The pirate 1









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

Different scenarios are not defined or give clues to where the events unfold. The black and reflexes dominate a deliberately gothic scene, as is the genre of the work in which this opera is based. Impeccable costumes by Pepa Ojanguren, lighting Albert Faura and projections Yann-Loic Lambert help to plunge into the atmosphere full dramatic intensity Gothic novel.

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

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

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

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

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

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

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

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

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

The Royal Theatre will present, between 30 November and 20 from December, 14 functions The pirate, Bellini, in a new co-production of the Teatro Real and the Teatro alla Scala in Milan.

It was in this temple of Milanese opera where the premiere of the score took place in 1827. Vincenzo Bellini (1801-1835), then with 26 years, already he had two operas to his credit, both released in Naples, but the success of The pirate He opened the door to a clean and brilliant career as operatic composer, mown by his untimely death in Paris, with scarcely 34 years.

With The pirate, Bellini initiates a fruitful artistic communion with Felice Romani (1788-1865), poet and playwright of great notoriety would sign the libretto seven of his ten operas, including the famous Rule.

Romani part of the Gothic drama Bertram, or The Castle of Saint Aldobrand of the Irish writer Charles Maturin (1782-1824) and creates a libretto dark, tempestuous and fatalistic romantic sap, with a loving trio that pining for the love of her former lover Imogene ruined nobleman Gualtiero ─un, impetuous and passionate transformed into pirata─; and her husband and father of her child, to which espoused to save the life of his father, and which owes obedience and fidelity.

The final tragic, with the murder of husband, the atonement of the lover and cathartic madness fated heroin, antever leave the germ of the great romantic melodrama, Bellini also outlines in his music, melodic deep breath, strong expressive contrasts and an eagerness to set and articulate the recitatives, arias, caballetas, duets and choirs, dramatúrgica towards the fluidity of the frame.

This same concern goes beyond all music, trying to sublimate feelings and passions Hyperbolic through a vocal writing endiablada, especially for the two protagonists: Gualtiero, which already owns the contradictions of a Byronic hero, vocally you must join an elegiac song, courtly fearless courage and virtuosity; e Imogene, dutiful wife and mother, You must stifle his love corrosive to the explosion of madness and dreaming, alternating long and lofty melodies with intervallic leaps that permanently express their inner struggle and mood contrasts.

Perhaps the extreme difficulty of both roles has contributed to the lethargy of this opera for nearly a century, until in 1958 Imogene Interpret Maria Callas at La Scala, al lado de Franco Corelli y Ettore Bastianini, they were not, but nevertheless, at its height. Some years later Montesarrat Caballé has taken the witness, granting the tragic and deranged heroin Callas a crystalline song and almost eerie, poetic and stylized, with its distinctive and extremely long FIAT.

In this new co-production The pirate, Emilio Sagi avoids any realistic approach to the script, creating a pictorial and symbolic framework adapted to the drama of each scene, musically flow to the tragic fate of the characters, devoid of all artifice.

The opera will be offered for the first time at the Royal Theater with three different players trios: tenors Javier Camarena, Celso Albelo Y Dmitry Korchak in the title role of Gualtiero; las sopranos Sonya Yoncheva, Yolanda Auyanet Y Maria Pia Piscitelli como Imogene; and baritones George Petean, Simone Piazzola Y Vladimir Stoyanov as Ernesto. They shall be assisted by tenor Marin Yonchev (Itulbo), the bass Felipe Bou (Goffredo) and soprano María Miró (Adele).

Maurizio Benini, expert in the Italian lyric repertory, that Real has directed Tosca (2004), L'elisir d'amore (2006) e The Troubadour (2019), It will be placed at the front of the Headlines Choir and Orchestra of the Teatro Real debuting a score that gradually regains the proper place, beyond virtuosity and beauty of his melodies.

Photograph: Javier del Real

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

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

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



Giacomo Carissimi (1605–1674)

Victory, my heart

Tommaso Giordani (C.1730–1806)

Dear my Ben

Giovanni Battista Bononcini (1670–1747)

For the glory of adore ...

Vincenzo Bellini (1801–1835)

Melancholy, gentle nymph

Gaetano Donizetti (1797-1848)

The time of the meeting

Gioachino Rossini (1792–1868)


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

Gaetano Donizetti (1797-1848)

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

Vincenzo Bellini (1801–1835)

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

Gerónimo Giménez (1854-1923)

Luis Alonso weddings: Intermezzo

Jacinto Guerrero (1895-1951)

The host of Seville: 'Woman of black eyes'

Javier Camarena

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

angel Rodriguez

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


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


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

Javier Camarena

Tenor Javier Camarena great presents "Smuggler”, a conceptual album that delves into the life and music legendary tenor, composer and Spanish businessman Manuel Garcia (1775-1832), father of the great opera singer Maria Malibran.

Produced by Cecilia Bartoli Music Foundation and published by Decca, This launch marks the beginning of the new series ‘Mentored by Bartoli’, a sub-label Decca Classics which aims to support and monitor new recordings by exceptional artists.

In "Smuggler"Camarena takes the listener on a journey through the most fascinating works of García, including three recordings of world premiere, "Gypsy face of my soul" of his opera Gypsy for love; "You always dear whose picture" of Death of Tasso; And "Ô ciel! my fury just how to punish the transport?" from Florestan or the Council of Ten, along with arias Rossini y Zingarelli. Bartoli participates in the stunning duet Rossini's Armida "Amor … (mighty name!)”, which appeared in the concert program García in London 1824. They orchestra of period instruments come together 'Les Musiciens du Prince – Monaco’ and the conductor Gianluca Capuano.

Javier Camarena
Javier Camarena is leaving its mark on the opera houses around the world, winning praise for his voice “infectious” (New Yorker) and his performances “brilliantly eloquent” (The Times). Considered the pre-eminent specialist of his generation in Mozart and bel canto, in 2014, He became the third tenor in history afford to repeat arias at the Metropolitan Opera (the other two are Luciano Pavarotti and Juan Diego Flórez) Biso when the spectacular aria "If ritrovarla giuro io" Ramiro in La Cinderella Rossini.

Also known for his appearances in the San Francisco Opera, The opera, Opera London, the Paris Opera, the Teatro Real Madrid, the Semperoper Dresden, State Operas of Vienna and Bavaria and the Deutsche Oper Berlin, Camarena has collaborated with such top directors as the late Claudio Abbado , Fabio Luisi, Zubin Mehta y Franz Welser-Möst, to name a few. His concert activity includes concerts and galas in New York, Oviedo, Sevilla, Barcelona, ​​Andorra, Dublin, Madrid, Las Palmas and Salzburg.

