'Château Margaux'

There are already a few exciting evenings specially the public of Teatro de la Zarzuela has lived along this season 2016-2017, and the party is not over yet. The next Saturday 25 of March It will be a day appointed for this coliseum, to which he returns 'The old woman', work which met this year 120 its world premiere on this stage, Y 'Château Margaux', 130 years after its first performance Variety Theater in Madrid. Lluís Pasqual He has joined in a double feature these two small jewels made by Manuel Fernández Caballero, libretto by Miguel Echegaray Y Joseph Jackson Veyán respectively, and presenting its personal version with which transforms Theater Jovellanos Street in a radio studio Spain in the years 50. They are scheduled eleven functions to Saturday 8 of April.

The assembly is a production Arriaga Theater in Bilbao, in co-production with the Teatro Campoamor of Oviedo and Grec'09 Festival of Barcelona. The staging is signed by Lluís Pasqual himself, while Master Miquel Ortega (who also belong piano arrangements commercials of the time) will assume musical direction in front of the Community of Madrid Orchestra (Titular del Teatro), of the Holder Choir Teatro de la Zarzuela and a Excellent double cast, each of whose members plays various roles throughout the show.

This cast is headed by Actor-singer Jesús Castejón, which will serve as the Newscaster Ricardo Gracián and Don Manuel, by sopranos Ruth Iniesta Y Sara Blanch, Angelita Vargas to be, Dolores Izquierdo and Luisa, each in its respective division, and the Maybe Borja and baritones Panama Ricardo Velásquez, which will act as Commander, Don Francisco de Borja and Carlos Talvez (the young man who will go through the viejecita the title-role in proposing Pasqual is a kind of radio drama in the Saturday program 'La Zarzuela del Sábado'- to achieve the charms of his beloved Luisa). The other characters are the tenor Emilio Sánchez (Captain Esteban Martín, Manuel Farinas and -rival Federico Carlos in the race for the love of sweet Luisa-), he baritone Miguel Sola (Brigadier don Conrado Salvatierra and Sir George), he baritone Antonio Torres (Lieutenant Don Luis Maria Fernandez and Fernando Canedo) and the actor Lander Iglesias (Sargento don Rafael Pontejos, Soundman and Marquis Aguilar).

Paco Azorín, through its scenography, It is responsible for transporting us to that Spain in black and white the years 50 in which, in the words of Iñaki Gabilondo, "Radio was the technicolor". And it has the happy connivance Isidre Prunés, a magician of figurinismo theater and film, also recognized scenographer, died prematurely in 2014. Likewise, the acting and dance movements of the performers have the illustrious support coreógrafa Montse Colomé.

Mounting awarded. Childhood memories

Adapting Château Margaux Y the viejecita by Lluís Pasqual, He won in 2009 he Award for best operatic spectacle it's from the season Every year grant Critics Opera Barcelona.

And it's not surprising that the work is so convincing result, as the stage manager says zarzuela is part of his childhood memories, "As distant and recent as the voices of my parents or sounds coming out of the radio all the time". So much so, in fact it ensures that all these evocations belong "to the same drawer dresser memory". When Emilio Sagi entrusted the direction of this double program at the Arriaga Theater, "Drawer was opened and began only a good smell of flavors known: Had many times heard the waltz Châteux Margaux the voice of my mother ...!”, reveals Pasqual, who also states that the viejecita was the first "drama" that memorized, "From beginning to end, including singable ".

That perfume of yesteryear, suddenly revived, She made him regain a tender world "made of small hopes and vivid dreams" by proxy "through the radio with its contests, their propaganda, its exciting lies, his paintings of actors and their operettas set in luxurious palaces and exotic places ".

In torno a 'Chateau Margaux' y 'The viejecita'

As it is usual, around this premiere Teatro de la Zarzuela has prepared a series of activities:

  • Conferencia offered by the philologist Julio Vélez Sáinz, director of the Theater Institute Madrid Complutense University. In collaboration with the Friends of the Opera of Madrid. Monday 20 March; ambigú Theater.
  • Trial and subsequent meeting with students Lluís Pasqual various disciplines of Performing Arts. Thursday 23 of March; Main Hall Theater.
  • meeting Miquel Ortega teacher with students Conducting and Composition of different specialized centers. Monday 27 of March; ambigú Theater.

Projecting a video tribute to the famous tiple Lucrecia Arana, which it was responsible for brand 'The Little Old Lady' makes 120 years in this scenario, and who also met 150 years of his birth and 90 of his death. The video will be shown before each performance and continuously, on two screens arranged in the main lobby of the Theater.

