Florian Boesch

He Monday 14 of June, the Austrian baritone Florian Boesch will offer the last recital of the season of Lied Cycle of the National Center for Musical Diffusion (CNDM) coproduced with Teatro de la Zarzuela. With this concert, Florian Boesch culminates his stage as resident artist in the cycle, which has resulted in 3 concerts throughout the season 20/21. In this his third and last recital, the singer will put his vocal versatility and extensive expressive resources at the service of the post-Romantic cycle of the Austrian composer Ernst Krenek, Travel book from the Austrian Alps (Travel book through the Austrian Alps), a demanding vocal and emotional tour de force for any opera singer. Concert tickets have a general price of 4 a 35 euros, and they are for sale in www.entradasinaem.es, on the phone 91 193 93 21, as well as at the ticket offices of the Teatro de la Zarzuela and the INAEM network of theaters.

Ernst Krenek's "Travel Book" (1900-1991) is one of his most famous works and reflects the composer's love for the landscapes of his native land and its nature. It is also a product of the decade of 1920, when memories of the horror of World War I were still hot and the impending catastrophe of World War II was anticipated. According to the critics, the work offers clear resonances of Schubert, whose work greatly influenced Krenek during his early creative period. He will accompany the piano to Florian Boesch the prestigious Malcolm Martineau.

In his first concert as a resident artist in the cycle of lied the past 28 September and accompanied on piano by Justus Zeyen, Boesch performed a selection of lieder by Franz Schubert and Hugo Wolf alongside the Six monologues from "Jedermann" de Frank Martin. In the second recital, held on 25 from January, and again with Zeyen, Boesch gave life to the essential Winterreise Schubert.

With ten concerts scheduled between September 2020 and June 2021, along the XXVII Cycle of Lied Some of the most important lyrical voices of today have stepped on the stage of the Teatro de la Zarzuela, as the Anna Lucia Richter, Sabine Devieilhe, Matthew Polenzani, Christian Gerhaher, Bejun Mehta, Christoph Prégardien Y Nuria Rial. Different styles, timbres and colors for an edition that has brought together some of the voices that resonate in the best music venues in the world.

Florian Boesch, strength and emotion

Born in Saarbrücken in 1971, Florian Boesch He is one of the most prominent lied performers of our time. He has sung in venues such as London's Wigmore Hall, Musikverein y Konzerthaus de Viena, The Concertgebouw de Ámsterdam, Laeiszhalle de Hamburgo, Philharmonie Cologne, as well as at the Edinburgh and Schwetzingen Festivals, May Festival Wiesbaden, Salzburg Festival, as well as at Carnegie Hall in New York. He was an artist in residence at London's Wigmore Hall in the season 2014-2015 and at the Vienna Konzerthaus in the 2016-2017. He regularly works with the most prestigious orchestras and conductors on the current scene: Vienna and Berlin Philharmonic, Royal Concertgebouw Orchestra de Ámsterdam, Gewandhausorchester de Leipzig, State Chapel of Dresde, London Symphony Orchestra, among other, and directors of the stature of Ivor Bolton, Riccardo Chailly, Gustavo Dudamel, Adam Fischer, Iván Fischer, Valery Gergiev, Stefan Gottfried, Daniel Harding, Philippe Herreweghe, Pablo Heras-Casado, Mariss Jansons, Sir Roger Norrington, Sir Simon Rattle, Robin Ticciati and Franz Welser-Möst. In season 2019/2020 offered a variety of concerts that included War Requiem (Britten) with the Orchester de Paris and Daniel Harding, Monologues from "Jedermann" (Martin) with the Konzerthausorchester Berlin and Juraj Valčuha, Requiem (Mozart) with the National Orchestra of Spain and David Afkham. During the season 2019/2020, Florian Boesch has sung at the Frankfurt Opera, el Festival Liszt en Raiding, the Vienna Musikverein, el Concertgebouw and Ámsterdam, the May Festival in Wiesbaden and the Konzerthaus Berlin with Vikingur Ólafsson. His recordings have been acclaimed by the international press and he has received numerous awards, including the Edison Klassiek Award. the beautiful Miller was nominated for a Grammy 2015 in the category Best Classical Vocal Soloist. Early september 2017, Hyperion released a new recording of Winterreise by Schubert with Roger Vignoles at the piano. In the fall of 2018 made a recording of works by Schubert with Concentus Musicus Vienna under the baton of Stefan Gottfried. Boesch's recordings featuring works by Schumann and Mahler were honored at the BBC Music Magazine Awards.

Les ArtsPresentation

The season 2019-2020, how particularly do we close these days, gives way to the exciting period that begins with the presentation of the season 2020-2021: a reality that will show itself alive since the central weeks of next September.


Wolfgang Amadeus Mozart
Musical direction Stefano Montanari Stage direction, scenography, wardrobe and lighting Romeo Castellucci Associate scene director Silvia Costa Choreography Evelin Facchini
Dramaturgia Piersandra di Matteo

Soprano: Anett Fritsch , Mezzo soprano: Sara Mingardo, Tenor: Anicio Zorzi Giustiniani, Low: Nahuel Di Pierro, Soprano boy: Francisco José Rita
Choir of the Generalitat Valenciana Director Francesc Perales and Orchestra of the Valencian Community

György Kurtág
Musical direction Markus Stenz
Stage direction Pierre Audi Set design and costumes Christof Hetzer Lighting Urs Schönebaum
Dramaturgia Klaus Bertisch

Hamm: Frode Olsen, Clov: Leigh Melrose, Nell: Hilary Summers, notch: Leonardo Cortellazzi
Orchestra of Valencia

Vicente Martín i Soler
Musical direction Cristóbal Soler Stage direction
and set design Jaume Policarpo Costume José María Adame Lighting Antonio Castro

The Knight: Joel Williams, Anselmo: Gonzalo Manglano, Violante: Aida Gimeno, Don Fabrizio: By Lebedyev, Bill of exchange: Vittoriana De Amicis, Foo: Omar Lara
Orchestra of Valencia

