Maria Antunez, Rubén Fernández

Every place has its own culture. That intrinsic value, the deep roots that make them different from the rest. But the nature of a land is the sum of the riches that throughout history it has kept as its own.. He Notes cycle Ambigú of the Teatro de la Zarzuela will present the next Monday, 19 of April, at 20h00, a recital by the soprano Maria Antunez dedicated to Uruguayan song -that of its origins-, that will make us understand that despite the ocean that limits us, those and these shores are much closer than we thought. She will be accompanied on the piano by Rubén Fernández Aguirre.

During the hour that the concert will last, will perform works by Luis Cluzeau Mortet, Alfonso Broqua, Eduardo Fabini, Jauré Lamarque Pons, Hector Tosar, Eduardo Gilardoni and Beatriz Lockhart, essential classics, Each and every one of them, of the music of those parts.

They will also take advantage of Antúnez and Fernández Aguirre, because the heart and the memory ask for it, to perform tribute to the teacher Antón García Abril, who died last 17 of March. They will offer some of their compositions such as the ‘Three Spanish songs’ with texts by Federico Garcia Lorca.

The Ambigus that come

The concert of María Antúnez and Rubén Fernández Aguirre will be followed by that of the soprano Rocío Pérez and pianist Ramón Grau with the Integral of the cycle ‘Spanish classical songs’ by Fernando Obradors (10 of May) and the artist Ángel Ruiz, accompanied by pianist César Belda, will close the loop with ‘Tribute to Iberoamerica’ (15 of June).

Pregardian & Vignoles (c) Rafa Martin

XXVII Lied Cycle of the CNDM and the Teatro de la Zarzuela 12 April 2021

Christoph Prégardien, tenor

Roger Vignoles, piano

the beautiful Miller, Franz Schubert (1797-1828)

The comic opera had been premiered with great success in Germany. La Molinera, that is, the thwarted love, by Giovanni Paisiello. This event was a stimulus for some poets of the moment, who began to write about this bucolic topic. Goethe himself wrote four romances and four ballads of the miller.

Inspired by his admiration for Goethe's work, a young Müller sets out to create, with a group of friends, a dramatic development chaining Lieder in which, through its characters, a story is told. To the end result, fruit of a party game, put music by Ludwig Berger.

Years later, Schubert discovered Müller's poems and began a collaboration from which the definitive texts emerged.. Schubert found in these poems the perfect narrative description that he needed at that time, adapting the poems to your purposes and music.

The cycle was unveiled in early 1824. In 1830, publisher Anton Diabelli acquired the rights and published a revised second edition. His first known performance was in May 1856, by the baritone Julius Stockhausen in Vienna.

the beautiful Miller, initially written for tenor, is usually approached by baritones. This time, the person in charge of giving voice to Müller's poems in the Lied Cycle of the Teatro de la Zarzuela and the National Center for the Diffusion of Music has been the light lyrical tenor Christoph Prégardien, demonstrating, once again, his mastery of the Liederistic genre at the service of Schubert's work.

Prégardien has shown his virtuosity in acting. No need ornaments, the restrained form of his expression shows the elegance of his mastery of the genre. Clarity in diction, giving more importance to the text, and in his nuanced way of "saying", is above any excess in the expression.

Accompanied on piano by Roger Vignoles, they formed a perfect team that walked in unison, in a fluid and crystalline way, like the main water in some of the works they performed.

A perfect night, intense and culminated with two tips also from Schubert, equally well delineated by both interpreters and that finished off the good taste in the mouth that their performance left in the public.

Pregardian & Vignoles (c) Rafa Martin

Una_Sonrisa_Sin_Gato

Inspired by the wonderful tale of Lewis Carroll, Alice in Wonderland, arrive at Real Junior a delicate and colorful proposal for the little ones: A catless smile, new production for him Teatro Real en la que se darán la mano danza, theater, music and fantasy, the days 17, 18 Y 24 April 1, 2, 8 Y 9 of May, in double session, to 12.00 and to the 17.00 hours.

For almost an hour, the little ones - the show is designed for children from 4 years- they will recognize many of the characters that intervene in the mythical tale: the White Rabbit, Queen of hearts, the mad hatter and of course, Cheshire's cat, whose smile remained floating in the air when the feline had already disappeared and that surprised Alicia so much.

The show has been conceived by the versatile Ferran Carvajal, responsible for the stage direction, dramaturgy and choreography. Through her unique artistic vision we accompany the protagonist in the discovery of a new world, in which she enters driven by her curiosity and her desire to understand the world, through an overflowing fantasy.

They complete the artistic team Elisa Sanz, creator of the scenery and costumes; Eduardo Bartrina, in the lighting and the dancing performers Daniel Arancibia, Sara sanz Y Anna Serra.

The music of José Luis Greco, path and soundtrack of this story, will be played by the violinist Alejandro Gonzalez Romero, the piper Olga Ramón Chiquero and the percussionists Robert Úbeda Bordería Y Elezar Higuera Barragan, all of them soloists of the Youth Orchestra of the Community of Madrid.

Arts

The Palace of Arts The zarzuela premieres The barberillo Lavapies', from Francisco Asenjo Barbieri, this next friday, 16 of April, a mounting Alfredo Sanzol, with musical direction Miguel Ángel Gómez Martínez.

‘Les Arts és Sarsuela’ proposes this season “one of the top works of the genre, fruit of the union of two reference names: Francisco Asenjo Barbieri, Essential figure in the history of Spanish lyrical theater, Y Luis Mariano de Larra, outstanding playwright and son of the brilliant romantic columnist ".

This is how Jesús Iglesias Noriega presented this title today with which Les Arts continues its commitment to the restitution and dissemination of Spanish lyrical heritage and its genre par excellence, zarzuela.

At press conference, the artistic director of the theater has been accompanied by Miguel Ángel Gómez Martínez, director musical; Alfredo Sanzol, stage-manager; the ‘mezzo-soprano’ from Alicante Sandra Ferrández (Paloma) and the baritone Borja Quiza (Lampara).

Miguel Ángel Gómez Martínez makes his debut in the pit of the Main Hall with this work. The Granada teacher, one of the most prestigious Spanish batons internationally, stands out as one of the directors who best knows the national repertoire.

Gomez Martinez, who already conducted the Orchestra of the Valencian Community in 2018, takes the lead of the stable bodies of Les Arts in this “authentic masterpiece, of brilliant orchestration, freshness and originality with which to vindicate the validity of the zarzuela ".

Alfredo Sanzol represents in Valencia his applauded and successful production for the Teatro de la Zarzuela released last 2019. National Prize for Dramatic Literature, Valle-Inclán Award and Max Award on six occasions, The current director of the Centro Dramático Nacional made his first foray into the Spanish lyrical genre with this montage with scenography and costumes by Alejandro Andújar, lighting Pedro Yagüe and choreography Antonio Ruz, National Dance Award.

