The Titular Orchestra of the Teatro Real He has offered this afternoon at the Alfried Krupp Chamber Philharmonic Essen a concert dedicated to the Italian composer Gioacchino Rossini, in which he counted on the participation of the Australian soprano Jessica Pratt and tenor Russian Jessica Pratt, under the baton of Ivor Bolton, musical director of the Royal Theater and Artist in Residence Essen Philharmonic.

Ivor Bolton It is one of the great protagonists of the current musical season of the German city with six concerts in charge, in which he has already directed the Orchestra of the Dresden Festival, the Basel Symphony Orchestra and the Chowerk Ruhr and the Concerto Köln chamber orchestra. After the performance tonight, by the Titular Orchestra of the Teatro Real, will return to Essen next 29 May the Mozarteum Orchester Salzburg with, of which he was also principal conductor.

The public, that filled the room, it has set up to reward the musicians with a standing ovation, After enjoying a program in which arias and duets from operas were performed best known as the composer of Pesaro Semiramide, Guillermo Tell, Otello, Le Comte Ory, La Cenerentola and The Barber of Seville. The first part of the program has also included Simple Symphony, on 4 Benjamin Britten.

Two great voices have shining examples in Gala: Jessica Pratt, recognized as one of the great interpreters of Rossini time, as evidenced by his regular presence at the Festival of Pesaro, Rossini twelve papers in their repertoire, Y Dmitry Korchak, winner of the Francesc Viñas Singing Contest and the fourth prize of Operalia, whose voice is already demanded by opera houses around the world. Korchak acted replacing Xabier Anduaga, initially scheduled and canceled due to illness.

Last season, in March 2019, Titular Orchestra of the Royal Theater participated in the International Rostropovich Festival in Moscow, under the direction of Gustavo Gimeno, with violinist Leticia Moreno solo, and the previous, The Royal Theater was the main guest at the Savonlinna Festival, in celebration of the centenary of the independence of Finland, with an adaptation of the assembly I puritani, performed by Emilio Sagi, with the Choir and Orchestra of the Royal Theater Headlines, with musical direction by Evelino Pido.

Photograph: © Helena Poveda / Teatro Real

Jessica Pratt

At the same on the tour performed at the Savonlinna Festival (Finland) in 2017 with I Puritani Bellini, the Teatro Real in Madrid retells Jessica Pratt headlining during his visit, this month, a la Alfried Krupp Saal de la Philharmonie Essen (Germany), where Rossini opera gala is announced 5 March by the Orchestra of the Teatro Real. Pratt will perform arias and duets (accompanied by the Spanish tenor Xabier Anduaga) of operas Semiramide, Otello, Matilde in Thabran, The Italian Girl in Algiers, The Barber of Seville, The Count Ory Y Guillaume Tell. In the brief tour the orchestra of the Royal will headline on the podium with the musical director of the Madrid coliseum, Ivor Bolton, precisely, residence director at the auditorium of the German city. The Philharmonie Essen highlights in the press promotion of the concert the presence of Australian soprano, “hailed from La Scala to the Met in New York. you are now compared to Joan Sutherland and is a regular guest of the Rossini Festival in Pesaro. Have 12 Italian composer's operas in his repertoire”. Pratt joins the Real tour after having achieved great success with his already described as "exemplary" Lucia of Lammermoor both in Bilbao and Oviedo. With that same opera fired last course of the Palau de les Arts in Valencia, before returning, in summer 2019, to the Pesaro Festival to exhume the now forgotten opera by Rossini Demetrius and Polybius. Jessica Pratt started the season 2019-2020 with a real tour de force to the play Olympia, Antonia, Giulietta and Stella at the Offenbach opera The Tales of Hoffmann, a milestone in his career. He has also sung I Puritani at the Opéra de Marseille, title reprise, in May, at the Teatro San Carlo in Naples before singing La Traviata (Verdi) in Las Palmas de Gran Canaria and Lucrezia Borgia (Donizetti) Opera Australia.

If Jessica Pratt in September, a reference to the string coloratura soprano today, season began 2019-2020 assuming the impossible challenge of playing all the female roles The Counts of Hoffmann –Olympia, Antonia, Giulietta and Stella at the Opéra National de Bordeux (France), in October back again on stage at the Euskalduna in Bilbao capital to get into the skin of the protagonist Lucia of Lammermoor a co-produced assembly between ABAO Bilbao Opera, the Teatro Comunale Bologna, the Teatro Carlo Felice in Genoa and the Slovak National Theater. Day functions 19, 21, 25 Y 28 October, Donizetti's opera returns to the schedule of the outstanding performer with a special flavor, "And it will match the function number 100 This iconic character that has given me so much joy ", as the singer says.