MITRIDATE, re di Ponto

Wolfgang Amadeus Mozart

musical direction: Marc Minkowski

Mitridate: Penis Pati, Aspasia: Julie Fuchs, Sifare: Elsa Dreisig, Farnace: Jakub Józef Orliński, Ismene: Sarah Aristidou, Marzio: Jonathan Winell, Arbate: Adriana Bignagni Lesca
Les Musiciens du Louvre

Gioachino Rossini
musical direction: Maurizio Benini
Stage direction and costumes: Laurent Pelly Set Design Chantal Thomas
Associate Costume Designer: Jean-Jacques Delmotte
Lighting: Duane Schuler

Don Ramiro: René Barbera, Clorinda: Larisa Stefan, Angelina: anna Goryachova, Gold wings: Riccardo Fassi, Dandini: Carles Pachón, Don Magnifico: Carlos Chausson, Tisbe: Evgeniya Khomutova
Cor de la Generalitat Valenciana
Director: Francesc Perales
Orchestra of Valencia

Giuseppe Verdi
musical direction: James Gaffigan, Stage direction: Mario Martone, Scenography: Margherita Palli, Locker room: Ursula Patzak, Lighting: Pasquale Mari, Choreography: Raffaella Giordano

Sir John Falstaff: Ambrogio Maestri, Ford: Olivieri Mattia, Fenton: Juan Francisco Gatell, Dr. cajus: Jorge Rodríguez Norton, Bardolph: Joel Williams, Gun: Valeriano boats, Mrs. Alice Ford: Ainhoa ​​Arteta, Nannetta: Sara Blanch, Mrs. Quickly: Violeta Urmana, Mrs. Meg Page: Amber Fasquelle

Choir of the Generalitat Valenciana Director Francesc Perales
Orchestra of Valencia

The uninhabited island Manuel García

Stage direction: Emilio Sagi, Scenography: Daniel Bianco, Locker room: Pepa Ojanguren, Lighting: Albert Faura

Costanza: Larisa Stefan, Silvia: Evgeniya Khomutova, Gernando: Joel Williams, Enrico and Piano: N.N.

Richard Wagner
musical direction: Mikko Franck, Stage direction: Alex Olle (La Fura dels Baus), Scenography: Alfons Flores, Locker room: Josep Abril,
Lighting: Urs Schönebaum, Video: Franc Aleu

Tristan: Stephen Gould, King Marke: René Pape, Isolde: Elena Pankratova, Kurwenal: James Rutherford, To lie: Neal Cooper, Brangäne:
elena Zhidkova, Cor de la Generalitat Valenciana, Director: Francesc Perales
Orchestra of Valencia

Cavalleria Rusticana
Pietro Mascagni
Ruggero Leoncavallo
Musical direction Jordi Bernàcer Stage direction Giancarlo del Monaco Set design Johannes Leiacker Wardrobe Birgit Wentsch
Iluminación Wolfgang von Zoubeck

Cavalleria Rusticana
Santuzza: Sonia Ganassi, Turiddu: Jorge de León, Lola: N.N., Mom Lucia: Maria Luisa Corbacho, Alfio: Misha Kiria


Nedda: Ruth Iniesta, Canio: Jorge de León, Tonio: Misha Kiria, Peppe: Joel Williams, Silvio: Davide Luciano

Choir of the Generalitat Valenciana Director Francesc Perales
Orchestra of Valencia




AN ODE TO TIME -María Pagés Company- SONOMA -La Veronal-
GISELLE -National Dance Company-











Philippe Jaroussky in Arts

The French countertenor Philippe Jaroussky Debuts in Palau de les Arts The next sunday, 12 from January, at the third session of the cycle 'The Arts is Lied'.

The prestigious interpreter is one of the most important figures in the opera scene, which adds to the list of great voices debuting at Les Arts in the season 2019-2020.

Audiences and critics credited countertenor Philippe Jaroussky as the quintessential of his generation both for his work in major theaters and festivals such as records record.

With the pianistic accompaniment Jérôme Ducros, countertenor, star of the baroque repertoire, Les Arts presents in his role incipient 'lieder', with which it will demonstrate technical mastery and elegance that characterize their performances.

As letter, Philippe Jaroussky scores of plays Franz Schubert, certainly the great master of the 'Lied', not only by the more than 600 parts left written, but also by the lyricism and richness of his works.

'The Arts is Lied', the first cycle arts center devoted to this genre, will continue with recitals British baritone Simon Keenlyside-the day 1 February-, and soprano Ainhoa ​​Arteta Guipuzcoa, he 15 of March.

The Coliseum reminds those concerned that the price of tickets ranges between 20 Y 40 euros and can be purchased at the theater box office and through the web www.lesarts.com.

Photograph: Simon Fowler

Prégardien in Lied

We are not accustomed to attending a performance in which the protagonist is shown in perfection humble and perform his virtuosity without fuss. Elegance and subtlety are two qualities to add to those already owned Christoph Prégardien, light lyrical tenor, but she is accusing and over the years, is more than a pleasure to listen to a genre, the lieder, who knows and dominates masterfully.

Prégardien offered in the fourth recital of the Lied They organized jointly by the Teatro de la Zarzuela and the National Center for Dissemination of Music, a repertoire divided into two parts. In a first right side interpreted the Lied that, poems by Ernst Schulze, composed Schubert. The second part was devoted to Schumann and his song cycle, on. 39, composed in 1840. In this second part Prégardien got the better of the lieder within him. He filled this cycle of songs nuances and musicality. Texts Joseph von Eichendorff and the intensity of the music of Schumann, They inspired a much deeper and expressive Prégardien. No doubt these works are better accommodate the qualities of his voice and his perfect phrasing.

He was accompanied on the piano by Julius Drake, which he puts the spirit and verve that lacked at times to Prégardien. Drake shined and balanced from the piano to his companion, offering emotional depth in the songs most dramatic draft, and taken away in greater verve.

The evening ended with three tips thanked the audience excited, Serenade", of the Song of the Swan, “night and dreams" and "There Mouse Sohn”.

Photograph: CNDM / Rafa Martín

Christoph Prégardien

Curious and original it appeared in the Teatro de la Zarzuela the third recital of the Lied. Under the title, Cabaret evenings, mezzosoprano Nancy Fabiola Herrera, He began shelling, his voice thick and enveloping, all the musicality of works, perhaps less known, to show that not only the German lieder requires mastery and expertise. He showed that compositions which are less susceptible to the corsetting and technical require the same discipline and management of musical knowledge and canoro.