Sanzol presents a scenography composed of eight mobile elements that are transformed to recreate the different open and closed spaces of Madrid from ‘El barberillo de Lavapiés’. As a contrast, colors, forms and volumes of the wardrobe based on paintings from the late 18th century, in addition to a choreographic proposal that combines contemporary elements with the essence of the time.

The director and playwright also underlines the topicality of the story's background: "In‘ El barberillo ’there is a social and political denunciation carried through humor and characters who are plunged into an intrigue of power that prevents them from advancing in their private lives".

Les Arts brings together an outstanding group of experts in the repertoire, that have already received the applause of critics and the public for this same title in Madrid, Oviedo and, more recently, In sevilla: Maybe Borja (Lampara), Maria Miró (Marquesita del Bierzo), Javier Tomé (Don Luis de Haro), David Sanchez (Don Juan de Peralta), Abel Garcia (Don Pedro de Monforte) Y Angel Burgos (Lope).

As the main novelty in the cast, the 'mezzo-soprano' from Alicante Sandra Ferrández will interpret Paloma in Valencia, role that makes his stage debut with this production.

Les Arts will represent ‘El barberillo de Lavapiés’, of Barbers, the days 16, 18, 20 Y 22 of April. morning, Wednesday 14, The Main Hall will host the preview of the work reserved exclusively for children under 29 years, within the theater's commitment to bring Spanish poetry closer to the younger audience.

Photograph: Miguel Lorenzo

Peter Grimes

Between 19 April and 10 of May, Royal Theatre offer 9 functions from Peter Grimes, Benjamin Britten, new production The Royal Theatre in co-production with the Royal Opera House, London, the Opéra national de Paris and the Teatro dell’Opera di Roma.

In this masterful opera, the inhabitants of a small coastal town, whose hard life passes under the relentless influence of the sea, they face, they sentence, They slander and humiliate a sullen and violent fisherman who clumsily yearns to integrate into that society that despises him. The question that beats throughout the entire drama - is Peter Grimes the murderer of a child??- triggers many other, of great depth, to which Britten does not answer, though his music always treats marginalized and lonely beings with poignant compassion.

When in 1941, during world war II, Benjamin Britten (1913-1976) and his inseparable partner, the tenor Peter Pears, they were in california, discover the work of the English poet George Crabbe (1754-1832) what, as Britten, he was born in a town on the Suffolk coast, scene of all his stories. Such was Britten's identification and empathy with that world so close and longed for, who decides to return to England driven by a revealing feeling of belonging and roots that lead him to take up residence, forever, in those lands on the shores of the North Sea. The unfortunate Peter Grimes also lives there, poem character The Borough, the Crabbe, that Britten decides to transform into an opera, sketched, with the help of Pears, during the boat trip that the two made back to their homeland.

In England, where homosexuality was penalized, A difficult life awaited them in which they would have to hide their love from the well-thought-out society. This fact underlies the opera and almost all of Britten's operatic production., starring unfathomable beings, dark, generally opposed by innocent victims.

To show the drama of Peter Grimes in all its rawness, stigmatized in a society that creates its own monsters, Deborah Warner, with the complicity of the set designer Michael Levine, has set the drama in a very poor town on the Suffolk coast. There they remain the same line of the horizon, the fury of the sea and the pebble beach that inspired Crabbe's poetry and Britten's opera. But the misery and helplessness of its people today are fundamental in the staging, in which Warner's meticulous work stands out, that always explores the psychological depth of the characters.

For this, it has a cast in which the debut stands out, in their respective roles, tenor Allan Clayton (Peter Grimes) and the soprano Maria Bengtsson (Ellen Orford), and the return to the Royal Baritone Theater Christopher Purves (Captain Balstrode), star of the world premiere of The Perfect American, de Philip Glass, in 2013 and Written on Skin, George Benjamin, in 2016.

Two interpreters who performed in Billy Budd in 2017: Jacques Imbrailo, opera protagonist in 2017 and now playing the role of Ned Keene, Y Clive Bayley como Swallow. Accompany them Catherine Wyn-Rogers (Auntie), John Graham Hall (Bob Boles), Rosie Aldridge (Mrs. Sedley), James Gilchrist (Rev. Horace Adams), Barnaby Rea (Hobson), Rocío Pérez (first niece) Y Natalia Labourdette (second niece).

He Titular Choir of the Teatro Real, prepared, as usual, by director Andrés Máspero, has in this opera an important role both musical and dramaturgical. He will perform alongside the Head of the Royal Theatre Orchestra, under the direction of its musical director Ivor Bolton.

Benjamin Britten has occupied a privileged place in the Royal Theater's programming since its reopening. In 1997, two months after reopening, Peter Grimes got a great success, in a production with stage direction by Willy Decker from the La Monnaie Theater in Brussels, with its titular choir and orchestra conducted by Antonio Pappano. They have followed him Summer night Dream (2005/2006), The rape of Lucretia (2007/2008), Another twist (2010/2011), Death in Venice (2014/2015), Billy Budd (2016/2017), Gloriana (2017/2018) and children's works The Little Sweep (2004/2005, 2005/2006 Y 2007/2008) Y Noah's flood (2007/2008).

All these works attest to the immense musical and dramaturgical talent of Benjamin Britten as an operatic composer., who has expressed through his characters the dramas, dreams, traumas, deepest and most unspeakable passions and concerns of the individual, with deep compassion for the miseries of the human condition.

Photograph © Javier del Real | Teatro Real

Maria Jose Montiel

Since two years ago, María José Montiel combines her international career as an interpreter with teaching thanks to the “total calendar freedom"Offered to her as Professor of Singing at the Universität der Künste in Berlin to make her"teaching activity with my professional career”, affirms the Madrid singer, that in May returns to the stage. “Passing on to the young generations all the experience accumulated in these years is something that has become vital and a very important and motivating part of my life.; It fills me with satisfaction to be able to help you and provide both technical and artistic support - and even emotional- so they can take flight in a profession that is wonderful, but that is full of complexities, since it is not only about having a voice and singing. Interpreters cannot separate the soul from our own voice because we not only sing with our vocal cords and adequate breathing, rather, we use our emotions to bring the characters we play to life. This is something that goes beyond vocal technique, which of course must be very refined and worked with great tenacity and sacrifice, like that of an elite athlete”, Add. “Our emotions must flow in the interpretation, always expertly led by our rational self so that there is a perfect balance between our voice, our soul and our mind; it is something not easy to achieve, but what is achieved when there is will and sacrifice. I am also fortunate to have students from all over the world who have great talent and a great spirit of work, something essential to make a career, but I try to instill in them that they have a dreaming soul; to meet our goals we must dare to dream”, Spanish mezzo concludes.

