Marina

Marina Spanish is one of those reference works that all fans have recorded in its memory. Who does not sometimes hums his conocidísima "A drink, let's drink". It has also always been one of the most scheduled. The last time just four years ago in this same theater. Although previously Twenty years had elapsed, since Alfredo Kraus Jorge played.

Teacher Emilio Arrieta, transformed the Marina zarzuela opera to be premiered at the Teatro Real. Event happened in 1871.

This opera in three acts, directed by Ramón Tebar and stage direction Ignacio García, He has had a young cast and almost unknown. Marina's main role has been interpreted by the Ukrainian, with Romanian passport, Olena Sloia. This young soprano based in Madrid for years, It has a curious history. He sang in various locations and streets of Madrid, until one day, near the Opera Square, It was discovered by the teacher Miguel Ángel Gómez Martínez, present in the room at the premiere. From there, and the invaluable teacher recommendation, has started what we hope will be a brilliant career in the world of opera. Qualities not lacking. It has a pleasant and vigorous high register with which he could not excess volume of the orchestra. He won expressiveness and support in the third inning and got a deserved ovation.

Jorge's character was played by tenor Alejandro del Cerro. He started something intemperate or nervous, which it did not prevent him addressing his complicated arias with courage. In the third act he came up and offered moments of great lyricism.

Damian del Castillo, as Roque, It was too low to. Something past impost and coarseness at times.

scenography, Navy replacement four years ago, This time it is more evocative night thanks to the lighting Paco Ariza. The sea and sailors are very present throughout the play. Also a part of the pier, which he occupied the middle of the stage and the chorus limited movements.

The orchestra, Strongly directed by newcomer in the Zarzuela Ramón Tebar, at times it reached a volume of sound that got in trouble singers. Much tighter in the second half, He highlighted its dynamism.

A good end of season for a Teatro de la Zarzuela in which you begin to notice the deep work of the new team, and projects and the illusion of the immediate future.

Cuenca Religious Week

Of the 8 al 16 of April, Cuenca celebrates one of the oldest musical events of national music scene: The Religious Music Week, which this year reaches its edition number 56, with many new features, between them, new artistic director: The conductor Christopher Soler. Soler, He was musical director Teatro de la Zarzuela, It has designed an extensive program in order to "seduce and excite" the audience and interact with the city of Cuenca: "the smells, streets, Darkness. That is special ", Soler dixit.

The 56 SMR offer a total of 13 concerts, in which they will participate outstanding national and international performers like Choir of the King’s Consort Y Robert King (English choral masterpieces), Geoffrey Webber and the Caius College Choir (The St. Matthew Passion composer of Toledo Alonso Lobo, at 400 anniversary of his death), Minstrels and Schola Antiqua of Marsyas (Missa Pro Victoria), Y music Y Raúl Mallavibarrena, with works Palestrina, Orlando di Lasso Y Monteverdi.

True to his unconditional commitment to support and dissemination of music newly created, the 56 SMR will host the premiere of Cantos, work by Francisco Coll on behalf of the SMR, which will be interpreted by the Cuarteto Casals. The young Valencian composer, internationally recognized for his frequent commissions from the Royal Opera House, la London Symphony Orchestra o la Lucerne Symphony Orchestra, is the resident composer of this issue. further, It will premiere in Spain the ninth opera outstanding composer José María Sánchez-Verdú: chamber opera The garden of life, which could already see in Lugano, and that part of a libretto by the poet spiritual theme of Italian Switzerland Gilberto Isella, around the figure of the architect Gaudí. With musical direction Arturo Tamayo and stage director Alberto Jona, It will involve the Escolanía City of Cuenca. Within the varied program that proposed the new management led by Cristóbal Soler, we must highlight three musical events in collaboration with the University of Castilla-La Mancha, which will include the participation of Arturo Revert, Juan Angel Vela del Campo, Alberto González Lapuente Y Tomás Marco, among others; social activities (SMR Social) and Baroque Route, which links the baroque architectural ensemble of the city with the SMR.