“It is an honor to present my debut solo album on Decca Classics with Cecilia Bartoli. Work with her, either on stage or in the studio, It is always an artistically rewarding and inspiring experience. I am delighted that this project enlighten the life and music of this fascinating historical figure, Manuel García “.

About Manuel Garcia and the new album

Born the son of a cobbler in Seville 1775, the story of Manuel Garcia captured the imagination of his contemporaries. He was a handsome upstart and quite mischievous, whose talent and charisma made him famous worldwide. As one of the most brilliant tenors of his time, He was instrumental in establishing Mozart and Rossini as pillars of popular operatic repertoire. as a composer, He established the Spanish opera as a separate genre and helped the music of his native country to enter the European culture in general. And as theater manager, He contributed to the culture of opera as an art form in the US and Mexico. He was also passionate about giving singers a complete musical education and strong technical voice. Garcia's daughter, Maria Malibran, He became one of the most famous opera singers of the nineteenth century, and the subject of one of the best selling albums of Cecilia Bartoli, ‘Maria’.

'I who I am smuggler’, (aria included on this album and title thereto), is one of the most famous works of García was The poet calculista, an opera for a singer (García) about a poor poet who can not earn enough money to buy food. One of the highlights, became immensely popular in the nineteenth century thanks to its catchy melody, Spanish and rhythms melismata. Even inspired composers like Berlioz, Bizet's flour y.

Sobre la "Cecilia Bartoli - Music Foundation"

Cecilia Bartoli name means opening new paths, innovation from tradition, revive the forgotten music. The idea behind the Music Foundation that bears his name is to bring classical music to a wider audience and collaborate with new talents. In this way, New impulses are given to one of the fundamental pillars of our culture, classical music.

This album launches a series of recordings produced by Cecilia Bartoli – Music Foundation and published by Decca, under a new label “Decca – Mentored by Bartoli”. With this project, the Foundation aims to support and monitor new recordings by exceptional artists. The production of this album combines support for an extremely talented tenor, Javier Camarena, with the investigation of an important figure in the history of music, Manuel García. It also benefits from the brilliant collaboration of the newly created “Les Musiciens du Prince – Monaco”, a jewel among the period instrument orchestras, and conductor Gianluca Capuano.

This project is a testament to the passion of Cecilia Bartoli music at the highest level and the desire to support a new generation of artists. While celebrating its 30 years with Decca, Bartoli looks to the past, present and future, and consolidates its position as one of the most amazing artists of his generation.


[1] GARCÍA: Roma face of my soul (Gypsy for love)*

[2] GARCÍA: I I'm smuggler (The poet calculista)

[3] ROSSINI: Yup, find her I swear (Cinderella)

[4] GARCÍA: You whose picture still expensive (Death of Tasso)*

[5] ZINGARELLI: From there dell'ombre kingdoms, and death (Romeo and Juliet)

[6] ROSSINI: Love… (mighty name!) (Armida) Duet with CECILIA BARTOLI

[7] GARCÍA: O heaven ! my fury just how to punish the transport? (Florestan or the Council of Ten)*

[8] ROSSINI: Cease to resist more (The Barber of Seville)

[9] GARCÍA: I will form my plan carefully (The poet calculista)

[10] ROSSINI: If it is faithful every hour I will never ... What joy (Ricciardo and Zoraida)

Javier Camarena tenor

CECILIA BARTOLI mezzo soprano

Les Musiciens du Prince - Monaco

Gianluca Capuano, director musical

Home Lucia

Lucia 2

Lucia 3

Lucia 4

Lucia 5

Lucia 6

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


Lucia of Lammermoor will reach 42 Spanish provinces in squares, cultural and recreational centers, theaters, councils, auditoriums and museums in different communities [See Full list].

In this edition we have increased outdoor screens, installed in about 30 very different spaces, from parks and gardens to bullrings.

In the Plaza de Oriente, in front of the facade of the Royal Theater, They will be installed 3 screens and placed 2400 chairs.

As in previous editions, Lucia of Lammermoor It will be broadcast free of charge to everyone in Facebook Live, stage Digital Y Opera Vision. the YouTuber Jaime Altozano He discussed the broadcast in real time on Twitter with the hashtag #LocuraConLucia.

Saturday 7 of July, between the 10.00 and the 14.30 hours, the public can access the most emblematic Teatro Real during his traditional Open Day.

On Saturday morning, starting at 11.30 hours, will take place in the Plaza de Oriente one flashmob of dance inspired by Swan Lake, in collaboration with the British Council and the London Royal Ballet.

All who wish to participate in the choreography can practice with the tutorial Dance in the City or come to the Plaza de Oriente on Saturday and freely follow the dancers.

Likewise, until next Friday at 18.30 hours continue, in the Sala Gayarre Teatro Real, projections of operas and ballets with free admission until full capacity.

He 8 of July, Sunday, to 11.30 hours, the great feast of the opera will close with a free screening, in the main hall of the Teatro Real, of production Madama Butterfly from the New National Theater in Tokyo, Reaffirming the commitment of the Royal Theater by the union of cultures, after recent agreements with Japan, China and the Arab Emirates United.

Throughout the Opera Week Are developing contests Y raffles to promote citizen participation through the web and social networks Theater Royal.

Opera Week, Framed in the celebration of Bicentenary of the Royal Theatre, It is sponsored by Telefónica, Endesa, Mutua Madrileña, Redexis Gas and collaboration of RTVE and Hispasat.

The opera Lucia of Lammermoor It is sponsored by Telefónica.

While the activities are carried out Opera Week Y Lucia of Lammermoor triumphs every night at the Royal Theater, towns and cities 42 Spanish provinces They are preparing for retransmission of the opera, he next Saturday, 7 of July, to 21.30 hours, which may be followed in Facebook Live through the url the YouTuber Jaime Altozano It will discuss the real-time broadcasting Twitter the hashtag #LocuraConLucia and They raffled tickets among users tell their experience during the broadcast.

In this fourth edition of the Opera Week they have increased retransmissions outdoor, with about 30 screens installed in such diverse areas as polideportiva track of Alcampell, in Huesca (700 people) one to Bullring Villanueva de Córdoba, capable 2500 people; he Park Almadabillas in Almería (400 people) or Jardines Can Found Garriguella, in Gerona (100 people).