A repertoire full of artistic possibilities and identity, the eclectic personality of Herrera, coupled with its stylistic resources, They led to a higher level the most popular works by composers such as Oscar Straus, Erik Satie o Francis Poulenc. This first part, more formal, if you can say so, He was completed with works by Kurt Weill and Louis Guglielmi (Louiguy). Always very well accompanied by piano Mac McClure.

To demonstrate the uniqueness of the evening, something happened that, at least I, I had not seen before in a theater. After the break, an inattentive public, I do not know if the originality of the night, He did not finish entering the room, prompting singer and pianist were on stage waiting several minutes for him to finish accommodate public. This was the start of a second part in which Herrera proved to have a capacity of artistic records and idiomatic almost chameleonic.

It is not easy to place voice after a first more academic side, but, once resolved settings, Herrera found us new ways to deepen the freedom of interpretation, knowledge of the works and their composers and the ability to convey nostalgia and exoticism posed composers like Ernesto Lecuona, Joaquim Zamacois the Astor Piazzolla. Or draw the perfect melancholy boleros Pedro Junco, Maria Grever, Alvaro Carrillo, Gabriel Ruiz Bobby Capó.

Or as described exceptionally Mary of the Self in the playbill, "Moving to the nineteenth century is traveling through subjectivism and introspection; It is the time of rebellion, the willingness to explore all avenues artistic expression with a weekend full trying to regain past precious or achieve a wonderful future. It is the pursuit of feelings, wrapped in dreams, in mystery and fantasy of the exotic haunted by a spirit of nostalgia, melancholy and longing after completion impossible ".

Mahler He had said "I statelessness in triplicate: native of Bohemia in Austria, Austrian among Germans and Jews worldwide. Always an intruder, never welcome ", he was a prisoner of the time he lived. Viennese decadence and imperialism entered step opened new artistic currents, intellectual and philosophical, encabezas by Klimt, Olbrich, Hoffmann steel or Freud, his personal friend.

It took to reach him recognition. The originality of the compositions, on the one hand, and the rise of Nazism in Germany and Austria on the other, They made their work was classified as "degenerate". Add to that the anti-Semitic atmosphere joined the Viennese society of the time that, after a press campaign aimed at their expulsion from the Vienna State Opera, He succeeded in making 1907 Marler moved to New York, where he led the Metropolitan Opera between 1908 Y 1910. The following year return to Vienna where he died 18 of May, suffering from a serious illness.

After World War II, two of their brightest students, Bruno Waltter y Otto Klemperer, They began distributing his work, after more than 50 years of indifference.

Great admirer of Wagner, He had tried unsuccessfully to compose opera, but if he developed a brilliant career as a composer of symphonies and orchestral lieder. Although it is two different genres, Mahler is not understood without each other. Throughout his compositional career, both genders fed off. From 1890, Mahler orchestrated all songs, providing them with a symphonic entity notably enriched his vocal music.

The Teatro de la Zarzuela dedicated XXVI Lied two complete series of works by Gustav Mahler Lied. In this first installment are interpreted Llieder a moving join (1884-1885), Wayfarer songs. This was the first song cycle as such, he composed at the end of his stormy affair with the soprano Johanna Richter, while he was director of the opera house in Kassel, Germany.

Lieder accompanied by piano should not be considered minor work. Mahler was an extraordinary pianist and is the absolute knowledge of the instrument, with clarity and perfection he sought in his compositions, which they make these voice and piano versions are treated as an orchestrated version, full of nuances and symphonic textures.

Christian Gerhaher y Gerold Huber raise its peak the term interpenetration. Both were students of the great Dietrich Fischer-Dieskau, note what, among other things, in faithful interpretation made. Dieskau thought that Mahler not have to read between the lines, "Observing only his instructions exactly can be demonstrated fully the art of Mahler".

Gerhaher modulated his voice to provide a clearer record, closer to its natural tenor baritone. He demonstrated once again its ability to articulate, to say the outline and exact verse with a refined and smooth voice. As usual, without stylistic ornaments. Done accurately the journey to the depths in the interpretation of lieder. No one as he goes through the different characters and demands that contain these song cycles. Dota expressive of deep intimacy Songs of Wayfarer, where nothing is accessory. then flows into Des Knaben Wunderhorn (The wonderful horn Boy) and voice rises with roundness conclusive.

The grand finale came with a deep understanding of Kindertotenlieder (Songs on the Death of Children). Not abandon elegance never, or is carried away by the drama, but it gives each one of these songs an abyssal intensity and always sober.

A great start to this traditional Lied CNDM and Teatro de la Zarzuela. Definitely, the quality of this cycle is already a very important cultural heritage for Madrid. It sets an example.

Photograph: Elvira Megías

Last 3 June ended the XXV edition of the Lied jointly celebrate the Teatro de la Zarzuela and the National Center for Dissemination of Music. And he did it in an original way. Around an excellent program, in which had much to see the accompanist, Justus Zeyen, It was held, Viennese mode, a meeting of extraordinary performers who did nothing but enhance the art that everyone is able.

Thomas Quasthoff, that up 2012 He has developed a successful career as a baritone, He was commissioned to tell, so brilliantly dramatic, the texts that introduced the works then tenor Michael Schade interpreted the baritone Florian Boesch and.

They offered works by Eichendorff, Mendelssohn, Nietzsche, Brahms, Schubert, Schumann, Heine, Liszt s Wolf. They performed the solo lieder duo or as an unforgettable night, not only for the originality of the format, but by the quality of the four interpreters.

Undoubtedly the Lied, that next season reaches its sixteenth edition, is one of the most interesting and highest quality that are scheduled in Spain and at such an affordable price, which is ridiculous. If you have occasion, not miss next season.

This XXVI edition offer 10 recitals: baritone Christian Gerhaher (30 of September), baritone Matthias Goerne (7 October), mezzosoprano Nancy Fabiola Herrera (25 of November), the tenor Christophe Prégardien (2 from December), baritone Christian Gerhaher (13 from January), baritone Simon Keenlyside (3 February), baritone Manuel Walser (30 of March), the tenor Ian Bostridge (20 of April), soprano Anna Lucia Richter (4 of May) and soprano Marlis Petersen (29 of June), will complete the proposal for the new season.

