Thomas Hengelbrock

The Orquestra de la Comunitat Valenciana (OCV) offers this Wednesday, 15 of July, his first symphonic concert within the new normal at 20.00 hours, in the Main Hall.

After offering three celebrated chamber programs both in Arts as in different municipalities of the Valencian territory, The OCV will close the 'Torna a Les Arts' cycle with works by Beethoven under the direction of Thomas Hengelbrock.

For the first time, after the return to activities open to the public, The Main Room will open its doors with a maximum occupancy of 75 % of its total capacity that will involve the mandatory use of a mask for the attending public.

The renowned German director Thomas Hengelbrock is already in Valencia to prepare his debut at the head of the OCV with a program that celebrates the 250 anniversary of the birth of the composer of Bonn with the works bertura Overture of Fidelio, On. 72’And the symphonies number 6 Y 8.

Les Arts thus joins the celebrations of the Beethoven Year, in which the 250 anniversary of the birth of the composer from Bonn. further, two days later, on Friday 17, the Valencian Community Orchestra with Hengelbrock as conductor will perform at the Granada Music and Dance Festival with this same program.

Thomas Hengelbrock is considered one of the most versatile and fascinating conductors of his generation. Particularly recognized for his historicist works in the Baroque, his repertoire ranges from 17th century music to contemporary works and includes all genres.


Les Arts informs that it has set a single price of 20 euros for the seats for this concert. Season subscribers will benefit from a special rate of 10 euros per ticket.

According to the new health situation, wearing the mask, in addition to being necessary throughout the show, it will also be essential for access to common areas.

Likewise, remember that the rest of the security protocols will be maintained, such as taking the temperature, controlled access and evacuation of the room, individual use of elevators, maintaining the interpersonal distance of 1,5 meters, in addition to the restricted use of the toilets.

Photograph: Miguel Lorenzo

Les ArtsPresentation

The season 2019-2020, how particularly do we close these days, gives way to the exciting period that begins with the presentation of the season 2020-2021: a reality that will show itself alive since the central weeks of next September.


Wolfgang Amadeus Mozart
Musical direction Stefano Montanari Stage direction, scenography, wardrobe and lighting Romeo Castellucci Associate scene director Silvia Costa Choreography Evelin Facchini
Dramaturgia Piersandra di Matteo

Soprano: Anett Fritsch , Mezzo soprano: Sara Mingardo, Tenor: Anicio Zorzi Giustiniani, Low: Nahuel Di Pierro, Soprano boy: Francisco José Rita
Choir of the Generalitat Valenciana Director Francesc Perales and Orchestra of the Valencian Community

György Kurtág
Musical direction Markus Stenz
Stage direction Pierre Audi Set design and costumes Christof Hetzer Lighting Urs Schönebaum
Dramaturgia Klaus Bertisch

Hamm: Frode Olsen, Clov: Leigh Melrose, Nell: Hilary Summers, notch: Leonardo Cortellazzi
Orchestra of Valencia

Vicente Martín i Soler
Musical direction Cristóbal Soler Stage direction
and set design Jaume Policarpo Costume José María Adame Lighting Antonio Castro

The Knight: Joel Williams, Anselmo: Gonzalo Manglano, Violante: Aida Gimeno, Don Fabrizio: By Lebedyev, Bill of exchange: Vittoriana De Amicis, Foo: Omar Lara
Orchestra of Valencia

MITRIDATE, re di Ponto

Wolfgang Amadeus Mozart

musical direction: Marc Minkowski

Mitridate: Penis Pati, Aspasia: Julie Fuchs, Sifare: Elsa Dreisig, Farnace: Jakub Józef Orliński, Ismene: Sarah Aristidou, Marzio: Jonathan Winell, Arbate: Adriana Bignagni Lesca
Les Musiciens du Louvre

Gioachino Rossini
musical direction: Maurizio Benini
Stage direction and costumes: Laurent Pelly Set Design Chantal Thomas
Associate Costume Designer: Jean-Jacques Delmotte
Lighting: Duane Schuler

Don Ramiro: René Barbera, Clorinda: Larisa Stefan, Angelina: anna Goryachova, Gold wings: Riccardo Fassi, Dandini: Carles Pachón, Don Magnifico: Carlos Chausson, Tisbe: Evgeniya Khomutova
Cor de la Generalitat Valenciana
Director: Francesc Perales
Orchestra of Valencia

Giuseppe Verdi
musical direction: James Gaffigan, Stage direction: Mario Martone, Scenography: Margherita Palli, Locker room: Ursula Patzak, Lighting: Pasquale Mari, Choreography: Raffaella Giordano

Sir John Falstaff: Ambrogio Maestri, Ford: Olivieri Mattia, Fenton: Juan Francisco Gatell, Dr. cajus: Jorge Rodríguez Norton, Bardolph: Joel Williams, Gun: Valeriano boats, Mrs. Alice Ford: Ainhoa ​​Arteta, Nannetta: Sara Blanch, Mrs. Quickly: Violeta Urmana, Mrs. Meg Page: Amber Fasquelle

Choir of the Generalitat Valenciana Director Francesc Perales
Orchestra of Valencia

The uninhabited island Manuel García

Stage direction: Emilio Sagi, Scenography: Daniel Bianco, Locker room: Pepa Ojanguren, Lighting: Albert Faura

Costanza: Larisa Stefan, Silvia: Evgeniya Khomutova, Gernando: Joel Williams, Enrico and Piano: N.N.

Richard Wagner
musical direction: Mikko Franck, Stage direction: Alex Olle (La Fura dels Baus), Scenography: Alfons Flores, Locker room: Josep Abril,
Lighting: Urs Schönebaum, Video: Franc Aleu

Tristan: Stephen Gould, King Marke: René Pape, Isolde: Elena Pankratova, Kurwenal: James Rutherford, To lie: Neal Cooper, Brangäne:
elena Zhidkova, Cor de la Generalitat Valenciana, Director: Francesc Perales
Orchestra of Valencia

Cavalleria Rusticana
Pietro Mascagni
Ruggero Leoncavallo
Musical direction Jordi Bernàcer Stage direction Giancarlo del Monaco Set design Johannes Leiacker Wardrobe Birgit Wentsch
Iluminación Wolfgang von Zoubeck

Cavalleria Rusticana
Santuzza: Sonia Ganassi, Turiddu: Jorge de León, Lola: N.N., Mom Lucia: Maria Luisa Corbacho, Alfio: Misha Kiria


Nedda: Ruth Iniesta, Canio: Jorge de León, Tonio: Misha Kiria, Peppe: Joel Williams, Silvio: Davide Luciano

Choir of the Generalitat Valenciana Director Francesc Perales
Orchestra of Valencia




AN ODE TO TIME -María Pagés Company- SONOMA -La Veronal-
GISELLE -National Dance Company-











Gustavo Gimeno runs on Saturday, 7 of March, at Auditorium Palau de les Arts las obras 'Petrushka' y 'The Rite of Spring', Igor Stravinsky, within the section on programming 'Symphonic Arts is'.

The Valencian director returns to Les Arts after nine months, when he closed the symphonic season with the 'Ninth Symphony' Mahler, which exhausted all locations. This time, He directs for the first time the Russian repertoire in the Auditorium, a new collaboration with the Orquestra de la Comunitat Valenciana.

Nowadays, Gustavo Gimeno is music director of the Philharmonic Luxembourg and from season 2020-2021, and for a period of five years, will assume ownership of the Toronto Symphony, thus becoming the first Valencian to accept the challenge of leading a big band in North America.

The Palau de les Arts program at the Auditori two works of reference in the ballet repertoire: ‘Petrushka’, in its arrangement 1947, y 'The Rite of Spring', Igor Stravinski both composed of, right in the same month that the National Dance Company premieres 'Carmen'.

The concert, held this Saturday at the Auditorium of Les Arts to 19.00 hours, It has prices ranging between 30 and the 45 euros.

Gustavo Gimeno also visit the Orquestra de la Comunitat Valenciana in the Auditori i Palau de Congressos de Castelló with this same program on Sunday 8 March from the 19.30 hours.

A SPLENDID ELEKTRA, TO RECOVER IN WHICH VALENCIANO PALAU DE LES ARTS BEST OLD FEELING. By Diego Manuel García Pérez.Representations Elektra Richard Strauss, which they took place last January in the Palau de Les Arts in Valencia, They have been a real triumph, especially for the magnificent performance of the Orchestra of Valencia, this time extended to more than a hundred instrumentalists and very well directed by Marc Albrecht, great connoisseur of the Straussian repertoire. Among the voices highlighted the American soprano Sara Jakubiak, Chrysotemis and magnificent baritone Derek Welton Australian as Orestes. Canadian Robert Carsen, He made an excellent stage direction, moving highly expressive way to figurantes amount in a virtually empty stage especio. The capacity was almost complete, which was comforting, especially with a title like Elektra quite apart from the standard repertoire. An enthusiastic audience gave standing ovations at the end of representations. After several years of changes and uncertainties, The Palau de Les Arts has recovered their best feelings of antaño.Después of the great success achieved by Richard Strauss with Salome, their collaboration began with the great playwright and poet Hugo von Hofmannsthal Austrian, in which music and text perfectly complemented, producing six operas in twenty years: Elektra from 1909, Der Rosenkavalier (Der Rosenkavalier) from 1911, Ariadne auf Naxos (first version of 1912 and second and definitive 1916) Y The woman without a shadow (Frau ohne Schatten) from 1919, which can be considered true masterpieces, and two: The Egyptian Helena (Egyptian Helena) from 1928 Y Arabella, released in 1933, extreme quality. Hofmannsthal's death, in 1929, when he had almost completed the libretto Arabella, was a blow to Strauss. In 1903, Hofmannsthal successfully premiered his play Elektra (adaptation of Sophocles' play), Kleines Theater in Berlin by Max Reinhardt. Strauss attended a performance in autumn 1905, shortly before the premiere of Salome, and he considered that its dramatic structure was very suitable for an opera. In spring 1906, composer and writer met to discuss the conditions to turn the play into an opera. The composition lasted for more than two years, starting in summer 1906 and ending in autumn 1908. Elektra premiered at the Royal Theater in Dresden, he 25 of January of 1909, and that same year had successful performances in Munich place, Frankfurt, Berlin, Hamburg, Düsseldorf, Vienna, Graz, Milan and the following year, I premiered in London and New York. It can be considered the most revolutionary operas of Strauss, which requires a huge orchestra with over one hundred instrumentalists, running a highly expressionistic music, where the composer mixture with polytonality tonality and atonal bolder, with moments of great lyrical intensity. Composed in one act, It requires three great singers of great expressive vocalism and great capacity: a dramatic soprano for the obsessed and vengeful Elektra, one lyrical Spinta for her sister Chrysothemis and dramatic contralto or mezzo for the role of his mother Klytämnestra, along with a baritone in the role of Orestes, in possession of a powerful vocalism. More Episodic the paper Aegisth, played by a tenor voice light and extravagant stage movements. Notable standup Elektra, her duets with Chrysothemis (hallucinatory which it occurs at the end of the opera), which interprets Orestes, where they are mixed lyric and a dramatic intensity; Y, especially, the stunning duet with her mother Klytämnestra, where the voices should offer a considerable volume in conjunction with the initial sound impressive orquestal.El excellent tour of Elektra, over the years 1909 Y 1910, in major theaters around the world, He was overshadowed by the tremendous success of the two following two operas by Strauss: Der Rosenkavalier (Der Rosenkavalier) Y Ariadna auf Naxos, which together with Salome, They became the trio of operas most represented Straussian. It will require the appearance of the Hungarian soprano Rose Pauly, whose interpretation of the role of Elektra in the late twenties and thirties, It will relaunch this opera in European and American scenarios. At the Salzburg Festival, with a strong Straussian tradition was never represented to 1934, with Rose Pauly and Chrysothemis of the great Viorica Ursuleac (favorite soprano Richard Strauss), Clemens Krauss with her husband to the front of the Vienna Philharmonic. Rose Pauly recorded the complete opera 1937, directed by Artur Rodzinky to the front of the New York Philarmonic- Symphony Orchestra; several fragments of this recording can be heard on YouTube and allow you to check the quality of Elektra interpreted by the Hungarian soprano. It is from the fifties, when Elektra receives its final push, especially in the interest of directors like Dimitri Mitropoulos, Karl Böhm y Fritz Reiner. As well, They show great interest in this opera sopranos Inge Borg Swedish and Astrid Varnay, large vocal and expressive media, who dominate the role of Elektra from 1950, until the mid-sixties, often interpreting, with many recordings, It is highly recommended for its extreme quality and good live sound decision made at the Salzburg Festival 1957 (Available Full on YouTube) directed by Dimitri Mitropoulos at the front of the Vienna Philharmonic, with impressive Inge Borg (Elektra), next to the beautiful voice of Lisa Della Casa (Chrysothemis) and the American mezzo extraordinary Madeira Jean (a referential Klytämnestra). Elektra interpretations performed by Astrid Varnay, They have been several magnificent recordings, among them are highly recommended two doses Live (Complete available on YouTube): the first held in the Metropolitan neoyorkimo, in 1952, orchestral address Fritz Reiner and the second in the Salzburg Festival 1964, directed by Herbert von Karajan. Taking the witness Varnay and Borg, another extraordinary Swedish soprano Birgit Nilsson, She began singing Elektra from 1965 until 1980. Their most common partners in multiple functions will Leonie Rysanek (Reference Chrisothemis, I had already played this role with Varnay and Borg), y means the Regina Resnik (Klytämnestra). Must be heard (It is available on YouTube complete), Live decision made at the Vienna State Opera, in 1967, with three singers directed by Karl Böhm, the head of the Vienna Philharmonic. Hungarian soprano Eva Marton and German Hildegard Berens, during the nineties, They also made remarkable performances of Elektra, although not comparable to those made by Nilsson, Varnay y Borg. In recent times, from 2010, Swedish soprano Irene Theorin and German Evelyn Herlitzius, They are playing excellent Elektras, them has joined from 2015, another great Swedish soprano Nina Stemme (it seems that the Swedish sopranos have a great affinity with the character of Elektra). It can be considered a modern reference of this opera, making video (Available Full on YouTube), excellent image and sound, fraught with stunning close-ups, held at the Salzburg Festival 2010, a great deal: Irene Theorin (Elektra), Eva-Maria Westbroek (Chrysothemis), Waltraud Mayer (Klytämnestra) and a magnificent René Pape (Orestes), with stage direction by Likolaus Lehnhoff and Daniele Gatti musical, the head of the Vienna Philharmonic.

Production presented in Valencia, It comes from the National Opera of Paris, based on a co-production of the Maggio Musicale Fiorentino and the Tokyo Opera Nomori, with stage direction by Robert Carsen and Michael Levine scenery totally minimalist character, with a stage of absolute nudity consisting of a large enclosed by three walls that are curved in its support base on stage, with an earthy dark sandy soil where a multipurpose rectangular recess opens, because it is the tomb of Agamemnon and entry into the palace inhabited by kings Klytämnestra and Aegisth, murderers of Agamemnon. Actually, the attractiveness of this production lies in the ability of Robert Carsen to move with great dramatic sense a lot of extras around the protagonists. Entry is shocking scene Klytämnestra fully dressed in white on a white bed also, which is carried as a throne for the many ballerinas-figurantes. White is highlighted by a suitable spotlighting, within the scenic dark and black clothes of the other characters. Highlight of this staging the moment Elektra, in his opening monologue, He invokes the figure of his father Agamemnon and figurantes extract it from his tomb and handing it Elektra porting. Choreographic movements of the dancers and the focal lighting designed by Robert Carsen and Peter own van Praet, also confer real attraction to this scenery. Also noteworthy costume design by Vazul Matusz, black for the actors and extras, compared with white garments and carrying Klytämnestra Aegisth.

Elektra It is an opera where the vast orchestra of over one hundred musicians acquires absolute role and solo voices are inserted as an instrument. The Orquesta de Valencia, substantially enlarged hundred three performers, again demonstrated its extreme quality, with superb direction of Marc Albrecht, full transparency, with perfect differentiation of sound levels and offering a range of nuances in the dense and extraordinary orchestration that Strauss conceived for this opera. Albrecht handled well the dynamics. All orchestral sections scratched at high altitude, with a sumptuous string, capable of alternating sounds very strong forcefully and wonderful we pianissimos. Strauss has the novelty of three groups of first, second and third violins, each with eight instrumentalists, along with other three first, second and third violas, each with six instrumentalists, and severe rope first six cellos and six seconds, with eight double basses. Ya, single rope, no less than sixty two performers by far exceeds the dimensions of a classical orchestra. Metals also flashed high, with imposing sonorities of the tubes, trombones and trumpets, also capable of delicate issue we pianissimo. Orchestral response was always consistent with the complexity of this rich score where tonal passages are mixed with other immersed in pure atonalidad, in contrast to many fine moments almost chamber music melodismo. At the same start of the opera can be heard Agamemnon theme, fortissimo brilliantly issued by horn and trumpet unison with all the rope, to the following pianissimo faint sound of trombones and basses. This issue becomes recurring with different variations throughout the opera: appearance of Orestes in his big scene with Elektra, who returns to sing a ruthless tone and ironic when Klytemnestra and Aegisth are killed by Orestes, and reappears in the amazing duo of Elektra and Chrisotemys, almost at the end of the opera, with all the savage intensity of the beginning, repeated three times resembling lightning storm folded Elektra, after its frenetic dance to celebrate the death of Klytämnestra and Aegisth. The other recurring theme of this opera is called "Elektra chord", where Strauss uses polytonality, which you can already be heard for the first time, Episodic so in the opening scene of maidens and sumptuous reappearing mode, repeatedly executed by rope and wood in the scenic entrance Elektra. Highlight the subject of intense lyricism and melodic Chrysotemis expansions in the first of his duets with Elektras, where interventions have bright metals and especially the five tubes. Definitely, the climax of this opera and where the Orchestra of Valencia shone at higher altitudes, it is all the great scene Klytämnestra and Elektra, with an introductory orchestral interlude strongly atonal character, which involved all sections in a stunning orchestral crescendo, that during it allows the brilliance of percussion and metals, especially tubas and trumpets. In the dialogue of mother and daughter alternating dissonance and melody, highlighting the occasional presence of a trombone muted and the combined sound of harps and contrafagot, along with the numerous interventions of the celesta (instrument appreciated by Strauss). Another great moment is the interlude preceding the scenic eruption of Orestes, dominated by the sound of metals, with forays cello and bassoon. The orchestra also shone in the long Elektra and Orestes duo, which reappears "Elektra chord" executed soft, lilting way, small orchestral interludes are also inserted fine melodismo, abruptly interrupted by the powerful and dissonant bursts of horns and trumpets. finally note, the conciliatory work of Marc Albrecht very aware of the voices, some with problems through the immense orchestra, to be placed at the bottom of the stage.