Jessica Pratt has taken his Lucia by theaters like the Metropolitan in New York, el Théâtre des Champs Elysées in París, La Scala in Milan or the Sydney Opera House, among many others. In Spain he will reprise next January at the Opera de Oviedo in July and achieved great success in defending the Palau de Les Arts in Valencia, to the point that has been distinguished with the prize to the best soprano of the season by the Friends of the Opera and Les Arts in Valencia. Pratt, He is delighted and grateful to the prize, adds that "In Bilbao I will sing the work in the original key and a new cadenza, something that I really wanted to do to continue to deepen the musical side of the opera ". Riccardo Frizza, expert in bel canto composer and musical director of the Festival Donizetti Bergamo, the lead from the podium at the Euskadiko Symphony Orchestra and Opera Choir of Bilbao.

Born in England and raised in Sydney, season 2019-2020 Jessica Pratt also await you I Puritani in the Opera Marseille, his return to Oviedo as Lucia, again I Puritani at the Teatro San Carlo in Naples and Lucrezia Borgia at the Sydney Opera House.

Web Jessica Pratt http://en.jessicapratt.com/

Web Abao Bilbao Opera https://bit.ly/2pitjV3

Photograph: Alessandro Moggi

Daniella Barcelona y Jessica Pratt en Tancredi

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Jessica Pratt

They say it is the natural successor to Joan Sutherland. Not in bathroom, Australian soprano is considered one of the best international performers on his rope. Now comes to Spain, Palau les Arts Reian Sofia of Valencia which debuts, and he does so with paper Amenaide, Opera Tancredi Rossini. A great opportunity to listen to songbirds skills of this great performer.

Brío Clásica: If I'm not mistaken, You tenor and daughter, somehow, He has always had links with lyric. What time he was aware of to pursue singing as a career and at the beginning of this planned?

Jessica Pratt: My father taught us all about music and my mother all about the visual arts; I think it's natural for parents to convey to children all their knowledge and passion for the things they love. In my case both my sister, my brother and I have benefited from a childhood filled with music and art. I decided to try my way as a singer when he was twenty and few years and I decided to move to Italy to expand my singing studies. In Australia I worked as a clown, as a secretary, as a clerk and even the McDonalds to pay for singing lessons, travel and all that meant starting a career as an opera singer; later in Europe I won a scholarship that allowed me to focus only on the study. I took all the opportunities that were put in my way, replacing colleagues who canceled several times; then it said that this was my big chance. I think we live in a world where we expect it all happen very fast and actually in my case I think it took a long time to stabilize my career; that is to say, there was a turning point that changed everything, They were just a cluster of small things, opportunities, that eventually, constancy and perseverance built my career.

B-C: No doubt the bel canto in which his voice feels more comfortable. Does this same sense from the point of view dramatic and interpretative?

J. P: Fortunately I love the bel canto; I find it extremely grateful both from the point of view of a spectator as interpreter. So actually I say that I feel at home in this repertoire from every point of view. I spent a lot of time reading romance novels that were developed in the Tudor period, an era that I love, and I really enjoy exploring this time through the bel canto operas I play.

B.C: In one occasion he has had to say no to a job or project?, for what reason?

Many times, usually because I am not free on the dates proposed if I'm working elsewhere and sometimes because the role is not suitable for my voice. There are young singers who have a certain haste and sometimes accept roles inappropriate. Thus, It is very important to know what your limits are and know how to fight for your future, saying no when you know that what you propose is not for you. Early in my career I had to deal with important people in this business for this reason and was complicated and difficult to say no when I had no money. The most memorable story was during a fight with an agent asked me who or what gave me the freedom to reject a very important contract that I was offering. When I made my debut at Covent Garden with the Queen of the Night, at the beginning of my career, I had so many offers for just that character that limited me for a while debuting other roles, so I decided to remove the repertoire. He was very young at that time did not want to pigeonhole, however I returned to play the role last year at the Metropolitan Opera. Now I feel that my career is established I love coming back to sing occasionally, although I prefer the heroines of bel canto.

B.C: In a preferred representation, What the stage director will all guidelines for interpreting or have some leeway on stage?

J. P: I do not think anyone likes to be used like a puppet that move around the stage. We interpret the opera jointly wrote the composer and librettist in collaboration with the management team chosen by the theater scene. It is fantastic when the stage manager has a clear and consistent idea how to tell the story, but definitely it has to be a team effort and collaboration among all.