Photograph: I Vine - CNDM

The new season means an increase in 30 % the activity of Les Arts addressed the audience with a varied proposal, besides opera, zarzuela and symphonic music, It includes dance, ‘lied’, flamenco and other musics.

The Marzà minister stressed that "this program embodies the great work done by people who are with me and they are doing Les Arts reality we want: a space of operatic excellence, open society and a more extensive program to attract new audiences ", to which he added: "The Arts is operated, definitely, but also for all, and the new programming delves into the arts that accompany the opera and is greatly enriched with new expressions, more educational activities and proposals for opening Coliseum people ".

Susana Lloret highlighted the ambitious proposal, what includes 47 opera and zarzuela, 19 dance performances, 6 recitals 'lied', 8 concerts, 4 Flamenco evenings and two sessions devoted to other music, without forgetting the 12 programs open to the public, new institutional collaborations, Besides the activity of the Educational Program and Placido Center Sunday.

"The opera is at the heart of this project, but the music thanks to the vision and management of Jesus Iglesias-, now flows in many other ways all the rooms of this landmark building, to reach a wider audience, for greater enjoyment of this heritage that belongs to everyone ", has underlined.

'The Arts is Opera'

Jesus Iglesias Noriega recalled its intention to convert Les Arts into a "musical theater, covering lyrical music in all its manifestations, without forgetting the opera as main activity ", which will have its fulfillment in expanding repertoire, genders, shows and new cycles that will be the engine of programming variety and artistic wealth.

The opera season includes nine titles that embrace a time horizon, that goes from 1735, year of the premiere of 'Ariodante', Handel, until 1947, wherein the first function of 'Les Mamelles de Tiresias' took place, Poulenc.

The repertoire is diversified with a foray into the Baroque 'Ariodante', three works belonging to the classical era 'The Marriage of 'y' Figaro La Finta Giardiniera ', Mozart, and 'The Guardian mocked', Martin y Soler, one title belcantista 'The Journey to Reims', Rossini, a work the Verdi 'Nabucco', one belonging to the French Romanticism ‘Faust’, Gounod and two operas of the twentieth century ‘Elektra’, Strauss, y 'The breasts of Tiresias'.

Les Arts opening a new aesthetic includes the debut of directors distinguished by its history and modernity that print their mounts, as Robert Carsen (‘Elektra’), Richard Jones ('Ariodante') O Keith Warner (‘Faust’), in addition to the return of Damiano Michieletto ('The Journey to Reims').

Meanwhile, the choice of music directors, as it indicated by Noriega Iglesias, It has been made based on their specialty with the repertoire that they address: Andrea Marcon, Baroque; Christopher Moulds o William Christie, the classic; Marc Albrecht, the music of Strauss; Francesco Lanzilotta and Rossini repertory; Y Michel Plasson, French romantic repertoire.

Operatic activity begins in late September with five functions of 'Le nozze di Figaro' at reasonable prices, in a celebrated assembly of Emilio Sagi, starring the Spanish sopranos Maria Jose Moreno and Sabina Puértolas, Polish baritone Andrzej Filończyk, and Canadian bass Robert Gleadow.

In November, the Main Hall offers, in semi-staged version, the first comic opera composed by Mozart just turned 18 years: 'La Finta Giardiniera', and involving the presentation of William Christie Les Arts and Les Arts Florissants, formation of absolute reference in the recovery and interpretation of baroque and classical music on ancient instruments.

The Center Placido Domingo also delves into new composers and styles this season. Under the musical responsibility for Roger Vignoles, Young artists explore the French operatic repertoire with 'Les Mamelles de Tiresias', Poulenc, a transcription for two pianos Britten.

Les Arts Debuts in one of the new values ​​of the staging, American Ted Huffman, with a sparkling production, of which are scheduled 6 functions in November at the Teatre Martin i Soler and at the Teatro Principal de Castelló.

The close relationship with Les Arts Placido Domingo is maintained with a new feat of the artist in the baritone tessitura with 'Nabucco', in Verdi, which opens 2 from December. Accompanied by Anna Pirozzi, Reference soprano for the role of Abigaille, Jordi Bernàcer returns to the den in his first opera as a starter in the Main Hall.

The 'regista' Tadeusz Strassberger, author of the co-production of Les Arts 'I due Foscari', pays tribute to the opulence and color peplum in this montage film title iconic Italian nation.

Con 'Elektra', scheduled for January, the fourteenth season paid off one of the great demands of critics and audiences: the return of the great Central European repertoire with the Orquestra de la Comunitat Valenciana has obtained its highest recognitions, as explained Iglesias Noriega.

The debut of two established artists such as Marc Albrecht and Robert Carsen, It joins "a cast of first level" led by Irene Theorin, Reference interpreter of this role, Doris Soffel y Sara Jakubiak.

He 29 de febrero if estrena 'The Journey to Reims', a walk in the bel canto repertoire of the hand of one of his top representatives, Gioachino Rossini, under the direction of ascending Francesco Lanzillota.

On stage, Les Arts receives the staging of reference for this work, Damiano Michieletto has led to cities such as Amsterdam, Copenhagen, Roma, Moscú o Melbourne. A team of some of the most interesting young voices Rossini today addresses this authentic voice cast and scenic holiday.

Twelve years after the premiere of 'Orlando' in the Main Hall, Baroque Handel returns in April with 'Ariodante', a poetic hymn to honor and fidelity, by renowned specialists in this musical style.

Richard Jones, one of the great innovators of the British scene, signs an interesting adaptation that takes the medieval legend in the mid-twentieth century, which it has enjoyed an excellent reception in Europe and the United States.

The artistic director has also noted that Les Arts, as a cultural engine, It has an obligation to the Valencian musical heritage and, especially, with the most successful territory operista: Vicente Martín y Soler.

Thus, 'Il tutore burlato' will be the new opera production of the season; commissioned by the Valencian Jaume Policarpo, which will feature leading professionals from Les Arts for execution, and the master of Alcàsser Cristóbal Soler in his first collaboration with artists Placido Center Sunday.