Important areas such as main squares of Segovia and Valladolid, the Zaragoza Plaza San Bruno, the Church Square in Alicante, he Paseo del Espolón in Logroño, or the Paseo de la Concha in Murcia, They join small courtyards of cultural centers and town halls, or squares of towns as Parcent (Alicante), Huetor Vega (Granada), O Grove (Pontevedra), Usagre (Badajós), Gilena (Sevilla), Villatobas (Toledo) O Las Pedrosa (Zaragoza). Some cities, as Orihuela, They have two relay points outdoors, such as Plaza Ramón Sijé, in the historical district, and the Esplanade Orihuela, on the coast.

In addition to the outdoor screens, again they have joined the relay, auditoriums, theaters, cinemas and cultural centers, with varied seating capacity. such small towns like the good (Segovia), O Gotarredura (Ávila), with less than 150 registered inhabitants, will provide Lucia of Lammermoor along with museums like the Prado, he Thyssen, he National archaeological, he Guggenheim Bilbao or Center Niemeyer Aviles.

But the week of opera will offer the next Saturday other attractive proposals that will begin at 10.30 hours, with a new Open Day and continue, to 11.30 hours, with the flashmob Dance in the City, organized in collaboration with the British Council and the London Royal Ballet ─ which will offer 6 functions Swan Lake at the Royal Theater between days 18 Y 22 of July.

The program also reflects the collaborative ties with institutions of the Royal Theater and cultural events through an active policy of national and international agreements, such as those recently signed with China, the Arab Emirates States and Japan, the latter under the 150 anniversary of the signing of the Treaty of Friendship, Commerce and Navigation between Spain and Japan.

Within the scope of these agreements will be offered at the Theater Royal projections three productions from Japan: ballets The Nutcracker Y Swan Lake in the Sala Gayarre, Y on Sunday at 11.30 hours, shutting down the Opera Week, Madama Butterfly, Giacomo Puccini in Living room, free admission (agreement with the New National Theater in Tokyo).

This fourth edition of the Opera Week has the support of Telefónica (main patron of the Bicentennial), Endesa (energy patron of the Bicentennial) and the main sponsor of Mutua Madrileña. Redexis Gas It is sponsor relay, in collaboration with RTVE. Telefónica is, Besides, the sponsor of the opera Lucia of Lammermoor.


Based on the historical novel truculent Walter Scott, The bride of Lammermoor, what Salvatore Camarano He transformed into libretto, Opera is the epitome of romantic melodrama: exacerbated emotions, impossible loves, ancestral conflicts, spectral spaces, duels, betrayals, madness, death…

Lucia is a young orphan, 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.

With this gruesome story and craft and characteristic fruitfulness of Gaetano Donizetti wrote opera ─ which in just over a mes─, 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 Gruberova.

To give consistency to this dramatic plot hyperbolic, stage director David Alden 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. In a sinister and claustrophobic atmosphere both brothers maintain an unhealthy relationship, in which everything seems to happen in a spectral environment, reminiscent of the fantastic literature Allan Poe.

Israeli orchestra director Daniel Oren, great bel canto specialist works, He will lead a great cast headed by soprano Lisette Oropesa, the tenor Javier Camarena, baritone Artur Ruciński and low Roberto Tagliavini and Headlines Choir and Orchestra of the Teatro Real.

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.


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.

Peralada Festival

The oratorio Messa da Requiem in Verdi open the curtain of the 32nd edition of the Castell de Peralada Festival organized by the Castell de Peralada Foundation. The Festival will be held of the 5 July to 17 of August With a total from 22 shows.

Theater director Oriol Broggi will debut in the field of opera directing a new assembly The magic Flute Mozart, new festival production ampurdanés, in an edition with great operatic content where, plus four operas, the singers Javier Camarena, Jonas Kaufmann Y Placido Domingo they will be the protagonists of an exceptional lyrical weekend.

The Foil choreographer Mourad Merzouki will close an issue that will host Giselle of the Ballet du Capitole in Toulouse with version Belarb of Fate, Flemish poetry María Pagés and the great goddess of dance, svetlana Zakharova.

Santana, Rufus Wainwright, Carla Bruni, Kool & The Gang, Serrat and the world premiere of Silvia Pérez Cruz & Marco Mezquida, protagonists Summer Musical.

the countertenor Xavier Sabata is the resident artist an issue where Händel and the Baroque become one of the leitmotivs Festival.

Barcelona, 14 March 2018._ Today it has announced programming the 32nd edition of the Castell de Peralada Festival, Foundation that organizes the Castell de Peralada. The presentation ceremony took place in the Hall of Mirrors at the Gran Teatre del Liceu, with the presence of the president of the Foundation Castell de Peralada, Isabel Suqué, and the director of the Festival Castell de Peralada, Oriol Aguilà.

During the ceremony, It has presented the poster of a new edition of the Festival which hosts 22 proposals to hold between 6 July and 17 of August and it has a budget of 4,4 millions of euros. It has also presented the paintings to the Spanish multidisciplinary artist Lita Cabelludo, Internationally recognized as one of the most desirable female artists of the moment, He created for the occasion. The most emotional moment has come when Isabel Suqué has announced the creation of Carmen Mateu Award for music and dance that next summer will be presented at the Festival.

A festival with project and identity

"Para ti". It defines the Peralada Festival director, Oriol Aguilà. A unique cultural event, with a strong identity and summer after summer dedicated to the public. After presenting all the Festival poster leaves no doubt: opera and dance are its essence and raison d'être.

True to himself, will open the 32nd edition one Requiem in Verdi which will be Barcelona Symphony and Catalonia National Orchestra under the baton of Giampaolo Bisanti. The voices of Coro Intermezzo and soloists Leah Crocetto, Ekaterina Gubanova, Charles Castronovo Y Alexander Vinogradov They sing to the memory of Carmen Mateu, alma mater the musical event. Night 27 July begins the week of lyric tenor with a recital Javier Camarena in the church of Carmen. Followed the next day a concert with tenor most quoted of the moment, the German Jonas Kaufmann, returning to the Festival accompanied for the occasion with the Choir and Orchestra of the Teatro Real in Madrid. He 29 July put the icing on the weekend there was a concert version of the opera Thaïs starring Placido Domingo Y Jaho Ermonela in key roles, and stable bases Teatro Real second night at the Festival. Josep Bros will celebrate its silver anniversary with a special unique program for Peralada. He 5 of August, Xavier Sabata will star Rinaldo, the famous opera by Händel, version 1731, It is arriving for the first time in concert Festival. the countertenor, resident artist Peralada Festival 2018, sing along with Nuria Rial, Hillary Summers, Mary-Ellen Nesi, Juan Sancho, Josep Ramon Oliver with musical interpretation Evenings Arnadí under the direction of Dani Espasa.

