Lucrezia Borgia

The Palace of Arts continues with the cycle 'Opera from home' with the broadcast of 'Lucrezia Borgia', Donizetti, starring the soprano Mariella Devia.

After the collaboration with Unitel ended with the broadcast of ‘Fidelio’, Les Arts expands the online opera offer, which will continue until next 30 of April. Thus, in addition to Gaetano Donizetti's opera, From the Les Arts website you can also view ‘Le cinesi’, Gluck, Monday 27, y 'The corsair', in Verdi, Thursday day 30.

Starting at 20.00 hours of 24 April and until 20.00 Monday hours 27 of this month, Les Arts website offers one of the bel canto reference titles in a montage of Emilio Sagi with musical direction Fabio Biondi.

The Italian soprano Mariella Devia, in one of his last performances before retiring from the stage, embodies the enigmatic daughter of Pope Alexander VI, one of the most demanding roles in the entire belcantista repertoire. Accompanying him on the cast is the American tenor William Davenport, Croatian bass-baritone Marko Mimica and Valencian mezzo-soprano Silvia Tro Santafé.

Monday 27, starting at 20.00 hours, Les Arts offers Gluck's c Le cinesi ’. Under the baton of Fabio Biondi, the Italian soprano Désirée Rancatore, Swedish mezzo-soprano Ann Hallenberg and Valencian Silvia Tro Santafé, joint with Italian tenor Anicio Zorzi Giustiniani, they perform this opera in one act, in concert, recorded at the Auditori de Les Arts.

The opera c Le cinesi ’is about the aspirations of three Chinese women who, after hearing the stories circulating about the West, They feel the attraction of wanting to live your life, sensitive to the desire for an imaginary world where (apparently) there is greater freedom.

The program of ‘Opera from home’ ‘Il corsaro’ closes, in Verdi, thanks to the collaboration of the prestigious television channel Mezzo, who has given for this purpose the recording he made of this work during his performances in Les Arts en 2018.

Thursday 30 of April, to 20.00 hours, viewers have the opportunity to discover, from the Les Arts website, one of the least known and represented works of Giuseppe Verdi, that the German Nicola Raab staged in a new production with Fabio Biondi on the podium.

Tenor Michael Fabiano leads the cast of this play, also featuring Oksana Dyka, Vito Priante, Kristian Mkhitaryan y Evgeny Stavinsky.

Photograph: Tato Baeza

The Palace of Arts debuts 'The barmaid port', Paul Sorozábal, on Sunday, 27 October, in the Main Hall, dentro del apartado programming of 'Les Arts is Zarzuela'

The artistic director of the Arts, Jesus Iglesias Noriega, today introduced this title, accompanied by Guillermo García Calvo, director musical; Mario Gas, stage-manager, and Valencian tenor Antonio Gandia.

"As I announced in my presentation, zarzuela will have a constant presence at this stage, hence having own heading into the season. This is a genus our, we must recover, promote and dignify ", Iglesias explained Noriega.

"Therefore -HA continuado- has chosen a representative title and is considered one of the last great operettas of history, we present, Besides, with the best artistic Mimbres ".

Musical direction lies Guillermo García Calvo, one of the conductors with the largest presence in the Vienna State Opera, where he has directed more than 200 representations. Madrid takes charge of stable bodies of Les Arts, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana, and a cast of specialists in gender.

García Calvo, who worked with the OCV in 2013, He underlined the high quality of the score, “comparable a Ravel y Debussy, in which each measure is an absolute gem ". In this sense, Madrid director has also noted the genius of music, able to captivate both the novice spectator and the public most erudite.

Mario Gas, one of the biggest names in the national scene, This production company Teatro de la Zarzuela, which he has received praise from audiences and critics since its premiere last year in Madrid.

International career professionals make up the creative team, with Ezio Frigerio y Riccardo Massironi in stage design, the winner of an Oscar Franca Squarciapino in the dressing room, Vinicio Cheli in lighting, Aixa Guerra for stage movement and Álvaro Luna responsible for the projections.

The actor, director and cultural manager also recalled his relationship with this zarzuela, to which it is linked even before birth, since his father was playing the role of Simpson when he was born.

"This is an adventurous script, Fantastic, set in a dark and gloomy place, perfect setting for blasphemies, which contrasts with the desire for freedom of the main characters, and where the notes are not lacking humor ".

Valencia Marina Monzo (Marola) and Antonio Gandia (Leandro) Arts debut in this title, in whose cast also included renowned singers returning, as angel Òdena (Juan de Eguia) Y Rubén Amoretti (Simpson).

The demand for interpreters is high, as pointed Mario Gas, since not only we need singers who are actors, but also actors who are singers.

Soprano Ruth González (Abel), actress Vicky Peña (Antigua), Angel Ruiz actors (Ripalda) and Pepe Molina (Chinchorro), low Abel Garcia (values) and also actors Gaizka Ugarte (Fulgen), Vicente Domingo (Senen) and Angel Burgos (Valeriano) complete the cast of production.

In addition to the premiere, the day 27 October, the next representations will take place 29 Y 31 October, just like him 2 Y 3 of November. tickets, within representations with popular prices, They vary between 8 Y 60 euros.

in Cantabreda

'The barmaid port' is set in the imaginary coastal town of Cantabreda, in the port, Marola where the tavern is located. No one knows its origin, just they know that their business was funded by the bandit Juan de Eguia, whom everyone believes her husband.

Leandro, a local fisherman, He falls in love with Marola. At the same time, Abel, an accordionist, also it falls for her charms, although it is not reciprocated. The village women are fed up and criticize Marola to return men mad city before the glare of Juan de Eguia

'Screening for under 29'

The Palau de les Arts reserves the premiere of this zarzuela, on Friday 25 October, to under 29 years, within the new proposal 'Previews fins 28', which begins this weekend.

As he explained by the artistic director of the theater, Jesus Iglesias Noriega, The purpose of this initiative is that "young audiences recognize as part of Les Arts, why we dedicate exclusively a function. With the exception of staff to the public, there will be no greater than 28 years that day in the Main Hall ".

Les Arts in Valencia introduces a proposal that enjoys great acceptance in major European opera houses and, with a symbolic price of ten euros by location, It aims to incorporate the lyric on the agenda of leisure activities of young people.