María José Montiel will return to the stage in May offering a zarzuela gala at the Baluarte Auditorium in Pamplona where she will share the stage with the soprano Sabina Puértolas, the tenor José Luís Sola and the baritone Manuel Lanza; will be together with the Navarra Symphony Orchestra and the AGAO Lyrical Choir, all led by the baton of the Madrid maestro José Miguel Pérez-Sierra. The appointment will be in the Navarran capital on 7 of May. A week later, he 12 of May, Montiel volverá a Madrid para interpretar el Stabat Mater de Rossini en el Auditorio Nacional; on this occasion she will be accompanied by the soprano Sabina Puértolas, by the tenor Airam Hernández, by the baritone José Antonio López, of the Orchestra and Choir of the Community of Madrid and of the Young Singers of the ORCAM, all directed by Víctor Pablo Pérez from Burgos.

María José Montiel © Bob Cullen

More information:

Website María José Montiel

Web Baluarte Pamplona

National Music Auditorium website

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Vincenzo Bellini (1801-1835)
Lyrical tragedy in two acts
Libretto by Felice Romani, based on the work Norma, or infanticide (1831) Alexandre Submits
New production of Teatro Real
D. musical: Marco Armiliato
D. scene: Justin Way
Scenographer: Charles Edwards
Costume designer: Susan Willmington
illuminator: Nicolas Fischtel
Choreography: Jo meredith
D. choir: Andrés Máspero
Distribution: fiber Gerzmava, Annalisa Stroppa, John Osborn, Fernando Rado, Berna Beads, Juan Antonio Sanabria Arrives at the Teatro Real Norma, Bellini, in a new own production. He does it coinciding with Siegfried, Wagner, who did not exactly like Italian opera and who, but nevertheless, showed great admiration for the Italian master. Specifically, Norma was one of the works in which the German master showed the greatest interest. Norma transcended the bel canto, had some new elements full of romanticism and expressive capacity. The Bellinian declamato-cantato that in Norma reached its maximum expression, where arias are no less important than dialogues and manner, almost mourning, in which the different characters faced each other through duets and triplets, thus leaving aside the traditional succession of virtuous arias that defined the Italian opera tradition up to that time. The characters of this work, especially its protagonist Norma, they have multiple faces. Some even contradictory, what gives them that enigmatic halo that fills the plot with intrigues and romantic situations, with which Bellini and his librettist Felice Romani tried to make their audience cry with emotion., Justin Way's scenography repeats the now classic theater within the theater, located in pre-reunification Italy. But the scenery, which is full of originality and numerous nods to the decorations of 1831, when it premiered on the Milan Stopover, There is some confusion between the two scenes that are combined and that are not very well differentiated.Marco Armiliato has been commissioned to replace Maurizio Benini. The change may have gained in loudness and volume, but maybe it has lost nuances and delicacy. Norma is one of those operas par excellence, that define by themselves what this genre is.

The score is of great richness and, at the same time, simple. His orchestration is of great delicacy. He does not intend to accompany the singer, but to serve as a delicate mattress. This is undoubtedly one of your greatest difficulties when dealing with it, both for the orchestra and for the singers.

On this occasion the Royal Theater presents two high-rise casts. In this dress rehearsal we witness a second of extraordinary level that promises performances of great interpretive quality. It is the first Norma that the Russian Hibla Gerzmava faces and approaches it with courage. Has a good volume of voice and great drama. In addition to that lightness that the character demands, shone in the duet with Adalgisa, in which they pasted to perfection.

Annalisa Stroppa's Adalgisa is undoubtedly the most clearly bel canto voice of the cast. His singing line is very well defined, phrases delicately and with Bellinian intention. Draw an Adalgisa full of sensitivity and expressiveness. Elegant always on stage, stood out in the duet with Norma and the triplet of the second act, achieving some moments of brilliant lyricism. Not for nothing is an experienced Adalgisa.

Another of the most accurately bel canto voices is that of the Polione of the American John Osborn. His vocal characteristics are very suitable for the character and for this style of Bellinian declamation..

The rest of the cast is at high altitude. The destacar is Fernando Radó, as Orobeso. Well the Clotilde by Berna Perles and the Flavio by Juan Antonio Sanabria.
The Royal Theater is right with this work of the classical repertoire that is a respite for the amateur after having attended the endless and decontextualized Siegfried.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

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We interview Annalisa “Adalgisa” Stroppa.
She arrives with her mask and behind her a big smile, there is life on the street, The sun has risen and he is about to have a coffee on a terrace. Something very different from what happens in his native Brescia. It is his tenth production of Norma, but for her it's like the first time. And it is that nothing is the same, tampoco para Annalisa Stroppa, a purely bel canto Adalgisa capable of describing with her voice all the colors of the emotions that her character experiences on stage.: Annalisa Stroppa arrives at the Royal Theater to interpret Adalgisa en la Norma, Bellini, a composer you have a weakness for. What attracts you so much about this composer?Annalisa Stroppa: Adalgisa is a character that I love and like for different reasons. The first is Bellini's writing style. Besides being my favorite composer, always puts the voices above everything. The expressiveness that can be in each word, for him is the first. No one like Bellini has given so much importance to sound, at the half voice, to the legacy y to the declaimed, already known as bellinian declamate. But Bellini scores are not easy. Singers must behave like athletes. Different voice colors are necessary to express the text and Bellini allows a lot of freedom of expression - this is one of the reasons why Wagner admired Bellini so much. For this unique Bellinian writing. Therefore, for me it is extraordinary to be able to use the voice to express in this way, coloring each word. For Bellini expression is very important and he accompanies him orchestral in a very subtle way. This is where the difficulty is, in which the orchestra has to support what you say, but not as an accompaniment, but having the same sound and the same intention with which the singer expresses himself.: How is Adalgisa vocally and what difficulties does she have?A.S: Right now I can say that this music is my vocal territory. I feel very comfortable expressing myself through bellcanto and the French repertoire. But Bellini is the closest thing to my vocality right now.
The difficulty that Adalgisa has is its wide tessitura, goes up to Do5. But, if the voice allows it and you feel comfortable, it is perfect. Bellini's scores have a beautiful and inimitable melodic line. With very few notes it grabs your heart, on a character level and also vocally, is the perfect counterpoint to Norma. because they, in the duets and in the cadence, they become the same person. Their voices intertwine and merge into one. and this is magic. They must have great synchronization in sound and expression. When all this happens, the result is spectacular.: How is the character of the Adalgisa that Annalisa Stroppa builds?A.S: Adalgisa is a very pure woman, a woman who always remains true to herself from the beginning of the work, being very respectful with Norma, never betrays her and is always close to her. The role of Adalgisa allows me to play with the expression and the nuances of the voice. At first she shows her effort, your doubts, his suffering. She is so in love with Polione that she is willing to leave her vows as a priestess.. This is a very deep conflict for her, she is in love and, both, wants to maintain fidelity to his God and religious life. This requires great delicacy when expressing it. She fears Norma's reaction when she knows her intentions. Then discover the great humanity of Norma who understands her situation. Until he realizes the double life of Norma and Polione and their two children in common. How many colors and expressions are there in this argument!. And Bellini allows us to translate the color of love with her voice, of humility, of despair ... All this is in the music of Bellini. Until in the duet of the second act, is loyal and consistent with Norma. He will stay with her so that she can reunite her family and return to Polione. This is of a very great purity. She remains faithful to Norma because the traitor is Polione.This production of Norma at the Teatro Real is also new to me. It is the first time that I work with the maestro Marco Armiliato and with the Regista Justin Way, that's why it's a new experience. I have also met a wonderful team of colleagues. The work we are doing together is spectacular, even with a mask. It is starting to live again and I am happy.: When facing this character again right now, What new emotions do you have or expect?A.S: Every time I go to sing, does not sing only Adalgisa, also sing a part of me. And especially now, after everything we're going through, of all this suffering that we are all living, of that silence of our interior that now has so much to say ... All these reasons will make my Adalgisa different. Because I return to the stage with the warmth of the public that I miss so much. I know that I'm going to get excited, because what was normal until today, now it's going to be very special. I return to share the emotions and the atmosphere that will be generated at that moment, always different. What I appreciate now is being able to be here. Thanks to the Royal Theater for giving me this opportunity and what I would like is to convey my emotion through my voice. I don't know when I'll sing again, So now I will do it as if it were the first and the last time. Without worrying about anything, just for the excitement of singing again with an audience that shares this emotion with me, that's why my Adalgisa will now be very different from the previous ones. This is the tenth production of Norma in which I participate, and all my Adalgisas are different, for different reasons. The maturity of the voice, the maturity of the person and live it differently. The Norm that accompanies me also influences. I remember with special affection the productions with Mrs. Mariela Devia and Edita Gruberová, for being two historical ladies and great icons of the opera.