One of the highlights of the summer will be undoubtedly the debut of theater director Oriol Broggi in the field of opera with a new production of the Festival. Broggi direct the opera of his life, The magic Flute Mozart with musical direction Josep Pons and participation Symphony Orchestra and Chorus of the Gran Teatre del Liceu. An international cast headed by Adrian Ërod, Liparit Avetisyan, Olga Kulchynska y Kathryn Lewek which also features the participation of Anaïs Constans, Castell de Peralada Festival Award Competition Viñas 2017. The opera Acis and Galatea, Handel also young stage direction Rafael R. Villalobos, will end, he 8 August in the cloister of Carmen, the lyrical section with a new premiere brand Peralada, with Evenings Arnadí under the baton of Fausto Nardi with voices Roger Padullés, Lucia Martin-Carton, Victor Sordo, Hugo Bolívar Y Josep Ramon Olive.

The dance will shine again in Peralada with names. He 13 july Ballet du Capitole in Toulouse, under the direction of Belarb of Fate, in Spain will present a new Giselle. María Pagés will present in Catalonia An ode to time he 20 of July. The great svetlana Zakharova will debut in Spain with stars of the Bolshoi the show love he 13 of August. It will close the Festival Foil, such original proposal as risky choreographer Mourad Merzouki. A multidisciplinary dance, hip-hop and baroque music that aims to open the Festival to new audiences.

Musical Summer in international accent will Rufus Wainwright (7 of July), Carla Bruni (21 of July), Santana (11 of August) and the formation disco-funk Kool & The Gang (15 of August). Serrat, the artist who more times has acted on stage in Peralada, will start his tour in Catalonia Mediterranean Da Capo he 6 of July, and the 9 of August, tandem Silvia Pérez Cruz & Marco Mezquida present work scoop whole.

This summer two new scenarios are opening to offer cultural experiences with new formats. He 12 of July, Finca Malaveïna (Garriguella) will host an evening with viticulture and jazz a dream place with Ignasi Terraza Trio. To mark the twenty-fifth anniversary of the Golf Peralada, one of the spectacular terraces of the Hotel Peralada Wine Spa & Golf becomes the perfect setting to enjoy an evening of cabaret;

Xavier Sabata and Rafael R. Villalobos presented bis, with musical direction by Dani Espasa.

Peter and the Wolf with Brodas Bros is Petit Peralada's proposal this year. Peralada reaches the hand Orquesta Sinfónica del Vallès, in collaboration with SonarKids. Classical music, hip-hop, urban culture and literature in a fresh and familiar proposal. One more year, as a thank you to the town of Peralada has organized a free concert in the main square by Arnadí evenings and Dani Sword they perform Water Music and the Royal Fireworks Handel.

Alzheimers night at the Festival of Peralada. Continuity charity project

Foundation Castell de Peralada, within its corporate responsibility policy, will collaborate again in organizing Night Alzheimers benefit of the ACE Foundation, private entity dedicated to the diagnosis, the treatment, research and support for people with Alzheimer's disease and other dementias, night 20 of July.

Mediterranean cuisine in the heart of Emporda

The cuisine of the Castell de Peralada Festival will be one of the best this year, because obtaining the Michelin star by the Peralada Castle Restaurant, which it is a challenge and a responsibility for Xavier Sagristà, Toni Gerez and his team, that for this edition of the Festival have designed a range of haute cuisine that reinterprets the culinary tradition of creative and avant-garde proposals.

The offer is complemented by the Restaurant La Parrilla, outdoor buffet where you can taste before or after the show specialties with live music. And this year as well as novelty Blue & Rose Festival, a space to enjoy the best tapas paired with wines and champagnes Perelada. And outside the castle grounds, he Restaurante l'Olivera, Mediterranean cuisine at Hotel Peralada Wine Spa & Golf.

Bus service from Barcelona to Peralada

In order to ensure a smooth and comfortable ride to the grounds of Castle Peralada, for the fourth consecutive year there will be a festival bus service. Days with performance at the Auditorio Parque del Castillo will come a bus from Barcelona towards Peralada.

Ticket Sales:

Tickets go on sale today, Wednesday 14 of March, to 13:00 hours and on the phone 902 374 737.


05/07_ Requiem in Verdi

06/07_ Serrat, Mediterranean Da Capo

07/08_ Rufus Wainwright

12/07_ A veiled in Malaveïna

13/07_ Ballet du Capitole in Toulouse Giselle

20/07_ Maria Pages Company An ode to time

21/07_ Carla Bruni French Touch

27/07_ Javier Camarena

28/07_ Jonas Kaufmann

29/07_ Opera in concert Thaïs Massenet

03/08_ Josep Bros 25 anniversary

05/08_ Opera in concert Rinaldo Handel

06 and 07 / 08_ Opera The magic Flute Mozart

08/08_ Opera Acis and Galatea Handel

09/08_ Silvia Pérez Cruz & Marco Mezquida

11/08_ Santana Divination Tour

12/08_ bis, an evening of cabaret with Xavier Sabata

13/08_ Svetlana Zakharova y estrellas del Bolshoi, love

14/08_ Peter and the Wolf with Brodas Bros and OSV

15/08_ Kool & The Gang

16/08_ Water Music and the Royal Fireworks Handel

17/08_ Foil dance, hip-hop and baroque music

Javier Camarena

Who was not afternoon 19 November in the Teatro de la Zarzuela, You may have missed one of the lyrical events of the season. It was the first time the Mexican tenor boarded a recital composed entirely of zarzuela. A genre that is historically considered "minor" Javier Camarena was in charge of denying: "I do not understand this tendency to make the zarzuela a minor genre, Does not have it, I can not find it, I don't perceive it like that and I'm not going to project it like that. Singing Red Flower is as important to me as singing A furtive tear ".