Next Monday, 28 of November, Les Arts launches a new round of talk shows around the lyrical productions of the season 2019-2020. Under the name of 'Perspectives', and with the collaboration of Friends of the Opera and the Arts, Guillermo Garcia Clavo and Mario Gas will hold a conversation with the audience to this free initiative in the Aula Magistral.

Photograph: Miguel Lorenzo

Celso Albelo

Tenerife tenor Celso Albelo, the most important Spanish performers of his rope and his generation, back in May at Palau de Les Arts in Valencia with an opera she has sung many times around the world, Rigoletto, de Giuseppe Verdi. Albelo returns to the Coliseum Turia transformed now the libertine Duke of Mantua, who he is responsible for one of the popular literature of all operatic arias and most emblematic, "La donna e mobile". "The truth is that it is a fascinating character”, says the tenor, "A man who mix political power with a kind of personal tyranny which makes it a fairly morally despicable. Anyway it is clear that you are interested Gilda, who, deceived, He gives his life for him, but most likely the Duke wants it only for a couple of nights. I doubt that theirs is love ".

In recent seasons Celso Albelo has taken the character verdiano scenarios such as the Wiener Staatsoper, the Teatro San Carlo in Naples, Comunale Bologna, Teatro de la Maestranza in Seville, the Opéra de Monte-Carlo, Opera Oviedo, the Teatro Carlo Felice in Genoa or the Festival d'Orange chorégies, in France. The Spanish tenor will perform the work in Valencia on 11, 14, 17, 19 Y 22 May next to Rigoletto Leo Nucci alternating with Vladimir Stoyanov and under the direction of Roberto Abbado. It will do after Riccardo Percy in Donizetti's Anna Bolena at the Opéra Royal de Wallonie (Belgium) and before performing Rossini's Stabat Mater in Paris and exhume the opera Il Paria in London, title to be released in album. Later he reprises the role of the Duke of Mantua on a tour of Japan with the company Teatro Comunale Bologna.

Photo: Celso Albelo © Joan Thomas / Fidelio Artist


Iolanta 1

Iolanta 2

Iolanta 3

Iolanta 4

Iolanta 5

Iolanta 6

Iolanta 7

Iolanta 8

Iolanta 9



The four performances of Iolanta that have taken place in the Palau de les Arts, They have resulted in a major victory, especially by the excellent performance of the Orchestra of Valencia, superbly directed by Henrik Nánási, with a remarkable set of singers, with perfect idiomatic and stylistic mastery as required in the Russian repertoire. All this combined with a simple but very attractive scenery visual, and the presence of the always bright Choir Valencia, in this case the female section. In January 2012, this opera could already be heard at the Palau de les Arts, in concert.

Piotr Ilich Chaikovski (1840-1893) It can be considered the most Russian composer of all time popularity; Y, Although it is known primarily for its contributions to the symphonic world and ballet, his operatic creations were important and showed great interest in this genre, with the composition of up to ten operas, of those who have just had real resonance Eugene Onegin (1879), and to a lesser extent The Queen of Spades (1890). His other operas of great quality are very poorly represented: The Maid of Orleans (1881), Mazeppa (1884), Cherevichki (Tsarina's slippers) y Charodeyka (the hechizera) both of 1887. His last opera Iolanta (1892), He is having in the last ten years some notoriety, since it opened in 2009, the production of the Mariinsky Theater in St. Petersburg, with stage direction by the Polish Mariusz Trelinski, it could also be that same year at the Festspielhaus Baden Baden and the premiere of this opera at the Metropolitan New York, in January-February 2015, always with the magnificent performances of Anna Netrebko as Iolanta and orchestral direction of Valery Gergiev. Liceu in Barcelona, in January 2013, Anna Netrebko also sang Iolanta, in concert, direction of Valery Gergiev. So, It has been instrumental in spreading the tandem Netrebko opera-Gergiev. As well, It was performed at the Teatro Real in Madrid, in January 2012, in a joint production of the Bolshoi Theater and the Moscow, what he supposed the premiere of the opera in Spain. In March-April 2016, It was performed at the Palais Garnier in Paris, production also including the ballet Nutcracker, both works with stage direction by Dmitri Tcherniakov. Precisely, Chaikovsky was released in a double program Iolanta and her Nutcracker ballet, Mariinsky Theater in, he 18 December 1892. January-February 2019, Iolanta has again been represented in the Metropolitan and functions that have taken place in the Palau de les Arts, in both cases, the Mariinsky Theater production of the, with the musical direction of Enrik Nánási and Mariusz scenic Trelinki. So, Notorious is the growing interest in this last opera by Tchaikovsky.

The libretto in a single act with eight scenes and a final scene, It was conducted by Modest Chaicovsky younger brother of the composer, based on the work Danish King's daughter René, The Herink Rudolf Hertz, set in the Provence of the fifteenth century, where the story of the blind princess Iolanta and her father King Rene account, which holds around a circle of fiction, so you may not be aware of their misery. Finally, the Count of Vaudemont Goffriett, Princess love, you will discover that what private lives, encouraging her desire to see, clincher to be cured by the Arab physician Ibn-Haqia, hired by King René. The story has another main character Robert Duke of Burgundy, friend Vaudeamont, foreordained child to marry Iolanta, without knowing his blindness. Roberto is in love with another woman, although willing to face their old commitments. Finally, Princess recover sight, and the story will end happily with the marriage of Iolanta and Vaudemont. wonderful music composed by Chaicovsky, shows the brilliance as an orchestrator of the Russian composer.