Visit one of the great legends of conducting, Michel Plasson, with one of the reference titles opera gala, ‘Faust’, Gounod, closes the season. Plasson, unquestioned expert in the French repertoire, it gets for the first time in front of the stable bodies of Les Arts.

'Faust' represents, Likewise, the reunion of the Valencian public soprano Ailyn Pérez with bass-baritone and Alex Esposito, plus the opportunity to hear first tenor John Osborn quoted.

'The Arts is Zarzuela'

The artistic director has revealed that the presence of the zarzuela, large format and with leading figures, It will be another constant. In October, and within titles with popular prices, It offered 'The barmaid port', Sorozábal.

Guillermo García-Calvo, regular at the Vienna State Opera, He directs the stable bodies of the theater and a roster of singers, in which are two Valencians who had not yet sung at Les Arts: Marina Monzo and Antonio Gandia.

Mario Gas, one of the great artists of the national scene, he surrounds himself as Ezio Frigerio professionals or oscarizada Franca Squarciapino for a spectacular assembly and faithfulness to the original text.

'The Arts is Dance'

Dance becomes a chapter in its own programming. Opens the cycle in January a new production of Les Arts with Ananda , ‘Âtman, the Goodbye'.

After more than 40 year career, the founder and choreographer of the company, Rosangela Valls, says goodbye to the stage with this show, accompanied by the music of his usual collaborator, Pep Llopis.

Meanwhile, in February, National Dance Company will bring on tour choreography of 'Carmen' which premiered in John Inger 2015 and will feature accompanying the OCV under the direction of Oliver Diaz.

'An ode while', of María Pagés Company, Offer closes dance. the dancer, creator and choreographer visit Les Arts for the first time with his aesthetic concept of flamenco dance that has crossed borders.

'The arts are Lied'

The Main Hall is the setting for a new programming line, cycle 'lied', representing debut opera theater Valencian of some of the most acclaimed voices on the international scene.

El inglés tenor Piotr Beczała, French countertenor Philippe Jaroussky, English baritone Simon Keenlyside or soprano Ainhoa ​​Arteta Gipuzkoa, Also for the first time at Les Arts, with Violeta Urmana, well known by the public of Les Arts, They offer six selected evenings dedicated to the genre.

'The Arts is Great Voices'

'The Arts is Great Voices' is Unpublished otra PROPOSAL, with which the most emblematic figures of their careers are invited to do a review of the styles and repertoires that have forged. US Joyce DiDonato suggests 17 May a select Baroque program, style has elevated to Olympus lyric, accompanied by the orchestra Il Pomo d'Oro and the ascending director Maxim Emelyanychev.

'Symphonic Arts is'

The Orquestra de la Comunitat Valenciana will work for the new season with some of the most renowned circuit, debuting or returning to the Valencian coliseum. James Gaffigan, Michele Mariotti, Gustavo Gimeno, Juanjo Mena, Daniele Gatti Ivor Bolton and propose, in their respective appointments, varied programs, four of them with the participation of the choir, with those who demonstrate the excellence of stable bodies of Les Arts.

'The Arts is Flamenco and Other Music'

During his speech, Jesus Iglesias Noriega, He recalled the musical diversity as one of the pillars of the artistic project for the coming years, and flamenco, as one of the most important hallmarks of the Spanish culture, shall enjoy own chapter.

Under this heading, arts center forward four proposals which address the cantejondo: Diego el Cigala, one of the most representative figures of new trends; the breath of fresh air Rocío Márquez; the talented singer Duquende, and Flamenco fusion Manuel Lombo.

further, attend musical events programming underserved to date in previous seasons: the 'jazz' and fado. Chick Corea presented in March 'Chick Corea Trilogy', an encounter with the 'jazz' ever, through known issues, while the shuddering Mariza, one of the great fado today, June will perform a selection of works of an unprecedented kind to date in the offer theater.

'Arts for everyone'

El compromiso de Les Arts Theater as Public materialize in the program 'Arts for everyone', gathering activities, shows, collaborations and initiatives free or nominal prices with which revert to the Valencian society support for the project. In addition to two consolidated as the 'Open Day' or 'Nit a les Arts' activities, paragraph includes new contributions to diversify and enrich public life theater:

The first novelty is the series 'Les Matins Arts': six musical Sunday matinees Main Hall, with a symbolic price of five euros, in which the artistic assets theater: the Orquestra de la Comunitat Valenciana, the Cor de la Generalitat and singers Placido Center Sunday, They offer interesting programs to attract new audiences.

Le sigue 'Preview up to 28', an initiative of great acceptance in major European opera houses, and allow those under 28 years enjoy titles like 'The barmaid port', 'The Journey to Reims', 'Ariodante' or 'Faust' by ten euros.

After several years of marathons around Mozart, y with the motivop estreno de 'The Journey',the new operatic course will be dedicated to Gioachino Rossini. Under the name of 'Marató Rossini', Les Arts invited to celebrate the figure of the genius of Pesaro and its impact on European culture with a wide range of free activities.

Openness to society also involves bringing it to your artists. That is the purpose of the 'Perspectives' initiative, in which the characters opera and zarzuela establish a dialogue with viewers and will complement the cycle 'Conferències' of operista expert Ramon Gener.

Likewise, the truck 'Les Arts Volant' will continue its journey through different municipalities with the successful installation of 'BASTIA i Bastienne', Mozart, and will present a new production of 'The burlat tutor', Vicente Martín y Soler.

New institutions adhere to Les Arts this course to strengthen links with the social and cultural reality. In addition to the cooperation with IVAM, the Museum of Fine Arts in Castelló, Film Archive of Valencia and Berklee College of Music will be new collaborators and activity will also be maintained with the Federation of Music Societies of Valencia.

On the other hand, under this section will also include the show 'The Opera Locos', recently awarded the Max Prize, fusing fragments of the most popular operas with various musical styles

'Arts Education and Training is'

The educational program Les Arts strengthens its offer, which already reaches all ages and audiences: babies, Early Childhood Education students, from elementary school, Secondary, professional deformation, of specialized education, University, adult training and also has a section dedicated to family audiences.