B.C: When he leaves the theater, after having given everything for a character like this, How do you free yourself from such an intense rol?

A.S: It is not easy to free yourself from such a character. You feel it so strong in your own skin, that I think until the end of production, even weeks later, be part of you. Because you build it, you live it and you always discover something new that, in the end, you take it with you. They are not two separate people, they are together. It's like a very fun game because, sometimes, The directors, they call me Adalgisa instead of Annalisa (laughs).

I do not have the capacity to live separately the two people. On stage I carry a part of Annalisa with her emotions, his life ... and I translate them into the emotions of Adalgisa. I can't separate them. Sometimes it happens that, after playing a role, you have to quickly start with another, without the time needed to decant, like wine, a new character turning the previous page. When you leave a character you have to say goodbye with respect and say hello, also with respect, to the new character. They are our little creatures, what have you elaborated with time, with love and care to create something special that is part of you and that does not disappear suddenly after the last performance.

B.C: When it comes to a city, as now to Madrid, How is the day to day outside and inside the theater?

A.S: Now it is not easy because what we are living is not normal. You always take care of yourself, you rest, you take care of your voice but, Clear, on the day off I could see friends, to visit a museum, take a walk down the street… For me it has not been a very big change in this aspect but, what is most noticeable is sadness. Here in Madrid I have not felt this change much because the theater people make me feel so good, it's amazing how they take care of you. They are always attentive to all the needs you may have, how do you feel. With this what they show is that all this can be done and can be done well.

Whenever I arrive in Madrid I feel at home. That's why being here for me is so special. I feel very loved and appreciated. If I had to choose another country to live, it would certainly be Spain.

Without a doubt, physical health is very important, but mental and emotional health is also very important and music heals us. It's like a medicine of the soul. There is a large audience that wants to return to the theater and I hope that in Italy a solution can be found very soon, by the public, for us and for the whole family that is on stage, that you cannot see and that you are having a very bad time. The theater is a cog in a machine that works when all parts are present, like life.

B.C: What do you think that Madrid is being almost the only city in Europe that has open theaters?

A.S: It is a miracle!. I, until the last minute before taking the plane to get here, I didn't know if I could come. I didn't believe it, that's why i say, long live Madrid!, that has put music and culture in an important place. Health is important, the economy is important but ... you cannot deprive people of the possibility of dreaming, to live and share emotions, this is part of life. Music is oxygen, it's life. Thank you Madrid for being an example in which others can be inspired, is the demonstration that it can be done. Madrid is an example of how you can move forward.

B.C: In May he returned to the stage in Wiesbaden, How was that experience in a moment as dramatic as the one we were going through?

A.S: March and April were very cruel months in the place where I live. In two months I couldn't sing because at that time there was a lot of suffering, many victims. It was like a war. And the voice participated in this mourning and did not feel the need to sing again.

Wiesbaden has been like a rainbow in the sky after rain and storm. I had this contract for a long time and I thought the recital was going to be canceled. But it was not canceled. Germany decided to perform it without staging and they organized everything. Arriving at Malpensa airport, desert, I started to cry when I saw all the people covered in protective suits, it was all amazing. When i came to germany, his health situation was not so bad and everything seemed like a dream to me. I could not believe it.

The peculiarity is that he had to do the function without a choir and without an orchestra, It was a selection of arias and duets by Carmen and in the dressing room I was alone. He had brought a suitcase with dresses similar to those of the production, but mine. Sang an aria, I went back to the dressing room to change for the next aria but I did everything alone, there was no one to help me or point me out. In the end, the important thing is that the music was there and I was singing. In the theater there were 200 people and it seemed to me that it was full. That day everything accumulated in my heart the previous months came out of me. All the suffering, all the emotions, all reflections, all translated into music. I think this intensity reached the audience because in the end we cried together from the emotion. It's something that I won't be able to forget.

B.C: How are you working now for the future, it doesn't have to be easy to prepare an agenda?.

A.S: No, it is not. The difficult thing is to reorganize all the cancellations that have been all this year. I have performances that had been canceled and now they have been scheduled on dates where I already have other commitments. The situation is complicated to get dates square, despite the uncertainty. But I am a very lucky singer because in these months I have been able to continue working, except March and April, which for me have been months of silence.

Our life was very fast, always running and traveling everywhere and, suddenly, everything stopped. During those months I have had a lot of time to reflect, to enjoy my family. You start to value the little things, those things that are really important. It is strange because we discover things that we already knew but that you observe with another point of view.

B.C: In what special situations have you seen yourself professionally in these months?

A.S: Everything that has happened helps us to resize ourselves. I have sung in streaming in an empty theater and I have cried with emotion. I have sung in the Bergamo cemetery as a tribute to the victims of our land. In April I was able to sing at Easter mass in my city, after two months in which my voice did not want to express itself but, at those moments, the voice is projected. And he does it because he has a reason, it was like a prayer. The voice resumed its way to sing again because, in the end, we do not sing only with our heads. We are used to singing in various situations, but these have been special.