There are many recordings of Iolanta, both DVD and CD. Highlight a take on video 1982, held at the Bolshoi Theater in Moscow and marketed by the label VAI DVD, which it has an excellent set of Russian singers: galina Kalinina (Iolanta), lev Kuznetsov (Vaudemont), Igor Morozov (Roberto), Artur Eisen (king René), Ruben Vardanian with at the front of the Bolshoy Theater Orchestra of the. One of the classic recordings of this opera, It is taking live with excellent sound, held in Paris Playel room, in 1984 and released on CD by the label ERATO, with magnificent and very nuanced interpretations of Galina Vishnevskaya (Iolanta) Nicolai Gedda the (Vaudemont), Mstilav Rostropovich led to the front of the Orchester de Paris. This recording can be heard complete on YouTube. The DVD published by the Teatro Real in Madrid, Iolanta synthesized representations with Perséphone Stravinsky held in January 2012, with a cast of good Russian singers: Ekaterina Scherbachenko (Iolanta), Pavel Cernoch (Vaudemont), Dmitri Ulianov (king René) and baritone Alexei Markov excellent (Roberto), led by Teodor Currentzis. Of great interest is making video, made in 2009, in the Mariinsky Theater in St. Petersburg, fully available on YouTube, of the aforementioned production of the theater, with musical direction of Valery Gergiev and stage of the Polish Mariusz Trelinski, with the excellent performance of Anna Netrebko (Iolanta), with magnificent Sergei Schorokhodov (Vaudemont) y Alexei Markov (Roberto). As it mentioned, this production is what has been seen in El Palau de les Arts.

This version, moves the action from the fifteenth century to a period that can fit in the forties or fifties of the last century, with a simple scenery designed by Boris Kudlicka, dominated by the structure of a cube, where it is only cover one side, a wall where deer skulls are hung with huge antlers; the wall has a door, when the structure turns can be input externally as a hunting lodge, just as Vaudemont and his friend Roberto come into play. In this structure quite oppressive lives Iolanta, giving the impression of a hospital room where her friends are watching over Marta, Briguitta and Laura, dour-looking nurses. Holographic projections show a mottled dark forest surrounding the passenger compartment, where trees floating in space with their roots bare, conferring to the place a truly ghostly, very much in keeping with the world of shadows surrounding Iolanta. After the initial meeting of Iolanta and Vaudemont, where strongly attracted, that dark forest begins to be pierced by the dim light of a sunrise, which lets you see the beat of the leaves of trees, one of the most beautiful scenic moments of this production, symbolizing the hope that Iolanta regain vision. In the final scenes there is excessive proliferation of lights and light beams, They are arriving to dazzle the public. The costumes designed by Magdalena Musial plays with the contrast of black and white colors, reflection of light and darkness that dominates this story. Ya, in the final scene, when the princess has regained sight, She appears wearing a bright dress, symbol of that radiant light, allowing you to see the real world. Highlight the stage direction of Mariusz Trelinski, who manages to extract the maximum of theatricality to the actions of each of the interpreters.

Dirección de excelente ENRI Nánási, with the magnificent performance of the Orchestra of Valencia. Hungarian director showed his knowledge of the score, knowing highlight the smallest details, While driving dynamics and intensities, with outstanding conciliatory work very aware of the voices, which in this case they were of sufficient volume to cross the barrier at times orchestral sound forte. It was bright orchestral intervention from the same opening, where only intervened instruments woodwind, highlighting the sound of the English horn and bassoon. Throughout the work include the magnificent performance of the string, already evident in the opening scene, gorgeous orchestration, which he highlights the sound of harps. Excellent speeches clarinet soloist at the scene and the concertmaster second violin in the long introduction of "nana" lovely ending with the third scene. The orchestra shone greatly in the great duo Iolanta and Vaudemont, especially in the recurring musical motif always related to light, it will reappear in the final scenes of the opera played by the protagonists and only by the orchestra. Was very bright conjunction conductor, solo voices and chorus in the great opera concertante closing. Highlight these dialogues orchestra and soprano solos that punctuate the Iolanta.

Very remarkable interpretation of Iolanta by Armenian soprano Lianna Haroutounian, displaying a beautiful timbre, domain of bound hand, moving well in all registers, especially with a powerful strip acute and showing a considerable volume, to surpass the orchestral sound in forte and emerge strongly in concertantes. Highlight the interpretation made in its initial aria "Atchevo eto ne prezhde znala. Neither I nor Toski mounts, ni slez (Why I never knew before or anxiety, nor pain, nor the tears?)"With an intense and expressive phrasing, glowing in the high register with increasingly higher notes and subtle scales down. Interspersed within his great duet with Vaudemont, interpreta el aria "Tvoe molchan'e mne neponjatno (I do not understand your silence)”, excelente associated with singing, While handling the voices stockings, regulating the sound of piano to forte and again showing great increases to ease acute. Very outstanding performance of the soprano in the great duet with Vaudemont, where both they interpret one arioso beautiful, with recurring musical theme, moving in a high tessitura, first tenor and soprano then with different messages, both voices coming together to sing so vibrant the same subject and conclude the duo with C4, Best projected by soprano. as Vaudemont, the young Ukrainian tenor Valentyn Dytiuk, shows a typical white timbre something Slavic voices, rotundas acquires sonorities in acute strip. He sang very well his aria "Nest! Chary lask mjatezhnoj mne nichevo ne govorjat (¡No! The charms of a fiery beauty not tempt me)”, where, apart from a brilliant rise to acute, mostro a song full of musicality with mastery of middle voices and regulators. Russian baritone Boris magnificent Pinkhasovich, in the role of Roberto, showing a beautiful and bright timbre, with a powerful registry grave, wide and bright treble center, with an incisive and full of expressive phrasing contrasted, playing with vehemence and passion his aria "Kto mozhet sravnit'sja Matilde 'doj MOEJ (Who can compare with my Matilda)”. Well the Russian bass Vitalij Kowaljow as King Rene, dominating role perfectly interpreted the I have on many occasions, with his deep, powerful vocalism, which looks at many moments of this opera, especially in his great solo intervention "Shto skazhet on? Kakoj promise proizneset ego doctrine? (What will he say? What will be the response of his science?)"Alluding to the Arab physician Ibn-Haqia, acceptably played by baritone Gevorg Hakobyan Armenian. Veteran magnificent performance under Russian Andrei Danilov as Almeric. Well the trio of friends from Iolanta performed by the mezzo-sopranos Olga Marina Pinchuk and Zharikova, with soprano Olga Syniakova, respectively Marta, Laura and Briguitta, especially in the "nana" lovely with a Iolanta sleeping in the third scene. Very prominent interventions of the Choir of the Generalitat Valenciana, Here restricted to female voices, first housed in the pit with the orchestra and the stage up to the end of the opera, shining greatly in the great conclusive concertante. Definitely, This is an excellent version of Iolanta, It is showing the beauty of this score.