Shows like 'Babies Only', 'Feel the Music', 'Conta'm opera' and 'Detectives in the opera', working sessions as 'Tots to Cor', The opera building 'or' One morning ', and educational workshops as 'VestuArts' i 'CaracteritzaT' articulate the main actions.

This section also contains monitoring and coordination of the program LOVA ('The opera as a vehicle for learning'), planning educational functions of the shows represented in the Teatre Martin i Soler, Danseta collaboration with the Dansa València Festival, In addition to actions in academia with the UJI in Castelló, la UPV, UV and UNED.

Meanwhile, the Center Placido Domingo, This year is also open to pianists repertoristas, It will remain as the main forming agent, in addition to its contribution to the theater program in various actions.

The main innovation in the training program will be the 'Workshop coral Direcció d'opera', directed by Francesc Perales, in collaboration with the Cor de la Generalitat, in order to complete the training of young professional directors.

Adrianne Pieczonka

Schubert writes Winterreise (Winter trip) It is very advanced and syphilis that led to his death shortly afterwards. Lonely and without having had any success in his career, Schubert shells along 24 songs two fundamental themes in the poems of Wilhem Muller, loneliness and the road. And it does transmitting, wrenching way, his own inner winter, full of melancholy, loneliness and fear of death that lurked him.

Winterreise was originally written for tenor voice, well known Schubert. But the baritone voice which most often addresses this repertoire, perhaps because melancholy describe more accurately. But this time, he Lied cycle of Teatro de la Zarzuela and the National Music Center They have surprised us with the voice Adrianne Pieczonka. A discovery hearing the deepest romantic expression hand this Canadian soprano, and experienced on stage. Perhaps thanks to that vital and professional experience, the ability to convey so many different emotions contained in this work is due.. Pieczonka has been bringing, of disturbing way, each time that describes Schubert, through his music, the arrival of the end of the road. Bright, glazed voice when the upward dynamics require, como en Frühlingstraum (spring dream), or able to create atmospheres full of melancholy or tenderness, como en Der Lindenbaum (linden) o The organ-grinder (The hurdy-gurdy).

She was accompanied on the piano by Wolfram Rieger, who scored, with impeccable technique and elegance, Pieczonka the perfect way to travel the romantic melancholy described by Schubert. His knowledge of lieder repertory is impeccable, as his mastery of the instrument. They formed a perfect tandem in coordination and expressiveness that left the audience happy and satisfied.


The playbill of the second recital of Lied, Lemon organized by the Teatro de la Zarzuela and the National Center for Dissemination of Music, article contains a delicious musicologist Cristina Aguilar which begins:"Never melancholy was a sign of national identity as clear as in Russia. Fyodor Dostoyevsky held: "The really great men must experience, as far as I know, great sadness' ".

And it has been Ekaterina Semenchuk (Minsk, 1976) and his accompanist Semyon Skigin responsible for transmitting the Russian melancholy burden so aptly described by Dostoyevsky. He did it with a rare repertoire in this cycle of Lied, something that is appreciated. Nor it can say is his usual repertoire, but it certainly demonstrates a stranglehold when run. A program divided into two parts of different themes. Some works of most popular character in the first part with music by Nikolai Rimsky-Korsakov, Cui, Found Blákirev, Aleksandr Borodin y Modest Musorgsky. And a second part full of romance and dedicated to Pyotr Ilyich Tchaikovsky.

Many are the vocal qualities of this Byelorussian mezzosoprano. Issues as naturally and easily the gravest notes as acute and recreated into a powerful central register. All in perfect balance and solvency. Nor lacks theatricality, especially in some of the tips with which he regaled the audience very generously. Whatever the repertoire, Ekaterina Semenchuk solves it flawlessly and security in each of the land Treading not surprising.

Accompanied on piano by Semjon Skigin, one of the leading representatives of the legendary piano school in St. Petersburg. He is debuting in this cycle of Lied with a technical and impressive mastery.

Extremely high level Lied cycle that continues the 12 November with low Franz-Josef Selig, accompanied on piano by Gerold Huber. Essential!

Gerhaher y Huber

It started in the Teatro de la Zarzuela the celebrated Lied Cycle which jointly organizes with the National Center for Dissemination of Music. This season, Besides, celebrates 25 year cycle. And to start in style, Christian Gerhaher and his alter ego at the piano, Gerold Huber, have delighted everyone with swansong, Franz Schubert.

swansong (The swan song), It is made up of texts by different authors and they have nothing in common between them, unlike the other two Schubert cycles, the beautiful Miller (The beautiful molinera) y Winterreise (Winter trip), that we have had the opportunity to hear in previous seasons in the voice of Matthias Goerne and Gerhaher himself. The one that concerns us today was published posthumously by editor Tobias Haslinger who, after the composer's death, negotiated the purchase of the drafts of the last songs composed by Schubert with his brother Ferdinand. 14 unreleased songs with piano accompaniment that do not form a corpus, like the two previously mentioned, but whose quality leaves no doubt.

Gerhaher and Huber form a perfect binomial for the nostalgia from which to start towards the texts of Fridrich Rückert and Heinrich Heine. Two of the main romantic references of the time that were put to music by an already knowledgeable Schubert, at that time, of the proximity of his death. The swansong son un set of songs that pass between joy and sadness produced, mainly, for love situations enjoyed, as Love message, (Love message) or torn, as The Atlas (The atlas).

Gerhaher flees any expressive eloquence. Only give up discretion when her voice rises, firm and resounding, carried away by the drama of the moment, like in stay (Resting place). But always from an elegant and unalterable interpretive hermeticism that does not need to convey the eloquence of Rükert's texts, Ellstab, Heine y Seidl.

Gerold Huber, who handles the pedal like nobody else, always walk parallel to Gerhaher, recreating a nuanced atmosphere and precisely linked to the baritone voice. Between the two they form an indissoluble tandem.

A romantic and exquisite evening at a Teatro de la Zarzuela that this time hosted a large number of young fans. Let's hope they consolidate. Not in vain, the Teatro de la Zarzuela is making a notable effort to make this happen.

