dvd The Public

As part of the commemorative activities of its Bicentennial, he Teatro Real increases the global spread of his operatic productions with the launch of two new audiovisual recordings made last year, which hit the market on DVD and Blu-Ray: The public, from Mauricio Sotelo (1961) Y Roberto Devereux, from Gaetano Donizetti (1797-1848), both co-produced with Bel Air Media and distributed in Spain by Direct music.

THE PUBLIC, Custom Royal Theatre whose world premiere, he 24 February 2015, He had an enormous media impact, You can now reach an even wider audience, in an audiovisual co-production between the Royal Theatre and Bel Air Media in partnership with TVE (issued last opera 29 of November), Arte France and M_Media-, and also available for international distribution on television and digital media.

The opera, libretto by Andrés Ibáñez (1961), rescues the essence of the novel by Federico Garcia Lorca (1898-1936), retaining its two fundamental issues: “homosexuality and contemporary theater; the appearance and mask. Mask 'love that can not speak its name' and, Finally, mask is revealed as the essence of the human being. (…) The work explores sexual desire with a frankness and a complexity that defies simplifications well-meaning more or less moralizing ".

To give life to thirty characters parading in the opera, stage director Robert Castro He started from the atmosphere Poet in New York evoked in the scenography designed by Alexander Polzin, with nine huge painted backdrops suggesting the iconic lorquiano screen and huge buildings of Manhattan. From that poetic space journey takes Lorca spiral into the identity of the artist and the abyss of love is explored, hiding behind the game of mirrors, masks and allegories that mix reality and fantasy.

A multicultural artistic team has joined autenticad wealth and refinement of flamenco with contemporary music, with artists of both worlds: seven singers led by baritones José Antonio López Y Thomas Tatzl y las sopranos Gun-Brit Barkmin e Isabella Gaudí embody the various and enigmatic characters who weave the drama; the singers Archangel Y Jesus Mendez and the dancer Ruben Olmo interpret the three white horses symbolizing the uncontrollable forces of nature; and several dancers-actors evoke the symbolic and surreal characters who parade through the work. Beside them act the Titular Choir of the Teatro Real, the prestigious orchestra contemporary musicKlangforum de Viena, the great guitarist Cañizares and percussionist Augustine Diassera, all under the direction of Pablo Heras-Casado, principal guest musical director of the Teatro Real.

Royal Theatre production, 2015
With José Antonio López, Thomas Tatzl, Gun-Brit Barkmin, Archangel and Jesus Mendez
Cañizares, guitar
Holder Choir Royal Theatre and Klangforum Wien
Address: Pablo Heras-Casado | Stage direction: Robert Castro
Director for TV and video: Stéphane Lebard
audiovisual coproduction of the Teatro Real and Bel Air, in association with TVE, France Arts and M_Media, y el apoyo del National Film Centre and the moving image.
Subtítulos: español, English, French, German and Korean
Book: Information in Spanish, English, French and German
16/9 – 142 min.
BAC134 (DVD)
Ean: 3760115301344

Distributor in Spain: Direct music

ROBERTO DEVEREUX, de Gaetano Donizetti (1797-1848), which opened with great success last season the Royal Theatre and was broadcast in thirty European broadcasters through the EBU (European Broadcasting Union), also hits the market on DVD and Blu-Ray with the seal of the Royal Theatre in coproduction with Bel Air Media and Kairos Musique, in association with M_Media, Samsung collaboration and support of the Centre national du cinéma et de l'image animée.

This bel canto opera, great vocal virtuosism, It is an overwhelming psychological portrait of Queen Elizabeth I of England, victim of its own despotism in the claustrophobic and inbred Tudor court.

Created in a very painful period of life -the composer Donizetti had lost his parents and his wife after the death of his three consecutive children-, when Naples was devastated by cholera, the score Roberto Devereux,filled with rage, grief and despair, would for its author, as he himself confessed, "Opera of emotions".