Irene Theorin has played quite often the character of Elektra in the last ten years, highlighting brilliantly in the aforementioned production of the Salzburg Festival 2010. But, ten years does go in vain; Y, Valencian these functions had a modest start, in his great monologue initial "Allein! Sore, very allien ", with low volume, an emission somewhat irregular and lack of voice projection; It could also be due to stage imperatives having lying on the floor singing voice projecting upward. It improved significantly in his big scene with Klytämnestra, well played by veteran German mezzo Doris Soffel, and with seventy-one years, who showed great mastery of the song parlato, and a magnificent scenic capacity to refine each phrase, every word sung. Logically, given his age, Vocal problems showed deterioration in the low register and acute. Both singers were inserted well in the orchestral sound impressive. Theorin also made a good performance in his scene with Orestes of the Australian baritone Derek Welton, powerful vocalism and excellent singing line. But nevertheless, in his duets with Chrisothemis, It was clearly surpassed by the American soprano Sara Jakubiak Polish origin: one Chrisothemis of beautiful timbre, considerable, domain of all records, the ability to regulate the sound and project your voice forward, transferring the barrier orchestral. I was interested to hear live Sara Jakubiak, after knowing their interpretations edited on DVD, of Agathe The Marksman (The poacher) de Carl Maria von Weber, directed by Christian Thielemann; Y, especially, his extraordinary creation in Heliane The miracle of Sunray (The Miracle of Heliane), de Erich Wolfgang Korngold, directed by Marc Albretht. Aegist's character was played by tenor Stefan Margita Czech veteran, Whitish whose voice and histrionic gestures proved suitable in his duet with Elektra. Highlight the performances in the opening scene of the opera of the five maidens played by Eva Kroon, Evgeniya Khomutova Emilie Pictet Larisa Stefan y Aida Gimeno, also playing the confidant of Klitämnestra.

Excellent performance of the Choir of the Generalitat Valenciana, ringing off the stage at the end of the opera. also highlight the group of twenty dancers perform choreography by Philippe Giraudeau the, both on their travels online with open arms up. Also dancing in a circle or acting mimicked way with Elektra or around an ax hiding behind. Y, at the scene of Elektra and Orestes, when it says that even dogs of the palace would have recognized, and the dancers approach him, moving on all fours like dogs. Anyway, one magnificent Elektra.

dew Máequez

Rocío Márquez sing songs from their latest album 'Seen in Thursday' in his debut Palau de les Arts next Saturday 22 February at 21.00 hours at the Teatre Martin i Soler.

The 'singer', encumbrada by the press as the voice of the new generation of flamenco singing, stars in the second session 'Flamenco Arts is', the first cycle arts center dedicated to this genre, and successful concert opened with Diego el Cigala, with all localities out last December.

In 'Seen in Thursday', Huelva performer displays his restless personality and his enormous curiosity with a repertoire in which the gap between flamenco and not flamenco, singing and song, it is blurred, with songs of great artists versioned, and flamenco styles recreated.

Bambino songs, Rocío Jurado, Paco Ibáñez, Concha Piquer, El Cabrero, Turronero, Pepe Marchena, José Manuel Vallejo Menese and intersect and intermingle with serranas, 'Abandolaos', fandangos, malagueñas, rondeñas, peteneras, bulerías, marianas, romances and rumbas in the fifth record work of the artist Rocío Márquez.

After dispensing with the guitar in his two previous projects ('Firmament' and 'Dialogues of old and new sones'), Rocío Márquez returns to the instrument angle flamenco hand Canito. Between both, and clothed by the percussion of Agustín Diassera, take on the challenge of squeezing its expressive possibilities from the parameters of naturalness and simplicity musical and moving through constant experimentation with arrangements and melodies.

Tickets for the performance by Rocío Márquez, as well as other concerts of this cycle have a single price 30 euros.

'Flamenco Arts is'

In their search for new audiences and disciplines, Les Arts has launched, Cyclone 'is Flamenco Arts' dentro season 2019-2020. Last December, Diego el Cigala inaugurated the first monographic Valencia opera theater dedicated to this genre with all locations out in the Auditorium.

Rocío Márquez will be responsible for opening this Saturday the concert series at the Teatre Martin i Soler, whose stage also will in the coming months two important figures in the cantejondo: Duquende and Manuel Lombo.

Juan Cortés, Duquende, Les Arts will perform next 13 March accompanied by the guitar of Diego de Morao and the palms, choirs and compass Mellis. Discovered by Camaron de la Isla with only eight years and heir to the tradition of the legendary genius of flamenco, the 'singer' of Sabadell is one of the most respected figures in the deep sense of honesty and their interpretations.

Meanwhile, the day 25 of April, Manuel Lombo visit the Teatre Martin i Soler with his new project 'p'alante and p'atrás', by Macarena Lopez and Sara Jiménez. Dos Hermanas artist has emerged as one of the names that has introduced new blood into the cantejondo thanks to his performances and compositions from pop or the 'jazz', without sacrificing tradition.

Choir of Valencia

He Palau de les Arts opens the doors of its Main Hall Sunday, 26 from January, with a new session Matins the Arts'Starring the Cor de la Generalitat Valenciana to 12.00 hours.
Following the success of public last October, Les Arts proposes another edition of this activity that aims to bring lyric and its environment closer to all audiences.

For five euros, Les Arts invites you to discover its Main Hall with performances by the main artistic assets theater, complemented by an exhibition of costumes from some of the most emblematic opera productions, related composers and works that focus the different 'Matinees'.
Concert Sunday, the Cor de la Generalitat proposes a cappella performance, where he will tour the Valencian musical history of the sixteenth to the twenty-first century.

From the main stage, directing formation Francesc Perales will perform a varied program with works from the songbooks of Gandia, of the Duke of Calabria, a selection of 'Dances of Corpus Christi', and composers pages Tomas Luis de Victoria, Ginés Pérez, Matías Navarro, Eduardo Lopez-Chavarri, Oscar Esplà and Matilde Salvador, among others.

as an accompaniment, the public can admire an exhibition clothing own production of two operas: 'L'arbore di Diana', Vicente Martin y Soler, y 'Lucrezia Borgia', de Gaetano Donizetti.

Matins for the Arts' is framed in programming away from 'Les Arts is for everyone', including family or educational activities, engaged in all kinds of musical genres, in different spaces and rooms of the theater.
The proposals, of free or a nominal fee, They aim opening new
public who have not yet had the opportunity to attend a show in the building designed by
Santiago Calatrava.

Les Arts will hold new editions of 'Les Matins Arts' day 16 February, 8 of March, 5 April
24 May 2020.

Elektra Opera Richard Strauss. Arts. pictures: Miguel Lorenzo / Mikel Ponce

He Palau de les Arts retakes operatic activity 2020 with the return to their programming repertoire with the Central European ‘Elektra’, Richard Strauss, composer absent in the Main Hall from 2010. Along with 'Elektra' and German repertoire, the Main Hall of Les Arts reconnects with the Baroque Händel, unpublished from 2007, with his opera 'Ariodante', which debuts in late April.

The first season Jesus Iglesias Noriega to the front of the artistic direction has meant not only an increase in 30% the activity of Les Arts, but also an openness and diversification of genres, styles and repertories, with an offer that besides opera, zarzuela and symphonic music, It includes dance, ‘Lied’, flamenco and other music with a diverse educational and training activities.

Les Arts began last September Season 2019-2020 with two titles with popular prices, 'The Marriage of Figaro', Mozart, Y 'The barmaid port', Sorozábal, what, in addition to seeking the opening of opera to new audiences, They are part of the main lines of the new art project: recovery and visibility of Spanish lyric and the presence of the work Mozart.

In fact, an unpublished title at the Palau de les Arts of the genius of Salzburg, 'La Finta Giardiniera', -the supposed last November- William debut Christie and Les Arts Florissants in the operatic center.

The activity of the Center of Perfeccionament Placido Domingo has also adopted new lines of work, with the inclusion of Francis Poulenc and 'Les mamelles of Tirésias' in a transcription for two pianos Britten under the protection of musical Roger Vignoles a mounting Ted Huffman.

And in June, the training project will present a new production of 'The Guardian mocked', Martin i Soler, with musical direction by Cristóbal Soler and staging of Jaume Policarpo, in the commitment to the restoration of the work of the Valencian composer.

The repertoire Verdi He has maintained its presence ‘Nabucco’, with Placido Domingo and the emerging Amartuvshin Enkhbat as protagonists, in addition to

Anna Pirozzi in the role of Abigaille, under the musical direction of Jordi Bernácer and scenic Thaddeusz Strassberger.

Con 'Elektra', which opens this Saturday, 18 from January, the fourteenth season paid off one of the great demands of critics and audiences: the return of the great Central European repertoire with the Orquestra de la Comunitat Valenciana has obtained its highest recognitions.

A debut two figures embodied as Marc Albrecht y Robert Carsen, It joins "a cast of first level" led by Irene Theorin, Reference interpreter of this role, Doris Soffel y Sara Jakubiak.

He 29 February will be released 'The Journey to Reims', a walk in the repertoire Rossini, under the direction of the ascending Francesco Lanzillota.

On stage, Les Arts receives the staging of reference for this work, what Damiano Michieletto She has led to cities such as Amsterdam, Copenhagen, Roma, Moscú o Melbourne. A team of some of the most interesting young voices Rossini today addresses this authentic voice cast and scenic holiday.

Twelve years after the premiere of 'Orlando' in the Main Hall, Baroque Handel returns in April with 'Ariodante', a poetic hymn to honor and fidelity, by renowned specialists in this musical style.

Richard Jones, one of the great innovators of the British scene, signs an interesting adaptation that takes the medieval legend in the mid-twentieth century, which it has enjoyed an excellent reception in Europe and the United States.

Visit one of the great legends of conducting, Michel Plasson, with one of the reference titles opera gala, ‘Faust’, Gounod, closes the season. Plasson, unquestioned expert in the French repertoire, it gets for the first time in front of the stable bodies of Les Arts.

'Faust' represents, Likewise, the reunion of the Valencian public with soprano Ailyn Pérez, plus the opportunity to hear for the first time quoted John Osborn and Alex Esposito.

'The Arts is Dance'

Dance becomes a chapter in its own programming. Opens the cycle in January a new production of Les Arts with Ananda Dansa, ‘Âtman, The Goodbye. The last show of the company Ananda Dansa '.

After more than 40 year career, the founder and choreographer of the company and National Dance Award, Rosangela Valls, announced its closure with this show, accompanied by the music of his usual collaborator, Pep Llopis.

Meanwhile, in February, National Dance Company will bring on tour choreography of 'Carmen' which premiered in John Inger 2015 and will feature accompanying the OCV under the direction of Oliver Diaz.

'An ode while', María Pagés Company, Offer closes. the dancer, creator and choreographer visit Les Arts for the first time with his aesthetic concept of flamenco dance that has crossed borders.

New musical experiences

The Main Hall this season explores a new musical side with the first cycle of 'Lied' in its history, You starring some of the most acclaimed voices of the international scene.

El inglés tenor Piotr Beczała, Lithuanian soprano Violeta Urmana and French countertenor Philippe Jaroussky first dates have staged this successful experience, counts for upcoming sessions with performances by the English baritone Simon Keenlyside and soprano Ainhoa ​​Arteta Gipuzkoa.

This initiative JOINS 'Les Arts is Great Voices', another unpublished proposal, with a review of the styles and repertoires that have forged their careers are invited to the most emblematic figures do. US Joyce DiDonato suggests 17 May a select Baroque program, style has elevated to Olympus lyric, accompanied by the orchestra Il Pomo d'Oro and the ascending director Maxim Emelyanychev.

'Symphonic Arts is'

The Orquestra de la Comunitat Valenciana, musical emblem of Arts, It began last December, under the direction of James Gaffigan, a symphonic cycle, which will feature some of the most prestigious directors of the circuit as Michele Mariotti, Gustavo Gimeno, Juanjo Mena, Ivor Bolton y Daniele Gatti

'The Arts is Flamenco and Other Music'

The musical diversity also becomes one of the pillars of the artistic project for the coming years, and flamenco, as one of the most important hallmarks of the Spanish culture, shall enjoy own chapter.

After the successful start of 'Les Arts is flamenco', Diego el Cigala with this past month, the breath of fresh air Rocío Márquez, the talent of the singer Duquende and flamenco fusion of Manuel Lombo make this bet theater to open its doors to new and broader audiences.

further, the host programming underserved musical demonstrations to date in previous seasons: the 'jazz' and fado. Chick Corea presented in March 'Chick Corea Trilogy', an encounter with the 'jazz' ever, through known issues, while the shuddering Mariza, one of the great fado today, June will perform a selection of works of an unprecedented kind to date in the offer theater.

'Arts for everyone'

El compromiso de Les Arts Theater as Public materialize in the program 'Arts for everyone', gathering activities, shows, collaborations and initiatives free or nominal prices with which revert to the Valencian society support for the project. In addition to two consolidated activities such as 'Open Day' or 'Nit Les Arts', paragraph includes new contributions to diversify and enrich public life theater.

The first novelty is the series 'Les Matins Arts': six musical Sunday matinees at a price of five euros which kicked off with a full house in the Main Hall at its first meeting last October. Artistic assets theater: the Orquestra de la Comunitat Valenciana, the Cor de la Generalitat and the singers Placido Domingo Center offer within this interesting cycle programs to attract new audiences.

In this line is framed 'Preview up to 28', an initiative which reserves the Main Hall to under 29 years and enjoyed great success in its first edition with the zarzuela 'The proprietress of the port'. With seats for ten euros, the youngest will enjoy previews upcoming titles like "Il Viaggio a Reims', 'Ariodante' or 'Faust'.

After several years of marathons around Mozart, y with reason estreno de 'Il Viaggio a Reims', the new operatic course will be dedicated to Gioachino Rossini. Under the name of 'Marató Rossini', Les Arts invited to celebrate between the 23 and the 29 February figure of the genius of Pesaro and its impact on European culture with a wide range of free activities.

Openness to society also involves bringing it to your artists. That is the purpose of the 'Perspectives' initiative, in which the protagonists of opera and operetta engage in a dialogue with the audience and complements cycle 'Conferències' of the humanist Ramon Gener.

Likewise, the truck 'Les Arts Volant' after his celebrated journey through different municipalities with the assembly of 'BASTIA i Bastienne', Mozart, this summer will present a new production of 'The burlat tutor', Vicente Martín y Soler.

'Arts Education and Training is'

The educational program this season Les Arts consolidates its offering, which already reaches all ages: babies, Early Childhood Education students, from elementary school, Secondary, professional deformation, of specialized education, University, adult training, as well as a section dedicated to family audiences.

Meanwhile, Plácido Domingo Improvement Center, This year also open to pianists repertoristas, remains as main forming agent, in addition to its contribution to the theater program in various actions.

Photograph: Miguel Lorenzo / Mikel Ponce

Philippe Jaroussky in Arts

The French countertenor Philippe Jaroussky Debuts in Palau de les Arts The next sunday, 12 from January, at the third session of the cycle 'The Arts is Lied'.

The prestigious interpreter is one of the most important figures in the opera scene, which adds to the list of great voices debuting at Les Arts in the season 2019-2020.

Audiences and critics credited countertenor Philippe Jaroussky as the quintessential of his generation both for his work in major theaters and festivals such as records record.

With the pianistic accompaniment Jérôme Ducros, countertenor, star of the baroque repertoire, Les Arts presents in his role incipient 'lieder', with which it will demonstrate technical mastery and elegance that characterize their performances.

As letter, Philippe Jaroussky scores of plays Franz Schubert, certainly the great master of the 'Lied', not only by the more than 600 parts left written, but also by the lyricism and richness of his works.

'The Arts is Lied', the first cycle arts center devoted to this genre, will continue with recitals British baritone Simon Keenlyside-the day 1 February-, and soprano Ainhoa ​​Arteta Guipuzcoa, he 15 of March.

The Coliseum reminds those concerned that the price of tickets ranges between 20 Y 40 euros and can be purchased at the theater box office and through the web

Photograph: Simon Fowler

Elektra, Palau Arts

He Palau de les Arts delves into the German repertoire ‘Elektra’, Richard Strauss, essential work in the programming of international opera houses, which meets in Valencia to leading figures in the international opera scene.

Marc Albrecht, on the podium, Y Robert Carsen, In the scene, Arts debut in this title, demanding score and complex drama that will debut next 18 from January.

The German conductor and Canadian creator face the last weeks of testing in Valencia, with stable bodies of the theater, Cor de la Generalitat and the Orquestra de la Comunitat Valenciana, along with a cast of performers recognized.

Swedish soprano Irene Theorin (Elektra), critically acclaimed in this role, leads the trio protagonist who plays psychodrama retractor Strauss, with German mezzo veteran Doris Soffel as Klytämnestra and American soprano emerging Sara Jakubiak el and the role Chrysothemis.

Libretto by Hugo von Hofmannsthal, based on the homonymous Sophocles, Elektra is considered one of the scores of greater difficulty both vocals orchestra, what, in his day, It became the largest used for an opera.

Marc Albrecht, baton expert in the work of Strauss and Wagner and recent winner at the Opera Awards 2019 in the category of Best Music Director, OCV recovered with a repertoire with the starting lineup of Les Arts has reached its highest levels of excellence with titles such as 'Der Ring des Nibelungen', 'Parsifal' or 'Salome'.

Meanwhile, Robert Carsen, presented to the Valencian public a production of the Opéra National de Paris, based on an original co-production of the Theater of the Maggio Musicale Fiorentino and Tokyo Opera Nomori, with sets by Michael Levine, Vazul wardrobe Matusz, own and Peter van Praet and choreography by Philippe Giraudeau lighting.

