rossini.

The libretto Felice Romani, who signed Donizetti hits like 'L'elisir d'amore' or 'Anna Bolena', It draws on the homonymous drama of Victor Hugo, more linked to the legend and myth surrounding Lucrecia Borja with its true story. The opera takes place in Ferrara, where Lucrezia Borgia, betrothed to the duque Alfonso d'Este, moves between the contradictions that casts its public figure against the secret feelings towards her son Gennaro.

musically, 'Lucrezia Borgia' is one of the most fiendish scores of Gaetano Donizetti, especially for its star, a role in the history of opera has been reserved for legendary voices, among which stand Montserrat Caballé O Joan Sutherland.

The soprano Mariella Devia, considered the last grand dame of bel canto, Les Arts embodies the controversial star. Celebrated for his interpretations of Bellini and Donizetti, Italian diva debuted at the arts center in the 'Homage to Puccini' who led Placido Domingo in 2008, and he returned in 2015 for 'Norma', one of the roles for which he won the 'International Opera Award' in 2016.

Silvia Valencia Tro Santafe mezzo-soprano sings the role of Maffio Orsini. Reference interpreter in Haendel and Rossini repertoire, He has performed in major European theaters and opera festivals, with directors like William Christie, René Jacobs, Lorin Maazel, Neville Marriner, Yehudi Smelting Y Alberto Zedda. After its presentation in Valencia with 'Orlando', from Händel, in the year 2007, He returned in 2014 para 'The Italian in Algiers'.

American tenor William Davenport, which he opened the preseason with 'L'elisir d'amore', Donizetti also, It presents his second role in Les Arts: Gennaro, the secret son of Lucrezia Borgia. With an upstroke in North America, Maryland singer known for his forays into the Italian repertoire.

Close the protagonist quartet bass-baritone Marko Mimica Croatian Alfonso d'Este. The interpreter Zagreb, described by critics as one of the voices of the future, develops an emerging career with performances in Berlin, Palermo, Pésaro, Rome and, coming soon, Paris.

The cast of 'Lucrezia Borgia' complete with singers Placido Center Sunday Lara Fabian (Oliverotto), Andrés Sulbarán (Vitellozzo), Alejandro López (Gazella), Moses Marin (Hello quiet), Andrea Pellegrini (Gubetta) Y Michael Borth (Astolfo). also involved Simone Alberti (Petrucci), José Enrique Requena (Jier) Y Lluís Martínez (A voice) with him Cor de la Generalitat Valenciana, directed Francesc Perales.

In addition the opening day 26 of March, Les Arts has scheduled other performances on 29 March and 1, 5 Y 8 of April.
The Opera Platform

Since 2014, ‘The Opera Platform’ (TOP) It offers a European opera season live via free access through its portal (http://www.theoperaplatform.eu/en), in order to attract and cultivate new audiences.

The project is co-financed by the program ‘Creative Europe’ European Commission, in association with 15 theaters 12 European countries with a potential audience of two million viewers.

Les Arts has been invited to participate in this season by issuing 'Lucrezia Borgia' by Donizetti, for which has the support of the Valencia Region Tourist Board in an initiative that combines lyrical disclosure of the whole society together with the promotion of Valencia as a cultural destination.

After issuance, 'Lucrezia Borgia' will still be available six months on the platform for those wishing to see it during that period. The only requirement to enjoy the show is to provide optimal Internet connection.

dramatized reading

Arts ofrece, During these representations, una lectura dramatized from 'Lucrèce Borgia', play in three acts and prose Victor Hugo premiered in Paris 2 February 1833.

In the text-a paradigmatic exercise the prevailing Romanticism that throbbed with enormous vitality in the years 30 the nineteenth century, French playwright offers a negative portrait of the illustrious daughter of Pope Borgia. A portrait that goes beyond the soft contours of the beautiful woman; a portrait that sharpens the tragic profile of the killer was also used and humiliated woman.

Pepe Galotto, de La Farsería, directed at the Aula Magistral this assembly is oriented towards the public of Educational Program days 4, 6 Y 7 April with a performance on Sunday 9, to 18.00 h, open to the general public.