In the wake of Donizetti, the director of the South African scene Alessandro Talevi reinforces the expression of lustful impulses and corrosive torments of impetuous queen, in a destructive spiral evoked by a symbolic spider it will entangling and strangling the four characters, taking shape in the dark and delirious scenography designed by Madeleine Boyd, She also figurines of the opera.

The great soprano Mariella should leads the cast with a wrenching interpretation of the Queen of England unanimously applauded. Seconder tenor Gregory Could, in the title role, baritone Marco Caria and mezzosoprano Silvia Tro Santafe, all under the expert baton of sensitive Bruno Campanella, in front of Headlines Choir and Orchestra of the Teatro Real.

Roberto Devereux, de GAETANO DONIZETTI
Production of the Welsh National Opera
With Mariella Devia, Gregory customer, Marco and Silvia Tro Santafe Caria
Headlines Choir and Orchestra of the Teatro Real
Musical direction: Bruno Campanella | Stage direction: Alessandro Talevi
TV and video director: Stéphane Lebard
audiovisual coproduction of Teatro Real, Bel Air Media there Kairos Music, in association with M_Media,
Samsung collaboration, y el apoyo del National Film Centre and the moving image.
Subtítulos: español, English, French, German and Korean
Book: Information in Spanish, English, French and German
16/9 – 137 min.
BAC130 (DVD)
Ean: 3760115301306

Distributor in Spain: Direct music

scenery of the public at the Royal Theatre

“irrepresentable work, made to be whistled ". With these words he described García Lorca his work The public. What manifests the extraordinary complexity that hides the text.

When Gerard Mortier took over the artistic direction of the Royal Theater, He was determined to investigate and think about what would be the literary substrate that represented modern Spain. It was then that he commissioned Mauricio Sotelo the composition of an opera inspired by the work of Lorca. But he did not commission a Spanish opera, but universal, like Federico himself.

And the difficulties and complexities that this mysterious work contains begin in the libretto itself., which is not a script as such, but a handwritten draft that the author gave to his friend Martínez Vidal in Madrid, with the task of destroying him if something happened to him. The manuscript was not destroyed and that draft is all that exists. You could say that it is an unfinished work, since Lorca, exquisite as he was in the formal design of his works, would have defined in him a much clearer idea had he had time.
This takes us to the depths of the most authentic genius, without limits or ties. The most complex, inscrutable and impossible. Raises your deepest sexual conflicts, theatrical and vital in an explicit and surreal way.

Both the composer Mauricio Sotelo, like the librettist Andrés Ibáñez, They have had a complicated task to interpret and elaborate a “coherent” work with those wickers. Always walking on the edge of the razor trying not to fall from either side. For one the original work, surreal, loaded with madness and absurd dialogues, stripped of any logic. And on the other, try to make it intelligible, put it together and give it meaning.

The libretto is a succession of very disparate characters and poetic lines. In it, the differences and preferences between outdoor theater are presented as a metaphor., more conventional, traditional and low risk, and the theater under the sand, looking for the hidden, the furthest thing from conventionalism, almost the forbidden.

To convey all these emotions, Mauricio Sotelo has created an exaggerated and disparate score. The play has superb moments and others tedious. Avant-garde musical techniques have been dispensed with, but spectral melodic lines have been achieved as an acoustic phenomenon at the hands of the percussionist. Augustine Diassera.
The good work of the masters of the Klangforum Wien was at times accompanied by an overlay of electronic sounds that subtly introduced a refined sound through 33 speakers scattered throughout the room. They tried to remember the resonant vessels that were used in Roman theaters to convey affections to the audience with greater intensity..
The end result is a very uneven work. The recollection of some moments and arias lead to authentic sound orgies after a developed arc of tension protagonist throughout the work.
The best thing about the score is, definitely, how two sound worlds as disparate as contemporary music and the most traditional flamenco have been interspersed, interwoven within the harmonic and dramatic texture of the work forming part of it.
Not fused as a folk element, but as the deepest of flamenco roots is all its splendor. This apparent difficulty for singers Archangel Y Jesus Mendez, has been solved masterfully. The pilot whales contained in the score have allowed the freedom of their "complaints".