La Clemenza di Tito

The Palace of Arts on Sunday opening 24 of June, to 18.00 h, ‘The clemency of Tito ', Mozart, in the Auditorium. Arts, which will provide a second function the 28 this month, It presents this work, with musical direction Nimrod David Pfeffer, in semi-staged version.

The cast of "La clemenza di Tito 'Mozartian brings together renowned performers and young artists from the latest developments of Plácido Center Sunday. the tenor Carlo Allemano, soprano Eva May and the 'mezzo-soprano' Margaret Gritskova share the stage with young professionals trained in Valencia: soprano Karen Gardeazabal, the 'mezzo-soprano' Nozomi Kato and low Andrea Pellegrini.

Allex Aguillera sign the scenic concept of this montage, self-produced by Les Arts, with scenography by Manolo Zuriaga, wardrobe by José María Adame and lighting by Antonio Castro.

‘La clemenza di Tito’ is the last ‘dramma per musica’ written by the genius from Salzburg and the penultimate opera that he premiered before his death. While finishing ‘The Magic Flute’, Mozart took over the commission for the score, which would serve as the main act of the crowning glory of Leopold II of Austria as King of Bohemia.

He 6 September 1791 This serious opera in two acts and with a libretto in Italian by Caterino Tommaso Mazzolá premiered at the National Theater in Prague, based on the drama by Pietro Metastasio.

The work offers the image of Titus, Roman emperor of recognized righteousness, but kind to his people, even before an assassination attempt against him orchestrated by Vitellia, daughter of the overthrown emperor, and carried out by Sesto, ruler's friend, although in love with the ambitious young woman.

Consolidated artists and young values

The rising teacher and renowned pianist Nimrod David Pfeffer (Tel Aviv, 1984) debuts with the stable bodies of Les Arts, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana. The young director, currently assistant director of the Metropolitan of New York and musical director of the Lyrical Opera of Guatemala since 2016, debuted last February at the Israeli Opera.

Italian soprano Eva Mei takes on the role of Vitellia. Refined performer of the Italian bel canto –Bellini, Rossini, Donizetti y Verdi–, has never stopped singing Mozart and has played almost all the most interesting title roles of this composer.

In the last two decades it has performed in the most important opera houses around the world and has been directed by batons such as those of Nicolas Harnoncourt, Claudio Abbado, Zubin Mehta, Riccardo Muti, Colin Davis, Daniel Barenboim, Lorin Maazel, Franz Welser-Möst, William Christie, Daniele Gatti, Fabio Luisi, Myung-whun Chung, Antonio Pappano and Jonathan Nott.

Carlo Allemano sings the role of Tito. The beginnings of the tenor, awarded in competitions such as the Toti dal Monte contest in Treviso (1989) and the Mozart competition at the Vienna Staatsoper (1990), have allowed him to build a solid career, with performances at La Scala in Milan, the Vienna Staatsoper, the Bayerische Staatsoper and at festivals such as those in Salzburg or Glynndebourne.

Likewise, has worked with leading directors, including Christophe Rousset, Emmanuelle Haïm, René Jacobs, Wolfgang Sawallisch, Claudio Abbado, Riccardo Muti, Zubin Mehta, Leopold Hager, Gianandrea Gavazzeni, Marco Guidarini and Alessandro De Marchi.

The three main characters are closed by the Russian ‘mezzo-soprano’ Margarita Gritskova (Sixth). Awarded in various international competitions, is from 2012 soloist of the Vienna Staatsoper, where he has worked with artists such as Anna Netrebko or Piotr Beczala. Likewise, has sung at the Salzburg Festival, at the Rossini Festival in Wildbad, the Lyon and Cologne operas, as well as the Deutsche Oper in Berlin.

Damnation of Faust

Is the second time a co-production of Les Arts access mentions the XXXVII Abbiati Prize Italian criticism.

Les Arts will release this title in June, directed by Roberto Abbado, with Celso Albelo, Rubén Amoretti Y Silvia Tro Santafe as protagonists.

Coproduction of the Palau de les Arts with the Rome Opera 'La Damnation de Faust', Berlioz, It has been named the best show 2017 by Italian music critics.

The commission XXXVII edition of the Franco Abbiati Awards, awarded by the National Association of Italian Critics, elected last April assembly Damiano Michieletto, with musical direction by Daniele Gatti, as deserving of this distinction.

Franco Abbiati awards are considered one of the most prestigious awards in the field of European lyric. brought en 1981, the awards are currently supported by the Ministry of Culture and the Patronage of the Presidency of the Italian Republic. His jury is composed of the most influential journalists in the transalpine country music.

This is the second time that a production of Les Arts accesses these mentions. In 2007, assembly The ring Nibelungo 'Wagner, with staging of La Fura dels Baus and coproduced with the Maggio Musicale Fiorentino, He received the award for best set design, costumes and video.

'La Damnation de Faust' is the title last season staged 2017-2018 that Les Arts premiere 20 of June. Roberto Abbado, after their successful features of 'Lucia di Lammermoor' at the Metropolitan New York, returns to the podium of the Great Hall of the Valencia Opera.

The owner of the Orquestra de la Comunitat Valenciana directs a deal with outstanding national interpreters: the canary tenor Celso Albelo (Faust), the burgalés under Ruben Amoretti (Mephistopheles) and mezzo-soprano Silvia Tro Valencia Santafe (Marguerite). Valencia Opera Theater has scheduled other features of this work sinfonicoteatral the 23, 26 Y 29 of June, Besides of 1 of July.



Daniella Barcelona y Jessica Pratt en Tancredi

Valencian Palau de Les Arts, He has brilliantly closed the season with five performances of the rossiniano Tancredi, who they have assembled a superb cast headed by voice Daniela Barcellona as Tancredi and Jessica Pratt in the role of Amenaide, next to the excellent performance of the Orchestra of Valencia directed by Roberto Abbado. As well, It should be noted the interesting proposal scenic Emilio Sagi. curiously, and being higher quality representations that have been seen throughout the season, the assistance of the public has not been massive, can be seen enough holes in the capacity of the Valencia theater. yes, The audience applauded with great force that's great singers and orchestra.