Renowned for his great showmanship and aesthetics maintained their mounts, Carsen offers a chilling vision of 'Elektra', expressive of great strength and deep symbolism.

The premiere of 'Elektra' will take place on Saturday 18 from January. Les Arts has scheduled four other functions of Richard Strauss's opera day 21, 24, 27, Y 30 from January.

Photograph: Miguel Lorenzo

Placido Domingo Nabucco Les Arts
The Nabucco of Placido Sunday triumphs at the Palau les Arts in Valencia
By Diego Manuel García Pérez.En Valencia Palau de Les Arts, They have taken place six performances of Nabucco, the four first performed by Placido Domingo incombustible. Ya, for months that the tickets were sold out. Madrid tenor is a real media phenomenon, mobilizing crowds in each of their performances. A public come from around the world, with Japanese included, where they could see ladies wearing kimonos. The vocal state under the Madrid, and frisando the seventy-nine years, It matters little to these groups of enthusiastic fans, that they come with the premeditated idea applaud and show their admiration. To all this the fact that Domingo sing again in Spain was added, after being subjected to a wave of accusations of sexual harassment over thirty years ago, not having produced any legal complaint, but deteriorated figure this myth opera, to the point of having to give up their performances in the US and leave the artistic direction he held since 2001 Opera Los Angeles. In the representation I attended, I had the opportunity to converse with a critical come from Argentina, who told me with real sadness that the famous Teatro Colon in Buenos Aires, He had also vetoed his presence. Large European operatic centers continue supporting him, as it has been in the past Salzburg Festival, Miller performing Verdi's Luisa Miller, where he was strongly applauded, and also he received the tribute at the Teatro alla Scala in Milan, on the fiftieth anniversary of his debut at the theater, A few days later representations of Nabucco in Valencia, where the controversy about Sunday was served, as, in contrast to the enthusiasm of the audience inside the Palau de les Arts, for its presence and activities, had demonstrations outside rather than female groups carrying large banners, with the phrase "Nebuchadnezzar stalker". Regardless of these circumstances, Note that these functions Nabucco, apart from the presence of Placido Domingo, They had as big winner at Abigaile played by Neapolitan soprano Anna Pirozzi, who had already impressed the Valencian public with this same role, in the representations of Nabucco that took place in May 2015. The Orquesta de Valencia, well directed by Jordi Bernàcer, also shone high. Y, as usual, the Choir of the Generalitat Valenciana was a great success, in an opera as this where it has a very important presence, including the chorus "Va pensiero" the most famous and popular of the entire history of opera Italiana.Nabucco is the third opera composed by Verdi, Temistocle libretto by Solera, and its premiere took place at the Teatro alla Scala in Milan, he 9 March 1842, constituting a great success, to the point of being represented in that season and the next, in 57 occasions, something that had never happened before. Nabucco may be influenced by Donizetti and Bellini, but his vigorous melodies, with passionate vocal language, and they are typically verdianos. In this opera, and for the first time, Verdi gives great importance to the baritone, assigning the title role of Nabucco. Y, Abigaille -of the extreme difficulty- a dramatic soprano of agility, It is played at its premiere by Giuseppina Strepponi, destined to become sentimental companion of Verdi and his future wife. The role of Zaccaria (Great high priest of the Hebrews), It is also very important and requires a low rotund voice and great extension. After a few years when this opera was massively represented in Italian and European theaters, He fell somewhat forgotten, very rarely being programmed. Its American premiere took place at the Teatro Colon in Buenos Aires, in 1914. Nabucco true recovery was made by the master Vittorio Gui, in 1933, Teatro alla Scala in Milan, and also, that same year, transcurso en primer "Maggio Musicale Fiorentino", in both cases with two great singers Carlo Galeffi (Nabucco) y Gina Cigna (Abigail). Vittorio Gui also directed the famous performances, with a live recording- which they took place in December 1949, Teatro San Carlo in Naples, with the extraordinary creation of Abigaile by Maria Callas. The main pieces of this recording can be heard on YouTube. Ya, in 1951, on the occasion of the fiftieth anniversary of Verdi's death, RAI made a studio recording, directed by Fernando Previtali, with magnificent Abigaile de soprano Catherine Mancini, which can be heard integrated into Youtube. In 1960, Nabucco was first performed at the Metropolitan neoyorkino, played by the Austrian soprano Leonie Rysanek, with vocalism that demand Abigaile, although somewhat away from the style of singing verdiano. Along the Rysanek intervenían important you guys fully Verde: baritone Cornell MacNeill (Nabucco) and bass Cesare Siepi (Zaccaria). Elena Souliotis stunning vocalism and ephemeral career, Abigaile played in the sixties and seventies; Also the Bulgarian Ghena Dimitrova, It was an excellent Abigaile from the late sixties to the nineties. In 1968, He first played the character of Nabucco, the great baritone Renato Bruson, a real stylist singing, as it can be seen in its interpretation held at the Teatro Regio of Parma, in January 1979, Abigaile stunning along with our Angeles Gulin, died prematurely in 2004 (this year 2019 It has completed the eightieth anniversary of his birth). It is extraordinary to hear the great duo Nabucco and Abigaile in the voices of Gulin and Bruson, Available on YouTube. Renato Bruson will be the most important interpreter of Nabucco, for over thirty years. The Ukrainian soprano Maria Guleghina will become from the mid-nineties, in a reference to the character of Abigaile, by vocalism and great dramatic temperament. He first performed at the Paris Opera Bastille in 1995, Julia Varady alternating with, with a great cast that included great bass Samuel Ramey (Zaccaria), Jean François Lafont (Nabucco), Violeta Urmana (Fenena) and Jose Cura (Ismaele); Y, the next year, at the Arena of Verona with Renato Bruson (Full version video available on YouTube). From then until the most recent news, He has played on many occasions worldwide. Significantly making video DVD marketed by DGG in the Metropolitan neoyorkino, in 2001, James Levine direction, where Guleghina shared with Joan Pons cast (Nabucco) and Samuel Ramey. Fragments of this recording can be heard on Youtube. Overlapping Guleghina, arise in 2013, excelentes de dos interpretes Abigail: Anna Pizozzi at the Salzburg Festival, directed by Riccardo Muti (gran guarantor of this score), and the Ukrainian Liudmyla Monastyrska, Teatro alla Scala in, next to the magnificent Nabucco Leo Nucci, and that same year 2013, in Covent Garden, with Placido Domingo as Nabucco, and there is a live take marketed on DVD by SONY. Since then Pirozzi and Monastyrska, They are quite often played the character of Abigaile. Deutsche Opera Berlin scheduled Nabucco season 2019-2020, with alternating Maria Guleghina, Anna Pirozzi y Liudmila Monastyrska.

Nabucco production has been seen in the Palau de les Arts, It comes from the Washington National Opera in co-production with The Minnesota Opera and Opera Philadelphia, and has the stage direction and set design and costumes Thaddeus Strassberger Mattie Ullrich. This production aims to replicate what could be the Nabucco assembly when it premiered at the Teatro alla Scala, Here spiced with a proposal theater within the theater. Mediated long initial overture we see a number of couples dancing very Austrian nobles in the aesthetics of the film Il Gattopardo of Luchino Visconti, and later they began to occupy some boxes enabled to the left of the stage to contemplate the representation. They can also be soldiers guarding any hostile reaction from the Italian public to the Austrian nobility who then occupied Milan and all Lombardia. A stage decorated with a papier-mâché, friezes, mosaics and large columns, reproducing in Act I, Solomon's Temple in Jerusalem and in Act II, Palace in Babylon Nabucco, with a series of overlapping curtains that produce a real sense of depth scenic. In Act III, before the famous chorus "Va pensiero", action can be seen from behind the stage as if viewers were backstage. At the end of the performance the performers gather bouquets of flowers thrown by the Austrian public on stage, furiously returning them to the boxes and displaying two banners with the colors of the Italian flag and inscriptions, one in the "W", and the other the word VERDI, acronym which together they formed the words: Victor-Enmanuele live King of Italy (true symbol of Italian patriots against the Austrian domination). Costume design by Mattie Ullrich is in excess colorist for the Babylonians in contrast to the white hues of the Hebrews.

Proven leadership and strong, with large capacity concertmaster Jordi Bernàcer, the head of the Orchester de Valencia, which again proves to be a set of high quality, and this is evident from the excellent performance of the overture: a long page, articulated well full of contrasts, where different musical motifs and Iran reappearing long exposed opera, among them, -with the accompanying minor modifications- the famous chorus "Va pensiero". The orchestra has an outstanding performance, during the entire performance, shining in moments of intense lyricism: introduction and accompaniment of arias of Abigaille, Act II respectively and the closing of the opera, or Fenena's aria in Act IV. Y, by contrast, It shows an uncontrollable force, in the vibrant end of Act I, when Nabucco bursts onto the scene, whose recurring musical theme and exhibited in the overture, It is taken up in the orchestral introduction of Act III, and the coda of the final cabaletta performed by Nabucco, in his great scene of Act IV. Report also, the magnificent orchestral intervention Nabucco and Abigaille duet of Act III, and the overture to Act IV. At the direction of Jordi Bernàcer, It is blamed tendency to use sounds in forte. Finally, and in the high level offered by the members of the orchestra, include the splendid performance of severe rope especially the cellos, and the woods where they shine solo flute and oboe.

The big winner of these representations, ha sido Neapolitan soprano Anna Pirozzi, Abigaille who composes a great vocal and dramatic stature. voluminous voice and bright timbre, buen breath, excellent ability to regulate the sound, and a sharp, broad and well cast treble, (some extreme notes something forced), It is its weakest a limited range of serious. His voice stands out strongly in the moments of greatest orchestral forcefulness: the concluding concertantes of Acts I and II. It provides a good command of bel canto coloratura, and meets with expertise deviled octave jumps that punctuate much of their interventions. Makes a great performance in his big scene of Act II, initiated with violent recitative "Ben io t'inventi", to move to the lyrical and intimate singing the aria "Anch’ opened one day "y, then, show an overwhelming force in the cabaletta "Salgo già of the aurate throne". also highlights, his great performance in the duet with Nabucco Act III, inserting in its dialogues with a pleading Nabucco, a vibrant cabaletta, whose musical theme appeared exposed in the initial overture. Anna Pirozzi looks back his vocalism and interpretive force, in his beautiful aria end "Its me, dying, essanime "exquisite voices stockings, and issuing delicate notes in "pianissimo".

Since he started his stage baritone, I had occasion to hear Placido Domingo, in the Palace of Arts, in various roles verdianos: Francesco Foscari I due Foscari, in 2013, Macbeth, in 2015 and Rodrigo Marques de Posa in Don Carlo, in 2017, to which is added this Nabucco. Sunday is not a baritone but sings tenor baritone roles. During those six years between the creation of Francesco Foscari and Nabucco, the voice is gone Logically- deteriorating, with an increasingly lack of fiato, which prevents him properly build the Verdian long sentences. However keeps its beautiful timbre, miraculously youth, and a large theater capacity compensates his vocal limitations. Its scenic entrance in Act I, It turned hesitantly, with almost inaudibly in the great concertante that closes Act I, voices to side as strong as those of Anna Pirozzi and Alisa Kolosova. He improved considerably at the end of Act II, singing in the best Verdian style "S'appresan gl'istante". notably He faced his great Act II duet with powerful Abigaile Anna Pirozzi, full alternating moments of strong accents "Donna, who are you", “Oh, of qual'onta aggravasi ", with others full of pathos in his words repeated "Ah, The shadow miserable old man ... I am the King ", in contrast to the aggressiveness of Abigaile. Ya, in his great scene of Act III, They produced his best moments in the aria "Dio di Giuda", where he sings with delicate accents, lying on the ground face down, (something truly unusual for an almost octogenarian person), and plays hard and expressiveness the cabaletta "O Prodi miei, follow me".

The role of Zaccaria great vocal and stage requirement, She was played by the bass Riccardo Zanellato, verdiano good style of singing, although it lacking in volume and in serious difficulties Acute records, which are reflected in frequent octave leaps, to be performed in its many interventions throughout the opera. His performance was not discreet, in scenes of authentic brilliance as the aria "Sperate, or children…"Followed by the cabaletta" Come notte a glittering sun "Act I and the end of Act III" Oh,those who weep?…The future discern in the dark ". His best time was in the interpretation of the aria "Tu sul labro" belonging to the Preghiera, in Act II.

Russian mezzo Alisa Kolosova in the role of Fenena, He wore a voluminous voice of beautiful timbre. In his only solo, el aria "Oh disclosed is the firmament" of Acto IV, shows a delicate and elegant line full song lyric accents. also note, Speaking at the "Terzettino" of Act I, junto a Abigaille (both competing vocal volume) and Ismaele played by Mexican tenor Arturo Chacón the-Cruz, Voice bit bulky, but she sings with style and musicality, sobre todo en su vibrant airy "For the love of the living God dall'anatema cease", pertaining to Act II. Among the comprimarios roles include the magnificent performance of the Korean under Dongho Kim (The high priest), with a far superior vocal means to Riccardo Zanellato. Well in his brief interventions as Anna Sofia Esparza, Zaccaria's sister, and Ukrainian tenor Mark Serdiuk as Abdallo (Nabucco faithful officer).

"The Choir of the Generalitat Valenciana", directed by Francec Perales, He shone high, Obviously highlighting- in his extraordinary interpretation of the famous "Va pensiero", it starts again once the opera, after the rudeness of interpreters to Austrian nobles. As well, noting their great performances from other great choral moments: "The holidays Cadona broken down furniture", very beautiful invoice, with which starts the opera. As well, el de los Levitas chorus of Acto II "The Damned has no brothers", whose vibrant musical theme, already he appeared exposed in the initial overture. Y, interventions in the concluding concertantes of Acts I and II, or its significant presence throughout the end of Act III. In this production, The opera ends with the magnificent choir "Immenso Jeovha", usually precedes the "O-ary recitativo! those who see the wicked ... ..Su me, dying lifeless ", where death occurs Abiagaile.

Nabucco, Placido Domingo, Arts

'Nabucco' at Les Arts with Placido Domingo in the title role, premieres next Monday, 2 from December, to 20.00 hours, considered the first great success of Giuseppe Verdi.

Valencian Jordi Bernàcer He is the musical director of this title, It presented on a mounting Thaddeus Strassberger, with Placido Domingo in the title role for the first four performances.

Jordi Bernàcer reconnects with the stable bodies of Les Arts, Heart of Catalonia and Orquestra de la Comunitat Valenciana, with whom he began his professional career, and for the first time it assumes ownership of all representations of a fertilizer opera Les Arts.

Alcoyano teacher returns to the Main Hall five years after his memorable roles of zarzuela "Luisa Fernanda ', also with Placido Domingo in the cast, season 2014-2015.

In full career international, and work for the Mariinsky Theater in St. Petersburg, Real Madrid, San Carlo in Naples and Carlo Felice in Genoa, Jordi Bernàcer debut this season with the Opéra Royal de Wallonie in Liege, Petruzzelli de Bari, Semperoper Dresden and Berlin Deutscheoper, also returning to the San Francisco Opera, Royal Opera House de Mascate, Los Angeles Opera, Rome Opera House and Arena of Verona.

The Arts presents a mounting of Thaddeus Strassberger, also responsible for the scenography, with wardrobe Mattie Ullrich, lighting Mark McCullough and address Wrestling Ran Arthur Braun, conducted for the Washington National Opera, in co-production with The Minnesota Opera and Opera Philadelphia.

Strassberger, that the Valencian audience will remember for 'I due Foscari', also Verdi, recovered for staging the spirit and historical moment of the premiere of 'Nabucco' in 1842 Scala in Milan. The rejection of the Italian people to the Austrian occupation turned the work, and especially the chorus 'Va pensiero', Jewish slaves singing lamenting the loss of their homeland, a symbol of Italian nationalism and Giuseppe Verdi in an essential figure of the 'Risorgimento' Italian.

He explains "the design of this production is inspired by the aesthetic and social conventions of the time: decorated painted in two dimensions, costumes according to the story or outdated details that put the action in the context of a nation struggling to define its own identity ".

Placido Domingo deals with 'Nabucco' a new foray into the Verdian baritone repertoire of Les Arts, feat that began in 2013 Francesco Foscari en 'I due Foscari', title which followed the lead roles in Simon Boccanegra ' (2014), ‘Macbeth’ (2015) and Giorgio Germont roles in 'La traviata' (2017), and Rodrigo 'Don Carlo' (2018).

Madrid artist after his concerts, as director and singer last season, he gets on the stage of the Great Hall to sing the first four functions of this title (2, 5, 8 Y 11 from December).

Meanwhile, Amartuvshin baritone Enkhbat play the role of the Babylonian king day 14 Y 16. Mongolian pop singer will thus its debut at Les Arts after the success in Verona, Tel Aviv, Naples, Padua, Melbourne, Parma, Paris, Verona or Naples for their roles verdianos.

Anna Pirozzi da vida in Abigaille, one of most feared for soprano roles in opera history, and already he sang in Les Arts in 2015. Rejected by many great divas because of its demand, This role has devoted to the Neapolitan singer as one of the best dramatic sopranos today.

His resounding success at the Salzburg Festival this role, under the baton of Riccardo Muti in 2013, It marked the beginning of an international career with engagements in New York, Vienna, Milan, London, Berlin, Munich and Rome, in addition to collaborations with prestigious directors like Zubin Mehta, Nello Santi, Nicola Luisotti, Gianandrea Noseda, Michele Mariotti and Renato Palumbo.

The cast of this opera also includes two voices known by the Valencian public, under the renowned Italian Riccardo Zanellato (Zaccaria) who participated in 2008 en 'The Marriage of Figaro' and 'Iphigénie en Tauride', and Mexican tenor Arturo Chacón the-Cruz (Ismaele), who began his career with Les Arts 'Cyrano de Bergerac' in 2007 and in 2017 Alfredo Germont he played in 'La Traviata'.

Participan también the mezzosoprano Russian Alisa Kolosova (Fenena), Korean low Dongho Kim (high Priest), Ukrainian tenor Mark Serdiuk (Abdallo) and soprano Sofia pamplonesa Esparza (Anna).