Interview: Paloma SanzAdalgisa-AnnalisaStroppa

Loves in Bramble

With ‘Loves in bush’ the fifth season of the Project Zarza del Teatro de la Zarzuela, zarzuela made by young people and for young people, that was born from the hand of its director, Daniel Bianco, with the purpose of popularize the genre among the new generations, those of the XXI century. He young audience has a decisive relevance in the current colosseum project, that in this way he intends that he approaches without fear and without prejudice to the zarzuela, thereby continuing gender and strengthen its future.

That is why the Zarza Project is one of the star initiatives of the Theater. Aimed at an audience between 12 Y 18 years, the title chosen in this Fifth edition is ‘Loves at Zarza’, with original text by the playwright and novelist Nando Lopez, youth literature specialist, among whose audience is a true star. It is a history coral that describes different ways of living love without prejudice, written around compositions of various zarzuelas by Federico Chueca, Joaquín Valverde, Jose Serrano, Pablo Serial, Ruperto Chapí and Gerónimo Giménez. And as usual, will be performed by young singers from among 18 Y 30 years chosen through a rigorous audition process in which they have participated more of 250 artists. It can be said that these singer-actors today form the young company Zarza Project, and that they also fulfill the mission of serving as a quarry for the great productions of the Theater. And is that, from your participation in the Project, a good number of them have already participated in some title of the lyrical seasons.

In this new production of Teatro de la Zarzuela, the musical and stage direction will be in charge, respectively, of the teacher Miquel Ortega (from the piano) and Rita Cosentino, and the seventeen actors-singers They will be accompanied by a chamber orchestra composed of eight young musicians. The programmed functions will be presented in the main hall of the Teatro de la Zarzuela in the 26 February to 5 of March, Y school will alternate passes (for students of secondary and high schools) and functions for the general public (26, 27 Y 28 February and 4 Y 5 of March) with a total of 9 sessions. As has been done in the previous four editions, after the show will be held one colloquy between the public and artists.

The role of the school Tuesday 2 of March (11h00) will be issued live through Facebook, YouTube and the website of the Theater.

Zarza Project, zarzuela made by youth for youth, is a resounding success every season. Since it started four years ago, they have occupied the seats of the Theater 26.000 viewers who attended the functions of 'The revoltosa', The duo The African ', 'Verbena Paloma' Y 'Water, Azucarillos and Aguardiente ’, and others tens of thousands who have been able to enjoy them online.

Love and magic

These ‘Loves in the bush’ are conceived in accordance with the spirit, the philosophy and intention that move this admirable Zarza Project from the beginning: bring the zarzuela genre closer to new generations, "And what better way to do it than through their own concerns ", Nando López points out. For that, this story that begins in the evening of a 15 August any of the 21st century, with a group of young people who meet in a park on the outskirts of the city ready to get on a Cercanías to La Latina to celebrate the festivities of La Paloma. From there many things happen, unexpected hopes are woven with pending dreams Y, as the author himself says, "Perhaps chance is not the real culprit of what happens in this particular - and somewhat Shakespearean - summer night in which the lives of all will end up…”. Magic is crucial in this particular tale. Real as life itself.

This new dramaturgy plays and is recreated with compositions of zarzuelas like the Pasacalle of ‘Last year for water’ Chueca and Valverde, "To a gypsy precious”From‘ The joy of the battalion ’by Serrano, What departed have you lost, kid!”And“ La petenera ”by‘ Don Manolito ’by Sorozábal, “Hágame Nah the favor of hearing me two words ”from‘ Last year for water ’by Chueca and Valverde, "I am Spanish" from ‘La patria chica’ by Chapí, "Chinochilla de mi charniqué" and "Who is it Nah?” from ‘The one with the bunch of roses’ from Sorozábal, “Also I suffocate ”of Luis Alonso's wedding ”by Giménez, the Fandango of ‘The Tricksters’, "I am Spanish" from ‘La patria chica’ by Chapí, ‘Dance at last we can now’ from ‘El baile de Luis Alonso’ by Giménez or the Parade of ‘La joy de la huerta’ by Chueca.

Suggestive, dynamic, fresh and powerful bet that once again celebrates the Theater's commitment to young artists and young spectators.

Friday 26 February 7:00 p.m. (open function)

Saturday 27 February 7:00 p.m. (open function)

Sunday 28 February 12h00 (open function)

Monday 1 March 12h00 (school function)

Tuesday 2 March 11h00 (school function) live on STREAMING

Wednesday 3 March 11h00 (school function)

Thursday 4 March 12:30 (school function) and 7:00 p.m. (open function)

Friday 5 March 11h00 (school function) and 7:00 p.m. (open function)

Rule

Music, drama and emotion will be the absolute protagonists of the stage of the Royal Theater with the arrival of Rule, opera Vincenzo Bellini (1801-1835), of which will be offered 12 functions between 3 and the 19 March in a new production conceived by the stage director Justin Way, with musical direction Marco Armiliato.

Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, and with it Bellini manipulates the most fiery emotions of melodrama like no one else. Rule has, Besides, an extraordinary dramaturgy that exposes the characters on different levels and bravely shows feelings and attitudes almost hidden until then in women. Is, maybe, that strong and modern perception of the feminine world that makes this opera one of the most desired titles of the season.

Justin Way set the action inside an old Italian theater with the whole company rehearsing Norma. Abroad, XIX century, which has begun marked by the Congress of Vienna after the defeat of Napoleon, keeps northern Italy under Austrian rule, whose reactionary government provokes the birth of the first nationalist movements. Between both worlds, the two main performers of the show have a secret relationship subjected to personal and social tensions, immersed in a conflict that they do not know how to manage.

The proposal raises a parallel between the plot of the opera and the historical reality of the moment of its premiere in Milan in 1831, offering the viewer the prima donna / Norma duality, Austrians / Romans, Italian choir / patriots ... in a narrative of which he is doubly observant.

The scenery Charles Edwards reproduces the structure of a theater in decline, with old painted backdrops similar to those used by the great romantic ballets, and costumes Sue Willmington draw imaginative clothing for druids and romans, very to the taste of the time, alternating with 19th century figurines for "real" life. Nicolas Fischtel, responsible for lighting, evokes the footlights of the stages of other times, whose warm light contributes to the dreamlike game in which both realities coexist.

Teacher Marco Armiliato, whose sensitivity we could enjoy in Tosca (2004) Y Madama Butterfly (2017) returns to the moat of the Teatro Real to take charge of the Chorus and Orchestra Headlines, along with a double cast led by the Spanish soprano Yolanda Auyanet - who we listen to at Real as Vitellia in La clemenza di Tito (2016); Mimi in Bohemian (2017) and Liu in Turandot (2018)- and Russian fiber Gerzmava, interpreter of Leonora in The Troubadour del Real in 2019.