Greeted on stage with a standing ovation, started nervous, as he himself recognized, "I have left my comfort zone and I want to do my best". And I already think it did. It was demonstrated in each of the eight romances he performed, that this is a genre for seasoned. It requires a quality instrument, as is without a doubt that of Camarena, domain of dynamics, taste in the interpretation and an appropriate reading of the strength and tradition that this genre contains. His lyrical-light tenor voice offered versions full of originality. Solving the difficulties that these seemingly affordable arias undoubtedly have, giving everything in the interpretation. Going through different registers without losing metal, shining in the treble, with a phrasing loaded with intention and a smooth line of singing.

He began with bravery interpreting "From this peaceful corner of Madrid", by Luisa Fernanda and "You know through the smoke", by Doña Francisquita, to continue with one of your favorite works in this repertoire, "Red flower", by Los gavilanes. Before interpreting it, he warned the audience that he had "something scratchy in his throat". It was noticed at some point, given the difficulty, for the subtlety in the interpretation, that treasures this romance. Hope it rains soon, or many singers will stop coming to Madrid.

The second part began with a "Goodbye Granada" full of feeling and emotion that he dedicated to "Paquita", tenor wife Pedro Lavirgen, recently deceased, since it was the version of Lavirgen in which he was inspired to prepare the romance of the Emigrants.

It ended with “Paxarín, you who fly ”and“ It can't be ”, that ended with an over-treble that led the audience to delirium. At the head of the Orchestra of the Community of Madrid the young man Iván López-Reinoso. He conducted with ease and rhythm the Prelude to La revoltosa and El Drum de Grenadiers, the Interlude of The Wedding of Luis Alonso and the Intermission of The Legend of the Kiss. Brilliant was also the tip of the Mexican teacher Arturo Márquez, Danzón no. 2.

The recital ended with another two tips, a "Granada", from Agustin Lara in which he wasted qualities and treble and the repetition of the “The Trust of the Tenorios”.

Extraordinary evening that ended with a very long standing ovation from an enthusiastic audience that was reluctant to leave the room. We hope to see Javier Camarena soon performing an opera or zarzuela from the Spanish repertoire in this same Theater.

Javier Camarena

He Teatro de la Zarzuela in Madrid again be in luck, this time thanks to the second highlight of his Concert series. What will live on Sunday 19 of November (18h00) This arena will be a absolute milestone and hardly repeatable: he Mexican tenor Javier Camarena, worldwide sensation lyric since some years, will offer for the first time in his career a concert full of zarzuela. On this special occasion it will be accompanied by the BARREL, Theater Orchestra holder, directed by fellow Mexican Ivan Lopez-Reynoso.

Camarena will give the public its fascinating vocal agility, the dazzling beauty of her singing, his irreproachable fraseo, the gifts and talents with which travels the world between riotous cheers and enthusiastic, extensive and unanimous ovations. It is not in vain, with Luciano Pavarotti and Juan Diego Flórez, uno de los tres únicos cantantes a quienes el público de la Metropolitan Opera House in New York ha hecho repetir un aria en 70 years.

Now, esa voz admirable y sutil recorrerá algunas de las páginas más celebradas de nuestro género lírico por excelencia. Romanzas de ‘Luisa Fernanda’, 'Francisquita Dona', ‘Los gavilanes’, ‘El trust de los tenorios’, ‘Emigrantes’, ‘El último romántico’ o ‘La tabernera del puerto’, Federico Moreno Torroba, Amadeo Vives, Jacinto Guerrero, José Serrano, Tomás Barrera y Rafael Calleja, Reveriano Soutullo y Juan Vert, Pablo Sorozábal, Gerónimo Giménez, Pablo Luna y, how not, Ruperto Chapí, cuyos preludios de ‘La revoltosa’ o de ‘El tambor de granaderos’ darán buena cuenta de la maestría musical and the sólido temperamento from López-Reynoso, quien con solo 23 años fue Alberto Zedda elected as the youngest master of the Accademia Rossiniana Pesaro, and that, In addition to pianist and violinist, also it enjoys being a virtuous countertenor.

In the Teatro de la Zarzuela, Magic is served.

Teatro de la Zarzuela

Earlier this season we were saying that something was happening in the Teatro de la Zarzuela Y, in sight of the Season 2017/2018 which was presented this morning, We can only confirm. This is the second scheduled by its director Daniel Bianco, with a firm commitment: reach out to all audiences, thus vindicating his inescapable condition of plural theater. The 161 functions that will make up the new course will therefore be directed, how not, al regular viewer of the theater, but also and to the same extent to those who approach him with curiosity and concern to know and even those people who don't know yet what is cooked between the centuries-old walls of the colosseum.

In that direction orient his words White by stating that The original intention of the new season is “to invite more and more people to join this trip, that they take our hand to walk that path ". A journey that involves, as recognized, a "colossal" job but worthwhile for that “the Spanish lyrical genre in its broadest sense continues to feel like one of the most deeply rooted cultural heritages, thus being a significant sign of each one of us ".

A path that, according to the director, must be traveled together and in a single direction: “To feel, enjoy and live the Spanish lyrical genre whose richness resides, precisely, in its extensive variety "; and states that "We can look to the future with total guarantee and optimism, since we have a clear objective and the tools to achieve it ".

This is the spirit with which this new season of La Zarzuela is presented: increasing the number of functions to a total of 161, representing an increase of 15% compared to the current season and a 41% in relation to the season 2015/2016.

A) Yes, the Season 2017/2018, what will start the next 6 October and will last until 14 of July, presents eight lyrical titles: six new productions the Teatro de la Zarzuela (among which are a co-production with the Lausanne Opera Y a premiere of a contemporary work), a replacement of own production, functions open to all audiences of the Zarza project (zarzuela made by youth for youth) Y a zarzuela in concert version.


The season will start with 18 functions a new production from ‘The singer of Mexico’ by Francis Lopez in co-production with the Lausanne Opera. Signed by Emilio Sagi, with Oliver Diaz in musical direction, scenery Daniel Bianco, wardrobe Renata Schussheim and a cast headed by Rossy de Palma, José Luis Sola, Sonia de Munck, Esteve Manel O Luis Álvarez, it will be playing of the 6 al 29 October. After this start it will be the turn for the Spanish opera with two titles: ‘El gato Montés’ by Manuel Penella Y ‘Maruxa’ by Amadeo Vives. First, replacement of an own production premiered in 2012 and signed by José Carlos Plaza, of which are scheduled 8 functions 23 November to 2 from December; with Ramón Tebar in the pit the cast will be headed by Nicola Beller Carbone, Carmen Solis, Juan Jesus Rodriguez, César San Martín, Thiago Arancam O Alejandro Roy. The choreography is by Cristina Hoyos.