On Nabucco

Nabucco is an opera in four acts with libretto by Solera Temistocle, inspired by biblical texts and the novel by Auguste Anicet-Bourgeois. It premiered in 1842 Scala in Milan and became the first major success of Giuseppe Verdi with which begin his most prolific period, known as the 'galley years'.

The opera takes place in Jerusalem and Babylon and is based on the biblical story of Nebuchadnezzar, king of Babylon, that after conquering the Jewish people, God will be proclaimed, a dare that will be worth madness and destronamineto as divine punishment. His daughter Abigaille be unconscionable who takes his place. After returning from madness, Nabucco is converted to Judaism and reclaim the crown decides to return finally to the people their freedom Jew.


Les Arts recalls that the locations for all functions 'Nabucco' are out. So it is only available for purchase five percent of the capacity of the main room, under current law, It sold the day of each performance at the theater box office.

Photograph: Miguel Lorenzo / Mikel Ponce

Violeta Urmana Stars on Sunday 17 of November, to 18.00 hours, the second session 'The Arts is Lied', the first cycle the Palau de les Arts He devoted entirely to this musical form, in which some of the most recognized voices in the opera scene.

Accompanied by Helmut Deutsch, considered the most prestigious repertorist today, Lithuanian mezzosoprano finds his role as 'lieder' with works Franz Schubert and Richard Strauss on his return to the main hall.

Violeta Urmana is one of the most appreciated voices to the public of Les Arts, theater with which it maintains a close relationship since their first seasons. Voice reference in the German and Italian repertoire, Among its successes in Valencia include 'Parsifal', Iphigenia in Tauris', 'Medea' and 'Don Carlo', and the 'Tribute to Puccini' concert, He is commemorating the 150th anniversary of the birth of the Italian composer.

Regular guest of the Metropolitan New York, The Royal Theatre, El Liceu and the National Opera of Paris, among others, He has worked with directors of the stature of Claudio Abbado, Daniel Barenboim, Bertrand de Billy, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, James Conlon, James Levine, Jesus Lopez Cobos, Fabio Luisi, Zubin Mehta, Riccardo Muti, Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Franz Welser-Möst y Christian Thielemann.

Violeta Urmana grown, Likewise, a successful career as a concert performer, which it has led to major concert halls in Europe, United States and Japan Berlioz pages, Mahler, Richard Strauss, Schönberg, Verdi y Wagner.

The Coliseum reminds those concerned that the price of tickets ranges between 20 Y 40 euros and can be purchased at the theater box office and through the web

The countertenor Philippe Jaroussky (12 from January), baritone Simon Keenlyside (1 February) soprano Ainhoa ​​Arteta and (15 of March) will star in the upcoming sessions of 'Les Arts is Lied'.

Photograph: Ivan Balderramo

William Christie debut in the Palace of Arts with 'La Finta Giardiniera', Mozart, this Sunday, 10 of November, to 18.00 hours. The Main Hall welcomes this unique feature of the first comic opera of the genius of Salzburg, which is semi-staged version.

Respected harpsichordist, orchestra director, musicologist and professor visit the arts center with training, Les Arts Florissants, which this year celebrates its 40 anniversary and is considered the 'ensemble' reference in the recovery and interpretation of baroque and classical music on ancient instruments.

The cast of the play is composed of soloists from Le Jardin des Voix, singing academy for young artists of Les Arts Florissants, William Christie and directing Paul Agnew. Mariasole quinine (Sandrina), Lauren Lodge-Campbell (serpetta), Deborah Stamp (Arminda), Théo IMART (Ramiro), Moritz Kallenberg (The Count Belfiore), Rory Carver (The mayor) y Sreten Manojlovic (Nardo) make up the cast. His performance means, Besides, the only visit of the talents of Le Jardin des Voix scheduled in Spain 2019.

Sophie Daneman directs this semi-staged version of "La Finta Giardiniera ', with scenery and costumes by Adeline Caron Pauline Juille, This past summer premiered at the festival Dans les Jardins William Christie.

'La Finta Giardiniera' is the second incursion of Les Arts this season in the Mozartian repertoire after the success of 'Le nozze di Figaro', which opened 'Les Arts is Opera'. Those interested in attending can purchase their tickets at the theater box office, in and telephone sales line 902 202 383. The ticket prices range from 24 Y 60 euros.

First comic opera

Mozart composed with just 18 years 'La Finta Giardiniera', opera buffa in three acts with libretto by Giuseppe Petrosellini. Released on 13 of January of 1775 Salvatortheater in Munich with great success, This is the first comic opera of the genius of Salzburg.

Comedy of deception, and disagreements between three couples with moments of great musical nobility. The action takes place on a farm on the outskirts of Milan in the middle of the eighteenth century. To be near his beloved, Count Belfiore, Marchioness Violante Onesti decides the impersonating a young gardener, Sandrina, to seek employment in the court of the 'podestà' hacienda. His servant pretending to be his brother Nardo.

These and other actors as Arminda, Sobrino of the 'podestà', Ramiro knight and maid Serpetta plunge into chaos cheerful in three acts, in which all pairs of lovers have their own happy ending.

Le Jardin des Voix 2019

Le Jardin des Voix has become an essential project for both the public and programmers, who they are in this space the pool of young talents who join the international music scene, entre ellos Sonya Yoncheva, Read Desandre, Marc Mauillon o Christophe Dumaux, that were, at the beginning of their careers, the first fruits of this garden flourishing. On the occasion of 40 Anniversary Les Arts Florissants, the ninth edition of Le Jardin des Voix has chosen the interpretation of the opera 'La Finta Giardiniera', written by Mozart 18 years and, so, even younger than these singers, not even reach thirty. For a program called "The Garden of Voices", the choice of this "feigned gardener" is not innocent, since it was created in the gardens of William Christie, in Vendee (France), in semi-staged version signed by Sophie Daneman.

William Christie

clavecinista, director, musicologist and professor, William Christie is a pioneer in the rediscovery and approach of French Baroque music to the general public. A native of Buffalo and educated at the universities of Harvard and Yale, his career took a decisive turn when he formed Les Arts Florissants. At the head of this set, in 1987 He achieved its public consecration to the production of 'Atys', Lully, Opera in Paris, project followed by many successes focusing on French and European Baroque repertoire. Interested in deepening its work as a trainer, William Christie, along with Les Arts Florissants, I believe in 2002 Le Jardin des Voix, a biennial academy for young singers.

Les Arts Florissants

It is one of Baroque vocal and instrumental groups of the world's most sought. Founded in 1979 por William Christie, It specializes in the interpretation on period instruments and has played a pioneering role in the recovery of the repertoire of the seventeenth and eighteenth centuries. Under the baton of William Christie and Paul Agnew, the set offers about a hundred concerts and opera performances in the most prestigious concert halls in the world.

the tenor Piotr Beczała inaugura este domingo 20 October, to 18.00 h, he primer ciclo que el Palau de les Arts dedica al ‘lied’, which they will include some of the most prestigious voices in the opera scene.

The performance also marks the debut of Les Arts quoted interpreter, known by the general public for his brilliant operatic career, especially for his roles in Verdi titles, Puccini y del repertorio francés, que compagina con actuaciones exitosas en las principales salas de concierto del mundo.

Accompanied on piano by Sarah Tysman, Beczała propone un programa variado para disfrutar de la ductilidad y la expresividad de sus interpretaciones, con canciones de Bixio, De Curtis, Dvořák, Karłowicz, Leoncavallo y Rajmáninov, así como arias de óperas de Bizet, Massenet y Verdi.

La Sala Principal es el marco del ciclo ‘Les Arts és Lied’ donde, además de Piotr Beczała, actuarán estrellas como la ‘mezzosoprano’ Violeta Urmana (17 of November), el contratenor Philippe Jaroussky (12 from January), baritone Simon Keenlyside (1 February) soprano Ainhoa ​​Arteta and (15 of March).

Les Arts informa de que el importe de las entradas para cada recital de ‘Les Arts és Lied’ oscila entre 20 Y 40 euros. In this sense, se recuerda que los interesados en todo el ciclo pueden adquirir el Passe Lied-Grans Veus, what, con un precio a partir de 117 euros, incluye las cinco sesiones, además del concierto de Joyce DiDonato con la orquesta Il Pomo d’Oro, dedicado íntegramente al repertorio barroco.

Likewise, el Palau de les Arts ha puesto a la venta 50 abonos para el ciclo de ‘lied’ por 50 euros para titulares del Carnet Jove del Institut Valencià de la Joventut (IVAJ). El Passe 5 Liedx50 ofrece al público más joven una serie completa de localidades por 50 euros en la zona de mejor visibilidad de la Sala Principal, lo que supone un precio de 10 euros para cada recital.

Photograph: Jean-Baptiste Millot


By Diego Manuel García Pérez.

The six performances of Lucia di Lammermoor that have taken place in the Palau de les Arts, They have resulted in a major victory. this opera, true paradigm of bel canto repertoire, and it was represented at this theater, in 2010, with great success, especially by the presence, so, young Georgian soprano Nino Machaidze and Italian tenor Francesco Meli. The performances this year have fallen short of those, especially for the excellent performances of the Anglo-Australian soprano Jessica Pratt, Chinese tenor Yijie Shi and Alexander Vinogradov Russian bass, next to the magnificent performance of the Orchestra of Valencia, directed by Roberto Abbado, who he was dismissed as musical director of the Palau de Les Arts, after good work, not always recognized. Another attraction of this Lucia is the -Fortunately- suitable scenery to the time when the action unfolds. Y, as, the magnificent performance of the Choir of the Generalitat, which again showed his quality. An enthusiastic audience applauded at length and with great force at the end of representations.

Lucia di Lammermoor is the most famous opera by Gaetano Donizetti, whose prolific output ranks forty-seven of a total sixty-six titles, with scores preserved. Year 1835 It was especially important to the world of opera, since the 24 premiered January I Puritani, the last opera by Vincenzo Bellini, who died in 23 September of that year, just three days before the premiere of Lucia di Lammermoor, Teatro San Carlo in Naples. Salvatore Cammarano then artistic director of this theater, It was commissioned by Donizetti to write the libretto, which it was based on the novel The Bride of Lammermoor by Walter Scott, published in 1819, and which is recounted real facts occurred in August 1668, where Scottish aristocrat had forced his sister to marry another noble; she was in love with an enemy of his brother, tax stabbed her husband in the wedding night, for then mad. Unlike the novel and opera, the husband survived and imposed absolute secrecy family about everything that happened. However there were all sorts of speculation and history is kept alive by family tradition and was known by Walter Scott to write his novel. Premiere, Lucia di Lammermoor had extraordinary success that has been lasting until today. The first Lucia was interpreted by Fanny Tachinar-Persiani, one of the most famous sopranos of the era whose tessitura of lyric-light, It allowed him to make a full vocal and interpretive display at the big scene of madness, one of the great landmarks of the bel canto repertoire all. Edgardo's role was played by the great tenor Gilbert Duprez, the first to issue the famous C4, with chest voice.

For many years the character of Lucia was interpreted by voices in slight excess, more concerned exhibit vocal virtuosity, to the extent not interject cadences written by Donizetti, for lucimiento. Ya, in the twentieth century, There sound documents light sopranos interpreted Lucia: Maria Barrientos, Amelita Galli-Curzi, Mercedes Capsir (entity with greater vocal, and interpreter in 1929, the first studio recording of this opera), and especially the Franco-American Lily Pons, tiny voice, nice and penetrating timbre, with excellent projection, causing her to succeed in the old Metropolitan, large theater in which his voice expanded easily and where was the official Lucia since its debut, in 1931, until his last performance, in 1958, in both cases with that character, who would play in almost one hundred fifty performances. Lily Pons was able to perform true vocal prowess with absolute mastery of coloratura and superb upper register which held, easily, a stratospheric note as MI5. Lily Pons Lucia played with all the great tenors of his time: Beniamino Gigli, Giacomo Lauri-Volpi, Giovanni Martinelli y Francesco Merli, with younger voices like Ferruccio Tagliavini and Giuseppe Di Stefano; Y, especially, with American Jan Peerce and Richard Tucker, with whom he made a recording studio, in 1954. It can be heard on Youtube, in different interpretations of the scene of madness, as well as his great duet of Act I Edgardo, recorded in 1950, next to the beautiful voice of Giuseppe Di Stefano. As well, in Act II duet with Enrico, played by the great baritone Leonard Warren. Y, a curiosity, You can also hear full on Youtube, a shot live from Fort Worth (Texas, USA), in 1962, where a Lily Pons, virtually retired from the stage, sharing deal with a very young Placido Domingo twenty-one, which it offered its beautiful timbre and interpretive capacity.

In 1952, Maria Callas first he performed by the Edgardo Lucia Di Stefano Giuseppe, at the Teatro Bellas Artes in Mexico City, reinventing the character, giving it a dramatic entity hitherto unknown, based on his extraordinary theatrical ability, keeping the vocal virtuosity, within the concept of dramatic soprano of agility. two studio recordings made by EMI preserved: the first, in 1953, with the singer at his best vocal moment, junto a Giuseppe Di Stefano y la Orquesta de Maggio Musicale Fiorentino, directed by Tullio Serafin, and the second, in 1959, with the Philharmonia Orchestra, also directed by Tullio Serafin, next to Ferruccio Tagliavini Edgardo, with singer and vocal worse conditions, giving a view, at times, intimate and heartbreaking character. It should be noted between the two recordings live a shot, held in Berlin 29 September 1955, He has entered fully into the mythology of the world of opera, where Callas offers its magnificent vocalism, with an impressive dramatic performance, masterfully directed by Herbert von Karajan, in front of the RIAS Orchestra Berlin, producing a real symbiosis between director and singer; here again with Di Stefano and Giuseppe Enrico magnificent baritone Rolando Panerai Great. The famous sextet at the end of Act II, before the continuous applause, It is byssate. This recording can be heard entirely in Youtuve.

Callas's witness picked him up the great Australian soprano Joan Sutherland, wide center, good range of serious and extraordinary capacity for coloratura, with a perfect treble and treble emission, but not have the dramatic ability to Callas. He first performed at Covent Garden Lucia, in 1959 (you can hear full on Youtube, live a take those representations) and maintain the role in his repertoire for thirty years, being who more times it has played, over two hundred representations, with large Edgardos as Alfredo Kraus, Luciano Pavarotti y Carlo Bergonzi. Highlight their studio recording for Decca, in 1971, Luciano Pavarotti alongside a at its best, displaying his beautiful vocalism, Enrico powerful Sherrill Milnes and the magnificent and expressive interpretation of Nicolai Ghiaurov, como Raimondo, directed by Richard Bonynge leading the Orchestra of the Royal Opera House. Ya, at maturity, He participated in a series of performances at the Metropolitan, in 1982, directed by Richard Bonynge, Edgardo next to Alfredo Kraus, vocalism and flawless performance style. One of those representations was taken in video and DVD marketed by Deutsche GRAMMOPHON. Parallel to the performances of Lucia made by Sutherland, Creations include two other sopranos magnificent: Renata Scotto and American Beverly Sils, in the sixties and seventies of last century, Also alongside Pavarotti Edgardos, Kraus and Bergonzi. Later, They also made good creations Lucia, Edita Gruberova y June Anderson, although lower than sopranos aforementioned. It should be noted that in the last ten years has been Jessica Pratt, who very brilliantly he interpreted more times Lucia, with almost one hundred fifty performances.

The scenic proposal that has been seen in Valencia, It is a coproduction of the Monte Carlo Opera and the New National Theater in Tokyo, directed by Jean Louis Grinda. The sets designed by Rudy Sabounghi, are classic character, in line with the time the action takes place in the late seventeenth century. In the first scene it can be a great surrounded by water and cliff near a beach where Enrico Ashton move with several soldiers and his henchman Normanno, who he says mischievously has been seen prowling around a stranger, with all the appearance of being Edgardo di Ravenswood, the great enemy of Enrico Ashton. Decorated for changes repeatedly inserted a projection of a cliff, in beating the waves can be heard its maritime sound. In the second scene, the secret and passionate encounter Lucia and Edgardo occurs in the presence of Alisa, the chaperone Lucia, in a rocky enclave, where an old source is located, a painted background where menacing silhouette of the castle of Ashton Everyone appears sinister premonition! Act II, It takes place in a set that reproduces the great hall of the castle Ashton, and whose first scene are Lucia and his brother Enrico, who convinces with bad arts to marry his rich friend the noble Arturo Bucklaw; Y, Castle chaplain Raimondo Bidebent, friend and confidant Lucia, It advises her to accept the proposal of his brother. In the second scene, number of richly attired guests (excellent costume design by Jorge Jara) They sing and dance celebrating the upcoming marriage bond; Here you can be seen the successful stage direction by Jean Louis Grinda, moving many extras. The unexpected appearance of Edgargo, encourages the brilliant sextet Lucia, Edgardo, Enrico, Raimondo, Alissa y Normanno, where, in a different plane dramatic, each expresses his feelings, scenically very well resolved by Grinda. In this production, at the beginning of Act III, the scene of the tower is included, also with maritime background, which often often it omitted to avoid another change of scenery, and actually breaks the dramatic continuity and is only for the brilliance of tenor and baritone. Here the tense meeting Edgardo and Enrico occurs, can be a tower in ruins, whipped by the waves. In the second scene reappears the great hall of the castle where the wedding guests celebrated by; the celebration is suspended by the presence of Raimondo, who announces the tragic news of Arthur's death at the hands of Lucia in the marriage bed. The ghostly appearance of Lucia, with bloodied wedding dress, begins the famous mad scene; Here one of the best scenic moments of this production occurs, when Lucia, evocative mode, takes up the main theme of his great duet with Edgardo, back into the hall of the castle, the decoration of the fountain scene. At the conclusion of the opera a strongly romantic landscape shown, with maritime cemetery where lie the ancestors of Edgardo, who commits suicide after watching the funeral procession with the body of Lucia, in this case throwing vacuum from a cliff.