The leading trio is completed by the tenors Michael Spyres Y John Osborn, embodying the roman Pollione and the mezzo-sopranos Clementine Margaine Y Annalisa Stroppa, giving life to the virginal Adalgisa. The role of Oroveso will be in the hands of the low Roberto Tagliavini Y Fernando Rado.

Around this title, the Royal Theater will offer a new session of approaches in which the main artists of the production will participate and where the aria by Oroveso composed in 1837 by Richard Wagner "in the manner of Bellini", in complicity with the composer of Siegfried, whose performances will alternate during this month with Rule. The appointment will be next Wednesday, 24 February, to 20.15 hours in the Sala Gayarre (which can be attended with limited capacity) Y on line through Youtube channel of the Theater. And the day 14 of March, with the cheerful and carefree tone of family workshops Everyone to the Gayarre!, between potions and spells, they will discover the other side of Norma.

Due to the curfew in force in the Community of Madrid, related to Covid-19 protocols, all functions of Norma will start the 19.00 hours, except for Sunday 7 of March, what will be at 18.00 hours.

PARALLEL ACTIVITIES · NORM

National Archaeological Museum

24 of March, to 17.30 hours. Guided tour: Rule. Come, see, jokes. Conquering rome

Limited capacity. information

Come, see, jokes. This is how Julius Caesar pointed out the speed with which a success is achieved. In this itinerary we move to Roman times to learn how what would end up being one of the greatest empires was forged. A very well structured army, a common language, Roman law and other aspects will be key to the Romanization of Hispania.

National Museum of Romanticism

March. a work, an opera.

Free activity

For a work, an opera, the Museum of Romanticism has selected a set of polychrome figures from its collection, dated to 1840, reminiscent of a scene from the opera in which Norma, knife in hand, enter the room where the children sleep. Polio, meanwhile, with his right hand on his heart, he seems moved in the final scene of the play, at the moment in which Norma expresses before the people her love for Pollio and acknowledges having violated her sacred vows.

Photograph: Javier del Real

Teatro Real
Teatro de la Zarzuela
Grigory Sokolov

The Russian pianist Grigory Sokolov He has canceled the concert scheduled for Tuesday morning, 5 of April, at National Auditorium of music, because of illness, that prevents fly to Madrid to give concert. Fundación Scherzo Grigory Sokolov and seek a new date for the conclusion of the recital, which is expected to take place in 2016 and will be communicated as is fixed.

Sokolov has previously acted in 17 Cycle times in the Great Performers and has always changed every concert on one of the sublime calendar appointments. Subscribers and fans who have acquired a location for this concert, They may maintain the previously acquired location for the concert with the new date.

More information www.fundacionscherzo.es Y 91 725 20 98.

Fidelio

Next Wednesday, 27 of May, volverá al escenario del Teatro Real el único título de ópera compuesto por Ludwig van Beethoven, Fidelio, del que se ofrecerán ocho representaciones desde su estreno y hasta el 17 of June.

Este canto a la libertad cuenta en la dirección con dos importantes nombres para alzar el telón. Teacher Hartmut Haenchen, especialista en el repertorio alemán y al que hemos escuchado inolvidables interpretaciones en el Real (Lady Macbeth de Mtsensk, Boris Godunov Y Lohengrin), se colocará de nuevo al frente del Coro y Orquesta Titulares del Teatro Real y de un reparto encabezado por Michael King (Florestan), Adrianne Pieczonka (Leonora), Franz-Josef Selig (Rocco) Y Anett Fritsch (Marzelline) in the lead roles.

Pier’Alli, director de escena y responsable también de la escenografía, los figurines y la iluminación, se presenta por primera vez en el Teatro Real con una concepción escénica compleja y cargada de simbolismo, despojada de elementos escénicos ornamentales y en la que el apoyo audiovisual es decisivo para reforzar diferentes aspectos de una trama que encierra en sí misma, varias tramas.

Fidelio está inspirada en un hecho real ocurrido en Francia durante el periodo del Terror, aunque el libreto de Jean-Nicolas Bouilly traslada la acción a España para conservar el anonimato. La obra contiene mucho más que una decidida defensa de la justicia y la libertad, es una exaltación del amor y la fidelidad, y tiene el atractivo de que en ella la mujer, Leonore/Fidelio, se convierte en el instrumento conductor y ejecutor, un personaje que lucha por sus principios con todo su ingenio intelectual, abandonando el lugar de víctima, en espera del héroe o de la venganza que, traditionally, se asignaba a la mujer en las óperas.

La complejidad de Leonore se traslada a una partitura con duras exigencias vocales que requieren para el papel protagonista una soprano con recursos líricos y dramáticos, capaz de dibujar una línea de canto expresiva, que son sin duda características precursoras de las heroínas de Wagner, a las que ha dado vida, en numerosas ocasiones, Adrianne Pieczonka.

Fidelio y su emotiva carga ideológica, su canto de lucha y su exaltación del amor y la libertad, es un símbolo capaz de remover la consciencia de la sociedad de hoy en día, por encima de la historia.

En torno al estreno de la ópera se han organizado dos actividades paralelas. El Museo Nacional del Romanticismo acogerá la conferencia de Joaquín Turina, Beethoven en el Madrid romántico, to be held 28 May at 19.00 horas en el auditorio del museo. Y en el ciclo Chamber Sundays, solistas de la Orquesta Titular del Teatro Real interpretarán un programa dedicado íntegramente al compositor alemán, he 7 June at 12.00 horas en la sala principal del Teatro.

Kauffmann

The program of concerts and recitals of Teatro Real for Season 2015-2016 adds to its lineup one of the most popular names of the current lyric, the tenor Jonas Kaufmann, who will be present in the Madrid scenario 10 of January of 2016, accompanied by pianist Helmut German.

His voice will join a cycle that will also be present Juan Diego Florez, Renée Fleming, Susan Graham O Simon Keenlyside, among others.

Tickets for this concert are available from 3 November for all audiences, those who purchase a subscription for Voces del Real, from next week, may already reserve the locality to Kaufmann and benefit from a 10% discount on the purchase.

Kaufmann is considered one of the best tenors of the moment and one of the finest interpreters of Lied world. Her vocal range and stage presence make the major opera demand his presence on stage.