'Maruxa', meanwhile, is a new theater production whose music will be directed by José Miguel Pérez-Sierra. This story that takes place on the confusing border between love and desire will feature a scene and scenography by Paco Azorín; Session Hernández, Susana Cordón, Rodrigo Esteves, Maybe Borja, Ekaterina Metlova, Look at Urbieta or Simón Orfila, will integrate the cast of this long-awaited title whose 14 functions will of 25 January to 11 February.

He 16 and the 18 February the public will have the opportunity to taste ‘La Tempestad’ after more than half a century without being heard in Madrid. Scheduling this fantastic melodrama by Ruperto Chapí, one of the most celebrated works of the composer, It is only possible if you have a cast like the one presented this time by the Teatro de la Zarzuela: Carlos Alvarez, Celso Albelo, Mariola Cantarero, Ketevan Kemoklidze, Carlos Cosías and Alejandro González, all of them led by Guillermo García Calvo. Will be offered in concert version with an adaptation by Alberto Conejero to tell the story in which an unsolved crime strikes the conscience of a murderer mired in remorse.

In the season will also be presented, like happy novelty, he absolute premiere of a contemporary work, in another new colosseum production. ‘Policemen and thieves’ by Tomás Marco, with original booklet by Alvaro del Amo, It will be led by José Ramón Encinar, with Carmen Portaceli as creator of the staging. Manuel throws, José Antonio García, Rocío Pérez, Pablo García López and María Hinojosa will make up the cast in the 5 functions will of 5 al 11 of April.

The zarzuela grande will also be present on the Jovellanos street stage with one of its emblematic titles: ‘La tabernera del puerto’ by Pablo Sorozábal. There are many attractions in this new production of the Theater. As we say, the work itself, its stage director: Mario Gas, the musical: Josep Caballé Domenech, the master of masters of scenography Ezio Frigerio, the wardrobe designed by the Oscar winner Franca Squarciapino, or the dazzling cast with Sabina Puértolas, Marina Monzó, angel Ódena, Javier Franco, Antonio Gandia, Alejandro del Cerro, Rubén Amoretti or David Sánchez. Each of the 12 functions, of the 5 al 20 of May, promises to be a milestone. In parallel form, during the month of May he Zarzuela Theater and Thyssen-Bornemisza Museum will jointly organize a exhibition dedicated to the scenic work of Frigerio and Squarciapino in the Madrid headquarters of the art gallery. The collaboration between both institutions is carried out by second year in a row.

The season will conclude with the musical comedy by maestro Alonso ‘24 hours lying!’. In free version by Alfredo Sanzol, undoubtedly one of our most valuable playwrights, the stage direction of this new production will be signed by Jesus Castejon. The music will take over Carlos Aragon, that will face a more than adequate cast composed of Own Castejón, Yolanda Ramos, cross Beitia, Thomas Pozzi, José Luis Martínez and Enrique Viana. Of this vaudeville in which no one wants to show who they are for fear of knowing what they do not have will be offered 14 functions 29 June to 14 of July.

With the presentation of all these titles the theater will continue to be the only showcase for our lyrics, fertile and heterogeneous at once.

Concerts: Great room, ‘Notes from the Ambigu’, ciclo Lied

After success obtained this season, the number of concerts is maintained in the main hall. Eight will be the proposals, in which in addition to the lyric, will also have room other ways of feeling and unfolding music: soprano Ainhoa ​​Arteta with a tribute to Lorca entitled ‘The voice and the poet’ (9 October), Mexican tenor Javier Camarena in its first concert dedicated solely to zarzuela (19 of November), singer Silvia Pérez Cruz who will give a show under the name of the song his parents wrote more than 30 years: ‘Evening Dress’ (28 of November), he Christmas concert ‘Zarzuela in plural’, that under the baton of Oliver Diaz will bring together artists like Lucero Tena, José Antonio López, Carol Garcia, Svetla Kresteva and Enrique Ferrer, around zarzuelas from all Spanish regions (28 of November), the cantaor Archangel that will offer a new look at the Spanish lyric genre (30 from January); singer Marta Sanchez accompanied only by piano will offer the most intimate version of his voice (17 February); the Latvian mezzo-soprano Elina Garanca, with his highly anticipated debut in Madrid and the special participation of Andeka Gorrotxategi (11 of March) and mezzosoprano Maria Jose Montiel, that accompanied by the pianist Rubén Fernández Aguirre, will present ‘Discovering Padilla’ (6 of April).

The fact that I hung poster of ‘sold out places’ in all concerts of the cycle ‘Notes from the Ambigu’ of this season, it originated naturally not only its consolidation, but also the increase concerts that compose: this time the protagonists are the soprano Carmen Romeu with ‘A French afternoon’ (30 October), mezzosoprano Marta Infante with 'Tonadas and baroque zarzuelas' (12 from December), he trio Arbós with 'Chamber Music' (22 from January), baritone Javier Franco with 'Song Galicia' (13 February), soprano Ruth Iniesta with ‘To Joaquín Rodrigo’ (13 of March), the formation music with "Music Sephardi ' (16 of April), the Guatemalan soprano Adriana González, winner of the recent Viñas Contest, with 'Song Mexican camera' (21 of May) and Charo Reina with 'A song and a glass' (4 of June).

On the other hand, the Lied cycle also grows. In coproduction with the National Broadcasting Music Center (CNDM), will fulfill his XXIV edition with 11 recitals, one of them extraordinary offered by the baritone Leo Nucci. the mezzosoprano Ann Hallenberg (10 October), her too mezzo Anna Caterina Antonacci (24 October), the tenor Piotr Beczala (8 from January), baritone Matthias Goerne (26 February, 30 April 8 of May), soprano Diana Damrau (5 of March), soprano Ana Lucia Richter (9 of April), countertenor Xavier Sabata (25 of June) and soprano Hanna-Elisabeth Müller (2 of July) will complete the proposal for the new season.

educational projects. Zarza project. Master classes

The Teatro de la Zarzuela continues to give a very special importance to offer training and information to this young audience to which it shall fill the room of this theater in the future and which in turn will train the generation that will take over. "We have the obligation to seduce them and make the zarzuela affordable in this century that touches us ", asserts Daniel Bianco, who puts into practice its intention as evidenced by the fact that he 22% Theater programming is dedicated to educational projects.

