La Traviata, “back to life”
La Traviata
Giuseppe Verdi (1813-1901)
Opera in three acts
Libreto de Francesco Maria Piave, based on the novel and the play La Dame aux camélias by Alexandre Dumas Jr.
Premiered at the Teatro La Fenice in Venice on 6 March 1853 and the the Teatro Real the 1 February 1855. Opera in semi-staged concert version
D. musical: Nicola Luisotti
Scenic concept: Leo Castaldi
Lighting: Carlos Torrijos
D. Choir: Andrés Máspero
Distribution: Marina Rebeka, Michael Fabiano, Artur Ruciński, Sandra Fernández, Marifé Nogales, Albert Casals, Isaac Galan, Tomeu Bibiloni, Stefano Palatchi, Emmanuel Faraldo, Elier Muñoz and Carlos García
It had been four months since everything was suspended. At first it seemed like it would be for a short time, but as the weeks and events passed, uncertainty came to occupy everything.
In this period there has been time to think about many things. Also that only a miracle would bring me back to this chair. But miracles exist, and we make them. In this case, Royal Theatre. And a miracle has worked that covers various aspects. First, have the courage and determination to return to operatic activity in the safest way, and the second, and no less important, have the ability to demonstrate that, difficult as the circumstances are, good management can be done, even, very good.The bet is risky, keep this fragile balance when the entire operatic world is watching, is not easy. For a full month, in which the representations have been multiplied to compensate for the limited capacity, this stage adaptation by Leo Castaldi is presented, like who says, with four little things that he has found by the theater, to create a scenery that could not be more effective. In it the essential elements appear, nothing is missing or nothing. A parceled stage delimits the two square meters that each singer has to move. A small space, but in which all the emotions of the protagonists fit. The chorus, occupying the back half of the stage box, remain disciplined in seclusion, each one of them, on his ground, which does not detract one iota from its sound and professionalism. All this illuminated with great success by Carlos Torrijos It was not easy to immerse yourself in history in an environment so different from the one we are used to. Too many elements distract us in the room, on the stage, distance, the mask ... But then, he appeared, Like a hero without a cape to rescue us from silence, Nicola Luisotti. One of the men who must be working the most in the last weeks and who was exultantly happy with this challenge, perhaps for having lived through the dramatic circumstances that have touched us with the intensity that only a passionate person like him has. He was the first to suspend the premiere of Il Trovatore at the Scala in Milan and is now the first to raise the curtain on what he calls "ritorno alla vita". It was then that one of the most elaborately romantic and evocative that have been written, the opening of the first act of La Traviata. The orchestra, which occupies the entire space of the pit, also appears with their masks, except for the wind, which is separated by a screen, like Luisotti himself. The Italian teacher was the perfect link between what was happening on the remote stage and the wide moat, generating confidence and balance in this strange new way of interpreting. After a deep overture, sober and heartfelt, for whom is a great connoisseur of this repertoire, he knew how to transmit to the stage the theatricality he lacked. His direction was above some more muted sounds caused by physical and technical distances. The orchestra sounded muffled and with the delicacy that some sometimes abandon when it comes to Verdi.The distance at which the singers were kept was not disturbing. Always attentive to the teacher who accompanied them, more than directed. Despite not approaching or touching, Violetta and Alfredo were able to demonstrate their passion.The Latvian Marina Rebeka is the first of five sopranos who address the character of Violetta Valéry. Has an extensive and voluminous lyrical soprano voice, a beautiful timbre and great sound that was appreciated very well in the most dramatic parts and in well-delineated pianos. Maybe too contained, which affected the most theatrical part of the character, something very important in this role that Rebeka is very knowledgeable and loving. If I let the character take over her, coupled with his exceptional technique, would be the best of the Violets.The Alfredo by Michael Fabiano went from less to more. He had moments of great inspiration, although it was noticed a little insecure at the beginning, something that may be normal under the circumstances, and that it disappeared from the second and third act, In which he shone with an inspired and intense Alfredo, the most applauded of the night was Artur Rucinski and his Giorgio Germont.. A good diction and elegant and very careful phrasing for your stretched Germont. Very well at Di Provence.

