ABAO-OLBE and DeustoForum they open next wednesday, 10 October, the lecture series "Opera Bihotzetik", a new initiative, designed for all audiences, which they aim to promote, so close and accessible, knowledge of opera through the experience of great figures. This cycle is integrated in the commemorative program "ABAO 1.000 opera performances in Bilbao "to be held during the 67th season ABAO-OLBE.

With the opera as a connecting link, This new project proposes an attractive program that will have the presence of stage directors, musical teachers, singers and professionals of various kinds with the aim of providing a more humanistic approach, affective and personal opera. In this sense, it's about addressing not just your professional perspective, if not also and above all, facets of your feelings, impressions, experiences, emotions ... thus overcoming the academic approach and opening spaces of greater media and social projection.

The program is directed and moderated by the well-known music editor and critic Luis Gago, editorial coordinator of the ABAO-OLBE Book of the Season and co-director of the Bonn Beethoven-Haus Chamber Music Festival; activities that he combines with the translation of numerous books, the publication of specialized articles and monographs, as well as the preparation of the subtitles in Spanish for the Royal Opera House, English National Opera and Digital Concert Hall in Berlin, among many other occupations.

The next 10 October, the rector of the University of Deusto D. Jose Maria Guibert Ucin, It will inaugurate the cycle "Opera Bihotzetik" with the conference of the French baritone Francois Le Roux, recognized as the best performer of one of the most exquisite operatic roles, difficult and unique in history: that of Pelléas in Pelléas et Mélisande Debussy. The conference will revolve around his life and career, as well as his particular reflection on opera in the context of current culture.

The second conference is scheduled for Tuesday 4 December and will feature the American soprano, Roberta Alexander, renowned interpreter of Mozart and Puccini who maintains an intense activity in recitals, oratorios and symphonic works.

Sir Peter Jonas, undisputed cultural reference in the United Kingdom, managing director of the English National Opera and the Bavarian State Opera, is in charge of the third presentation the 21 from January. He 20 of May, the British conductor will close the cycle David Parry, versatility master, unique influence and enthusiasm, who has deservedly earned a place in operatic history books.

All the presentations will take place at the CRAI of the University of Deusto at 19:00h and are free, Although prior accreditation is required, which can be requested by phone: 944 139 020 o email: deusto.forum@deusto.es


Thursday and Saturday this week, he Teatro Real will offer the moving War Requiem, from Benjamin Britten, under the direction of Pablo Heras-Casado.

The two functions of Britten's work are integrated into programming around his opera Death in Venice, It will also bring to the Royal Theater, this month, Hamburg Ballet, with a choreography inspired by the novel by Thomas Mann.

More of 140 interpreters participate in the work: 132 -Chorus singers of the three choirs Holder Royal Theater, Choir of the Community of Madrid and Little Singers of JORCAM-, 106 Titular Orchestra musicians of the Royal Theater, organist Miguel Ángel Tallante Susan Gritton and soloists (soprano), John Mark Ainsley (tenor) and Jacques Imbrailo (baritone).

Pablo Heras-Casado, first musical guest conductor of the Teatro Real, It will be responsible for leading this exceptional and poignant work: He snatched a cry for peace in the world after the war stupor.


Benjamin Britten was a great lover of classical forms but, after passing through their hands, rarely he failed to introduce new elements in them that made them appear before the eyes and ears subtly or radically rejuvenated. Few genres have enjoyed more rooted in Western music than the requiem mass, but the War Requiem, Drinking that undeniably secular tradition, transports it to a new dimension, instilling in the work an important element spatio it difficult, if not impossible, found in other requiem masses.

Britten was a persistent reader of poetry, that permeates much of its catalog, and had a good example of this in this room last 18 from December, when Ian Bostridge played five Canticles which run through his entire career and creatively Nocturne.

One of the poets who inspired Britten in the latter work, su compatriota Wilfred Owen, He was elected three years later to provide the profane counterpoint, Current and intimate of the ancient Latin text of the Mass for the Dead. Owen had died a few days before the end of the First World War and the play opened at the solemn consecration of Coventry Cathedral, destroyed by German bombing in.

The War Requiem was released a few months before the missile crisis in Cuba, during the War Cold, so, a contest third linked to the work: less bloody, but equally absurd. Britten wanted to tell the premiere in Coventry with singers who symbolically represent the three countries that had suffered the barbaric war had ended the Nazi horror, but the Soviet authorities did not allow Galina Vishnévskaia traveled to England to sing a German side, Dietrich Fischer-Dieskau, so it had to be replaced in extremis by British Heather Harper. The solo trio completed, Of course, el tenor Peter Pears, the faithful partner of the composer.

Pacifist convinced, Britten's War Requiem conceived not only as a deeply anti-war plea, but as a profound reflection on the horrors that accompany any war: Mass to rest the dead and the living meditate. The emotional peak of the work is reserved for the Libera me end, Britten situated in the center of one of the most shocking poems Owen, «Strange Meeting», the strange encounter that occurs underground, in "a deep tunnel and gray", between an English and a German soldier combatant who killed himself the day before. Both find liberation and final reconciliation when they have to sleep, together in peace, long sleep of death while the children's choir sings an ethereal and consoling In Paradisum.

Wars continue, relentless, around us, but the War Requiem -a work not only to listen, but also to see- continues to proclaim, clear and strong, Your message.
Luis Gago