He Zarza project, that promotes zarzuela made by youth for youth and how important success has been achieved in 2016/2017 registering 9.000 spectators between 'La revoltosa' by Chapí and the show 'Zarzuela en dance', back strongly in the new season ‘The duo of“ La africana ”’ by Manuel Fernández Caballero in free version of Susana Gómez. With stage direction by Susana Gómez herself and musical by Miguel Huertas, this new theater production will be represented, just as it happened with ‘La revoltosa’, for group of young singers and actors chosen after an audition process and accompanied by a chamber group. The 12 functions, three of them open to the general public, They will be offered of the 28 February to 7 March 2018.

At this point it is important to add that 'The revoltosa', in free version by Guillem Clua and stage direction by José Luis Arellano, how many accolades you have received this year, will go on tour in different Spanish cities.

The didactic projects will also stand out in the next season. Thanks to them, the Ambigú del Teatro will also be discovered as a show space. In that place the puppet theater with live music ‘Lost in Bosco’, new production of the Teatro de la Zarzuela in co-production with Claroscvro for children from the 6 years. They will 12 functions 5 al 10 February.

To be continue, Likewise, the collaboration between the Teatro de la Zarzuela and the Carlos III University. On this occasion they will present the new production ‘Master Chez’, during 5 functions and 16 al 21 of April, will challenge schoolchildren to see who can prepare a succulent snack or a healthy breakfast faster at the pace of Chueca, Fernández Caballero, Giménez, Luna or Moreno Torroba. The stage direction will be Enrique Viana and the musical of Carlos Chamorro. cross Beitia will act as presenter, and the cast will consist of Irene Palazón, Yauci Yanes and David Oller.

Also framed in educational projects, soprano Isabel Rey, A regular contributor to the Salzburg Festival and a regular claim on the most important opera houses for years, will offer master classes to young singers of the 9 al 16 October. This last session will be performed open to the public in the main hall of the Theater.


In the next season dance will also be one of the great protagonists. It could not be otherwise, since in the Teatro de la Zarzuela the two public companies will call: the National Ballet of Spain (BNE) by Antonio Najarro and the National Dance Company (CND) by José Carlos Martínez.

He BNE will present of the 9 al 23 from December 11 performances of the show ‘Electra’, first proposal for a complete plot work under the direction of Najarro. It is a creation of the choreographer Antonio Ruz in which this gives life, delving into different dance languages, to classical tragedy with a contemporary vision. Music is from Pablo Martín Caminero, Diego Losada and Moisés Sánchez and the musical direction of Manuel Coves. The BNE will also offer the 19 December a Gala tribute to Mariemma, one of the great figures of dance of the 20th century, and he will do it with him Royal Mariemma Professional Dance Conservatory and with him María de Ávila Superior Dance Conservatory.

The CND, meanwhile, will return to the stage of La Zarzuela of the 29 May to 10 June with 12 functions of “Kylián-Galili-Duato”, a program designed for the occasion by Martínez that invites the viewer to a journey through the history of the Company. The program includes ‘I die for you’, one of the choreographies of Nacho Duato most represented and applauded during his stage at the CND and that he originally created for this. Duato thus returns to the repertoire of the National Company after 7 year absence. Similarly, the public will be able to enjoy the talent of Itzik Galili and the Czech master Jiri Kylián of whom the CND has staged more than ten ballets throughout its history.

Musical Chamber Theater

Another cycles continue and remain full health is to Musical Chamber Theater in collaboration with the Juan March Foundation. Of the 9 al 16 of April will be presented 'The elements' by Antonio Literes in a New coproduction between the two institutions. The musical direction will Aarón Zapico in front of the group Antiqva form that shares with his brothers Daniel and Pablo. The stage direction will be Tomás Muñoz and costumes Gabriela Salaverri. The cast will consist of Eugenia Boix, Aurora Peña, Ana Cristina Marco, Olalla Alemán or Soledad Cardoso. As usual the representations will be at the Juan March Foundation.

Creation Contest

Bearing in mind that the secret that an art lasts in time does not consist only in preserving what has already been conceived, but also promote that creation continues on the right path, the Teatro de la Zarzuela will launch a Lyrical Work Creation Project Contest whose bases will be published next 30 of June.

Plural theater, reasonable prices

That stands out, by last, he important effort that the INAEM and the Theater carry out to maintain the same popular prices on tickets -of 4 a 50 €–, also preserving the discount from 20% for subscribers, Y expanding the discount for youth under 35 years of 35 al 50%, thus equating it to the discount for older than 65 years. Similarly, those under 35 years will be able to benefit from additional discounts of the 40% in the compost of Zarzuela and 30% in the tickets for Zarzuela and Dance and Concerts.

It is significant to highlight the new discount aimed at unemployed people, who can purchase their tickets with a 50% deduction, and what will be applied for the first time at the Teatro de la Zarzuela from next season. This novelty adds to the already usual discounts for large families (50%), last minute (60% from two hours before the start of each performance) Y groups (30%).

"We do all this", says Daniel Bianco, "Led by the same spirit that moves us forward every day: We want this Teatro de la Zarzuela to be a plural theater”; a need, assures, that reality itself demands. “The present demands a substantial and urgent change. We have opened the doors and windows with the intention that a new air circulates from the stalls to the stage and vice versa”.


The next 4 of July llegará al escenario del Teatro Real I puritani, última ópera del compositor italiano Vincenzo Bellini (1801-1835), of which will be offered 10 functions until the day 24 of July, en una coproducción del Teatro Real y el Teatro Municipal de Santiago de Chile con dirección de escena de Emilio Sagi y musical del maestro italiano Evelino pido.

I puritani supuso el debut de Bellini en París, where it was released in 1835 en el Théâtre-Italien con un clamoroso éxito de público. En ella se encuentran los mejores ingredientes del melodrama italiano del romanticismo: drama histórico, love, celos, intriga política, locura… construidos sobre una partitura en la que la orquestación es más rica que en obras anteriores del compositor, pero donde no renuncia a sublimes melodías, himnos heroicos y arias y dúos de difícil coloratura.