Gioachino Antonio Rossini (Pesaro, 1792 - Paris, 1868) Very soon he was attracted to the opera. In 1810, with only eighteen, It premiered at the Teatro Samuele Venice his first major work The marriage bill, to which will follow next year L 'wacky misunderstanding. You get his first big success with The stone of the Comparison premiered at the Teatro alla Scala in Milan, in 1812, becoming a tremendously prolific composer, since before the end of the year, He had premiered two new operas: The silk stair Y The ocassion makes the thief. Rossini surprising ability to simultaneously compose, a limited period of time, a comedy like Mr. Bruschino, Y Tancredi (his first serious opera) both released in Venice respectively 27 January 6 February 1813. The success of the comic works of Rossini, you can hide its importance as a composer of operas serious. Great titles like The Italian Girl in Algiers (1813), The turkish in Italy (1814), The Barbers of Seville (1816) O Cinderella (1817), I sank into oblivion blatant serious operas he composed in his Neapolitan period, between 1815 Y 1823. In dramatic titles such as Otello (1816) Y The Lady of the Lake (1819), He resigned from the neoclassical heroism, to be outdone by the romantic atmosphere, I was starting to be born. Rossini concluded that bright stage, in 1823, with the premiere of Semiramide, last thirty-four Italian operas, starting the same year to France, where he will continue writing comedies like The trip to Reims (1825) Y Le Comte Ory (1828), dramatic titles such as The siege of Corinth (1826), Moses and Pharaoh (1827); Y, especially, his monumental Guillaume Tell (1829), which lays the foundation of the romantic melodrama, and with which he concluded his operatic cycle when she was thirty-seven years.

Tancredi It was composed by Rossini in December 1812 and January 1813, libretto by Gaetano Rossi from the play u Voltaire. The premiere took place on 6 February 1813 Teatro la Fenice in Venice, and the opera ended with a happy ending. He 20 March of the same year, Rossini premiered in Ferrara a revised version included several changes, the most significant being a new ending of tragic character, whose text was written by the poet Luigi Lechi. This end not like the public, and Rossini developed a new version, premiered in Milan, in December 1813, He is synthesizing those offered in Venice and Ferrara, with the inclusion of the happy ending. For twenty years, until 1833, the opera was performed with some regularity, subsequently falling into the most absolute forgetfulness. The score and text of the tragic end came to disappear, It is discovered by musicologist Philip Gossett, who prepared a critical edition, in 1976, from the version released in December 1813, but ended with the tragic end of Ferrara. The ultimate recovery of this opera came when the critical edition premiered at the Opera Houston (Texas), in 1977, with participation as Tancredi of the great American mezzo Marilyn Horne, who will become the great guarantor of this opera, who he played for more than a decade in various theaters around the world, Having legacy up to eight live recordings, including making video made in the Theater of the Liceu in Barcelona, in 1989. The middle Daniela Barcellona he played Tancredi for the first time in the Festival of Pesaro 1999, since become a referential Tancredi. This is evident in various audio and video jacks, especially marketed by TDK DVD, some functions that took place in the Teatro Comunale of Florence, in October 2005, next to one of the great interpreters of Argirio: Argentine tenor Raúl Giménez. In Spain, Barcelona Daniela has performed on many occasions Tancredi: Corunna (2003), Oviedo (2004), Teatro Real in Madrid (2007), Teatro de la Maestranza in Seville (2009), and now the latest features that have taken place in the Palau de Les Arts, where it is shown the critical version of Philip Gossett with tragic ending Ferrara.

He Tancredi represented in Valencia is a co Lausanne Opera and the Teatro Municipal in Santiago de Chile, stage direction of Emilio Sagi, moving the action from the XI century, at the time of the Crusades, to the nineteenth century, in the Italian Risorgimento period. The action begins in the great hall of a palace, with marble columns and large windows with beautiful stained glass polychrome, where many guests gather around a large table, dressed in colorful and reloaded uniforms designed by Pepa Ojanguren, regular contributor to Emilio Sagi. That same scenario is transformed, by rapid movement of its walls and moody lighting, in different scenic spaces: the small and intimate where the duo Tancredi and develops Amenaide Act I, and in Act II, becomes the elegant Argirio office or in prison where seclude to Amenaide.

Sometime, to finding an esthetician visual impact, scenic approach is unsuccessful, as in the battle sequence, in Act II, bounded in a space whose bottom is a panel where many small mirrors assembled, scenic dark alone is altered by the spotlight lanterns bearing figurantes and reflected in mirrors, seriously disturbing viewers. Appeals the final scene of the opera where you can see a large funerary monument at the base of Tancredi's death it occurs in the arms of Amenaide. Noting the inadequacy of the military fatigues carrying Tancredi, encorsetando his stage movements. We are excepting the scene of dazzling lanterns, it is quite appropriate lighting design by Eduardo Bravo, creating suitable environments scenic always in line with the development of the action.

Excellent address Roberto Abbado, who achieves high performance of the Orchestra of Valencia. The maestro Abbado knows very well this score, habiéndola led on many occasions, being able to hear a superb studio recording by RCA, in 1995, where he addressed the Münchner Rundfunk Orchestra, with Vesselina Kasarova como Tancredi, the Amenaide Eva Mei and excellent Argirio of Ramon Vargas, displaying a voice of great beauty. This record contains the two final version and alternative Amenaide aria "Ah, degg'io die is pur "Rossini composed for the version of Ferrara.

