Twenty years he has this Carmen from calixto Bieito finally arriving to the Royal Theater. Production more represented in the history of this opera, It comes with some controversy over "adjustments" that the art team has been forced to perform on supposedly offensive scenes. The changes are merely cosmetic, so as not to focus on certain elements that only pretended to be artistic expressions.

Based on the work of Prosper Mérimée, Bizet adapted the text, which was very attractive to the public at the time by the Spanish exoticism and somewhat lustful elements, and created some players that, this time, They were not kings, emperors or gods, If no characters from the street, exposed with maximum crudeness and far from existing operatic archetype so far. Bizet puts the work in a specific social category and in a particular medium. This is perhaps the main reason that made its debut result in scandal.

It should be clarified that gender opera comique, to which he belonged Carmen, It does not mean that it is a comic opera, refers to a genre that opposed the serious opera or great opera was represented in Paris. It is about, not so much of the humor of the arguments, if not technical issues, as alternating between fragments spoken and sung. This so straightforward to express the text mode has a great theatrical and musical impact. Music is much more direct and Carmen sings, are not arias, but songs, Bizet himself as he wrote. There is only one character, created by composer, since it does not appear in the original work, It is having arias themselves, Micaëla.

Bizet died just weeks after its release, without enjoying the success of his opera after the initial scandal. It was one of his disciples who, in an effort to make a serious opera Carmen, instead of an opera comique, He introduced a series of amendments adding recitatives and music. He managed thereby that the dominant image of Carmen throughout the twentieth century has been very different from the original idea conceived Bizet. It was important, because, reposition the story of Carmen and return the characters to their original idea.

It is here where it appears one of the virtues of Calixto Bieito, his way of directing actors. And it is this direction of actors, and not the scenery or stage elements, what makes the difference in this production over others we've seen before.

This Carmen is one of the first productions of Calixto Bieito. And he pointed it his taste for controversy and some extravagances often become protagonists of their productions. What we are not thought that, to modify any of these most controversial elements, Naked as the work quedase so the scenery of Alfonso Linings. Characterized by the absence of elements, He has presented an empty stage, Just a phone booth and some grant years 70, until 6, They have occupied the stage during the first two acts. He has not missed a naked, taste very Bieito, through a helper that makes the moon "as is" at the beginning of the third act. Decorated the bleak drama gets weaken and numbs the orchestra, that especially in the prelude and the first two acts he had a direction of Marc Piollet routine and little gimmicky. Despite being one of the most vital repertoire scores, got it sounded vulgar in some passages.

Bieito wanted to get away from the folclorismos that have characterized so many times this opera, but it does lunging others you españoladas. It merely update clichés, without leaving them. raising, contradictorily, a return to Spain deep.

In this dive to Spain tambourine, draws characters that, although they are closer to the original idea of ​​Bizet, They do not stop taking their roles forcefully. The Carmen de anna Goryachova It is full of sensuality, but his temperament is not as strong as intended. Vocally not much to blame. Her mezzo voice is homogeneous and balanced, although its volume was resulting in decreased as the work progressed. Its beautiful timbre looked more in the central records in serious but had a good performance, in general terms.

Francesco Meli not able to give the image of a rustic and fierce Don Jose. It turned meek, especially in the scenes of gang, much like West Side Story. In the vocal part he was more successful. It has a beautiful timbre and a good volume of voice were enough to tackle this role.

Eleonora Buratto builds a Micaëla which is not as naive as it may seem at first, suggests a self stroke. It is always a complicated character for being a little out of place, to be added in the work. The Buratto boasts a somewhat excessive volume of voice but lution in the arias and especially in his beautiful duet with Don José's first act.

The Escamillo of Kyle Ketelsen It is very attractive and manly. His resounding voice to the character fortalció. He defended his role with dignity.

The two pairs formed by comprimarios Olivia Doray, as Frasquita and Lidia Vinyes Curtis, as Mercedes and Maybe Borja, as Le Dancaire and Mikeldi Atxalandabaso, in the role of Le Remendado, were high, vocally and in interpretative. They are well within the decadent world unwrapped low funds created for the occasion by Bieito. The Lillas Pastia of Alain Azérot, a dastardly character, I was approached by the French correctly and professionalism.

The chorus, in its line of excellence. He shone particularly spectacular in the fourth act, by the Choir of Young Singers of JORCAM.

A Carmen, Regrettably, It will be best remembered for the scandal that was not, that staging.

Georges Bizet (1838-1875)
Opéra comique in four acts
Libretto Meilhac and Ludovic Halévy deHenri based on the novel (1845) Prosper Merimee
Premiered at the Opéra-Comique in Paris 3 March 1875
Production of the Opéra National de Paris
D. musical: Marc Piollet
D. scene: calixto Bieito
Scenographer: Alfons Flores
Costume designer: Merce Paloma
Lighting: Alberto Rodriguez Vega
Replacement: Yves Lenoir
D. choir: Andrés Máspero
D children's choir: Ana González
Distribution: anna Goryachova, Francesco Meli, Kyle Ketelsen, Eleonora Buratto, Olivia Doray, Lidia Vinyes Curtis, Maybe Borja, Mikeldi Atxalandabaso, Alain Azérot, Jean Teitgen, Isaac Galan
Headlines Choir and Orchestra of the Teatro Real
Little Singers of ORCAM

Don Giovanni

Mortier defends against the evident failure of Don Giovanni, saying that the Spaniards do not have ownership of the character, since this is universal, and also speaks of the right to Tcherniakov to expose their particular vision of the work. Of course, Sr. Mortar, missing more. Don Giiovanni But this is not the result of a provocative scenery and caused public and stimulated. Nor is it the result of a mature intellectual approach that requires greater reflection on the part of the public.. It is not even a contemporary risky and incomprehensible proposal product of an artist's delusion.. The result is, simply, a bad and boring Don Giovanni. If you prefer, extraordinarily mean and boring, that's what Real is for.