Matthias Goerne

With swansong (Swansong) It ends the cycle this season has offered Matthias Goerne on Franz Schubert. The whole universe of Schubert Lieder with The beautiful Miller (The beautiful molinera) Y Winterreise (Winter trip).

He 30 April Goerne and Hinterhäuser addressed Winterreise. A cycle of songs compounds initially tenor, but leaving open the possibility of being interpreted by most serious voices that can provide greater intensity and darkness each song. Sometimes also it is interpreted by female voices. And is that Winterreise, unlike other works, through its dynamic, times the phrasing, It provides an almost endless variety of interpretive possibilities.

And Matthias Goerne is of those interpreters who gives Winterreise of life. Goerne delves into the intimacy of this winter trip like no other. The flexibility of his baritone voice, always discover new nuances in this set of songs so you never get tired of listening. This dramatic journey to the solitude of verses Wilhelm Müller, describe the emotional moment of a Schubert abandoned by a woman. The songs are shelling, by hopelessness, Roving for that trip to melancholy.

Just one week later, he 8 of May, Goerne, this time accompanied on the piano by veteran Alexander Schmalcz, which he replaced a sick Hinterhäuser, he offered swansong. Poems that make up this cycle of songs, unlike the other two cycles, not belong only to one author. In this case there are three poets chosen, Ludwig Rellstab, Heinrich Heine and last Seidl which it has been omitted in this recital. It seems that was not part of the initial body and was only added by the superstition that they were not 13, if not 14, the songs that make up this cycle.

This latest collection of songs was made by the editor Hanslinger and Schubert's brother, after the composer's death, to the enormous production of songs he had composed, almost compulsively, before his death. Less well known than the two previous cycles, swansong not only is a matter. These contain themes dedicated to love, lost love, mythology and, one of the favorite themes of Schubert, trip, of dealing stay (Resting place).

Goerne has used almost all of the resources you have, which they are few, Shelling each parts forming this cycle. From vocal exaltation, perhaps somewhat exaggerated The Atlas (The atlas), the disturbing drama of The lookalike (The double), with which Goerne is capable of transmitting the most profound and wrenching psychological tensions. The execution of Alexander Schmalcz the piano, It was the setting and the perfect way for the interpretation of Goerne. Subtle, energetic and delicate. All at the moment and just measure.

Florian Boesch

Last 9 April we were about to hear in the Teatro de la Zarzuela the recital 6 of the Lied to the National Center for Dissemination of Music organizes every year. Antonio Moral, director, He came to the microphone stage at hand to explain the events that occurred during the weekend and alter the representation. Let's start thinking that the proposed merger between the Teatro Real and the Teatro de la Zarzuela in the latter triggered a series of mysterious events, although duly justified, they will need the work of an exorcist more than a few ministerial interventions.

Del Moral explained that the holder of the concert, Anna Lucia Richter, He had canceled their participation due to illness and became replaced by Julia Kleiter, and another young soprano located on the immediate horizon Lied Cycle. But Friday also suspended due to illness, which he left Antonio Moral a narrow margin for maneuver solved, as he himself said, pulling your friends. This is where it appears Florian Boesch. Austrian baritone is well known in this cycle and their makeshift, but very well chosen, Program, He was accompanied by Justus Zeyen on the piano, whose mastery at the keyboard contributed to the success of the recital.

The first part was devoted to Schubert poems by Goethe dedicated to the mythological Greece, Prometheus, D 674, Group from the tartar, D 583, Grezen of humanity, D 716, There Pilgrim, D 794, Calm sea, D 216 y The gods of Greece, D 677. He finished the first half with Gesänge des Harfners, D 478, Harpist songs that Boesch narrates with great expressiveness and Zeyen accompanies the piano as if it were the sound of a harp.

The second part was devoted to Schumann and three groups of songs on texts Heinrich Heine. Poor Peter. On. 53, song cycle, on. 24 y songs of Harfners, on. 98a. Boesch has an appreciable volume of voice at the service of its serious, which gives depth interpretation. Perhaps the nuances worst off, but it compensates with great interpretive sensitivity.

A recital, after the first surprise cancellations, was a success. And some performers who did enjoy an audience who thanked effort.

Elina Garanca

Public! public! public!, It was the cry of Teatro de la Zarzuela stood on Sunday 11 during the emotional statement he read the director Karel Mark Chichon on its behalf and on behalf of Elina Garanca: “Amado public, both Elina and I are here because we love Spanish music, especially zarzuela, and that's why we took her to all over the world. And it is our hope that this great theater continue to defend this genre so Spanish and so unique that is the zarzuela. All our support to this theater and its staff who have treated us like family throughout this week. This theater remains a public theater…”.

It was the culmination of a concert of Spanish music, of both, director and performer, They are connoisseurs and ambassadors. The first part was devoted entirely to "Carmen", which it is not Spanish, but it seems pretty and this is a character who has Garanča well internalized and which is at present one of the best interpreters. The second part, with the participation of the Choir, he devoted himself completely to the Operetta, genre that approach with respect for who knows and values ​​and not the others do floclorismo the gala.

Elina Garanca has a special magnetism on stage. It exhibits a great expressiveness without ostentation. His vocal technique is, simply, perfect. It has all the qualities that a singer can have and have them all at once. She sings with the same ease as others speak. His voice is supremely powerful and agile than enough. Enameled bright and sharp and sturdy and clean dark tones. Masterfully controls regulations, apiana and grows with the same ease and playfulness and intention expressed what the score says. A singing lesson. The Garanča play in another division.

The replica came from a esforzadísimo Andeka Gorrotxategi, I had to put a lot of effort to keep up with such a scene partner. Duos apianados better than trying to match the volume of a voice that Garanča, a difference of Gorrotxategi, He did not show the slightest difficulty.

At the news of the impending "fusion" between the Royal Theater and the Teatro de la Zarzuela, and uncertainty that has been created in the world of opera and fans, just wait the outcome in next dates. Feelings among the public and criticism are of concern and a certain uneasiness. Hopefully it will not jeopardize the good work that the current direction of Teatro de la Zarzuela, Daniel Bianco to the head, It is carrying out since his appointment in 2015, placing value on our lyrical genre and placing it in the XXI century.