The rest of the tablets were at high altitude. Great participation Marifé Nogales in her role as Annina. Also perfect Sandra Fernández, with a frivolous Flora Bervoix, both are involved in all functions. Like Albert Casals, as Gastone, Isaac Galan, like Baron Douphol, Tomeu Bibiloni, as Marquis de Obigny, Stefano Palatchi, like Doctor Grenvil and Emmanuel Faraldo, as Giuseppe and Violetta's servant.

A success without a doubt of the Royal Theater showing great courage and ability. All this served with a security that can be felt. If a major outbreak occurs, I'm going to the Royal Theater. And is that normality does not come alone, you have to conquer it.
Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Il Corsaro

The Palau de les Arts Reina Sofia opens next 28 March in the Main Hall a new production of 'The Rover ', in Verdi, shades of poetic and musical performance historicist.

This has been explained today at the launch of this title Fabio Biondi, director musical, Y Nicola Raab, stage director. In the press conference also attended by the tenor Michael Fabiano, protagonist of the play, with soprano Oksana Diving.

'Il Corsaro' is the first title Les Arts broadcast streaming this season through the European platform OperaVision, thanks to the collaboration of the Valencia Tourism Agency.

Fabio Biondi enacts the most enigmatic and less represented Giuseppe Verdi score with Cor de la Generalitat and the Orquestra de la Comunitat Valenciana. A marked work, as he noted by the teacher palermitano, the historical development and motivation of the composition:

"For the first time, Verdi does not give a work Ricordi but attains an advantageous according to Lucca. The bad relationship with the new editor will determine the fate of this opera. A fact which joins the historic moment of revolution (1848) in which it is written. Political Verdi and the Risorgimento, Operas de como 'Nabucco' or 'The Battle of Legnano', Write a deeply romantic composition ".

The incumbent director of the Orquestra de la Comunitat Valenciana notes, However, the great beauty of the pages of "Il Corsaro ', where moments that recall 'Traviata' or 'Rigoletto' heard, that bind a suitable duration, "An hour and a half of very dense music without lacking moments of interest", Biondi points.

For interpretation, the director has reproduced the size and layout of the orchestra for which Verdi thought 'Il Corsaro'. "The location of the pit, loud enough for the average today, gives advantage singers, especially in the recitatives, very close to the bel canto style ", added the master.

Six years after his successful vision of 'Thaïs', Massenet, in which Placido Domingo in Valencia released its role number 139, Athanaël, Nicola Raab signs its first assembly for Les Arts, It carried out in co-production with the Opera of Monte Carlo.

This time, the 'regista' German has surrounded himself with a creative team of George Souglides (scenery and costumes) David Debrinay (lighting) y Ran Arthur Braun (fight choreographer and shoot).

Product of his enthusiasm for Lord Byron, great romantic poet in English, Giuseppe Verdi turn entrusted versified novel 'The Corsair' in its thirteenth opera, Francesco Maria Piave como libretista.

'The Rover' tells the historia de Corrado, privateer Aegean, which sets sail on a secret mission to attack the Turks, leaving his beloved Medora with the worst fears.

And in the city of Corone, Corsairs manage to surprise the Turks burned their ships and raiding the harem of the pasha Seid, in which Corrado saves Gulnara, the favorite slave, died in the flames. But nevertheless, the rapid reaction of the Turks allows them to strike back and seize the invaders, Corrado condemning to death.

But Gulnara consume his revenge, freeing corsaros and ending the life of Seid. Once on the island corsaria, baleful premonitions of Medora lead him to poison. Upon arrival, Corrado barely has time to say goodbye to her and, desperate, It is thrown to the sea. Gulnara falls to the ground shattered.