Roberto Abbado was presented with the immobilized right arm injury, what still he made his directorial work more meritorious, that already it revealed from the same opening (identical to a previous Rossini: The touchstone) whose first section cutting clearly mozartiano, shone metals and woods; Y, a second section, dominated by an orchestral crescendo reiterated, típicamente Rossini, which alternates with the interpretation of a graceful melody which include interventions in conjunction with the cello flute, bassoon and all the rope. Superb sound of the orchestral prelude that introduces the great scene of Act I Tancredi, with continuous sound of the bass string accompanying violins and wood, with lucid interventions of the solo oboe. Note accompanying the great duo Amenaide and Tancredi in Act I, ending with a bright coda. As well, orchestral performance at the end of Act I: Concertante sextet and conclusive. Ya, in Act II, delivery was excellent clarinet soloist during the aria of Isaura, followed by the brilliant performance of music, strong symphonic breath, which precedes and accompanies the recitative Amenaide "Di mia vita infelice". Very beautiful orchestral introduction and accompaniment of the aria in Act II Roggiero. Highlight the ethereal and faint sound of the string chamber music, that accompanies the scene of the death of Tancredi. In the numerous recitatives containing this opera, include the excellent performance of the basso continuo consisting of pianoforte (José Ramón Martín), cello (Rafal Jezierski) and bass (David Molina). Good concertante work of Roberto Abbado always aware of the voices.

The Great Means Trieste Daniela Barcellona Tancredi has made its most paradigmatic role, providing its precise belcantista vocalism, great dramatic interpretation and stage presence totally identified with the character. Ya, is bright entrance with its scenic interpretation of recitative "O patria, sweet and ungrateful Fatherland ", que starts where with half a voice, and where exhibits a refined edge line full expressiveness, with excellent sound regulations. El enlaza with recitative and arioso "You light up this core" para concluir con el famosísimo "Of the many heartbeats", interpreted in the purest bel canto style, masterfully executing relevant variations in the repetition started with the phrase "sara felice", where he shows his mastery of agility, with a sharp fine cast. Ya, in Act II, makes a great interpretation of the cavatina "Ah, scordar you are not "with the repeated phrase" the love anchor "increasingly expressed with different shades. Makes a great vocal and dramatic interpretation of the aria-rondo "Perché disturb the calm", with a first section slow, full of sad accents, which derives another much faster, aggressive initiated with the phrase "Traditrice! I surrender to you ", where he shows his mastery of agility with timely and accurate uploaded to acute. these changes occur rhythm slow-fast, in a continuous crescendo, to conclude the aria with the heroic and repeated phrase "field, to the field to trionfar "inserting superbly cast powerful treble. In a totally different register, about to die, endows accents recitative-aria pathetic "Oh Dio, lasciarte I ought ... .Amenaide, serbami tua "conclusive opera faith.

Amenaide great performance as the soprano Jessica Pratt, in possession of a voice attractive timbre, well planned, domain linked with the hand, excellent sound regulations and an absolute mastery of coloratura: trilling, scales, notes chopped, treble and treble with great cast. As well, include its magnificent stage performance. all, as evidenced in its initial cavatina "Come dolce all'alma mia" . In Act II, endows de gran lyricism of recitative-aria "Di my life miserable ..., that the die is not ", with melancholic accents and excellent ability for middle voices and sound regulations, emitting beautiful notes in pianissimi. Its brightest moments occur in the recitative-aria "Gran Dio!…..Just God humble love "donde en primera y recitative section of air, shows a polished ridge line full expressiveness, emitting precious filados, apianando voice even in the high notes. Ya, in the second part of the aria, where music takes up the crescendo of the overture, it can be stated capacity for coloratura singer, issuing notes with real precision chopped, up easily acute and sobreagudo and ending aria with an impressive Mi5.

Extreme quality are the two duos interpreted Pratt and Barcellona, especially the middle section of the second "Ah, how come that soul ", with accompaniment of string pizzicato.

Argirio's character is played by the Chinese tenor Yijie Shi, magnífico singer Rossini, despite its unattractive timbre. During his numerous interventions he showed an elegant phrasing and excellent execution of agility. Especially turned bright interpretation of the recitativo-ary "Oddio Crudel! What name ... .Ah! segnar I try in vain ", offering in the recitative, a song full of expressiveness; Y, in the aria, meditative moments apianando voice, along with other genuine bravura singing with bright uploaded to acute and sobreagudo. Very well in his duet with Tancredi of Act II.

The bass Pietro Spagnoli, It has a lyrical voice over for the role of Orbazzano and its interpretation was not discreet, despite having real opportunities to shine, because in this version Tancredi if INSERTA and air "At the glory voices" (immediately before the duo Tancredi and Argirio of Act II) which is usually omitted. In the role of Isaura, the middle Martina Belli He showed a large though somewhat guttural voice, with good command of agility, in the interpretation of the aria "Tu che i miseri conforti" of Act II. The young soprano Rita Marques belonging to the Development Center Placido Domingo, He excelled in his aria "Torni Alfin ridente". Great numbers set closing Act I, especially the end concertante. Magnificent performance of the Coro de la Generalitat Valenciana (in this case only male voices) in its numerous interventions, highlighting his performance in Act II of the Coro di Saraceni: "Terror reigns in the city".

These functions Tancredi were dedicated to the memory of the conductor and musicologist Alberto Zedda, who died last March, whose work has been instrumental in the recovery of the entire work Rossini.


Jessica Pratt

They say it is the natural successor to Joan Sutherland. Not in bathroom, Australian soprano is considered one of the best international performers on his rope. Now comes to Spain, Palau les Arts Reian Sofia of Valencia which debuts, and he does so with paper Amenaide, Opera Tancredi Rossini. A great opportunity to listen to songbirds skills of this great performer.

Brío Clásica: If I'm not mistaken, You tenor and daughter, somehow, He has always had links with lyric. What time he was aware of to pursue singing as a career and at the beginning of this planned?

Jessica Pratt: My father taught us all about music and my mother all about the visual arts; I think it's natural for parents to convey to children all their knowledge and passion for the things they love. In my case both my sister, my brother and I have benefited from a childhood filled with music and art. I decided to try my way as a singer when he was twenty and few years and I decided to move to Italy to expand my singing studies. In Australia I worked as a clown, as a secretary, as a clerk and even the McDonalds to pay for singing lessons, travel and all that meant starting a career as an opera singer; later in Europe I won a scholarship that allowed me to focus only on the study. I took all the opportunities that were put in my way, replacing colleagues who canceled several times; then it said that this was my big chance. I think we live in a world where we expect it all happen very fast and actually in my case I think it took a long time to stabilize my career; that is to say, there was a turning point that changed everything, They were just a cluster of small things, opportunities, that eventually, constancy and perseverance built my career.