Roberto Abbado was leaving the Palau de Les Arts directing this Lucia, a work that deserves all kinds of praise, getting from the same excellent sound opening with an imposing presence of the fallopian, they will have great prominence throughout the opera. Bellísimo was the orchestral accompaniment throughout the grand Lucia and Edgardo duet of Act I. Brilliant orchestral sound throughout Act II, in the great duo Lucia and Enrico and, especially, in the wedding scene with the combination of orchestra and choir, which reaches its climax in the famous sextet and the closing stretta. Magnificent orchestral performance, at the start of Act III (Tower Scene), playing a storm in conjunction with the sound of a raging sea. Excellent entering the final scene of the opera with a funeral chords heralding the tragic events to be produced. In the famous mad scene used the glassarmonica (glass harmonica), that could be heard when the play premiered Donizetti. It is an instrument created by Benjamin Franklin in the mid-eighteenth century, formed by a set of glasses and glass tubes, on a wooden base, emitting a characteristic sound, to seek frotadas. Very lucida intervention Sascha Reckert, a specialist of this instrument, in the accompanying Jessica Pratt, He managed to extract spectral sounds, in perfect conjunction with the voice of soprano. Apart from the great performance of the four horns, Noteworthy is the large harp solo intervention before the first stage appearance of Lucia, In the second scene of Act I. Excellent performance of the cello accompanying the intervention of Edgardo around the end of the opera. Emphasize the conciliatory work of Roberto Abbado very aware of the voices, highlighting its great rapport with Jessica Pratt who had directed in this role on several occasions.

Great performance by Jessica Pratt, showing timbral beauty and great stylistic mastery of the bel canto repertoire, with an excellent line of singing and great ability to link long sentences. Highlighting his mastery of the middle voices and sound regulations. Domain displays all records, with color homogeneity. They are spectacular and its sharp treble. Y, especially, It offers a perfect execution of agility from his first aria "Regnaba nel silencio" followed by the cabaletta "Quando, rapito in estasi "introducing variations in their repetition virtuosic. then, its interpretation will crescendo in the beautiful duet with Edgardo, especially in its final section whose recurring musical motif reappears on the scene of madness, where the soprano offers an impressive resolution of coloratura. Excellent Chinese tenor Edgar Yijie Shi, with great stylistic mastery and excellent singing line, although its timbre is not too attractive, It's a great singer, It is offering an intense phrasing and contrasted, with great mastery of all records, exhibiting a magnificent acute strip. Excellent interpretation of the great duet with Jessica Pratt. It stands out greatly, in his final scene giving his singing pathetic accents. It is also magnificent in his duet with Enrico Ashton played by baritone Alessandro Luongo, whose voice performance is well below the main characters, with little command of bel canto style. A real shame, because Enrico is a character for baritone absolute brilliance, with great moments like his big scene at the start of the opera or the great duet with Lucia Act II, where, compared with the performance of Jessica Pratt, They can be checked all its limitations. Excellent Russian Alexander Vinogradov low as Raimondo, offering a powerful vocalism, highlighting the duet with Lucia and especially in his great solo intervention "Ah! Cease that happy ". Excellent performance of the young Basque tenor Xabier Anduaga as Arturo sposino, whose magnificent vocalism augurs a bright future career. Bien half the rusa Olga Syniakova, as Alisa. Correct the tenor Alejandro del Cerro as Normanno. Magnificent interpretation of famous sextet followed by "stretta", which he concludes Act II, where the voice of Jessica Pratt, emerges strongly from the chorus and solo voices.

The Choir of the Generalitat offered, a great performance, especially in Act II, where his performance shone high, as well as the introduction of the mad scene, and around the end of the opera. Anyway, Lucia di Lammermoor one to remember.

The legendary baritone Leo Nucci debut at the Palau de les Arts with 'Rigoletto', de Giuseppe Verdi, with musical direction by Roberto Abbado, this Saturday, 11 of May, in the Main Hall.

The artistic director of the Arts, Jesus Iglesias Noriega, this title has presented today at a press conference, accompanied by self Leo Nucci with Roberto Abbado and Emilio Sagi, responsible for the staging.

‘Rigoletto’, as it noted Noriega Iglesias, It is one of the most popular works of the composer Busseto, only outnumbered representations La Traviata, and Leo Nucci, his interpreter benchmark since its debut in the role in 1973.

Bolognese baritone holds more than 500 career performances in major theaters in the world, a figure that, as noted by the artist born in Castiglione dei Pepoli, "Sum together with tests and trials over 2.000 Sometimes the skin of the tormented jester. Y, Nonetheless, each night, their representation is different, because the transformation of the character is the evolution of man ".

At 77 years, Nucci has built one of the longest careers of world opera scene. Closely linked to La Scala in Milan, the baritone is unique presence for more than three decades in the Milanese temple, where, today's date, He has appeared in more than 200 operates more than twenty titles, with commitments also in this season.

in Valencia, singer reunites with Roberto Abbado, musical director of 'Rigoletto', the interpreter who has worked on numerous occasions.

He explains Abbado, their relationship goes back more than 40 years, when the director was studying at the conservatory in Milan, but his first collaboration was in Barcelona 1982 with another score of Verdi, 'Don Carlo'.

"This is our second 'Rigoletto' together, and the third in my career after directing at the Teatro Real in Madrid and the Metropolitan in New York ", pointing the Milanese master.

" 'Rigoletto' is a popular opera", explains Abbado, not only because it integrates with 'Il trovatore' and 'La Traviata' known as popular trilogy of Verdi, but by the excellent response "he has received public of Valencia before this story".

"First, the opera has a libretto and music perfect. This is one of the best examples of collaboration with librettist Giuseppe Verdi Francesco Maria Piave. Every word and every note are necessary, how personal relationships are represented, using the 'Mezzavoce' and to translate them duets, together with the beauty of music they complement a plot that could happen today ".

Emilio Sagi signs the staging of 'Rigoletto', it is a coproduction of the Bilbao Association of Friends of the Opera (ABAO) and the Teatro São Carlos in Lisbon, with sets by Ricardo Sánchez-Cuerda, Miguel Crespí wardrobe, Eduardo Bravo lighting and choreography by Nuria Castejon.

The 'regista' is ovetense, Always according to Jesus Iglesias, a sure value in the operatic panorama, besides one of the essential figures in the history of Les Arts, where he has directed titles like 'The Witch', 'The king who raged', The duo 'The African' ', ‘Katiuska’, 'Luisa Fernanda', 'Lucrezia Borgia', 'Tancredi' or 'Il mondo della luna'.

Its scenic proposal, Sagi explains, takes place in a gloomy atmosphere, to emphasize the theatricality of the work and solitude in which the characters live, "Incommunicado and fixated", describe.

The scenography includes a ramp that is transformed by virtue of the different paintings and a floor that is crumbling to symbolize corruption, so that in the last act there is only a piece of land left under the feet of the singers.

First voices

Besides Leo Nucci, the production of ‘Rigoletto’ brings together a cast of prominent voices in the Verdi repertoire who have previously received the applause of the Valencian public at Les Arts.

Vladimir Stoyanov to sing the role of Rigoletto in the last three performances. The Bulgarian baritone returns to the Valencian opera theater where he sang in 2010 en 'Lucia di Lammermoor'. With performances in the great capitals of the opera circuit (Paris, Vienna, London, Milan and New York), has collaborated with the most prestigious batons today: Myung-Whun Chung, Riccardo Muti, Zubin Mehta, Seiji Ozawa y Antonio Pappano.

Celso Albelo plays at the Duke of Mantua, the role that he has sung the most times in his career. The canary tenor, one of the national voices with the greatest projection, has a special ancestry in Verdi's work, Bellini y Donizetti. further, has worked with directors such as Antonio Pappano, Zubin Mehta, Daniel Harding, Alberto Zedda and Nello Santi, among others. In Les Arts he debuted with Plácido Domingo in ‘Luisa Fernanda’ and closed last season with ‘La damnation de Faust’ with Roberto Abbado.

The soprano Maria Grazia Schiavo (Gilda) return to Les Arts 13 years later, she became one of the emerging voices in the bel canto and romantic repertoires. Since his debut in Valencia with ‘Don Giovanni’ with Lorin Maazel, the Neapolitan diva is a regular presence in the main European theaters.

The leading quintet closes with Italian bass Marco Spotti (Sparafucile) and Georgian 'mezzo-soprano' Nino Surguladze. The cast is complete, Besides, with the voices of Gabriele Sagona (Monterone) and the singers of the Center Plácido Domingo: Marta Di Stefano, Alberto Bonifazio, Mark Serdiuk, Arturo Espinosa, Olga Syniakova, Pau Armengol and Juliette Chauvet.

‘Rigoletto’, in addition to its premiere this Saturday 11 of May, Les Arts will be represented in days 14, 17, 19 Y 22.

Mozart Arts

The Palace of Arts ofrece el 26 and the 27 from January 25 actividades gratuitas en los diferentes espacios y salas del edificio para celebrar el cumpleaños de Mozart con la tercera edición de ‘Mozart Nacht und Tag’.

The educational program Les Arts channels this initiative 25 hours of continuous activity opera, show and symphonic concerts, recitals, chamber music, talks cafe, educational workshops, readings, cine y una sesión con DJ alrededor de la figura del genio de Salzburgo y su repercusión en las diferentes disciplinas artísticas.

Desde las 20.00 hours of 26 de enero hasta las 21.00 horas del día 27, the Main Hall, el Auditori, el Teatre Martín i Soler, el Aula Magistral, el Espai Los Toros y los vestíbulos de las salas del teatro encadenarán un completo programa para todos los públicos que, a excepción de los talleres didácticos, serán de libre acceso hasta completarse el aforo de los diferentes espacios habilitados.

La puesta en marcha de la tercera edición de ‘Mozart Nacht und Tag’ ha sido posible gracias a la colaboración desinteresada de artistas e instituciones: la Subdirección de Música del Institut Valencià de Cultura; la Universitat de València, a través de los departamentos de Filología Inglesa y Alemana; los Conservatorios Joaquín Rodrigo (CSMV), José Iturbi y número 1 de València; así como el Instituto de Secundaria Lluís Vives, the Center Placido Domingo, la UNED, el DJ Eduardo Díaz, la solista de la OCV Susanna Gregorian, Gourmet Catering & Espacios y Tossal Producciones.

La actividad comienza a las 20.00 hours of 26 de enero con la primera representación del concierto espectáculo ‘Lumina’, primera colaboración entre Les Arts y la Subdirección de Música y Cultura Popular del Institut Valencià de Cultura.

Hilari García dirige a los cantantes del Centre Plácido Domingo y a la Jove Orquestra de la Generalitat Valenciana en este montaje con dirección de escena de Allex Aguilera, que enlaza fragmentos de las óperas de Mozart con la luz como hilo conductor.

In parallel form, 35 alumnos de Educación Primaria, que pertenecen al Conservatorio Profesional de Música de València, llegarán al teatro, alrededor de las 20.45 hours, para pasar una noche en el Palau de les Arts y conocer mejor la figura de Mozart gracias al trabajo de alumnos del máster universitario de Profesor/a de Educación Secundaria, que organiza el Departamento de Filología Inglesa y Alemana de la Universitat de València.

At 21.30 hours, el vestíbulo del Teatre Martín i Soler acogerá una lectura acompañada de piano de las cartas de Mozart, realizada en colaboración con el alumnado de Lengua Alemana del Instituto Lluís Vives, a la que seguirá un recital de violín de la profesora de la Orquestra de la Comunitat Valenciana, Susanna Gregorian, en el Teatre Martín i Soler a las 22.45 hours.

Y, mientras los más pequeños se preparan para irse a dormir a la Sala Principal, el vestíbulo del Teatre Martín i Soler se transformará en un animado café para charlar sobre las cartas de Mozart e intercambiar opiniones sobre la figura del genio de Salzburgo en un debate organizado por la UNED.

A partir de la medianoche, Les Arts propone dos alternativas para el público más trasnochador: ópera o sesión de música con DJ. El Teatre Martín i Soler se convertirá en un cine para 380 personas con la proyección de la ópera ‘La flauta mágica’ retransmitida desde la Ópera de Garsington a través del portal OperaVision.

Y, meanwhile, el vestíbulo del Aula Magistral se transformará en una singular pista de baile con una sesión de música con DJ sobre la obra de Mozart, con el DJ Eduardo Díaz como artífice del espectáculo.

Propuestas matinales

La mañana del día 27 comienza con el desayuno, en el vestíbulo principal, de los más pequeños que han pasado la noche en la Sala Principal. Activity, cortesía de Gourmet Catering & Espacios, pone punto y final al taller didáctico.

Starting at 11.00 hours, se retoma la actividad artística con un ciclo ininterrumpido de conciertos y recitales en los principales espacios escénicos de Les Arts.

Mientras que los alumnos del Conservatorio Superior de Música Joaquín Rodrigo protagonizan un recital con arias y fragmentos de las óperas más populares del compositor en el Aula Magistral, el Espai Los Toros recibe a estudiantes de instrumentos de cuerda de esa misma institución para interpretar el ‘Cuarteto para cuerdas en re menor K 421’ del genio de Salzburgo.

La Orquesta sinfónica del CSMV Joaquín Rodrigo, meanwhile, debutará en el Auditori de Les Arts con un concierto sinfónico a mediodía, que incluirá páginas como ‘Concierto para piano y orquesta en re menor número 20’ y el motete para orquesta y cuerda ‘Exsultate, Jubilate’. Como cierre del programa, la orquesta rendirá homenaje a Salvador Giner, figura imprescindible en la puesta en marcha de su centro de formación musical.

El Teatre Martín i Soler, centro neurálgico del maratón de Mozart, presenta a las 13.00 horas ‘El empresario’, una producción de Tossal Producciones del ‘singspiel’ ‘Der Schauspieldirektor’, que el genio compuso como encargo del emperador para unos festejos en el Palacio de Schönbrunn.

Se trata de una de las óperas menos conocidas del compositor salzburgués. El libreto narra las vicisitudes de un empresario de ópera para llevar a cabo un montaje en la época de la Viena imperial. Manuel Pérez Múgica dirige musicalmente esta obra inédita en Les Arts, que reúne a antiguos alumnos del Centre Plácido Domingo bajo la coordinación escénica de Zvonimir Ostoic.

De manera simultánea, el centro de artes continúa con su oferta de conciertos y recitales, que incluyen un cuarteto de cuerdas formado por alumnos del CSMV con la obra ‘Las disonancias K465’, to 13.15 horas en Los Toros, y una propuesta camerística en el Aula Magistral con ‘Trío para clarinete, viola y piano en Mi bemol Mayor K 498’.

El también conocido como ‘Trío Kegelstatt’ se podrá escuchar de nuevo a las 19.00 horas interpretado también por alumnos de este conservatorio en el mismo escenario.

Tras la pausa de mediodía, to 15.30 horas se retoma la actividad en el Aula Magistral. Alumnos del Conservatorio Profesional de Música número 1 de València ofrecen una selección de fragmentos de una de las óperas más apreciadas y representadas del compositor: 'The Marriage of Figaro'. Para aquellos interesados, el centro de artes informa de que el espectáculo se volverá a representar a las 16.45 hours.

El alumnado del Joaquín Rodrigo protagoniza la oferta vespertina de recitales y de música de cámara, starting at 16.00 horas en el Teatre Martín i Soler con el segundo recital de voz y piano de esta maratón mozartiana. Media hora después, instrumentistas del CSMV interpretarán en el Espai Los Toros ‘Quinteto con clarinete en La Mayor, K. 581’ y a las 17.45 hours, Theater in Martín i Soler, ofrecerán una de las partituras más populares: ‘Eine kleine Nachtmusik K525’.

Meanwhile, estudiantes de flauta y de guitarra del Conservatorio Municipal de Música José Iturbi ofrecen un divertimento mozartiano en el Espai Los Toros a las 19.00 horas como penúltima actividad de la jornada.

El segundo pase del concierto-espectáculo ‘Lumina’, realizado en colaboración con la Subdirección de Música del IVC y el Centre Plácido Domingo, cerrará la edición de 2019 de ‘Mozart Nacht und Tag’.

Wilhelm Schwinghammer

Wilhelm Schwinghammer es uno de los bajos más reconocidos de su joven generación. His broad repertoire ranges from baroque to contemporary music, and it includes the most important roles of his tessitura as Figaro (The Marriage of Figaro), Leporello (Don Giovanni), Sarastro (The Magic Flute), Osmin (The abduction from the Seraglio), König Heinrich (Lohengrin), King Marke (Tristan and Isolde), Landgraf Hermann (Tannhäuser), Daland (The Flying Dutchman), wood Solt (the Rheingold), Rocco (Fidelio), Sparafucile (Rigoletto) and Orest (Elektra). En Mayo 2018 debutó como Baron Ochs (Der Rosenkavalier) en la Ópera de Estocolmo.

She has sung in most of the major opera houses such as Munich, Berlin, Dresden, Lyon, Milan, Vienna, Barcelona, The Angels, Washington, Chicago and Hong Kong Arts Festival. Wilhelm Schwinghammer has also gained a solid reputation as soloists and usually performs with renowned orchestras such as the Berlin Philharmonic, Boston Symphony, Bamberg Symphony, NDR Elbphilharmonie Orquesta y Concerto Köln. In opera and concerts it has been directed by Daniel Barenboim, Zubin Mehta, Kirill Petrenko, Andris Nelsons, Sir Simon Rattle, Marek Janowski, Sebastian Weigle, Philippe Herreweghe, among other prestigious directors.

In 2005 She debuted at the Salzburg Festival as Dr. Grenvil in La Traviata with Anna Netrebko and Rolando Villazón. In 2011 he returned to the Salzburg Easter Festival with Salome, directed by Sir Simon Rattle. Sings regularly at the Bayreuth Festival, where debut triumphally 2012 como en König Heinrich Lohengrin, role he repeated in subsequent years, and in 2014 Y 2015 singing, Besides, Fasolt s Das Rheingold, with stage direction by Frank Castorf.

His recent successes include a new production of the Ring in Chicago (stage direction by David Poutney), the title role in the new production of Le Nozze di Figaro in Hamburg Stefan Herheim, Y, in the same theater, Osmin s The Abduction from the Seraglio.