It was well thought out to program Don Giovanni after Così fan tutte. They both talk about love, freedom and fidelity, but both are very different works. The version that the Royal Theater offers us on this occasion is that of Vienna, which has two arias for tenor and one for Donna Elvira, more than Prague.
Don Giovanni is a long-range myth. When Mozart writes his, already exist 80 operas dedicated to the character. A myth that can walk in many different directions. Although in some of them, how is this, I walked awkwardly to failure.
They say that we all carry a Don Juan inside. All but Russell Braun. What a coincidence and what bad luck for the Real's public.
A pity that for Mr.. Mortier there are no quality Spanish singers. That must be the reason why he has been forced to hire a cadre of singers with this level of mediocrity that is so difficult to overcome. Being Ainhoa ​​Arteta (famous australian soprano) the only performer in this production who stayed afloat.

It is important to highlight the artistic and theatrical talent of Tcherniakov. Suffice it to remember his Eugene Onegin in this very Theater. Talent that would be undoubtedly evident with the creation of a work from the beginning. A contemporary work that allows you to expose your artistic approaches directly, without the need to twist an initial approach on a whim and take it to the abyss of disappointment.
Tcherniakov's insistence on depriving the main characters of the works he directs of dignity, and permanent rectification to the teachers who write them, requires better a therapeutic review than an artistic one.
With the excuse of demystifying the character, he created a Don Giovanni chase, irresponsible, devoid of all gallantry, visibly alcoholic and weighed down by the incoherent staging.
The scenery is absolutely flat. Tcherniakov insists once again in large salons exclusively, since all the work is represented in the same set, dwarfing the stage once again. Thus contributing to the tedium of production.

A large part of the hopes of a Madrid public who, after his performance last season with Plácido Domingo, I was waiting for her generous and excited. It can be said that among the confusion of this production it is almost the only one that is saved. Accepting this role at Mortier's proposal, It has been a great success. The shift towards more demanding and complex roles can cause your career to abandon mediocrity and acquire, at last, a new dimension. Qualities not lacking.
His voice, powerful emission and pleasant timbre, she began somewhat unmoved, maybe bothered by the montage and the failure of the premiere, but he immediately took over the reins of an energetic and mocking Donna Elvira, although less painful. He had serious difficulties in the first act that were evident in "I want to take out his heart”. Better in the second act where she was rotund, although scarce of fiato in some aria of prolonged volata. Also recognize his interpretive improvements.

Another of the voices to highlight was that of Leporello, interpreted by Kyle Ketelsen. A great voice, rotund and harmonic that, along with Arteta's, highlighted the shortcomings of the rest of the cast.
Christine Schäfer he just fulfilled his role. It went from less to more until it reached “Beat or handsome Masetto”Which he gladly interpreted. The best, the drama that he imposed on his recitatives.
Paul Groves, which we enjoy in Iphigénie in Tauride and Persephone, it was a sad surprise as Don Ottavio. With permanent problems keeping in tune, with a shrill voice, guttural and falsely falsified, was reprimanded by the public at the end of any of his interventions. Don Ottavio did not enter it, nor he in Don Ottavio.
The young German soprano Mojca Erdmann solved her role as Zerlina discreetly. A beautiful and mozartian voice is aimed,, although small. You must improve your dramaturgy a lot, and if they can also improve their wardrobe, the character would win a lot.
David Bizic, como Masetto, It was a hulk that moved around the stage as such. Cold and expressionless, seemed to be in a school performance.

Russell Braun it was the biggest blunder of the night, that's saying. A brittle voice, little, inconsistent. Point of collapse at various times, I don't know if out of fear or mimicry. Russell Braun is not a voice for Don Giovanni. It was not at any time, despite the many that the score offers to show off. He was not even able to get carried away by the beautiful mandolin performance, in the skillful hands of Araceli Yustas interpreting the aria “Come to the window”. Waited for him at the entrance, braising delicately so as not to cover him, showed him the right path to show off but, it was all in vain.

The musical direction Alejo Pérez is non-existent. From an overture sometimes unrecognizable, until the progressive decline of the second act. As a positive aspect to say that his routine in front of the orchestra allowed, at least, the placid dream of some spectator. Alejo Pérez complained, days before the premiere, that the scenography had affected and altered the tempo of the work. But the musical result showed more alterations than that. The orchestra, that has us used to great nights, it sounded thin, flat and out of time.
Be a chorus in the production of someone who, as is the case with Tcherniakov, he doesn't like choirs, is resigned to remain hidden throughout the performance. This time, as in others, he was hidden in the pit, and the pit rang.

Don Giovanni
The dissolute punished or Don Giovanni
W. A. Mozart (1756-1791)
Libreto de Lorenzo da Ponte
D. musical: Alejo Pérez
D. scene: Dmitry Chernyakov
D. choir: Andrés Máspero
Don Giovanni: Russell Braun
The Commander: Anatoli Kotscherga
Donna Anna: Christine Schäfer
Don Ottavio: Paul Groves
Donna Elvira: Ainhoa ​​Arteta
Leporello: Kyle Ketelsen
Masetto: David Bizic
Zerlina: Mojca Erdmann
Piano: Eugene Miichelangeli
Choir and Orchestra Titulares del
Teatro Real