Bernarda Alba's house 1

Bernarda Alba's house 2

Bernarda Alba's house 3

Bernarda Alba's house 4

Bernarda Alba's house 5

Miquel Ortega being accompanist at the Teatro de la Zarzuela, back in 1991, He began composing an opera based on the work of his admired Federico García Lorca. It was nothing less than "The House of Bernarda Alba". In a few months the first act was finished. From now on, and because of the numerous commitments that he was acquiring the composer, his work went on for 8 More years. It was a chamber opera in its original composition 14 musicians, mode the Britten chamber operas. But in 2007 He came the opportunity to release it with the condition than in version for symphony orchestra in the theater of the Romanian city of Brasov. Then come the Festivals of Santander and Peralada.Llega now the Teatro de la Zarzuela in a new production version for chamber orchestra, as it was conceived at the outset by Miquel Ortega. And for the first time in a Spanish language version. Julio Ramos's libretto is absolutely respectful of the play. Almost exclusively so do not leave time, some scenes and character were eliminated Prudencia.

Ortega creates a score to match the play. Something not easy with such a complex and full text of more wrenching drama of Lorca. Ortega music, does nothing but enhance the drama, creating a distressing and oppressive atmosphere. Giving life to the other main character is the house and the great Ezio Frigerio, Riccardo Massironi, They have managed to capture in a scenario that the applause was nothing the curtain rises, in recognition of the loyalty of that suffocating space where the tragedy will take place. Frigerio describes it: "It has some convent, some prison, something not seen and have to feel. "

The scenery is enhanced by the costumes of Franca Squarciapino you saw all those women tormented describing perfectly by her outfit. Not missing anything left over in an accurate reading that brings credibility to the representation. The same goes for lighting Vinicio Cheli and the great stage director Barbara Lluch. Among the four they compose the perfect scenery naturally, without fanfare or adornment, as only make great.

Nancy Fabiola Herrera is the Bernarda Alba this production, It is delivered to rigorously character, both vocal and interpretative. It is a relentless and ruthless Bernarda. Impress their sentences at the end of the work She died a virgin!, referring to her daughter Adela, to listen to startle.

In this version, Daniel Bianco free to offer the teacher the opportunity to make a change in one of the main characters of the play took. Poncia, the maid of the house which maintains a curious relationship with Bernarda. According to Lorca's own annotations in the work, Poncia is a friend of Bernarda and only able to talk face to face. For this reason Bianco thought that this character needed a powerful record, a baritone.

The chosen was Luis Cansino, who accepted his character honored, "Artists have to have a point in life where we are able to get out of our comfort zone". Cansino is a dramatic baritone with an unknown capacity in our country, where it is required for papers bufos, and building a flawless and full of theatricality PONCIA, taking care of the details in the interpretation. Gorgeous duet with Adele in the second act.

Highlight the performance of the only high-pitched voice, the Carmen Romeu, who plays the youngest of the sisters, Adela, in a resounding performance.

Impressive to see the grande dame of the Spanish scene Julieta Serrano, who plays Maria Josefa, mother of Bernarda Alba and unique declaimed paper. The play begins with its heartbreaking: ¡Bernard!, which you are able to place on your site each stage, including public.

A high rise was the rest of the cast made by Carol Garcia, as Martirio, Marife Nogales as Amelia, Bethlehem Elvia, Magdalena, Berna Beads, Anguish and Miracles like Martin as a maid.

A magnificent production of Teatro de la Zarzuela is putting the bar very high. No one should miss anything of what is happening here. And that miss, worse for him…

Text: Paloma Sanz
pictures: Javier del Real

Desirée Rancatore in the Daughter of the Regiment

As rightly says Jaume Radigales in the playbill, “Daughter of the Regiment is a delightfully useless opera ... This work shows that the opera can also be, definitely, Pubic show for all and to have fun without trying to find metaphysical sterile.”

And it is not easy to make a play without much intellectual pretensions without falling into vulgarity or simpleza. This opera shows his qualities dint of representations. This acclaimed production in particular, of Pelly, It has provided a great value. This has also greatly contributed to the adaptation of the original texts has made Agathe Mélinand, updating naive dialogues that have become natural, spontaneous, affordable and timeless.

Paris, 1840, Donizetti. Who considers himself the greatest composer of Italy at the time, after the death of Bellini and Verdi still youth, he was commissioned an opera comique Paris, something that would be essential to devote his career to another level. Write two works, both gender, The faborite is the daughter of the regiment. It is in the latter in which Donizetti makes a great effort to undergo the canons and tastes of the moment. Write a comic opera, popular and with the obligatory love affairs and social criticism.
As recalled by the artistic director Joan Mataboch, the extraordinary success at its premiere at the Opéra Comique in Paris, He raised the ire of Berlioz that he wrote in a Parisian newspaper: “We treated as a conquered country”.