Wilhelm Schwinghammer was born in Bavaria and began his musical studies with the famous Regensburger Domspatzen. He studied at the University of Berlin (University of the Arts) Harald Stamm and attended master-classes with Kurt Moll and Marjana Lipovšek. In 2003 He was admitted to the Youth Program of the Hamburg Opera and 2006 it joined the stable set of said theater. Since 2017 acts as a freelance artist. He has been awarded several times and 2009 He won the prestigious ARD Music Competition, which also he won the Audience Award.


The Palau de les Arts will dedicate the functions of 'Turandot', Puccini, to the memory of the soprano Montserrat Caballé, who died last 6 October, as he announced by the president of the Board of the opera house, Susana Lloret, news conference.

"Les Arts wants and honor" La Superba ", who was a sublime interpreter of the role of Liù and excellent Turandot, besides protagonist of reference recordings of this title ", has added.

The arts center today hosted the presentation of ‘Turandot’, Puccini, main title of the preseason and fruit of the collaboration with Turisme de la Comunitat Valenciana, within the project "The silk road in music" developed by both institutions.

‘Turandot’ is, as recalled by Susana Lloret, a Valencian production that attracted to the Community the prestigious Chinese filmmaker Chen Kaige and, at the same time, was the Les Arts cover letter in China, when Canton, third city in the country, applied for the staging to open his new opera house.

For the fourth time, Puccini's latest opera hangs the “No Tickets” sign, but -as stressed by the president of the Board of Trustees- It is the first time that it can be seen with prices from 7 a 50 euros, Y, so, "Aimed at that new audience that we want to add to this great cultural space without this entailing any loss of artistic quality", has pointed.

The stable bodies of the Palau de les Arts, Cor de la Generalitat, and the Orchestra of the Valencian Community, together with Chen Kaige's award-winning montage join a significant roster of artists, that combines renowned performers with up-and-coming artists who have completed training at the Center Plácido Domingo ”.

The young British director Alpesh Chauhan debuts with the Orchestra of the Valencian Community. The owner of the Arturo Toscanini Philharmonic in Parma, that at a dizzying pace is revealing itself as one of the most promising batons, has conducted two concerts at the prestigious BBC Proms, as well as the London Symphony Orchestra in the main season of the London Barbican, or his own 'Turandot' in the Cagliari Opera House.

The stage work falls to Allex Aguilera, from Les Arts and a great connoisseur of the filmmaker's work, who has delegated to him for all his replenishments. Author of montages like ‘Opérame’, ‘Tristan und Isolde’ or ‘La Clemenza di Tito’, Aguilera also develops an important international career with 'Don Giovanni' in Trieste, ‘The clowns’ in Montecarlo ’, ‘Lucia di Lammermoor’ in Lima, and commitments in Palermo (‘The favorite’) and in Montecarlo ('Othello').

As explained by the ista regista ’, Kaige takes elements of traditional Chinese opera to pose a duality between the real and the unreal. Liu King's realistic scenery is inspired by the Forbidden City that hosted the imperial palace during the Ming and Qing dynasties, while Chen Tong Xun's wardrobe provides contrast with colorful and exaggerated elements to show that 'Turandot' is a character drama on a real stage.

Two acquaintances from the public of Les Arts lead the cast. American soprano Jennifer Wilson, unforgettable Brünnhilde in Wagner's ‘Tetralogy’ and also remembered for his forays into ‘Fidelio’ and ‘Tristan und Isolde’, Turandot stars, opera that already in 2014 recorded with Zubin Mehta and the Valencian Community Orchestra.

The Italian tenor Marco Berti is reunited with the Valencian public with the role of Calaf, who already sang with Zubin Mehta at the premiere of this montage in 2007 and a year later he repeated in Les Arts under the direction of Lorin Maazel. Recognized for its vocal quality and for its stage presence, Berti is considered one of the great interpreters of Verdi and Puccini.

Meanwhile, the Basque soprano Miren Urbieta-Vega plays the role of Liu, that earned him the revelation singer award at the Campoamor Theater Lyric Awards 2015. Artist of the Center of Perfection Plácido Domingo during the season 2010-2011 is one of the Spanish sopranos with the greatest projection.

Abraham Rosalen, who also trained at Les Arts during the course 2009-2010 of the Center of Perfection, encarna a Timur. The young bass develops an important career in Italy, where he already has jobs in Milan, Florence or Venice.

The cast of ‘Turandot is completed by two other outstanding tenors who have passed through the Center Plácido Domingo, Valentino Buzza and Pablo García López, together with the Valencian tenor Javier Agulló, Jaén baritone Damián del Castillo and César Méndez from the current promotion of artists that Plácido Domingo has selected for his Center.

further, for the day function 26, two emerging performers debut in Les Arts in the leading roles, Teresa Romano (Turandot) and Amadi Lagha (Calaf).

Total, Les Arts will offer six performances of 'Turandot' on days 17, 20, 23, 26, 28 Y 31 October. The seats are sold out, except 5 % which is reserved for sale the same day of each function.

The Damnation of Must

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The Damnation of Must (The Damnation of Faust) Hector Berlioz, He has closed the season at the Palau de Les Arts in Valencia. A season especially complicated by the resignations of Davide Libermore and Fabio Biondi. The Damnation of Must, It is a little-scheduled, despite his extraordinary musical quality, which usually are usually offered in concert, and in this case it was staged, with moments of undoubted interest, with others where excess prevail in the visual aspects. Definitely, the big winners of these representations have been the Orchestra of Valencia, and the Choir of the Generalitat Valenciana, next to the Choir School Boards Have Quart de Poblet and the Choir of the Virgin of the Helpless. Also noteworthy is the performance of Silvia Tro Santafe mezzo as Margarithe. Y, the extraordinary stage performance of low Ruben Amoretti in Mefhistophélès.


Hector Berlioz (La Côte-Saint-André, 1803 - Paris, 1869), still very young, had the opportunity to read the Should Goethe, in the French translation of Gérad de Nerval, and composed in 1829, Eight scenes from the life of Faust: 1.- "Songs of the Feast of Easter (Cantos Easter Festival)”, 2.- "Peasants under tillens (Peasants under the lindens)”, 3.- "Concert Sylphes (Silfides concert)”, 4.- "Écot of joyeur companions. Story of a rat (Presence of merry men. Story of a rat)”, 5.- "Song of Mephistopheles. History of a chip (Song of Mephistopheles. Story of a flea)”, "The King of Thule (The King of Thule)”, "Romanza Margarite Soldier choirs (Romanza de Margarita and chorus of soldiers)" Y 8.- "Serenade of Mephistopheles (Serenade of Mephistopheles)”. These eight scenes Berlioz served as the basis for the composition of Damnation Faust, conducted between 1845 Y 1846. The libretto was written by Berlioz himself and Almire Gandonnière. The play, halfway between the oratory and a symphony with vocals and lead vocals, It was called by Berlioz as "dramatic legend in four parts". The premiere concert version, It took place 6 December 1846 at the Opera-Comique (Salle Favart) from Paris, It is a complete failure and keeping only two representations poster. After the death of Berlioz, little by little, the work was having some impact, It is performed intermittently. Staged the first performance took place at the Monte-Carlo Opera, he 18 February 1893. Since then it has remained in repertoire, although with few representations, being interpreted, especially, in concert. It is from the fifties of the last century, when it began to be scheduled more frequently, especially as great singers such as Swedish tenor Nicolai Gedda and soprano Regine Crespin French, They begin to interpret, Having been made a shot live in 1959, during the Festival of Montreux, with the Orchestra and Choir of Radio French Television, directed by Igor Markevitch, Regine Crespin with (Margarita), Nicolaï Gedda (Splendor) and the great French baritone Ernest Blanc (Mephistopheles), full recording is available on Youtube and it is all a joy to listen to these singers. Nicolai Gedda maintained this composition in his repertoire for many years and you can listen to a live recording (also available on youtube), held at the Rome Opera, in 1969, with the Orchestra of the theater, superbly directed by Georges Prêtre. Here, Gedda makes an even better performance than ten years earlier, He is great at both ary, which he shows his great interpretive style and idiomatic domain, so necessary in the French repertoire. Margarita on this recording is played by a dazzling Marilyn Horne, who shines greatly in his two solos, and she and Gedda, They are extraordinary in their great duo. Nicolai Gedda also participated in a studio recording published by the Philips label, in 1973, superb sound takes, with the great Colin Davis (true specialist in Berlioz), leading the London Symphony Orchestra; Y, alongside the magnificent Gedda, you can hear the excellent performances of two French singers: the middle Josephine Veasey (Margarita) and baritone Jules Bastin (Mephistopheles). Ya, in the XXI century, They exist in video footage, both versions staged as in concert form, all available on Youtube. Include a magnificent first staged version, which it was taken on in the video Theater Monneie Brussels, in 2002, musically directed by Antonio Pappano, the head of the Orchestra of the theater, with a very young Jonas Kaufmann, doing a great interpretation of Faust, with excellent American mezzo Susam Graham as Marguerite and Mephistopheles of the great Belgian baritone José van Dam. You can also listen to Jonas Kaufmann in another staged version, which it was performed at the Paris Opera Bastille, in 2015, junto a Sophie Koch (Margarita) and the magnificent Mephistopheles Brian Terfel, with musical direction by Philippe Jordan, the head of the National Orchestra of the Paris Opera. English director Simon Rattle Orchestra, It has also shown great interest in this score, being it led in Berlin, in 2015, in front of the Berlin Philharmonic, in concert, with extraordinaria Margarita de la half norteamericana Joyce di Donato, Mephistopheles magnificent baritone Ludovic Tezier French and tenor Charles Castronovo American as Fausto. In September 2017, Simón Rattle, He returned to directing this work, Also in concert version, in front of the London Symphony, at the Barbican Theater in London, with an excellent cast made by American tenor Bryan Hymel as Fausto, with two English voices: Karen Cargill mezzo who plays a subtle and delicate Margarita, by the expressive baritone Christopher Purves Mephistopheles of.


Functions The Damnation of Faust, represented in Valencia, They have represented the first replacement of the co-production of the Palau de les Arts, Teatro dell 'Opera di Roma y el Teatro Regio in Turin, whose premiere took place in December 2017, en el Teatro dell'Opera di Roma, stage direction Damiano Michieletto, and he received the Franco Abbiati Italian critics award for best show of 2017. In this production, the protagonist is inspired equally in Splendor Goethe and Hamlet the Schakespeare, who experiences suffering as Fausto; see visions, attempts suicide and salvation is represented in a woman. Here you try to update the myth of Faust, giving prominence to a young man full of traumas, contradictory and full of life, who agree to participate in the evil Mephistopheles game.

In this assembly, the four parts nineteen scenes and an epilogue that includes the original work, They have become fifteen scenes each with a title and executed in continuity. Scenography designed by Paolo Fantin, It has a unique space: white room where you can see a large television screen, with two large automatic doors on each side, opening to a white halls with a bright and cold lighting. The entire top of the stage is occupied by a grandstand where the choir remains seated throughout the performance. A camera with Steadycam, He is recording characters and objects, that project in detail on the big screen. There are scenes really got, V like "LA NOSTALGIE (HOMESICKNESS)”, when we hear the chorus in "Canto Easter holiday", and where Faustus evokes a vision of his childhood with his mother, celebrating a birthday party. Margarithe also remembers his childhood in the scene VIII "LE PRESAGE (THE OMEN)”, seeing herself as a child, dancing and moving rhythmically stylish artistic gymnastics tape, while the music of "Les Sylphides Ballet" is heard. also note, parte of escena XI "THE GARDEN OF PLEASURE (THE PLEASURE GARDEN)”, during the great duo and Fausto Margarithe, with a projection reminiscent of the painting "Adam and Eve in Paradise" Cranach the Elder, complemented by a neon sign with the word "Paradisus", placed on stage. All final scene XV "LA PRIERE (THE SENTENCE)”, showing the funeral procession of Margarithe, It is of great beauty and emotion, enhanced by the superb lighting design Alessandro Carletti. But nevertheless, in moments of absolute orchestral role, It is enhanced too much the purely visual, and I mean the scene III "La peur (THE FEAR)”, where the protagonist is haunted, beaten and humiliated in school for several colleagues, before the impassive presence of others who recorded with their phones, of jocular, the terrible scene; Y, at those moments, He is running the famous "Hungarian March". No doubt, viewers tend to focus their attention on the stage action, rather than listening to great music being interpreted. Something similar happens in another major orchestral excerpts of this work "Menuet des Follets (Minuet Elves)”, belonging to the aforementioned scene (GARDEN FUN), with continued and histrionic presence on the television screen Mephistopheles, surrounded by several women makeup and help him dress snake. So, the staging is interesting but uneven, in an attempt to give continuity to a fragmentary dramatic work, that lends itself much more to be interpreted in concert. Highlight the excellent stage direction of Eleanora Gravagnola, Damiano Michieletto substitute these representations.


Good work of Roberto Abbado, maintaining pulse and dramatic tension, in an extraordinary musical quality score, where Orchestra Valencia, He shone high, with excellent brass and percussion, well combined with a sumptuous string and woodwind instruments, they have a major role throughout the entire work. Excellent orchestral performance of the famous "Hungarian March", and the "Ballet of Les Sylphides" at the scene VI "LE Presage (THE OMEN)"And" Minuet elves ", del "FUN GARDEN", definitely, one of the most brilliant orchestral parts of the work, where he highlighted the excellent combination of all instrumental sections, highlighting the sound of violas, with metals having excellent speeches trumpets and trombones along with the woods, especially piccolo, flutes and oboes. As well, in that same scene, include the orchestral sound in the "Serenata" Mephistopheles, to the accompaniment of pizzicato strings and the sound of flutes and oboes. Grand Conjunction orchestra, chorus and solo performers in the final part of the scene VIII "Le Desir (The desire)”, with outstanding interventions of metal and wood, especially clarinets and bassoon. Sounds impressive throughout the orchestral ensemble at the scene XIV "La Damnation (CONDEMNATION)"With a special mention of violas and oboe, marking the frantic race to hell. Beautiful music that accompanies the beautiful final scene "LA PRIERE (THE SENTENCE)”, with outstanding interventions harps and cellos.


The canary tenor Celso Albelo, Fausto plays. He began his performance with a small voice that came to be projected forward. Albelo was improving, although with certain problems when the orchestral volume grew. He sang remarkably, stylish and refined technique, famosa known aria "Thank soft twilight (Thanks sweet twilight)”, belonging to the IX "LA TENDRESSE scene (THE MELANCHOLY)”, with a beautiful fraseo, dominating with power and brilliance acute area. As well, He made a good performance in his other solo intervention "Nature immense, impenetrable and proud (nature immense, impenetrable and beast)"Scene XIII" LA victime (THE VICTIM)”, offering their best moments, in the intense and passionate duet with Margarithe, well it played by the magnificent mezzo Silvia Tro Santafe Valencia, who he wore his beautiful vocalism in the recitative-aria "Que l'air étouffaut ... ..Autrefois un roi Thule (The air is stifling ... .There was once a king in Thule ", X belonging to the scene "La Princesse ET LE DRAGON (THE PRINCESS AND THE DRAGON)”, singing with true style, Grand fraseo, adjusting the sound and moving very well in all registers, with brilliant highs and a great stage performance. Interventions excellent solo viola, during the aria, establishing a true duet with singer. True merit is his performance in this scene, where, while singing, It is beset by Mephistopheles, who even tries to abuse it. His big moment, It occurred in the beautiful aria "D'amour l'ardente flamme (Burning flame of love)”, in the scene XII "L'ATTENTE (WAITING)”, magnificently interpreted vocally and scenically, in this case with brilliant accompaniment of English horn. Also in this aria, the singer has to endure, stoically, scenic demands, performing the final part, pouring glasses of water over his head. Burgalés impressive performance under Ruben Amoretti, as Mephistopheles, with an almost continuous presence throughout the performance, showing a theatrical, to capture all the perversity of character, highlighted by expressive close-ups that appear on the TV screen. His vocal performance was also remarkable in its many interventions throughout the work. Highlight its interpretation of the aria "Voici des roses (Here roses)"Belonging to the scene VII" L 'PRESAGE (THE OMEN)”, or impressive performance throughout the scene XIV "La Damnation (CONDEMNATION)”. Eleazar correct under Jorge Alvarez as Brander in "The Song of the Rat" belonging to the scene VI "LA duperie (DECEPTION)”.


Outstanding performances of the choirs in their numerous interventions throughout the work. Highlighting greatly, across the great scene of "La Damnation" with that amazing chorus "Pandemoniun" sung in a language unintelligible infernal, invented by Berlioz. The Choir of the Generalitat next to the Choir School Boards Have Quart de Poblet and the Choir of La Mare de Deus, They offer a sublime interpretation, throughout the beautiful final scene of the play.

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By Diego Manuel García Pérez.The Palau de Les Arts has always shown interest in the young Verdi operas, having set in past seasons titles like: I due Foscari, Nabucco Y Macbeth, to which has been added Il Corsaro, with five performances that took place last 28 March and 1, 5, 8 Y 10 of April. curiously, despite being one of the lesser known Verdi opera, public attendance has been quite massive. These representations have been a triumph for the American tenor Michael Fabiano and Russian soprano Kristina Mkhitaryan, next to the always magnificent performance of the Choir of the Generalitat Valenciana and a very remarkable performance of the Orchestra of Valencia, well directed by Fabio Biondi, who three days after the last performance announced his resignation as musical director of Les Arts, delving further into the crisis that is suffering from this theater also resigned last December the then artistic director Davide Libermore.