Sánchez-Verdú will, Besides, awarded the honorary award "to the defense and dissemination of religious music" in the form of "individual", an award-ups, with which has also distinguished the RTVE Symphony Orchestra and Choir, in the form of "grouping". RTVE Symphony, which will be the resident orchestra of this edition, It will offer three concerts as part of the 56 SMR: two symphonic and choral concerts under the baton of its current owner Miguel Ángel Gómez Martínez (Stabat Mater Rossini A German y Brahms Requiem), and an extraordinary concert (Caritas charity) RTVE by the Choir, which together with the known songwriter Amancio Prada, will perform Spiritual Canticle, based on texts John of the Cross.

Aware that "Spain is a country that exports a lot of musical talent and is very aware of it", Cristóbal Soler founded the Academy for Advanced SMR Cuenca, formed by Orchestra, Chamber choir and soloist cast, who will perform the religious drama Lazarus, or the celebration of the resurrection D. 689 from Schubert, under the direction of José Sanchís, and will participate in a tour of several cities in Castilla-La Mancha during Easter. further, SMR Academy star in the series "Great oratorios and choral symphonic", with three concerts in June, October and November, in which they will perform works by Mozart Y Haydn.

SRC programming

the villainess

Thirty-three years have passed since the last performance of the villainess at Teatro de la Zarzuela. And it not explained very well that much time has elapsed in the case of a work of so much substance in the genre boy. And even less is understood if we take into account that the music belongs to the teacher Amadeo Vives, and that is based on the work Peribáñez and the Commander of Ocaña, from Lope de Vega.

It is therefore a work that has all the elements to undertake a plan more ambitious than a zarzuela. But maestro Vives remained halfway through that Spanish operatic dream. And not for lack of quality in the score, quality has, and a lot.

She is such a villain, beautifully made, contains some moments of delicate lyricism that the master Miguel Ángel Gómez Martínez manages to extract from an Orchestra to which the work is something great. Even so, the orchestra sounded homogeneous and more elaborate than on other occasions.

The difficulty and demands of this work for the main roles are noticed from the first moment. Important voices are necessary to cope with a well-elaborated score with great vocal and dramaturgical demands.. The Theater has counted on this occasion with two castings. Without detracting from the first, maybe it was the second cash who has been most successful in the general reading of the work. the soprano Maite Alberola, with a round and voluminous voice, He knew how to fill the character of Casilda with the Castilian character of this prudent woman. He offered some moments of great beauty interpreting the romance "The brown cloth cape", or his beautiful duet with Peribáñez.

baritone César San Martín played a static, but full of nobility, Peribáñez. He participated with elegance and feeling in the most beautiful duets with Casilda.

The Don Fadrique of Andeka Gorrotxategi it was a big surprise. This young Biscayan tenor has a vigorous instrument, of attractive timbre and taste in interpretation.

The rest of the tablets composed of Rubén Amoretti, Manuel Mas, Javier Tomé, Ricardo Muniz, Carlos Lorenzo, Rodrigo Garcia, Roman Fernández-Cañadas, Daniel Huerta Y Francisco Jose Pardo, maintained a high level that rounded a height cast.

The theater choir, well stamped and pasted, had a relevant performance, becoming a main character.

Also noteworthy is the corps de ballet that completed the simple but beautiful scenography of Natalia Menéndez. With the evocative field of spikes as the protagonist throughout the work. Very successful lighting of Juan Gomez Cornejo, creating different atmospheres with the same scenic elements. And a good direction of actors who made more than seventy people unfold on stage in a coordinated and graceful way.

We must thank the bravery and effort of the Teatro de la Zarzuela offering such a high-level work in this ambitious season. Great evenings of good music are expected.

the villainess

The Teatro de la Zarzuela live a particularly emotional night next Friday 27 from January Thanks to the Recovery zarzuela 'The villainess' Amadeo Vives, which will resound after more than 30 years after his last performance In this stage. A curious data, if one considers that it is one of the most emblematic titles of Teatro de la Zarzuela throughout the twentieth century. the case is also given that this work, with libretto Federico Romero and Guillermo Fernandez-Shaw -based drama 'Peribáñez and the Commander of Ocaña' of Lope de Vega, will meet in October 90 years after its premiere. Now, almost a century after that distant night of extraordinary success, thirteen functions are available from the 27 January to 12 February.