B-C: No doubt the bel canto in which his voice feels more comfortable. Does this same sense from the point of view dramatic and interpretative?

J. P: Fortunately I love the bel canto; I find it extremely grateful both from the point of view of a spectator as interpreter. So actually I say that I feel at home in this repertoire from every point of view. I spent a lot of time reading romance novels that were developed in the Tudor period, an era that I love, and I really enjoy exploring this time through the bel canto operas I play.

B.C: In one occasion he has had to say no to a job or project?, for what reason?

Many times, usually because I am not free on the dates proposed if I'm working elsewhere and sometimes because the role is not suitable for my voice. There are young singers who have a certain haste and sometimes accept roles inappropriate. Thus, It is very important to know what your limits are and know how to fight for your future, saying no when you know that what you propose is not for you. Early in my career I had to deal with important people in this business for this reason and was complicated and difficult to say no when I had no money. The most memorable story was during a fight with an agent asked me who or what gave me the freedom to reject a very important contract that I was offering. When I made my debut at Covent Garden with the Queen of the Night, at the beginning of my career, I had so many offers for just that character that limited me for a while debuting other roles, so I decided to remove the repertoire. He was very young at that time did not want to pigeonhole, however I returned to play the role last year at the Metropolitan Opera. Now I feel that my career is established I love coming back to sing occasionally, although I prefer the heroines of bel canto.

B.C: In a preferred representation, What the stage director will all guidelines for interpreting or have some leeway on stage?

J. P: I do not think anyone likes to be used like a puppet that move around the stage. We interpret the opera jointly wrote the composer and librettist in collaboration with the management team chosen by the theater scene. It is fantastic when the stage manager has a clear and consistent idea how to tell the story, but definitely it has to be a team effort and collaboration among all.

B.C: What it does play an almost fetish character for you as Lucia?

J. P: Lucia was the first character I played and certainly the more times I've sung. When I sing I feel like I get home. Lucia is fantastic both dramatic and musically; a lot of demands at all levels; It can be interpreted in so many different ways that every time I sing encounter new details, nuances I had not seen before; all this is a role that fills me with satisfaction. On one occasion I had to sing at La Scala and simultaneously in Amsterdam; productions were so utterly different from the point of view scenic as vowel came a time when he thought he was singing two different operas, but the truth is that I liked both. Wagemaker in Amsterdam Monique had created a fabulous version in which Lucia had a horrible nightmare; all the action took place in his room full of broken dolls that come to life, everything was dark and culminated in his suicide, while in Milan Mary Zimmermann he had created a much more traditional Lucia; the character lived in a large manor house cut off, howsoever half and suffered a nervous breakdown; after having injected a sedative just off stage after the mad scene. Both productions were opposed but the fantastic and exciting time, each focused on his speech.

B.C: How do you see the evolution of his voice with a view to addressing new repertoires?

J. P: True, the voice changes over the years, mature and can cope with a heavier repertoire. At the moment I do not intend to change; I have debuted over 35 roles with which I still feel very comfortable. This year finally add some new comic opera character and I like to have fun on stage for another record; I even like to sing some zarzuela someday. Le Comte debut just Oryy Don Pasquale will debut in Bilbao and Barcelona this year. Soon I will sing first Zerbinetta and a couple of more dramatic roles donizettianos I really want to sing.

B.C: How the life of opera singer harmonizes with personal life? What would you like to do when their work permits?

J. P: This year I'm away from home since last February to August, jumping from one production to another. I feel very fortunate to have a partner who has his own business and is happy with having to travel often. When I have time to go home take the opportunity to spend time with our dogs and cats, paseándolos, reading, improving things around the house and my partner going crazy because I leave things half done because I have to travel for months.

B.C: Why do you think it is so difficult for young people interested in opera?

J. P: I do not think it at all difficult; I think young people simply do not offer opportunities to enjoy opera. Every time you go with a friend or young friend to the opera eventually become passionate about gender. Children, and adolescents are usually people with a very open mind, more than we, and they love to do adult things. You just have to let them accessible. I have seen in many places that encourage youth deals, as two tickets for one to certain ages, etc ... and the theater is filled. Whatever always take advantage! The reason why we see elderly people in the theaters is because when you go to the opera, this grabs you and you can not stop going in your life, and that is something very positive.

B.C: When can we see her perform in Madrid?

J. P: This summer I'll be rehearsing in Madrid for the production of I Puritani the Teatro Real take the Savonlinna Festival in Finland and I hope to announce soon my debut at the Teatro Real!



Although immersed in a deep economic crisis that has led to a drastic budget cut, as we pointed out to the media Helga Smith, top leader of the Valencia Palau de Les Arts: the planned schedule for this season 2013-2014, It is attractive and with undoubted quality productions, having been chosen by the presence of young singers, and with significant baggage behind and good future prospects.

We are in the year of bicentennial from Verdi Y Wagner, whose races together, They occupy much of the nineteenth century. The first two operas of Richard Wagner: The fairies (The fairies) composed 1833, whose release did not occur until 1888, five years after his death; Y, The Ban on Love (The Liebesverbot) released in 1836, and it has not come to Spain until last summer, Festival Peralada Castle, and I offered an extensive review in our magazine. Verdi premiered in 1839 with Oberto conte of San Bonifacio.
So, and considering together the works of Wagner and Verdi, that long period of the nineteenth century, It covers sixty years between Die feen (1933) and last opera Falstaff Verdi (1893).

I had occasion to attend The Valkyrie last 9 November and La Traviata the next day. Truly, a luxury that few theaters worldwide are able to offer.

In THE VALKYRIE one could see the Palau de les Arts co-Maggio Musicale Fiorentino "La Fura dels Baus”, which it was for the first time at the Palau de les Arts in 2007, and subsequently 2009, with the important presence, the function I attended, Plácido Domingo and Eva María Westbroek, respectively as Siegmund and Sieglinde. So, the initial shock that caused me this production has been more diluted, although these are always very interesting and original projections shocking panels upstage. They have less attractive, gadgets as cranes perched where they appear: Wotan, Brünnhilde, Fricka and Valkyries.