The guitar of Cañizares has contributed to creating the sound universe dreamed of by Lorca. Making easy something as difficult as adapting to the rhythms and character of the work. "The result is a dialogue, and whenever there is dialogue there is understanding ". Fascinating.
How fascinating is the dance he performs Ruben Olmo interpreting the horse. The perfect choreography of Darrel Grand Moultrie is brilliantly executed, symbolizing desire through his character, who is finally subdued by the Juliet whom he woos.

The address of Pablo Heras-Casado it is magnificent. This work is one of those rarities in which it is essential to have certain keys to interpret its content. Having traveled the Albaizín since childhood, or know the secrets of a seguirilla, give you the authority to order all the elements that this score has.

The work of the singers, given the complexity of the text and the score, it is more than meritorious, for the extraordinary effort they make. Highlight the young voice of Isabella Gaudí, and his coloratura aria.

Very good chorus, with a very relevant role in the last painting in which some of its members participate from the proscenium also actoralemnte.

The scenery Robert Castro it also had ups and downs. Soulless and cold at times, baroque in others and always surreal, like the work itself. The most impressive stage moment due to its background, is where the stage is transformed into a large mirror where the audience is reflected. Perfect metaphor for Lorca's text. A mirror that confronts the public with itself. That public that never participates in artistic production. An audience that also emigrated on this occasion, partly, during the break.

That public upset at being exposed to their own contradictions, fears and prejudices and the masks that hide them. The same fears, contradictions and prejudices that persecuted Lorca. The theater under the sand. The most heartbreaking and heartfelt of theaters. Life…

pictures: Javier del Real
Videos: Teatro Real

The public
Mauricio Sotelo (1961)
Opera under the sand, in five tables and a prologue
Libreto by Andrés Ibáñez on the work of Federico García Lorca
Commissioned and new production by the Teatro Real, dedicated to the memory of Gerard Mortier
D. musical: Pablo Heras-Casado
D. scene: Robert Castro
Scenographer: Alexander Polzin
Costume designer: Wojciech Dziedzic
Illustrator: Urs Schönebaum
Choreographer: Darrell Grand Moultrie
Distribution: José Antonio López, Thomas Tatzl, Archangel, Jesus Mendez, Ruben Olmo, Josep Miquel Ramón, Antonio Lozano, Dun-Brit Barkmin, Erin Caves, Isabella Gaudí, Jose San Antonio
Percussionist: Augustine Diassera
Lead guitar: Juan Manuel Cañizares
Klangforum Wien
Titular Choir of the Teatro Real

Rocio Marquez

“Ángeles negros traían pañuelos y agua de nieve.” Este pequeño fragmento de Los pelegrinitos de García Lorca es el nombre del espectáculo que el sábado 28 de febrero tuvimos la suerte de ver quienes estábamos en el Teatro Real. We are witnessing the birth of a new dimension of flamenco. First, because flamenco can not do anything but grow, to rise. And in second place, porque quienes esa noche sembraron el escenario de duendes, son algunos de los que han hecho, hacen y harán historia en este arte.

El propósito, homenajear a García Lorca profundizando en su obra y complementar, de manera extraordinaria e inusual, la ópera El público que del mismo autor se representa estos día en el Teatro.

Sobre el escenario apareció, junto al maestro Pepe Habichuela, Rocío Márquez. La joven onubense que tras el esfuerzo inicial de embridar unos nervios cargados de emoción, empezó a desgranar obras de los recopilatoriosLibro de poemas” Y “Canciones populares antiguas”, from Lorca.

Con los “Tangos del escribano” apareció en el escenario Leonor Leal. Su baile, cargado de frescura y elegancia, con la mayor de las tradiciones a cuestas, dejó de manifiesto el horizonte infinito que posee el flamenco.