Concerts and recitals scheduled by Royal Theater Season 2015-2016:

CONCERTS:

Natalie Dessay

REAL VOICES cycle

Works by Franz Schubert, Felix Mendelssohn, Henri Duparc, Gabriel Fauré, Franz Liszt Y Claude Debussy

Natalie Dessay, soprano

Philippe Cassard, piano

29 September 2015

Xavier Sabata

Parallel activity Alcina

Xavier Sabata, countertenor

Markello Chrysikopoulos, key

simos Papanas, fiddle

5 November 2015

Juan Diego Florez

REAL VOICES cycle

Works by Gaetano Donizetti, Giuseppe Verdi, Jules Massenet and others

Juan Diego Florez, tenor

Vicenzo Scalera, piano

16 November 2015

Bejun Mehta

REAL VOICES cycle

Works by Wolfgang Amadeus Mozart, Johann Christian Bach, Christoph Willibald Gluck Y Johann Adolph Hasse

Bejun Mehta, countertenor

Academy of Ancient Music (Akamus)

9 December 2015

Mahler concert

in collaboration with the Philharmonic

Gustav Mahler (Songs of a Wayfarer, symphony No. 5)

Peter Mattei, baritone

Pablo Heras-Casado, director musical

Head of the Royal Theatre Orchestra

13 December 2015

Jonas Kaufmann

Jonas Kaufmann, tenor

Helmut German, piano

10 of January of 2016

Shakespeare concert

Parallel activity The Liebesverbot

Works by Henry Purcell, georg Friedrich Handel, Francesco Overture, Carl Heinrich Graun Y George Benda

Peter Mattei, baritone

Pablo Heras-Casado, director musical

Head of the Royal Theatre Orchestra

26 February 2016

 

Renée Fleming

REAL VOICES cycle

Works by Robert Schumann, Richard Strauss, Sergei Rachmaninoff Y Patricia Barber

Renée Fleming, soprano

Hartmut Held, piano

14 April 2016

 

Andreas Scholl

REAL VOICES cycle

Italian Cantatas and Songs

Works by Salvatore Lanzetti, Antonio Vivaldi, Alessandro Scarlatti, Antoino Caldara y Georg Friedrich Händel

Andreas Scholl, countertenor

Avi Avital, mandolin

Wet Titian, lute

Marco Frezzato, cello

Tamar Halperin, key

22 April 2016

 

Simon Keenlyside

SESSIONS Cycle Sluts - Stage Theatre Royal

Parallel activity Moses and Aaron, Der Kaiser von Atlantis Y Brundibár

Works by Emmerich Kalman, Irving Berlin, Kurt Weill, Jerome Kern, George Gershwin and others

Simon Keenlyside, baritone

Matthew Regan, piano

29 April 2016

 

Susan Graham

REAL VOICES cycle

Works by Robert Schumann, Gabriel Fauré, Richard Strauss, Edvard Grieg, Claude Debussy, Francis Poulenc, Peter I. Chaikovski, Enrique Granados Y Hector Berlioz

Susan Graham, soprano

Malcolm Martineau, piano

11 June 2016

Angela Denoke

SESSIONS Cycle Sluts - Stage Theatre Royal

Works by Kurt Weill

Angela Denoke, soprano

tal Balshai, piano

Norbert Nagel, clarinet and saxophone

15 June 2016

 

CONCERTS IN THE AUDITORIUM SONY FOUNDATION ALBÉNIZ

Cycle 'Dancing on the volcano'

Recital de Measha Brueggergosman

Works by Arnold Schoenberg, John Cage, Aaron Copland, Samuel Barber and others

Measha Brueggergosman, soprano

Justus Zeyen, piano

5 Y 7 May 2016. 20.00 hours

Departure for sale to the public: 16 February 2016

Recital de Salome Kammer

Works by Arnold Schoenberg, Hans Pfitzner, Richard Strauss, cheese Straus, Paul Strasser, Ludwig Mendelssohn, Kurt Weill, Erich Zeisi, Hugo Ball, Erwin Schulhoff, Eduard Künneke, Rudolf Nelson y Friedrich Hollaender and others

Salome Kammer, singer

Rudi Spring, piano

12 May 2016. 20.00 hours

Departure for sale to the public: 16 February 2016

Recital de Dagmar Manzel

Works by Friedrich Holländer, author of the soundtrack The Blue Angel with Marlene Dietrich, and other composers como Hanns Eisler, Werner Richard Heymann y Kurt Weill. Free movies The Blue Angel, The man, of his killer searches, Songs of a poor girl, An upward Affaire, Haunting in Villa Star, The Red Thread and others.

 

Dagman Manzel, singer

Michael Abramovich, piano

19 May 2016. 20.00 hours

Departure for sale to the public: 8 March 2016

La traviata

During these days and up 9 of May, he Teatro Real It represents La traviata, from Giuseppe Verdi. A respite for all lovers of classical repertoire and needed a production of this style. Especially after the magnificent production of the public, from Mauricio Sotelo.

La traviata, best-known work and sometimes represented worldwide. But is that La traviata, It has something special. It is history of opera. It is always classic and always offers something new. Something surprising.

This time it is the teacher Palumbo who directs the romantic production David McVicar that we saw in the Liceu in Barcelona. A simple but brilliantly dressed Stage set for drama.

There are three deals for this production, well 16 are the representations for which there are hardly any places for sale.
The sopranos responsible Violetta Valéry character are Albanian Jaho Ermonela, one of the most currently recognized Violettas; Moldovan Irina Lungu, and Russian Venera Gimadieva.

This work, based on "La Dame aux Camelias" of Alexandre Dumas son, Violetta presents a highly dramatic, It not in vain is sick throughout the play until his death. And it is the dramaturgy main mission in its interpretation. Character is approached from that point of view Ermonela Jaho: "A soprano can have a good technique but if there is no feeling, not awaken anything in public. The technique must serve to convey emotion ".

Alfredo Germont features the voices of Francesco Demuro, Antonio Gandia Y Teodor Ilincăi. And Giorgio Germont baritones Juan Jesus Rodriguez, angel Ódena Y Leo Nucci.

On the occasion of the European Opera Week Royal Theatre, along with other cultural institutions, They have organized various activities.
Week Opera Theater Royal, in which they converge recreational and educational activities, National and international, live or retransmitted, It aims to unite around the opera synergies generated in different artistic and cultural spaces in Madrid, through new technologies and the essential collaboration of institutions and sponsors.

Driven by coincidence, this year, of the International conference Opera Europa in Madrid and European Opera Days, The Royal Theater has devised a special program for the first week of May with which aims to bring the lyrical art to the street, museums, universities and all those who want to see free La Traviata, live, from any part of the world.

Week activities will begin Opera 30 April with the opening of the exhibition "Dress opera" at the Museum of Costume in Madrid, in which they will be exhibited over 30 costumes used in own productions of the Royal Theater, most of them made in their workshops. They accompany the figurines some wigs and props to evoke the theatrical atmosphere for which they were created.
Between 6 and the 8 May the Royal Theater will host representatives 150 theaters and lyric festivals from over 40 countries for Opera Europa International Conference. For three days artistic directors and managers of opera houses from all continents will discuss various topics, among which highlights the role of new technologies for the dissemination of the opera.