Matthias Goerne

Last monday 26 February, baritone Matthias Goerne, He offered the first of three concerts that will make this season in the Lied cycle of Teatro de la Zarzuela and the National Center for Dissemination of Music. The closing stages of the courts culminating recital I for a moment of silence before starting the applause. An intimate silence, introspection and meditation that always accompany those magical moments of inner turmoil. An almost unique experience, by unusual.

What had happened in the previous half hour and was, unbroken, the comminuted exposure wide variety of colors with which Schubert recreates poems Wilhelm Müller, "The beautiful Miller", (The beautiful molinera).

Goerne was evolving in depth from love songs to songs of death, passing an emotion to another brilliantly descriptively. Modula and expresses the character of each of the poems with his baritone voice that has grown in density and expressiveness. A deep, smooth voice that rises easily to high notes and full of volume and tension the worst records.

Accompanied on piano by Markus Hinterhäuser, who seems to be quietly in a corner, without prominence rests, Almost entirely, Goerne's voice, but traces the lines along which the voice unfolds with the ease that gives confidence mutual understanding.

If you have not been lucky enough to attend this recital, the Teatro de la Zarzuela and CNDM offers two new opportunities. Completing the cycle F. Schubert, Winterreeise, he 30 April swansong. He 8 of May. I will not miss it. are warned.

Anna Caterina Antonacci

Because a duly substantiated disease soprano Anna Caterina Antonacci the, Lieder recital scheduled for Tuesday 24 October, It is postponed to Monday 9 of July 2018 to 20 hours. They will apply the same locations.


It was the eighth time Christian Gerhaher He participated in the Lied cycle CNDM at Teatro de la Zarzuela. This time to play Winterreise (winter trip), what Franz Schubert composed in 1827 for voice and piano. In it expresses the feelings of a walking through a winter landscape and frigid, after learning of the rejection of his beloved. Threshed his melancholy through a journey in which there is only despair.

Away from his family, no steady partner, sick and without having achieved any success as a composer, Schubert transmitted through this set of 24 songs the two main themes of the poems Wilhem Muller, the direction of travel and solitude. And it does so through an intimate journey that used as main axis the exterior landscape, nature, as a symbol of its own interior. Winter is here descriptor element feelings deeper and gloomy. We clearly speaks of death. Death that lurked just arrived and was published this almost posthumous work.

Schubert highlighted the piano part and eliminated any vowel ornament. simplicity, not simplicity, They are a common element of note in this work. This is where Gerhaher adds a containment devoid of any dramatic excess teatralización. Deepening the sobriety of feeling more torn.

Such compositions, seemingly simple, require instrumental technique purified. And Christian Gerhaher one of its best exponents today. the magisterial influence is both Fischer-Dieskau, like Elisabeth Schwarzkopf and it is evident the evolution of his voice and the ability to qualification in works such communicative requirement for containment. Changes in tone and dynamics are perfectly expressed by a Gerhaher who has perfected its serious and regulates the volume and tone changes safely and correctly. As he demonstrated in Irrlicht (fuego fool) where the amplitude of tonality requires registration and transition from acute to serious and delicate pianos Fortes.

Accompanied by Gerold Huber, established between both the intimate dialogue between voice and piano with Schubert conceived Winterreise. An inner journey in which the drama of the mental process can only lead to nothing. The absolute solitude of the composer himself.

It was half an hour and in which Gerhaher reeled off one to one these 24 niceties del romanticism. He offered no encores, They were not required. Nothing was missing at that hour and a half of the interior recollection of how deeply you can get to enjoy.


Susan Graham

It was the last recital of the cycle Real Voices, and this time in charge of the mezzo-soprano Susan Graham. Born in New Mexico, Graham scored big differences with the two American divas that have preceded it in recent days in Madrid. The first, the elegance, thereby responding to the canons and more pragmatic ways of lieder singing this. Nothing to do, for example, with the gossip Renée Fleming.

The next difference is the choice of repertoire. Very successful in its preparation, your disposition and criteria, that were explained by Graham herself as soon as she stepped on the stage, in perfect Spanish and in a fun and educational way. A program represented by love songs from 17 different composers, divided into thematic blocks and perfectly balanced. A repertoire neatly adapted to the characteristics of your voice, bright in the treble. With exquisite pianos and softening bass that is more difficult to handle.

The audience enjoyed a heartfelt and delicate performance. Dramatizing each phrase and giving it the most accurate feeling for each word, each note. A timbred voice with a well-supported center to fill with intention and subtlety its filatos more daunting. Right from the start with “Ever since I saw him”, until reaching a delicate end with “Now you've done me the first pain”, both works Robert Schumann.

She was accompanied on the piano by Malcolm Martineau. Masterful at all times, especially in that intuition when it comes to accompanying, not only in tempis, but in feelings and delicacies to express together.

A magnificent end to the season for this cycle that ended with a hopeful “Hello young lovers”. We will be young as long as we love. And happy to attend these displays of infinite sensitivity.


Last 13 of April, he Teatro de la Zarzuela offered his Recital VII within the Lied Cycle. He was in charge of the very sympathetic Canadian alto Marie-Nicole Lemiex, accompanied on piano by Roger Vignoles.

A concert dedicated to the most intimate French repertoire. Lesser known composers than Debussy, Ravel, Satie O Fauré, but similar musical and literary weight. Although some works of Fauré and Debussy have been part of this recital, the protagonists have been Guillaume Lekeu, Reynaldo Hahn, Charles Koechlin Y Herri Duparc.

Marie-Nicole Lemiex is no longer just a promise and more and more consolidates her musical career. His powerful voice is located in the central arch, with ease for agility and high notes and correct bass. The repertoire in this case was very uniform and rather flat, but when he was able to get loose in the encores he made use of his sympathy and records and wanted to please the public with a Spanish wink. Well accompanied on the piano by Roger Vignoles . Not in vain is he one of the most recognized and experienced companions in this type of recitals.

Within the anecdote it is necessary to record the increasingly worrying state of health of the public that attends the Teatro de la Zarzuela. Lemeix herself joked at one point about the widespread coughing fits. Some candies distributed next to the entrances would not hurt. Although the remedy may be worse than the disease.