Raab's proposal imagines the story of 'Il Corsaro' in an internal action that takes place in the protagonist's mind, she reconverted himself Lord Byron, author of the poem that inspired Verdi.

The stage is his thought, a blank mind that transforms into different ideas Corrado by projections, lights and movements, where Medora is a past memory and Gulnara an invention that will become reality.

According underlined Fabio Biondi, 'Il Corsaro' is "designed for a cast of opera singers grandísimos". Michael Fabiano tenor leads the cast in Les Arts, in which he accompanied the sopranos Oksana Dyka and Kristina Mkhitaryan, baritone Vito Priante, Evgeny Stavinsky bass and tenors Cor de la Generalitat Valenciana Ignacio Giner, Jesus Antonio Gomez and Rita.

Fabiano, one of the most sought-after voices of the moment, Corrado plays, the title role, already he debuted in 2014 in Washington, with an excellent reception from critics. New Jersey tenor makes his debut in Valencia with the Ukrainian soprano Oksana Dyka (Gulnara), to which the Valencian public remembered for his memorable performances of 'Madama Butterfly' and 'Tosca'.

Rounding out the quartet protagonist two emerging voices, which they are also presented for the first time at Les Arts: la soprano rusa Kristina Mkhitaryan (Medora), second prize winner of Operalia 2017, and Italian baritone Vito Priante (Are), which already has outstanding works in London, Milan, Paris, Munich, Chicago and Los Angeles.

Les Arts presents 'Il Corsaro' day 28 March and 1, 5, 8 Y 10 April in the Main Hall.


The Palau de les Arts Reina Sofía offered in 'streaming' representation 8 April 'Il Corsaro' through, the new platform hosted by Opera Europe, that gathers 30 opera companies 18 countries of the continent.

The transmission of this feature is possible thanks to the collaboration of the Valencian Agency of Tourism and specialized television channel Mezzo music.

didactic activity

On Sunday 25 of March, to 12.00 h, Les Arts proposes an intergenerational educational activity to understand what it is and how an opera is produced from the heart of the theater, the stage of the Main Hall. "A morning with 'Il Corsaro'" explained the audience the process of developing this new production, from the first sketches to technical or artistic works.

Les Arts reports that the price of the town is 15 euros for adults and 7 euros for young audiences.

Michael Fabiano

Since he debuted at the Washington National Opera (U.S) They have not ceased to ask for it. Michael Fabiano will travel to The Palace of Arts in Valencia in March to be the star of a new production of Verdi's rarely scheduled Il Corsaro, "A work that falls within the period in which the composer dreamed of Italian unification and moved to the wishes of his operas freedom of his people, all said very entrelíneas ", says American tenor regarding a title that has matured from 2014, when he sang for the first time. "This is a work that gathers together the belcantismo, but where Verdi and suggests ways and creates scenes of high dramatic content ", says Michael Fabiano.

The American singer will land in Valencia after getting a big win in Bilbao season with its unique Chevalier Des Grieux in Massenet's Manon, "A role that suits me very well both vocally and in her temper, and that is very romantic. In November so I sang in San Francisco, ie it took several months with the character. Next to Corrado Il Corsaro will form a suitable contrast, since the latter also has heroic dyes, though his line is almost pure bel canto ".

Michael Fabiano returns to Spain to debut at Valencia after starting the season as Rodolfo in La Bohème in a new production at the Royal Opera House in London, Des Grieux strolling by his San Francisco and Bilbao, Duca singing Rigoletto at the Royal Opera in London and a few functions Lucia di Lammermoor at the Metropolitan Opera in New York, title after Valencia will continue singing debut in May at the same venue.