While inside the theater discussions and talks succeed, in its main facade, in the Plaza de Oriente, A screen offered throughout the day 7 Y 8 May, a "marathon opera" with fragments of shows, reports and promotional videos, culminating in full retransmission Traviata.

Younger guests will enjoy a fantastic Teatro Real production without leaving their schools, since the day 7 of May, to 12.00 hours, several colleges and institutes will join Madrid this week broadcast live at their centers El retablo de Maese Pedro, from Manuel de Falla, which is anticipated to commemorate the fourth centenary of the death of Miguel de Cervantes. In the main hall they will be attending the show Company Etcetera, In addition to public youth, representatives of theaters and opera festivals gathered in Madrid.
The center of actions aimed at the general public will be the live broadcast, he 8 of May, La traviata, Verdi in different areas of Madrid and other cities in Spain and worldwide, for free, through Digital Palco.

In addition to the broadcast in the Plaza de Oriente (where there will be surprises), opera can be followed live some of the most unique cultural and artistic institutions in Spain: Museo Nacional del Prado, Museo Nacional Centro de Arte Reina Sofía, Thyssen-Bornemisza Museum, Slaughterhouse (Casa del Lector), Canal Foundation, Foundation Francisco Giner, Conde Duque Cultural Center and the Italian Institute of Culture in Madrid.
To cap a week of opera a free open day will be held on Saturday 9 from May 10.00 until 15.00 hours so that the public can visit for free the most emblematic Teatro Real.

Pollini

The pianist Maurizio Pollini se ha visto obligado a cancelar el concierto previsto para el próximo lunes, 27 of April, at Teatro Real, because of the disease that has set him apart scenarios Zurich, Munich and Barcelona, scheduled in recent weeks.

Medical examination held this morning, It has certified that the artist suffers from tendinitis in his right foot prevents him from developing their activities normally.

Una vez coordinadas las agendas del Sr. Pollini y del Teatro Real, se ha confirmado el 21 of January of 2016 como nueva fecha para la celebración del concierto.

Los abonados y aficionados que hayan adquirido una localidad para este concierto podrán canjear su entrada para la nueva fecha o solicitar la devolución del importe, from 27 de abril y hasta el 27 of May. Para ello pueden dirigirse a las taquillas del Teatro (Plaza de Oriente s/n) o realizar una solicitud de devolución a través del formulario disponible en la web del Teatro Real a partir del lunes 27 of April.

Teatro Real

The Week Opera Theater Royal, in which they converge recreational and educational activities, National and international, live or retransmitted, It aims to unite around the opera synergies generated in different artistic and cultural spaces in Madrid, through new technologies and the essential collaboration of institutions and sponsors.

Driven by coincidence, this year, de la Conferencia Internacional de Ópera Europa en Madrid y los Días Europeos de la Ópera, The Royal Theater has devised a special program for the first week of May with which aims to bring the lyrical art to the street, museums, universities and all those who want to see free La Traviata, live, from any part of the world.

Week activities will begin Opera 30 de abril con la inauguración de la exposición “Vístete de ópera” en el Museo del Traje de Madrid, in which they will be exhibited over 30 costumes used in own productions of the Royal Theater, most of them made in their workshops. They accompany the figurines some wigs and props to evoke the theatrical atmosphere for which they were created.

Between 6 and the 8 May the Royal Theater will host representatives 150 theaters and lyric festivals from over 40 países para la International conference Opera Europa. For three days artistic directors and managers of opera houses from all continents will discuss various topics, among which highlights the role of new technologies for the dissemination of the opera.

While inside the theater discussions and talks succeed, in its main facade, in the Plaza de Oriente, A screen offered throughout the day 7 Y 8 de mayo un “maratón de ópera” con fragmentos de espectáculos, reports and promotional videos, culminating in full retransmission Traviata.

Younger guests will enjoy a fantastic Teatro Real production without leaving their schools, since the day 7 of May, to 12.00 hours, varios colegios e institutos de Madrid se sumarán a esta Semana emitiendo en directo en sus centros El retablo de Maese Pedro, Manuel de Falla, que se anticipa a la conmemoración del IV Centenario de la muerte de Miguel de Cervantes. In the main hall they will be attending the show Company Etcetera, In addition to public youth, representatives of theaters and opera festivals gathered in Madrid.

The center of actions aimed at the general public will be the live broadcast, he 8 of May, La traviata, Verdi in different areas of Madrid and other cities in Spain and worldwide, for free, through Digital Palco.

In addition to the broadcast in the Plaza de Oriente (where there will be surprises), opera can be followed live some of the most unique cultural and artistic institutions in Spain: Museo Nacional del Prado, Museo Nacional Centro de Arte Reina Sofía, Thyssen-Bornemisza Museum, Slaughterhouse (Casa del Lector), Canal Foundation, Foundation Francisco Giner, Conde Duque Cultural Center and the Italian Institute of Culture in Madrid.

Como colofón a la semana de la ópera se celebrará una jornada gratuita de puertas abiertas el sábado 9 from May 10.00 until 15.00 hours so that the public can visit for free the most emblematic Teatro Real.

Lidia Vineyards-Curtis

Since this young Barcelona interpreter Lidia Vineyards-Curtis He was awarded in Stuttgart in Bachakademie 2013 his career is on the rise and has not stopped reaping success worldwide. Now go back to Madrid to play the Mozart Requiem with the ONE day 22, 23 Y 24 May before continuing its international tour.

Trained as a violinist in the Conservatory of the Liceu and having collaborated with bands like A Spanish Ayre, Baroque assembly Limoges, or the Catalan Baroque Orchestra, He later studied singing specializing in Early Music at the Conservatoire National de Toulouse and the Schola Cantorum Basiliensi. He has collaborated with directors of the stature of Jordi Savall, Jean-Claude Malgoire, Helmuth Rilling O Sigiswald Kuijken, interpreting both large cantatas and oratorios as the St. Matthew Passion and St. John Passion, from Bach, or Messiah, from Händel. Just recorded an album Human tones the Spanish Golden Age for Naxos.

After passing through Madrid with popular Mozartian work, return to Bach's genius to interpret some of his cantatas in Stuttgart with the Bach Ensemble directed by Vokal Kay Johannsen (26 of June), Santiago de Compostela with opera Rinaldo, Handel, Via Stellae Festival (8 of July), to undertake during the summer tour with the Mass in B minor of Bach that will Saarbrücken (22 of July), Hong-Kong (8 of August), Muehlhausen (15 of August), Arnstadt (16 of August), Weimar (18 Y 19 of August), Eisenach (29 of August) y Leipzig (21 of August) directed by Helmuth Rilling all. In September the new course will begin with a tour and recording a CD of Bach cantatas with La Petite Bande under the direction of Sigiswald Kuiken, before its debut at the Gran Teatre of the Liceu of Barcelona with paper in Ascanio in Benvenuto Cellini, Berlioz, directed by Josep Pons.