Il Corsaro It has always been considered by critics one of the worst jobs verdianos. This is exaggerated and unfair because it is a beautiful score, where even a clear influence is observed belcantista (especially, in scenes featuring the two sopranos who interpret the characters in Medora and Gulnara), but with moments where we can show the best Verdian singing style and careful orchestration, announcing future compositions. For example, the great scene Corrado (Il Corsaro) at the beginning of the opera it has certain similarities with the aria-cabaletta "Ah si ben mio ... .of quella pira" from The Troubadour, and also the opening aria of Medora, It can be considered a clear precedent of Leonora's aria "D'sull'ali rosee love" of that same opera. Y, definitely, offers a real novelty that final trio of two sopranos and tenor (two women in love with the same man), unique throughout the production Verdiana, where they can hear musical moments that recall the first duet of Rigoletto and Gilda. Possibly, failure Il Corsaro, It is due to inconsistent libretto by Francesco Maria Piave made, after checking Verdi, He is tailoring the famous book of poems by Lord Byron, The Corsair, edited with extraordinary success in 1814, and whose reading had impressed Verdi, encouraging him to compose an opera. In 1846, the libretto was completed, not being liked by Verdi, who he was about to abandon the project, finally performed exclusively economic interests for Lucca editor, Riccordi competitor. The composition of the score was conducted by Verdi in Paris, between late 1847 and February 1848. The opera is structured three acts was premiered at the Teatro Grande in Trieste 25 October 1848, with the absence of the composer, resulting in a complete failure, especially for its lack of theatricality. In following years, the opera had a tour of Italian theaters, as the Carcano Milan, where it was displayed in 1852. Since then, He fell in the most absolute forgetfulness. It took one hundred and ten years, for what Il Corsaro, were to be interpreted, in concert form, in the courtyard of the Doge's Palace in Venice, in 1962. His real recovery occurred, during a series of performances that took place in March 1971, Teatro la Fenice in Venice, some of them led by the recently deceased Jesús López Cobos, with a superb cast including soprano Katia Ricciarelli in the character Medora, the great Spanish soprano Angeles Gulín playing Gulnara, the tenor Giorgio Lamberti in Casellato-character Corrado baritone Renato Bruson and as the pasha Seid. In October of that same year 1971, opera, with the same interpretes, also led by López Cobos, offered representations Frankfurt Opera, and there is a live take marketed by the label CD Opera d'Oro (fully available on YouTube), in which you can listen to Katia Ricciarelli twenty-five years, possessing a beautiful voice, timbral similarities with certain to Renata Tebaldi, dominating all records and good resolution of agility. The sadly defunct Angeles Gulín, with an attractive voice timbre and high volume, that posed no obstacle to offer him a good command of the middle voices and coloratura. Renato Bruson shows his great style and impeccable song line. Providing remarkable Giorgio Lamberti-Casellato. In 1976 It was published by the Philips label, the only recording studio (You can be heard complete on YouTube) with excellent sound and superb takes delivery of the New Philharmonia Orchestra, well directed by the Italian-Swedish Lamberto Gardelli, with a magnificent set of voices, which included the young Jose Carreras in the role of Corrado, showing its beautiful timbre and great temperament verdiano, Gulnara next to the Monserrat Caballé, in excellent state vowel, exhibiting their precious filados and an absolute mastery of coloratura. Voices Caballe and Carreras, They shine exceedingly in his great duet of Act III. In the role of Medora, American soprano Jessye Norman the, It shows excellent vocalism and great interpretive style, with excellent command of agility, Runs very well together with the duet of Act I. The three singers performed an extraordinary interpretation of the concluding trio of opera A true wonder Recording! The premiere in Spain Il Corsaro, It was produced in 2005 Liceu in Barcelona, in concert form, and already staged, in a series of functions offered in Bilbao, in 2010, with a production of Teatro Regio of Parma, released in 2004, within that ambitious cycle ABAO, intended to represent all Verdi's operas.

Representations Il Corsaro, which they have taken place in the Palau de Les Arts, They constitute the third time this opera program in Spain. It is a co-production of the Palau de Les Arts and Monte-Carlo Opera directed by Nicola Raab German, whose stage proposal, Corrado identifies with the main character himself Lord Byron, immersed in the creation of his work The Corsair, making it an inner experience and where all external actions are presented as memories or imaginations. It is an interesting idea, although with a scenery of George Souglides (also responsible for costume design), many times, quite confusing, and other using conventional visual resources. A large living large side windows, dominates the stage space throughout the performance, a variant lighting, depending on the dramatic development of the action: in Act I, with dark blue tones, where a large curtain formed by transparent plastic slats, separating two planes scenic; the closest one, where Byron-Corrado works in a small and elegant round table, in creating his work, and the furthest, where you can see, through the barrier plastic, the dithered and almost phantom figure Medora, as a dream of self Byron's all it is quite pretentious! In Act II, lighting turns orange and warm, to show, the harem of the Turkish Pasha Seid, dominated by the presence of his favorite Gulnara. During the Act II, the scenery is changing, with the insertion of a panel, where projecting cutting paints orientalista, and also, as a shadow play, Figure moving Gulnara, which is jointly, with the projection of a major fire, with shadows showing the confrontation of corsairs and Turkish, high visual impact. The beginning of Act III, It occurs with another fire, where Byron's belongings burned-Corrado, to pass, another very conventional space, using a large panel, where paintings are projected with Arabic motifs, which serves as a background to the big scene Seid and subsequent duet with Gulnara; Y, unbroken, we turn to an entirely different physical and dramatic space, where it can be seen a dark enclosure and prison ruinous, wherein Corrado is retained, Gulnara going to release. The final scene of the opera returns to the initial space, with that dark lighting and plastic curtain, through which you can see again the ethereal Medora. Reality and fantasy intertwine with the tragic present trio Corrado, Medora and Gulnara her lover, the latter located in a different plane dramatic. Definitely, to understand this approach stage, viewers need certain keys and know very well the argument, pretty complicated thing, case of a virtually unknown opera. As for the costume design, ranging from simple and elegant clothes of Medora, through appropriate carrying Seid and Gulnara Arabic style, until the absolute absurdity of a Corrado wrapped in a blanket and moruna head covered by a fez, in the little duet with Seid Act II.

This is a score, in which all the characteristics of the young Verdi: full music easy but attractive, with very vibrant moments, especially in the service of the voices. Fabio Biondi away from the baroque and Mozartian repertoires that are related, He directed with much determination and good pulse, the title of the young Verdi, achieving excellent performance of the Orchestra of Valencia. curious, in these representations, Biondi has raised the orchestra pit to place it at about the same level as the stage, considering it was usual in the days which premiered this opera and facilitating the combination of voices and orchestra. Also worth noting an arrangement of the different orchestral music stands, to the usual, placing the center cellos and contrabass, right woods, brass and timpani, and left violins, violas and harp, with attractive sound results. You can criticize Biondi, what, at times, raise the orchestral sound too. Highlight the performance of the overture, initiated with powerful chords that show the sound of a storm followed by a beautiful theme superbly executed by the clarinet. He also shone orchestral sound in the interpretation of the music of orientalist character, in conjunction with the women's choir, with which kicks off Act II, and throughout the final scene of the act, with soloists and choir voices, especially in the magnificent concertante conclusive. Excellent performances of different instrumentalists: harp and flute in the introduction Medora aria in Act I, with a musical theme he reprises the oboe when Medora reenters scene in Act III. Beautiful sound of the cellos in the introduction and coda concluding aria in Act III Corrado. It also proved extremely delicate sound pizzicato rope when death occurs Medora.

In the vocal plane, First highlight the great performance of Medora, making the Russian soprano Kristina Mkhitaryan, Morbid voice, very beautiful tone and excellent phrasing, dominating all records and excellent resolution of agility. Able to alternate sounds with delicate notes forte pianissimi, even filando high notes. Domina masterfully jumps severe acute, and all this combined with great expressiveness and beautiful stage presence. Despite its location in the upstage and having front said barrier plastic, beautiful voice comes through all kinds of obstacles to interpret very bright, recitative-aria the Act I "Egli non ancora Riede ... .Non so you tetre immagini", followed by precious duet with Corrado, very well played by the American tenor Michael Fabiano, possessing a voice of great volume, well managed, whose timbre reminiscent of the young Carreras. Dominates the Verdian style and even has a tendency to sing forte, He is also capable of voice apianar. He plays very well his great scene of Act I, recitative-aria-cabaletta "Ah yes, well say ... .All seemed to smile .... And, de 'privateers the lightning ", with a proven fraseo, shining greatly in the vibrant cabaletta. Dota pathetic accents his great aria in Act III "Eccomi prigioniero" followed by extensive duet with Gulnara, discreetly played by the Ukrainian soprano Oksana Dyka, voluminous voice, not too well controlled and with a sour bell. It has real problems in his great scene of Act II, and recitative-aria-cabaletta "Neither on earth ... .Vola talor from prison ... .Ah, comfort is the hope sol ", with an irregular line of song and difficulties in agility. Improves performance in Act III, with higher emission control, getting his best moments in the beautiful trio with Medora and Corrado, concluding opera. Notable interpretation of Italian baritone Vito Priante, exhibiting a good style of singing verdiano, with an incisive phrasing full of musicality, highlighting the interpretation by the vast scene of Act II, and recitative-aria-cabaletta "Alfin this pirate is my prison!….But ere togliam .S'avvicina soul ... your moment ", with a vibrant performance of cabaletta. In characters comprimarios, good performances of Ignacio Giner (We're moving), Antonio Gómez (the eunuch) and Jesus Rita (the slave), all belonging to the Choir of the Generalit Valenciana, whose performance as always- it is excellent, in its many interventions, especially in the long trio with the end of Act II begins (recall moments Macbeth Verde), followed by the great conclusive concertante. Y, especially, are extraordinary interventions in the trio of Medora, Corrado and Gulnara that concludes the opera. Day function 8 April was taken in high-definition video, be available on YouTube. Readers of this commentary can see the development of this opera, with a profusion of close-ups, for observing many details; Y, materially breathe with the singers.

The Rover

Nicola Raab He runs tests scene from the first new production of the season 2017-2018.

Fabio Biondi premiered this opera tenor Michael Fabiano y las sopranos Oksana Diving Y Kristina Mkhitaryan, and baritone Vito Priante.

The Palau de les Arts Reina Sofia It delves into the work of Giuseppe Verdi more enigmatic with opera 'The Rover', which opens next 28 of March.

Fabio Biondi, director musical, and Nicola Raab, responsible for the staging, They are immersed in the trials of the first new production of the season 2017-2018.

The conductor of the Orquestra de la Comunitat Valenciana this work opens with a cast headed by tenor Michael Fabiano, las sopranos Oksana Dyka y Kristina Mkhitaryan, and baritone Vito Priante.

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 starring cast 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, Italian baritone and bass Vito Priante (Are), which already has outstanding works in London, Milan, Paris, Munich, Chicago and Los Angeles.

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) y Ran Arthur Braun (fight choreographer and shoot).

Raab's proposal converts the story of 'Il Corsaro' in an internal action that takes place in the protagonist's mind. The staging of his vision materializes in a white stage space, which is transformed through movements, shapes, images, colors and projections in different environments and ideas through which passes the privateer Corrado.

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

With Francesco Maria Piave como libretista, Busseto composer in the score squeezes the last drops of his romantic heart, that he was already fascinated by social issues.

Released on 25 October 1848 at the Teatro Grande in Trieste, 'Il Corsaro' appears as an opera master details and vigorous strokes, Prophetic displaying details of the masterpieces that encumbrarían the figure of Giuseppe Verdi.

'The Rover' tells the historia de Corrado, privateer Aegean Sea, 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.

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

Fabio Biondi

The Palace of Arts will broadcast ‘streaming’ concert version of the opera 'Chinese', from Christoph Willibald Gluck, what Fabio Biondi will lead in the Auditorium 2 of November.

The work of German composer marks the beginning of program activities 'the Silk Road music', a fruit of the collaboration project between Les Arts and Valencia Region Tourist Board (AVT).

An agreement, according to the Regional Secretary of AVT, Francesc Colomer, "It will allow the development of cultural products that can open up new markets".

further, Colomer added that this initiative will promote the Silk Road, "A product in which we are working to give greater importance to the city of Valencia and Valencia in the world, placing value on the role played in this historic and cultural route connecting with the Orient ".

'Le cinesi' is a one-act opera with an Italian libretto by Pietro Metastasio. For this representation, Les Arts brings together a cast of leading figures of Italian soprano repertoire Désirée Rancatore, the 'mezzo’ Swedish Ann Hallenberg and Valencia Silvia Tro Santafe, along with Italian tenor Anicio Zorzi Giustiniani.

The work deals with the aspirations of three Chinese women, after hearing the stories circulating about the West, They feel the attraction of wanting to live your life, sensitive to the desire of an imaginary world where apparently- there is greater freedom.

The Silk Road, that through trade relations fosters openness between East and West, It has its musical counterpart in this opera by Gluck and his vision of the encounter between cultures.

Online tracking of 'Le cinesi' will be possible from 24 November through <>, the new platform hosted by Opera Europe, association that brings together thirty opera companies from eighteen countries of the continent, among which is Les Arts. collects OperaVision, from 12 October, the witness of The Opera Platform, whereby production Valencia 'Lucrezia Borgia' aired 1 of April, also supported by the AVT.

‘Pelléas et Mélisande’, from the Komische Oper Berlin, It is the first title OperaVision issue the 15 October. The new support will allow music lovers and fans to access a wide variety of parts, stories and documentaries about the opera, as well as the chance to discover the richness of their repertoire, with over four hundred years of life, through representations across Europe.

The 'The Opera Academy' section, meanwhile, provide access to multiple content, from short to essays or interviews with leading figures of the genre. Something that make OperaVision achieve a complete educational tool with specific content for both the young and adult audiences.

The platform will also add to the celebrations of the European Year of Cultural Heritage 2018 with an extensive program to show the diversity of opera today.

OperaVision It comes after the excellent reception of The Opera Platform, managed by Opera Europa and co-founded by Creative Europe, which reached a faithful offer of three million viewers in less than two and a half years. The Creative Europe renewed commitment to the project activity OperaVision guarantees until December 2020.

Madama Butterfly

The Palau de les Arts Reina Sofia recreates the destruction of World War II in Japan in its new production ‘Madama Butterfly’, from Puccini, the first assembly of the III Preseason popular prices, which will be released next 11 October.

This has been explained today at a press conference Davide Livermore, Mayor of Les Arts, together with the musical director of this work, Diego Matheuz, stage director Emilio López and soprano Liana Aleksanyan, who plays the title role.

Livermore has stressed the good reception of the Puccini opera, with sold out for all functions for weeks, with only five per cent of capacity available for purchase the same day of the performance.

"This figure confirms that there is interest in opera and what is done at Les Arts, to which must be added over 1.100 localities that have been sold in just two hours when we opened the online sale of season tickets ".

Mayor of Les Arts has stressed that, with the intention to program titles of the great repertoire "to discover the beauty of opera to new audiences", It has decided to make a new production of 'Madama Butterfly'. A fact made possible "thanks to the team of Les Arts, a template of genuine creative, which it allows a comprehensive quality programming, but with a much lower budget compared to other major theaters ".

Les Arts professionals: Manuel Zuriaga (scenography), Antonio Castro (lighting) Y Miguel Bosch (video creation) along with the renowned Italian figurinista Giusi Giustino make up the creative team of this show, under the stage direction of Emilio López.

Diego Matheuz runs for the first time this score at Les Arts. This is the second time that the musician Barquisimeto addresses the Orquestra de la Comunitat Valenciana, after its debut last January in Castelló, and the first that works with the Cor de la Generalitat. Matheuz, which he has been musical director of the legendary Teatro La Fenice in Venice, He expressed his satisfaction with the quality of stable bodies of Les Arts as well as "flexibility to deal with very different repertoires". Considered the new star of the Venezuelan Orchestra System, Gustavo Dudamel has in its most international baton, Diego Matheuz plays an important career in Europe, In addition to addressing performances in North America and Japan.

Emilio López, takes over from Antonio Diaz Zamora, Valencian first who led an assembly opera Les Arts, Why 'Mror', Palau in 2014. The young Valencian director is commissioned to represent one of the most popular titles of the great repertoire, in Valencia staged above the 'régisseur' Japanese Keita Asari and Polish director Mariusz Treliński.

As he explained in his speech: "To make 'Madama Butterfly', I started working, especially, in the character and psychology of Cio-Cio San. I have always seen as a "broken wrist", which is under enormous internal destruction. That inner destruction I wanted to capture the scenery in the mount, e, historically, the warlike atmosphere of the Second World War, between 1941 Y 1945, from the US blockade until the end of the war is the perfect setting ".

"The character of Pinkerton adds López- It is inspired by the pilot who dropped the bombs on Hiroshima and Nagasaki, Charles Sweeney, when I 25 years then. An unconscious boy, he was never able to see the consequences of their actions. A coward".

The soprano Liana Aleksanyan sings the role of Cio-Cio-San, with which debuted at La Scala in Milan under the direction of Riccardo Chailly. This is the ninth time that the Armenian diva enlivens Madama Butterfly, a role that has placed in front of the opera scene.

For the role of Pinkerton, Livermore has announced that, by prescription, Sergio Escobar can not sing the first three functions and will be Alessandro Liberatore Italian tenor who replaced day 11, 14 Y 17 October. The main quartet is complemented by Nozomi Kato (Suzuki), which for two years has formed at the Center of Perfeccionament Plácido Domingo and the Spanish-Brazilian baritone Rodrigo Esteves (Sharpless).

Close the deal of this work artists Plácido Domingo Center: Moses Marin, Marianna Map, Arturo Espinosa and Jorge Eduardo Alvarez, the singer Cor de la Generalitat José Javier Viudes and baritones Pablo López and Javier Galán.


Valencia orchestra

The Palau de les Arts Reina Sofía held next September auditions for the job market of the Orquestra de la Comunitat Valenciana (OCV), the starting lineup of cultural enclave.

According to the rules of the call, published today by the 'Diari Official of the Generalitat Valenciana’ (DOGV), the process will regulate the bag governing the procurement in the OCV to cover temporary reinforcements, low and exceedances. La vigencia de duración de la bolsa será de tres temporadas, extendiéndose así hasta el curso lírico 2019-2020.

El proceso, cuya información también está disponible en la propia página web de Les Arts,, seleccionará músicos para los siguientes instrumentos: viola, fiddle, fagot, flute, trompeta y percusión.

Los interesados pueden remitir su solicitud hasta el 31 of August, inclusive, a través del portal web es una página web especializada en la gestión de este tipo de procesos que utilizan actualmente más de 100 agrupaciones musicales. Teatros de ópera como la Staatsoper de Viena y la Komische Oper de Berlín, además de formaciones como la Gewandhaus Orchester de Leipzig, la Mahler Chamber Orchestra o la Tonhalle de Zúrich son usuarios de este portal.