Michael Fabiano

American tenor Michael Fabiano sing "Le Chevalier des Grieux" in the ópera Manon by Jules Massenet climbing on stage next 20 from January, in the 66 Opera Season in Bilbao ABAO-OLBE. "The most exciting tenor voice of the opera" according to the magazine Opera News, It has among its upcoming engagements performances in the most important opera houses in the world. This same month of January will act as the "Duca di Mantova" in Rigoletto at the Royal Opera House in London that will be broadcast live on 16; in March, "Rodolfo" in La Bohème at the Met in New York; in April will be "Corrado" Il Corsaro at Les Arts in Valencia and a recital at the Frankfurt Opera; "Sir Edgardo di Ravenswood" in Lucia di Lammermoor at the Met again in May; again it will play the role of "Duca di Mantova" Rigoletto this time at the Los Angeles Opera in June, and in July "Edgardo di Ravenswood" in a new production of Lucia di Lammermoor at the Sydney Opera House.

Michael Fabiano, what debut in ABAO-OLBE in 2011 with the role of "Edgardo di Ravenswood" in Lucia di Lammermoor next to Diana Damrau, It has been unanimously acclaimed by international critics and qualified in the Sunday Times as "Lensky in Eugene Onegin that has captivated audiences in Covent Garden 40 years", in the New York Times as "one of the most exciting and sought-after singers in the world", in Vanity Fair as "the leader of the opera tenor New York" or on the prestigious Opera Pro magazine as one of the seven most promising young tenors s. XXI.

Last season participated in Rigoletto and La Bohème at the Royal Opera in London; Manon at the Opera San Francisco with the same role as singing in Bilbao; Carmen in Aix en Provence; La Traviata and La Bohème at the Met in New York, as well as recitals and concerts in Venice, New York, London, Los Angeles or Dallas, among other actions. Fabiano replaces the originally planned Celso Albelo, who has canceled its commitment to ABAO-OLBE because of "a serious family matter" as the singer himself announced to the Association.

Placido Domingo and Michael Fabiano in I Due Foscari at the Teatro Real

I due Foscari is one of the works composed by Verdi in the so-called "galley years". So the composer himself referred to the seven years in which he composed no less than eleven operas. Does not about, much less, one of his best works. Not even the best known. But there is something in I due Foscari so that it is represented more times than its quality and position in the repertoire grant it.

Maybe thanks to time and perspective, taking into account the later works of the Italian master, is positioning itself better.

The characters of this drama "family” Romantic (father, son and daughter-in-law) they have a strong personality. Some of them, specifically that of Jacopo Foscari, caused discrepancies between Verdi and his librettist Francesco Maria Piave. The faintness of the character, together with its scarce presence throughout the work, led Verdi to ask Piave for some important changes. The end result was a greater weight of this character from the beginning of the work and its prominence in some of the most beautiful vocal pages.

The representations that these days can be seen in the Teatro Real They are in concert version. O, more concretely, semiescenificada. Given the dramatization capacity of a very powerful group of singers who show that the absence of scenography, does not prevent a magnificent operatic performance.

The musical direction Pablo Heras-Casado has an energetic effect on the orchestra, the singers and the work itself. From the overture, the vigor with which Heras-Casado interprets the score is evident. With this same strength he directs some singers who fill his performance with nerve and tension. There are moments of peculiar beauty in the duets and quartets of violin and cellos performed by the soloists..

Lucrecia Contarini, Jacopo Foscari's wife, is interpreted by Angela Meade. This American from Washington performs vocally and dramatically under the strictest canons of traditional opera, although she suffers from a certain automatism. But what is really impressive is the stratospheric volume of his voice. Characteristic that did not prevent him from offering some very well-made philatos. The vibrations it emits, at least when listening to it from the third row, impress. As he demonstrated from the start with Tu al cui sguardo onnipossente ...

Michael Fabiano

The American tenor Michael Fabiano returned to the Teatro Real, as Jacopo Foscari. Much has evolved his voice since that Cyrano de Bergerac of 2012.

With a remarkable volume of voice and a tessitura more of spinto than of dramatic tenor, Fabiano has built a dramatic and desperate Jacopo Foscari. Fantastic in his romances, especially in the second, Night, perpetual night!. Very demanding for tessitura and drama and that Fabiano solves with taste and eloquence.