B.C: What it does play an almost fetish character for you as Lucia?

J. P: Lucia was the first character I played and certainly the more times I've sung. When I sing I feel like I get home. Lucia is fantastic both dramatic and musically; a lot of demands at all levels; It can be interpreted in so many different ways that every time I sing encounter new details, nuances I had not seen before; all this is a role that fills me with satisfaction. On one occasion I had to sing at La Scala and simultaneously in Amsterdam; productions were so utterly different from the point of view scenic as vowel came a time when he thought he was singing two different operas, but the truth is that I liked both. Wagemaker in Amsterdam Monique had created a fabulous version in which Lucia had a horrible nightmare; all the action took place in his room full of broken dolls that come to life, everything was dark and culminated in his suicide, while in Milan Mary Zimmermann he had created a much more traditional Lucia; the character lived in a large manor house cut off, howsoever half and suffered a nervous breakdown; after having injected a sedative just off stage after the mad scene. Both productions were opposed but the fantastic and exciting time, each focused on his speech.

B.C: How do you see the evolution of his voice with a view to addressing new repertoires?

J. P: True, the voice changes over the years, mature and can cope with a heavier repertoire. At the moment I do not intend to change; I have debuted over 35 roles with which I still feel very comfortable. This year finally add some new comic opera character and I like to have fun on stage for another record; I even like to sing some zarzuela someday. Le Comte debut just Oryy Don Pasquale will debut in Bilbao and Barcelona this year. Soon I will sing first Zerbinetta and a couple of more dramatic roles donizettianos I really want to sing.

B.C: How the life of opera singer harmonizes with personal life? What would you like to do when their work permits?

J. P: This year I'm away from home since last February to August, jumping from one production to another. I feel very fortunate to have a partner who has his own business and is happy with having to travel often. When I have time to go home take the opportunity to spend time with our dogs and cats, paseándolos, reading, improving things around the house and my partner going crazy because I leave things half done because I have to travel for months.

B.C: Why do you think it is so difficult for young people interested in opera?

J. P: I do not think it at all difficult; I think young people simply do not offer opportunities to enjoy opera. Every time you go with a friend or young friend to the opera eventually become passionate about gender. Children, and adolescents are usually people with a very open mind, more than we, and they love to do adult things. You just have to let them accessible. I have seen in many places that encourage youth deals, as two tickets for one to certain ages, etc ... and the theater is filled. Whatever always take advantage! The reason why we see elderly people in the theaters is because when you go to the opera, this grabs you and you can not stop going in your life, and that is something very positive.

B.C: When can we see her perform in Madrid?

J. P: This summer I'll be rehearsing in Madrid for the production of I Puritani the Teatro Real take the Savonlinna Festival in Finland and I hope to announce soon my debut at the Teatro Real!

Jessica Pratt

It is one of the few Spanish scenarios that had not yet debuted in opera staged, since the Australian soprano Jessica Pratt, undoubtedly one of the most important interpreters on the international scene - hailed by critics as the worthy successor of the great Joan Sutherland–, It has been presented gradually, and always successful in large squares in the country lyrics. The same happens in Paris, NY, London or Milan, where they have also applauded. And after the recent triumph in Las Palmas as Marie in Daughter of the Regiment, now it's the turn of The Palace of Arts in Valencia, theater in which he will debut in an opera staged in the difficult role of Amenaide from the opera Tancredi, from Rossini, in a co-production between the Opéra de Lausanne and the Municipal Theater of Santiago de Chile with stage direction from Spanish Emilio Sagi and that for the occasion will have the baton of Roberto Abbado (the days 23, 25, 27, 29 June and 1 of July).

After an intense season in which he has walked some of his most emblematic characters such as Semiramide (Semiramide, Florence Opera), Rosmonda (Rosmonda of England, Florence and Teatro Donizetti in Bergamo), Queen of the Night (The magic Flute, Metropolitan Opera, NY), Gilda (Rigoletto, Opera Oviedo), Jessica Pratt to sing in May La Sonnambula (Victorian Opera, Melbourne), I Puritani (Müpa, Budapest), Le Comte Ory (Klangvokal music festival, Dortmund) before traveling to Valencia in June.

In the coming months, the leading roles of I Puritani (Savonlinna Festival during the visit of the Royal Theater of Madrid to the Finnish competition), Lucia of Lammermoor (Champs Elysées Theater, Paris), his return to Spain with Don Pasquale (ABAO-OLBE, Bilbao) Y L'elisir d'amore (Liceu Barcelona) and his long-awaited return to New York with Lucia of Lammermoor (Metropolitan Opera).

More information.