The assembly is a new production Coliseum Street Jovellanos, and in this work of historical reparation it has just two big names in theater and music. A) Yes, the staging is signed by Natalia Menéndez, and Master Miguel Ángel Gómez Martínez will assume musical direction in front of the Community of Madrid Orchestra (Titular del Teatro), of the Holder Choir Teatro de la Zarzuela and a full cast of big names of our lyric.

The cast is headed in the role of Casilda by soprano Nicola Beller Carbone, singer common in best opera houses in the world, and for him tenor Jorge de León, one of our most privileged voices, in the role of Don Fadrique, Comendador. The Canarian singer arrives in the direct Zarzuela Vienna State Opera, where he played Macbeth Macduff, theater will return to star in 'Tosca' in April, and that same month he will fly to New York to get into the role of Radames in 'Aida' in the Metropolitan.

The third player in contention is the recognized baritone Angel Ódena, now adds to its extensive international career this villain Peribáñez, that is manipulated by the Commander Don Fadrique for the favors of his new bride Casilda.

The soprano Maite Alberola and the Andeka tenor Gorrotxategi, also assume the role of Casilda and Don Fadrique, Meanwhile he Baritone César San Martín It will also get into the skin of Peribáñez. The cast is completed by the soprano Milagros Martín, that will Juana Antonia, the mezzo-soprano Sandra Ferrandez, which will act as Blasa, he Ruben Amoretti under which it has the dual role of personifying the Jewish David and King, he baritone Manuel Mas, who will sing Roque, and the tenors Javier Tomé and Ricardo Muñiz, they interpreted to Olmedo and Michelangelo. He actor Carlos Lorenzo He will play the lazarillo Olmedo.

They will develop the drama that because of abuse of the commander were coming over the newlyweds Casilda and Peribáñez, and they sing between wheat fields and skies of Castile.

This magical effect has been commissioned Boni set designer Nicholas with the close complicity Maria Araujo, the costumes, and Juan Gómez-Cornejo (AAI), faithful creator, as Castilian is, the exact light that require these places so often evoked by writers and poets.

Also involved in the production 11 dancers which choreography He has devised Monica Runde.

'The villain' is a clear tribute to Lope de Vega, as recognized Natalia Menéndez, who defines it as "tragicomedy that deals with the abuse of power. A possible challenge against injustice, where vice, violence and tyranny are punished, and virtue, honesty and dignity get their reward ". As for the music that envelops the drama, the stage director says Amadeo Vives "Combines the traditional and popular background with elaborate melody, transits into them without fear, forcefully, own artistic thinking which prevailed in the early twentieth century ", and this adds that Perhaps most remarkable and latent, is "the joy that prevails in its musical composition. Betting on Love ".

Maria Jose Montiel

Maria Jose Montiel, winner National Music Award 2015 He conducted during July and August a series of concerts and recitals by various Spanish stages, including the Opera Benicàssim Festival with the Orchestra of Valencia, the Chopin Festival of Valldemossa (Mallorca) and the International Festival of Santander. This September Maria Jose Montiel will perform a concert with the Community of Madrid Orchestra and under the direction of Victor Pablo Pérez with works Alberto Ginastera Y Enrique Granados at the National Auditorium of Music in Madrid (27 of September). The days 7 Y 8 October will open the season of the Orchestra and Chorus of RTVE participating in early opera Puccini Edgar, under the direction of Miguel Ángel Gómez Martínez, at the Monumental Theatre of the Spanish capital.

That same month (day 20) will play the Third Symphony Gustav Mahler, uno de sus compositores preferidos: lo hará junto a la Orquestra Simfònica de Balears con la dirección de Pablo Mielgo en el Auditorium de Palma de
Mallorca, todo ello antes de viajar a la Florida Grand Opera (Miami, U.S) to present his vision of listed Carmen from Bizet.

http://www.mariajosemontiel.com/