Grand Orchestra of Valencia, showing cohesive, with perfect definition of sound levels, highlighting, within the high level shown by all orchestral sections, thumping and refined metals. The interpretation of the famous Ride of the Valkyries was of great brilliance and showmanship. Zubin Metha masterfully directed this orchestra he knows so well, and which undergoes extensive testing to obtain very high yields. Anyway, the great Indian master, He showed us his great knowledge of this monumental score; Y, a public fully delivered, that filled the theater, He showed his enthusiasm by dedicating long ovations.

The vocal cast was a remarkable height, the presence of Heidi Melton como Sieglinde. American soprano began with a volume of voice not too big, but it was widened considerably in the course of representation, especially when he left the quadruped position (like an animal), by erecta- to offer a magnificent voice and dramatic performance, highlighting those long and beautiful duets with Siegmund, well sung and played by Nikolai Schukoff.
As well, an excellent and rotunda providing dramatic soprano Jennifer Wilson as Brünnhilde, is those long, philosophical parliaments with his troubled father god Wotan, whom he gave a convincing voice and theatrical performance Thomas Johannes Mayer. Magnificent and very strong vocal work Stephen Miling as Hunding, showing, in all its splendor bad grape character.

Elisabeth Kulman He brought his beautiful stage presence, performing a remarkable interpretation of Fricka, especially in that vast duet with her husband Wotan, who materially, crushes with his reproaches. Anyway, Die Walkure a very remarkable, with good voices, especially original scenography, for those viewers who did not know her- Y, a musical high altitude resolution by the Orchestra of Valencia, superbly directed by Zubin Mehta.

Y, as to LA TRAVIATA, we offered the minimalist production famous Salzburg Festival 2005. famous, fundamentally, that marked the international launch of the Russian soprano Anna Netrevko, then flanked by the Mexican tenor Rolando Villazón, Also at that time, rising star in the opera scene, and consecrated by the American baritone Thomas Hampson.

With the omnipresence of that big clock circular also -used as a casual gaming table- whose progress is accelerated or slowed depending on the events surrounding the protagonist, and in relation to the presence of that old character and dour, which marks the evolution of Violetta, and already, in the last act, It goes back into the role of the doctor who certifies death.

The scenery Wolfgang Gussmann, despite its simplicity it is successful and itinerant operations with those sexy red sofas, as the protagonist dress, who is torn between his harmful and crazy life of courtesan, and that sincere love for Alfredo Germont, materialized in the background decorated flower-based, resembling the Violetta and Alfredo stay in a cottage on the outskirts of Paris, both living an intense and full idyll, truncated by the presence of the calculator and mean end -at human shows sensitivity- Giorgio Germont character named.

Again, Zubin Mehta, in a real pirouette evolving musical germanismo proposed the day before with Die Walküre, the Southern music composed by Verdi La Traviata. The results are again outstanding, and the great Indian master shows his wisdom and stylistic adaptation to extract brilliant sonorities of the Orchestra of Valencia, from that much-a grim overture, that is reiterated at the beginning of the last act- to the colorful scenes and you desenfadas Act II. Very bright, the performance of the Choir of the Generalitat Valenciana directed by its owner Francesc Perales. As well, highlight the good performance of the ballet of the Generalitat, directed by Immaculate Gil-Lazaro.

As for the solo voices emphasize the presence of the young Bulgarian soprano Sonya Yoncheva, winner 2010 Operalia competition, Plácido Domingo. We find a lyrical singer significant volume and attractive voice timbre. In Act I, greatly exceeds the requirements of cut belcantista, although at the end thereof, at "always free”, omits the optional Mi5. His performance earn enough integers from Act II, until the end of the opera pathetic, both from the point of view vowel, as dramatic. Emphasize her performance in the long duet with Giorgio Germont, vocally and theatrically well played by baritone Simone Piazzola, who has his best moments in the famous aria "Of Provence on Tue"And subsequent cabaletta"Do not you hear reproaches”.

Italian tenor Ivan Magri, whom we heard last season, in this same theater, the Duke of Mantua in Rigoletto and Jacopo Foscari I due Foscari of verdiano, begins his performance somewhat intemperate, to improve substantially as the representation progresses. His singing line is acceptable, but has serious difficulties in coping with their great start scene of Act II, “Long from her.."Whose interpretation requires great technical skill and style, which compels us to remember the creations of this Alfredo Kraus or a Carlo Bergonzi. Magri has an excellent high register that allowed him to finish the cabaletta "O my remorse.."With a blunt C4. In sum, a good representation of La Traviata, where again shone high orchestra conductor Zubin Mehta and.

Richard Wagner
D. musical: Zubin Mehta
D. scene: Carlus Padrissa (La Fura dels Baus)
Allex Aguilera (replacement)
Videocreación: Franc Aleu
Scenography: Roland Olbeter
Locker room: Chu Uroz
Lighting: Peter van Praet
Copoducción de Palau de les Arts Reina Sofía y Maggio Musicale Fiorentino
Orchestra of Valencia
Distribution: Nikolai Schukoff, Stephen Milling, Thomas Johannes Mayer, Heidi Melton, Jennifer Wilson, Elisabeth Kulman, Eugenia Bethencourt, Bernadette Flaitz, Julia Borchert, Pilar Vázquez, Julia Rutigliano, Patrizia Scivoletto, Nadine Weissmann, Gemma Coma-Alabert

Giuseppe Verdi
D. musical: Zubin Mehta
D. scene: Willy Decker
Girl Barbara Hummel (replacement)
Scenography: Wolfgang Gussmann
Locker room: Wolfgang Gussmann and Susana Mendoza
Lighting: Hans Toelstede
Choreography: Athol John Farmer
Coproduction of De Nederlandse Opera, Amsterdam, based on the original production of the Salzburger Festspiele
Immaculate Gil-Lazaro, Ballet director of the Generalitat
Francesc Perales, Director Cor de la Generalitat Valenciana
Orchestra of Valencia
Distribution: Jessica Nuccio y Sonya Yoncheva, María Kosenkova, Cristina Pupil, Ivan Cordoba, Simone Piazzola, Mario Cerdá, Javier Franco, Maurizio Lo Piccolo, Luigi Roni, Valentino Buzza, David Astorga, Germán Olvera, Olivieri Mattia