Before your intervention, was kind enough to answer some questions for Brío Clásica.

It wasn't until he got to college and started his studies, when he realized the enormous potential that his voice had. It was at that moment that he started his career.

Classic verve.: In its same position, Who are the singers you notice?

Michael Fabiano.: Aureliano Pertile, for the insurmountable magnitude of his technique. Mario del Monaco, for their commitment to interpreting. Franco Corelli, for his heroism and Plácido Domingo, for his deep passion and expertise.

B. C.: How do you feel when you are compared to a young Pavarotti?

M.F.: I feel a deep humility.

B. C.: It is not the first time that he sings with Plácido Domingo, How is this experience?

M. F.: It is an honor for me, taking into account his enormous career and his immense legacy.

B.C.: His roles as Rodolfo in La Bohéme and Luisa Miller have been widely accepted by the public. What other roles do you see yourself playing in the future?

M. F.: I see myself in operas like Un Ballo in Maschera, Simon Boccanegra , Attila, Ernani, The Battle of Legnano, Mefistofele , Manon, Werther, Romeo and Juliet o Carmen.

Soon we will enjoy it again in Spain.

The baritenor, as he calls himself, Placido Domingo, it was one of the biggest attractions of the night, interpreting to Francesco Foscari. The discussion on the tessitura of Plácido Domingo must cease to exist. Is an artist. A great artist, able to invent a tessitura according to the evolution of their vocal characteristics and use it, next to his skills on stage, with a single purpose, success in interpretation. Each of his interventions was applauded until reaching the final ovation. Incredible merit also has the fact of not being covered by Meade's cascade of voice.

Another one that is not lacking in vocal volume is the Italian bass Roberto Tagliavini in his role as the evil Jacopo Lorendano. At the height of the main cast were the soprano Susana Cordón, as Pisana and the tenor Mikeldi Atxalandabaso, as Barbarigo.

A fantastic night of opera, in which the audience enjoyed and demonstrated it by standing applause for several minutes. An end to the season that leaves an excellent taste in the mouth and the best business card for the next one.

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

Michael Fabiano

Michael Fabiano It was in April and May, the Duke of Mantua (Rigoletto) in the Opera National de París, in June he will sing Don Carlo San Francisco and in July will return to Teatro Real, Now as Jacopo Foscari I due Foscari (Verdi). Michael Fabiano, "The voice of tenor most interesting moment" according to the US magazine Opera News -of which is cover this May about his Parisian performance- impose its qualities in Madrid before the baton Pablo Heras-Casado and next Placido Domingo Y Angela Meade. Applauded especially for his Rodolfo in La Bohème and Luisa Miller, by its Alfredo de La Traviata or his Evgeni Onegin Lensky, for many the voice of this young American tenor (Montclair, New Jersey, 1984) reminiscent of a young Luciano Pavarotti, and that's saying a lot of his art. According says Fabiano, Poliuto, played at the Glyndebourne Festival, It has been the ultimate challenge on stage.

With only 32 years, American singer is so fond of the sport as theater and music: runs every morning 8 kilometers to stay in shape, a routine to linking music reading and studying their roles. Thus it has been able to make real wonders, as when 2015, Met in New York, He replaced only seven hours before the scheduled premiere tenor in Lucia di Lammermoor (Donizetti) obtaining a resounding success both for his vocal delivery as for his acting skill, aspect that gives special importance in their representations.

winner Richard Tucker Award and Met’s Beverly Sills Award -both in 2104-, Fabiano announced that he would love to include in their repertoire Un ballo in maschera, in Verdi.

After his commitment to Madrid, where debut in 2012 with Cyrano de Bergerac also next to Placido Domingo, the esperan Faust in Houston, La Bohème and La Traviata at the Met and Herodias (Massenet) in Washington.

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