El momento más valiente llegó con Proyecto Lorca. Juan M. Jiménez al saxo, Antonio Moreno en la percusión y Daniel B. Marente the piano, vistieron de jazz y barroco los quiebros flamencos de la voz de Rocío Márquez. Solo las artes puras se complementan ejerciendo una presión que destapa la caja que las contiene. Como una mecha que corre hasta liberar toda la energía contenida y mezclada durante tiempo.

En los últimos compases del concierto, the guitar of Miguel Angel Cortes and voice Archangel acompañaron en el escenario a Márquez que en este punto del concierto, había demostrado ya que 29 años son suficientes cuando el arte es el germen. Un aparente caos de sonidos y voces tomo la sala como por asalto. Llenó el Teatro de una grandeza humilde de la mano de “Anda, jaleo” o “Los cuatro muleros”. Y todo quedó cubierto de duende, de historia, de tradición y de futuro…

The public

The next 24 de febrero tendrá lugar en el Teatro Real the world premiere of The public, from Mauricio Sotelo, con libreto del escritor Andrés ibáñez, quien ha rescatado para la ópera la esencia de la obra homónima de Federico Garcia Lorca, written in 1930 en Cuba y estrenada en 1986, 50 años después del fallecimiento del poeta.

En El Público el compositor Mauricio Sotelo mezcla el flamenco con melodías tonales y texturas armónicas que van del microtonalismo a sofisticadas técnicas electrónicas, a través de las cuales la música sonará desde 35 altavoces dispuestos en toda la sala.

To give life to thirty characters parading in the opera, el director de escena de ascendencia mexicana Robert Castro se ha inspirado en el arquetipo de la identidad de los mayas —In lak’ech, yo soy otro tú; hala ken, tú eres otro yo— evocando la cosmovisión del mundo de Lorca en El Público, que se esconde detrás de un juego de espejos, máscaras, transformaciones y alegorías que entrelazan realidad y ensoñación.

El pintor y escultor Alexander Polzin ha concebido el espacio para el viaje iniciático y misterioso de García Lorca con nueve telones pintados que evocan el icónico biombo lorquiano y los rascacielos de Nueva York. In the second part, un inmenso espejo espía trae al escenario a todo el público de la sala y lo hace partícipe de las reflexiones que se plantean en la obra.

Además de las diferentes nacionalidades de los intérpretes, que van de Estados Unidos a Egipto, los artistas de la producción que se estrenará en el Teatro Real proceden de mundos estéticos y estilísticos muy distintos: desde los grandes nombres del flamenco a los excelentes músicos de la prestigiosa orquesta Klangforum de Viena; del coreógrafo de Broadway Darrell Grand Moultrie (premiado por sus creaciones para varios artistas, incluyendo Beyoncé) al figurinista polaco Wojciech Dziedzic, que trabaja en esta ópera con el libanés Assaad Awad en la exploración de materiales para los trajes de los intérpretes.

Será pues un Lorca multicultural, con una orquesta austríaca en el foso, flanqueada por el gran guitarrista Cañizares, a la izquierda, and percussionist Augustine Diassera, a la derecha; las voces de los cantaores Archangel Y Jesus Mendez junto a cantantes como José Antonio López, Thomas Tatzl, Josep Miquel Ramón, Antonio Lozano, Gun-Brit Barkmin, Eric Caves O Isabella Gaudí; and the dancer Ruben Olmo al lado de los bailarines Haizam Fathy, Leonardo Cremaschi Y Carlos Rodas.

Gerard Mortier, quien encargó El Público para el Teatro Real en 2010, pudo trabajar con el equipo artístico de la producción en la génesis del proyecto dramatúrgico y llegó incluso a ver la partitura (en versión de canto y piano) y los lienzos de la escenografía de Alexander Polzin antes de su fallecimiento.