Bellini equilibra cuidadosamente la efusividad lírica y las necesidades dramáticas, compone arias y dúos de endiablada coloratura, que en las funciones que veremos en el Teatro Real serán afrontadas, in the lead roles, por los tenores Javier Camarena Y Celso Albelo (Lord Arturo Talbo), las sopranos Diana Damrau Y Venera Gimadieva (Lady Elvira Valton), baritones Ludovic Tezier, George Petean Y Damiano Salerno (Sir Riccardo Forth) the short ones Nicolas Tested Y Roberto Tagliavini (Sir Giorgio), mezzosoprano Annalisa Stroppa and soprano Cassandre Berthon (Enriqueta). With them, he Choir and the Orquesta Titulares del Teatro Real.

Emilio Sagi, head of stage direction, se aleja en esta producción de una versión realista del libreto para centrarse en el mundo abstracto de la ensoñación y los sentimientos. En este mundo onírico, retratado en blanco y negro, salpicado de elementos surrealistas, serán las voces las que trasladen la realidad dramática a través de unas melodías que transmiten más que las palabras. Para Sagi, the score I puritani es cristalina, romantic, sublima las emociones y está cargada de sensualidad, por esa razón desnuda el espacio de todo realismo y lo centra en la música y las voces.

Como en otras ocasiones, Emilio Sagi ha contado con algunos de sus colaboradores habituales, a los que el público del Real siempre ha recibido con gran entusiasmo en producciones como Le nozze di Figaro, The Barber of Seville O Luisa Fernanda, among other. Daniel Bianco se hace cargo de la escenografía, Peppispoo (Pepa Ojanguren) diseña el vestuario y Eduardo Bravo dirige la delicada iluminación en esta coproducción firmada por el Teatro Real y el Teatro Municipal de Santiago de Chile, donde en su estreno en mayo de 2014, recibió numerosos elogios.

Representations I puritani coincidirán con la celebración de la Week Opera Theater Royal, que tendrá lugar entre el 11 and the 17 de julio y que, entre los actos programados, emitirá en la pantalla instalada en su fachada la función del día 14. Esta retransmisión también podrá seguirse en directo en algunos de los espacios culturales más importantes de España como el Prado Museum, he Reina Sofia Museum, he Niemeyer center Aviles, Bilbao Guggenheim Museum Y La Alhambra de Granada, among others. further, la plataforma audiovisual del Teatro Real, stage Digital, ofrecerá la representación en streaming, for free, para todos los que no puedan acercarse a la Plaza de Oriente.


Maria Jose Montiel iniciará el mes de septiembre “con muchísima ilusión al asumir por primera vez el personaje de Dalila que siempre ha sido, por vocalidad y belleza, uno de mis sueños”, afirma la mezzosoprano madrileña, papel con el que debutará en México. “La verdad es que llega en el mejor momento”, keep going. “La música francesa, tanto en el repertorio operístico como en el de la canción, ha vivido siempre como algo natural en mi repertorio, y la heroína de Saint-Saëns, like is logic, la sentía cada vez más cerca, así que ahora la afronto con gran entusiasmo; Besides, será la primera vez que cante una ópera en México, así que todo confluye para que me sienta muy feliz”, Add. Montiel debutará el sensual personaje en la Ópera de Nuevo León, In Monterrey, una institución que, con el apoyo del Consejo Estatal de Cultura de México, cuenta con el privilegio de haber sido testigo de carreras de artistas locales de gran carrera internacional, como es el caso del tenor Javier Camarena.

De la gran ópera de Saint-Säens la cantante española ofrecerá dos funciones, the days 18 Y 20 de septiembre compartiendo escenario con Rodrigo Garciarroyo, Guillermo Ruiz, Oscar Martínez Y Charles Oppenheim, el Coro de la Ópera de Nuevo León y la Orquesta Sinfónica de la UANL, todos dirigidos por Guido Maria Guida.

María José Montiel llegará a México tras haber debutado este mes de julio en Israel el rol de Ulrica de Un ballo in maschera, from Verdi, Hand Zubin Mehta. Tras las funciones de Samson et Dalila ofrecerá un recital en la Sociedad de Conciertos de Alicante (7 October), cantará el Requiem de Verdi junto a La Verdi en Milán como parte de los actos que cierran la Expo Milano 2015 (29 Y 30 October 1 of November) y debutará en el Teatro San Carlo de Nápoles con uno de sus roles fetiche, the protagonist of Carmen, from Bizet, de nuevo bajo la dirección de Zubin Mehta.


Javier Camarena It has become the rage in the world of opera, It is the third singer in the last seventy years to offer an encore at the Metropolitan NY, along with Pavarotti Y Flórez. This feat was repeated this year in the Teatro Real from Madrid, interpreting 18 “C's” perfect to bisar Aria “Ah! My friends any day of celebration” The daughter of the regiment. The Mexican tenor is the first bisar in two consecutive functions in the history of both theaters.

He 7 June the Mexican tenor give a concert in Bilbao, sponsored by the BBVA Foundation, accompanied by the Symphony Orchestra under the direction of Verum young teacher Ivan Lopez Reynoso, and a chorus of thirty male voices.


Overture “Romeo and Juliet”, C. Gounod
“Ah! Get up, soleil!” Opera “Romeo and Juliet“, C. Gounod
“I think I still hear” Opera “The Pearl Fishers“, G. Bizet
Overture “The Barber of Seville”, G. Rossini
“And, find her I swear!” Opera “Cinderella“, G. Rossini
“Ah, my friends! What feast day!” Opera “Daughter of the Regiment“, G. Donizetti


Overture “Luisa Miller”, G. Verdi
“She was kidnapped me ... I seem to see the tears ... Mighty love calls me” Opera “Rigoletto“, G. Verdi
the Intermezzo “The legend of Kiss”, R. Soutullo y J. Vert
“I love you, brunette” from “The trust of Lovelaces“, J. Serrano
“Can not be” from “The barmaid port“, P. Sorozábal
“Do not be surprised, no, that escape” from “The witch“, R. Chapí



If history was the “to” last day 7 November performed by the Mexican tenor Javier Camarena, most historic is one second “to” only 3 days after. In the last representation of the first cast of Daughter of the Regiment, the aria “Ah! my friends”, at Teatro Real from Madrid, This is where there has been such an unusual event. Camarena is one of the most interesting tenors that can be heard today on the main stages. With a clear voice, consistent and glazed, that penetrates like a beam of light shaking a Madrid audience that has already adopted him as a reference tenor. This was demonstrated after the great ovation, this time without the need for prior advertising, that he received with a large part of the Theater standing.

We will be able to listen to him again in December and January at the Liceu in Barcelona, in “Maria Stuarda” by G. Donizetti.