For a work purely repertoire as this consolidates, You need a musical and stage director who work in the same direction, under well-defined codes that left the composer. It is easy to understand the keys to a seemingly simple opera, but it is not at all. And who can better decipher the coordinates of a romantic bel canto work like La Fille du Regiment, it is without a doubt Bruno Campanella, one of the leading experts bel canto and an expert in all its nuances, Hand stage director Laurent Pelly, They have placed this production of Donizetti's opera in a privileged position within the current repertoire.

This is the first time the set designer Laurent Pelly in the Teatro Real in Madrid, and it is presented with one of his most famous and celebrated productions. I find meaning to French patriotism that distills the work, Pelly has placed the action in the First World War and has been able to cull the most tender part of such a dramatic historical situation. Also highlight their figurines, classically inspired, elegant and full of imagination.
The scenery is exquisite. Very full of elements, all essential. without excess, without extravagances, nothing distracts from the scenes. Each item carries the ear and look at the right place. Everything has coherence and sense of theater full of meaning. the brilliance of the set designer is noted Chantal Thomas and choreographer Laura Scozzi.

In a work like this, where the depth of the plot does not exist, It is when they acquire weight and prominence singers. Our particular function corresponds to what we call second deal, which sometimes it is not so.
Desirée Rancatore He did not act in the Real from 2006 and of course, the first thing you can check is the evolution of his voice and his office. Marie is a character for which a light but strong voice is needed. And this is where the difference is marked with the other cast, Rancatore addresses his character boldly. At its tremendous security on stage must be added his strong voice, his handling of the fiendish coloratura and treble of descending with ease while peeling potatoes or is lifted into the air.
The vocal difficulties of Marie occasionally forced him to lie on the mud, Palermo but has character to get out more than airy so many demands. His theatrical ability is undoubted. Able to give the character the spark and character of a young woman with male mannerisms and, both, the melancholy of Marie tenderest. This was demonstrated in the aria of the first act “we must leave”, transmitting emotion and earned him the first night bravos.

Antonio Siragusa, as Tonio, let flashes of a beautiful ring she wore on the high notes. More trouble was in the midtones and bass, that must accompany more and better support. best known aria “To my friends”, not therefore more difficult, It was very well resolved until the last Do, which he looked frightened and which could have looked much more.

Madrid Luis Cansino, as Sergeant Sulpice, It was funny without eccentricities, which is appreciated. He did not have to overreact and be endearing comedy show. Strong and forceful voice accompanied balanced the rest of the cast on the set arias.

Rebeca de Pont Davis He compiled a Marquise de Berkenfield enough. Ewa Podles is not vocally, but it has other artistic qualities. Fun and theatrical without ever leaving elegance on stage.

also he debuted at the Royal Music Director, Jean-Luc Tingaud, and did so with ease and verve. It has great sensitivity that succeeded in passing the pit and the singers. The orchestra sounded bright.

The presence of Angela Molina, playing an evil and cruel Duchess of Crakentorp, It is a more attractive production. his stage presence is noticed, craft and art, that raise the level of theatricality, one of the qualities of this opera.

It was time the public did not enjoy the Royal Theatre and nor was as satisfied. effectively, everything is metaphysical and is already a major achievement that the audience leave the theater with a big smile, but we want everything, the simple and the sublime.

Daughter of the Regiment
Gaetano Donizetti (1797-1848)
Comic opera in back actos
libretto by J. H. Vernoy de Saint-Georges are Jean-François-Alfred Bayard
Estrenada in the Opéra Comique de París, he 11 February 1840
Coproduction of MET in New York, la Royal Opera House Covent Garden
London and the Wiener Staatsoper.
D. musical: Jean-Luc Tingaud
D. scene and costume: Laurent Pelly
Director of stage direction: Christian Räth
scenographer: Chantal Thomas
Word adapter: Agathe Mélinand
illuminator: Joel Adam
choreographer: Laura Scozzi
D. chorus: Andrés Máspero
Distribution: Desirée Rancatore, Antonio Siragusa, Rebecca de Pont Davies,
Luis Cansino, Isaac Galan, Mathieu Bettinger, Pablo Oliva.
Headlines Choir and Orchestra of the Teatro Real.

pictures: Javier del Real
video: Teatro Real