The Prisoner Sour Angelica

Everything is finished, and yet, with all the lost illusion I go to bed and get up with the most terrible of feelings, and it is the feeling of having the dead hope. And yet, the next day, I get up and I hope round, bites me, like a dying wolf clench their teeth last”. (Fragment of Doña Rosita the Spinster, Federico García Lorca)

He describes the stage director, Lluis Pasqual, the essence of these two works. Both coincide in a fundamental message, the worst for the human being is not the lack of freedom, but the lack of hope.

the Prisoner, from Luigi Dallapiccla (1904-1975), which it was represented for the first time in Madrid, is a work transparent, with a score very carefully to the musical director Igno Metzmacher draws all its richness, note by note, with exquisite precision. It is a composition harsh penalties dodecafónica, because lyricism escapes in small flashes throughout the entire work.
The prisoner, interpreted by Vito Priante, It is permanently hosts the hope of escaping from confinement. On the stage, a huge round cage rotates as a tourniquet asphyxiating. It's like a spiral staircase endless always leads to nowhere.
In this ladder undertakes the prisoner seeking freedom accompanied by one of the most beautiful and exciting moments orchestral score. Dallapicola uses a form of musical notation called ricercare, which it has its highest expression in these bars. Here the orchestra offers a truly brilliant moment of hand Metzmacher, certainly one of the best directors in the repertoire of the XX and XXI century. Getting an amazing expressiveness and drama.

Both en The prisoner como en Suor Angelica, It is capable of generating an oppressive atmosphere through silences and contrasts, produced Over the pianos to very high records. The result is a cry torn issued by the orchestra and accented by lighting more than successful.

Very good interpretation of Priante. consistent voice and good dramatization. Deborah Polaski, despite its shortcomings, shapes a protective mother torn and thanks, especially, his imposing physique. Keeps well his vocal qualities, but already it is beginning to accommodate a tessitura more localized in the midtones.
The worse off in this deal was Donald Kaasch, his dual role as jailer and inquisitor was perhaps the least grateful for all.

It was certainly the discovery of a masterpiece. Too bad most of the public does not see well and chill and embarrassing shortage of applause result. Il prigioniero seemed that was the price they had to pay for attending Suor Angelica.

To the disappointment of some viewer to checking that the scenery was common to both operas, He began the beautiful work of Puccini.
This time the prison structure could well be the Conventual around. Who it was formerly almost the only contact with the outside world.
In Suor Angelica, Metzmacher again shows his mastery. It is not easy to interpret Puccini. Perhaps by too much knowledge of their works that makes them fall into a certain lack of intensity and leads to superficial interpretations. This time the effort is appreciated, especially in one of the most important elements in the music of Puccini, pianos. The address flees be melodramatic, raises the score and gives it a character debussiniano. Music treats Suor Angelica above the ordinariness of her fellow convent. And music is also higher for the same refinement. Never falls into melodrama, the argument is the protagonist, their experiences, their hopes, and the final outcome, sincere and respectful manner.

here Deborah Polaski plays the evil role of Princess aunt. In this case your stage presence and appearance accentuate the severity of his performance and his voice. It is always a pleasure to hear.
Veronika Dzhioeva as Suor Angeica got thrilling at times. Delicate pianos but some asperity in the registry changes. Unnaturalness and excessive rigidity on the scenario partly offset by a great tenderness in the final scene.
The rest of the cast, formed by Spanish interpreters and members of the choir, especially shone. Highlight Marina Rodriguez-Cusi, hope Mentxaka, Maria Luisa Corbacho, Anna Tobella, Auxiliadora Toledano Y Maria Rodriguez.

Beyond the common scenario, Both works convey a thorough criticism of the use of religion and morality to end any project of rebellion.

Luigo Dallapicola
Opera in a prologue and an act.
Libretto by the composer based on Torture of Hope (1988) Auguste Villiers de L'Isle-Adam and legend and heroic adventures, happy and glorious of Ulespiegel and Lamme Goedzak (1867) Charles De Coster.
Giacomo Puccini
Opera in one act
Libretto by Giovachino Forzano
Teatro Real, 2 November
D. musical: Igno Metzmacher
D. scene: Lluis Pasqual
Scenographer: Paco Azorín
D. choir: Andrés Máspero
D. children's choir: Ana González
Polaski, Priatore, Kaasch, Dzhioeva, Corbacho,
Rodriguez-Cusi, Mentxaka, Toledano, Tobella.