Finalizado el plazo de presentación de solicitudes, se llevará a cabo la preselección de los candidatos por currículo y méritos. La valoración curricular se hará en función de los siguientes parámetros: formación musical, experiencia previa en orquestas profesionales, premios obtenidos y otros méritos. Cada aspirante recibirá a través del correo electrónico especificado en la propia inscripción, una notificación respecto de su admisión o no, desde la plataforma

Les Arts albergará durante la segunda quincena de septiembre las diferentes pruebas, que comenzarán el día 15 con la selección para viola, a la que seguirán las audiciones de flauta (16), fagot (17), trumpet (18), percussion (22) y violín (30).

Las audiciones serán públicas hasta completarse el aforo de la sala en la que se realicen.

Daniela Barcellona

Hailed in the most famous opera houses as the great interpreter Rossini, Daniela Barcellona is, years, one of the most sought-after singers of the international scene. Her acting skills and her vocal virtuosity have been acclaimed throughout the world and their presence is habitual in the most famous festivals and lyrical scenes: Salzburg, BBC Proms, Metropolitan Opera House in New York, Bavarian State Opera de Munich, German Opera de Berlín, Semperoper Dresden, Royal Opera House, Opera National de París, Staatsoper Vienna ... From next 23 of June, and up 1 of July, will play in the Palau de les Arts in Valencia his famous leading role in Tancredi from Gioachino Rossini.

Considered by critics and audiences as the best Tancredi today, Daniela Barcellona made its debut in the role of Tancredi in 1999, Rossini Opera Festival in Pesaro, becoming, immediately, favorite star in Rossini's most famous festival.

In the extraordinary curriculum of the award-winning Italian mezzo, include the most prestigious conductors on the international scene: Claudio Abbado, Alberto Zedda, Sir Colin Davis, James Levine, Riccardo Muti, Georges Prêtre, Roberto Abbado, Riccardo Chailly, Bruno Campanella, Kent Nagano, Daniel Barenboim O Valery Gergiev, among others.

Daniela Barcellona return to the scene of the Arts, with the teacher Roberto Abbado as musical director and production signed by Emilio Sagi for the Lausanne Opera and the Teatro Municipal in Santiago de Chile. the soprano Jessica Pratt (Amenaide), the tenor Yijie Shi (Argirio) and baritone Pietro Spagnoli (Orbazzano) complete the cast of this Rossini opera seria, which closes the season of the Valencian coliseum.

La traviata in The Arts

Valentino Garavani Violetta signature dresses, made in the workshop of haute couture Maison Valentino. La Maison Valentino has designed costumes for Flora and Choir.

Reassembling, created by Valentino Garavani Y Giancarlo Giammetti for the Rome Opera, brings together an extraordinary artistic team: Valentino Garavani, signing dresses Violetta Valery, made in the workshop of haute couture Maison Valentino, House Valentino, who has designed costumes for Flora and Choir, filmmaker Sofia Coppola in his operatic debut and set designer Nathan Crowley, Oscar-nominated numerous times.

Ramón Tebar assumes the musical direction of the opera Verdi. Marina Rebeka (Violetta) Y Arturo Chacon Cruz (Alfredo) complete with Placido Domingo the protagonist triangle.

Placido Domingo stars in the Palau de les Arts Reina Sofia the premiere in Spain of production of 'La Traviata' driven by Valentino, directing Coppola, Saturday, 9 February.

The montage, created by Valentino Garavani and Giancarlo Giammetti for the Rome Opera, brings together an extraordinary artistic team: Valentino Garavani, signing dresses Violetta Valéry, made in the workshop of haute couture Maison Valentino, House Valentino, what with Pierpaolo Piccioli Y Maria Grazia Chiuri He has designed costumes for Flora and Choir; filmmaker Sofia Coppola in his operatic debut and set designer Nathan Crowley, Oscar-nominated numerous times.

Placido Domingo performed for the first time in Spain the role of Giorgio Germont, his fourth foray into the Verdian baritone repertoire in Valencia, after 'I due foscari', ‘Simon Boccanegra’ y ‘Macbeth’.

Ramón Tebar, in front of the Orquestra de la Comunitat Valenciana, assumes the musical direction of this 'Traviata', who previously directed Les Arts Lorin Maazel Y Zubin Mehta. Marina Rebeka and Arturo Chacon Cruz, in the roles of Violetta Valery and Alfredo Germont, Placido Domingo comply with the main cast.

Valentino Garavani believes that this production is like a dream come true, because it has always been fascinated by the lyrical and its ability to create fantastic and modern worlds through a wonderful and timeless music.

His passion for art led him to design in 1994 costumes for an opera inspired by Rodolfo Valentino, which staged the Kennedy Center in Washington. To this has been followed by other experiences, as the extraordinary display of costumes in the show 'Valentino' in the New York City Ballet and the Vienna New Year's Concert. So, This new production is a very important event for him, Besides being one of the first projects supported by the Foundation Valentino Garavani and Giancarlo Giammetti.

Valentino himself chose Sofia Coppola for this new production after perusingMarie Antoinette’ (2006), adaptation of the biography of the Queen of France written by the British historian Antonia Fraser, where the filmmaker shows a special aesthetic and musical sensitivity, as well as a balance between classic and modern. 'La Traviata' means for the winner of an Oscar for 'Lost in Translation' debut as 'regista' opera.

The world of cinema is also present in the scenery of this new production with the signing of English Nathan Crowley, recognized by the production design of films like 'Batman Begins', 'The Dark Knight' or 'Interstellar'.

The cast is completed with the voices of artists Placido Center Sunday: Alejandro López (The Doctor Grenvil), Anna Bychkova (Flora Bervoix), Olga Zharikova (Annina), Moses Marin (Gastone de Letorières), Jorge Alvarez (Baron Douphol), Andrea Pellegrini (The Marquis of Obigny), In addition to the singers Cor de la Generalitat Antonio Gómez (Giuseppe), Boro Giner (A Commission agents) and Bonifaci Carrillo (A Servant).

They have collaborated Marina Bianchi stage direction and set design Leila Fteita. Francisco Perales DIRIGEANT the Heart of Government. Rounding out the creative team Stéphane Phavorin (choreography), Vinicio Cheli (lighting) and Officine K (video creation).

Les Arts has scheduled seven performances of 'La Traviata' day 9, 12, 15, 18, 21, 22 Y 23 February. The representation of the day 22, With locations at reasonable prices, It will star Tina Gorina, Giuseppe Talamo and Luis Cansino.


Sicilian Vespers

The Palau de les Arts Reina Sofia opens next 10 from December "Sicilian Vespers", from Verdi, in a contemporary assembly to reflect on the power and propaganda, as noted by the Mayor Davide Livermore in his presentation.

Roberto Abbado, holder Orchestra of Valencia, assumes the direction of the first opera subscription season 2016-2017, It presented in a production of Teatro Regio di Torino and ABAO. The staging is Davide Livermore and her Turin commemorated 150 anniversary of the unification of Italy in 2011.

As he explained by the maestro Abbado, "Sicilian Vespers", It is a musically complex and demanding score for both soloists and for the Orquestra de la Comunitat Valenciana. The play, commissioned by the Paris Opera composer Busseto, It maintains the structure of the 'grand opera' French-as reminds Abbado Verdi- to remedy musically. "To search for sense of grandeur, for example, uses a continuously variable form of the same elements ", He pointed the musical director.

Davide Livermore, as the architect of the staging, He stressed that "we are facing a complex opera, in which converge the main concerns of Verdi: Homeland, the parent-child conflicts and internal dilemma between duty and feelings ... a difficulty both scenic and musical that requires a solvent cast ".

The production, with scenery Centineo saints, wardrobe Giusi Giustino, lighting Andrea Anfossi and choreography Luisa Baldinetti, It was chosen for the publication Musical America as one of the 10 best shows 2011.

Giuseppe Verdi, as pointed Livermore, It took a historical episode of S. XIII to talk about his contemporaneity, the French invasion of Sicily as a pretext to evoke an Italy occupied in the S. XIX and address freedom, search and fight against enemy invasion.

The assembly opens the 'regista' Les Arts turinés moves the historical context to the latest most turbulent moments in Italy, the attack by the Mafia in 1992 against Judge Giovanni Falcone -maximum incentive against Cosa Nostra, his funeral in Palermo, or Berlusconisation of Italian politics and the media monopoly The Knight’, to denounce the political and media corruption of modern society.

A staging, that as it advances the stage director, "Despite its links with the nearest Italian history it is perfectly universal, because it speaks of facts that are repeated in society today ".

Marked Verdeans interpreters

Three prominent singers, own distributions of Metropolitan New York, in the words of Livermore, assume the lead roles: American tenor Gregory customer as Arrigo, the baritone onubense Juan Jesus Rodriguez (Monforte) and Russian under Alexander Vinogradov (Procida).

In this sense, the Mayor has announced that the sopranos Sofía Soloviy, the days 10, 16 Y 18 Y Maribel Ortega (13 Y 21) will sing the role of Elena, as Anna Pirozzi She has canceled its presence by prescription to their stage of pregnancy.

Livermore stressed that "we have two promising voices, that under seen in trials, will continue with the tradition of this theater, where it was first heard many of the stars of today ".

Sofia Soloviy debuts at Les Arts backed by an intense career in leading European theaters, with a repertoire that ranges from Mozart to contemporary music. The Ukrainian soprano has sung this role earlier in Piacenza, Modena and Reggio Emilia in the same production, a great dramatic force and a strong bond with the contemporary world as the situation in his native Ukraine.

Meanwhile, It is the second leading role for Maribel Ortega in Valencia. Jerez soprano, Solea already portrayed last October in "El Gato Montes", Manuel Penella, It addresses the occasion as "a very personal challenge".

Gregory customer, since its mythical Otello in 2013 It has been present in all seasons of Les Arts, he recalled that the role of Arrigo assumed in 2011 his first role

Verde, besides the first collaboration with Davide Livermore, and the start of a successful stage that has established him as one of the most sought after tenors of the moment.

Juan Jesus Rodriguez returns to Les Arts, where he first sang in "Il Trovatore", under the direction of Zubin Mehta, and by 2012 He starred in "Rigoletto". Onubense singer for the score has been a discovery, especially for mounting in recent years concerning Italy "that strike a chord".

Alexander Vinogradov closes the trio of male protagonists. The Russian bass is one of the interpreters linked to Valencian arts center since its inception. debuted in 2006 with Lorin Maazel in "Don Giovanni", repeated assistance under the direction of Zubin Mehta in "Carmen" and "Salome" and by 2015 he returned to sing along to Placido Domingo in "Macbeth".

The cast of "I Vespri Siciliani" complete with the voices of Cristian Diaz (Count Vaudemont), artists Placido Centre Sunday Andrea Pellegrini (The Sire of Bethune), Nozomi Kato (Ninetta), Moses Marin (Danieli), Andrés Sulbarán (Tebaldo), Jorge Alvarez (Roberto), Lara Fabian (Manfredo) and the Cor de la Generalitat.

In addition to the premiere on Saturday 10 from December, the remaining functions of this opera will take place on 13, 16, 18 Y 21 this month.

Café Kafka

The Palau de les Arts Reina Sofia acoge el domingo 22 de mayo el estreno en España de la ópera “Café Kafka”, from Francisco Coll (Valencia, 1985) at Martín y Soler Theatre. Las representaciones de esta obra, as noted by the Mayor Davide Livermore in his presentation, están dedicadas a la memoria de Inmaculada Tomás, principal impulsora de este proyecto.

“Se trata, Likewise, de una cita señalada en la X Temporada de Les Arts”, ha destacado el Intendente Davide Livermore. “No todos los días un teatro de ópera tiene la oportunidad de estrenar en este país una nueva obra, de un compositor de su ciudad, y además, con una nueva producción de tanta fuerza”.

“Café Kafka”, con música de Francisco Coll y libreto de Meredith Oakes, es una ópera de cámara en un acto, escrita para cinco solistas y diez instrumentistas. La obra nace como encargo de la Royal Opera House Covent Garden de Londres, el Festival de Aldeburgh y la Opera North de Leeds.

El estadounidense afincado en Italia Christopher Franklin asume la dirección musical de esta pieza, que recibió el elogio de la crítica inglesa en su estreno. “Café Kafka” supone también el debut operístico de Franklin en Les Arts, donde anteriormente ha dirigido a la OCV en un concierto del tenor peruano Juan Diego Florez.

Franklin es una de las batutas emergentes en el panorama musical europeo, que ha trabajado en destacados centros líricos italianos, entre los que figuran el Maggio Musicale Fiorentino, Rome Opera, the Teatro Regio in Turin, así como en los festivales de Pésaro o de Jesi.

Rotativos y medios especializados dieron la bienvenida a la obra de Francisco Coll con entusiasmo: “Se puede convertir en un clásico”, subrayó ‘The Independent’, “Coll podría ser el compositor que España ha estado esperando desde hace mucho tiempo”, sentenció la ‘BBC Music Magazine’ o “Café Kafka” quedará para la posteridad”, según ‘The Stage’.

Les Arts presenta “Café Kafka” en una nueva producción, con dirección escénica del británico afincado en Valencia Alexander Herold, que ha sido realizada íntegramente por el Equipo Técnico de teatro. El montaje cuenta con escenografía de Manuel Zuriaga, vestuario de José María Adame, iluminación de Antonio Castro, videocreación de Miguel Bosch, basada en imágenes de Quique Reche, y movimientos escénicos de Ricardo Sile.

According Alexander Herold, “la ópera de Coll es un desafío para cualquier director de escena”. “Esta partitura no es sólo una ópera, es también un ballet, una película, una caleidoscópica investigación sobre el yugo que aflige a nuestra sociedad: la soledad”.

“La música tan densa -en palabras de Herold-, tan llena de vida, humor, bromas, ironías y ritmos de danza, exige un decorado que refleje este mundo disonante y surrealista. La estructura y el color de la música me sugerían los colores puros y separados del mundo de la pintura de Piet Mondrian, artista que divide espacios de color con trazos negros”.

Un reparto de jóvenes cantantes protagoniza “Café Kafka”. El elenco incluye a actuales artistas del Centre de Perfeccionament Plácido Domingo, como Miriam Zubieta, Tatiana Irizarry, Elisa Barbero y Pablo Aranday, además de un antiguo alumno de este proyecto, Pablo García López, y del británico William Purefoy, que participó en el estreno en 2014 of this work.

“Café Kafka”, está basada en textos del autor checo pero es una obra independiente que, toma al escritor nacido en Praga como punto de partida, para llevar al espectador a una realidad social actual. Para Francisco Coll, “Kafka fue un visionario. La ficción que narró, se ha convertido en una realidad en la actualidad. Thus, esta obra se podría entender como un espejo de nuestra sociedad, en el cual nos podemos sentir identificados”.

The composer, que ha recordado la fantástica recepción de la obra en Londres, vaticina que el público valenciano que se acerque a las representaciones “disfrutará de la experiencia”.

Meanwhile, Davide Livermore ha apuntado que el estreno este domingo de “Café Kafka” marca, Likewise, el inicio de la última etapa de la temporada de Les Arts, con otras dos obras también mucho más cercanas a la contemporaneidad que el repertorio habitual: “Juana de Arco en la Hoguera”, Honegger, y “”Sueño de una noche de verano”, Britten.

El Intendente-director artístico ha reconocido que la labor de un teatro público es “acercar la ópera a toda la ciudadanía, pero también nutrir a los espectadores de nuevas sugerencias e ideas con las que abrir la mente y formar una población crítica. ¡Qué mejor reflexión y crítica de nuestra sociedad, sus vicios y miserias, que la que hace el arte de nuestro tiempo!”, ha enfatizado Livermore,

“Café Kafka”, concludes, “es una excelente propuesta para acercarse al repertorio contemporáneo: una ópera con una duración menor a una hora, una puesta en escena viva y colorista, un maestro y unos cantantes jóvenes y llenos de energía, que harán disfrutar a todos los públicos”.

Además del estreno el domingo 22, el Teatre Martín i Soler de Les Arts acogerá más representaciones de “Café Kafka” los días 25 Y 28, con una función didáctica el 31 of May. Las entradas para este espectáculo tienen un precio único de 25 euros.

More information: lesarts


The Palau de les Arts Reina Sofia opens next 21 of April “Idomeneo”, from Mozart, "A man's journey into his soul", as he noted by the Mayor and stage director of this production, Davide Livermore, news conference.

Davide Livermore incardinated this title in the bid to diversify and expand the artistic story of Les Arts, después de la excelente acogida de la ópera de Mozart con títulos como “Don Giovanni”, “Le nozze di Figaro”, “Così fan tutte” o “Die Zauberflöte” (“La flauta mágica”) en sus montajes tanto en la Sala Principal como en el Teatro Martín i Soler desde la primera Temporada del teatro.

La primera nueva producción de Les Arts en 2016 cuenta con escenografía del propio Davide Livermore, wardrobe Mariana Fracasso, lighting Antonio Castro, videocreation D-WOK and choreography Leonardo Santos, que ejecuta el Ballet of the Government.

Livermore se ha inspirado en un conjunto de simbolismos que responden a tres preguntas que plantea la obra: “quién es Dios, dónde está el hombre y quién es el monstruo”.

Según explica el ‘regista’ turinés, “Mozart compone una obra profundamente masónica, en una época en que la masonería aportó conceptos fundamentales en el desarrollo del hombre, como libertad, fraternidad e igualdad”.

“Cuando Mozart da voz a Neptuno –prosigue Livermore- está hablando de un dios arcaico que dice al hombre: Idomeneo, tú te salvarás pero para ello tendrás que sacrificar a tu hijo. Es una lectura iluminista porque el único que puede salvar al hombre es el propio hombre. El hombre puede ser a la vez un dios y un monstruo, somos capaces de acciones crueles y también tenemos la capacidad de cambiar”.

La dirección escénica propone una contextualización contemporánea, con elementos y referencias a joyas cinematográficas como “2001 Una odisea del espacio”, from Stanley Kubrick, u otros largometrajes que desarrollan descubrimientos y acciones ‘on the road’. all, con una importante carga de efectos visuales, como el mar, la lluvia, la tormenta y el huracán… “es una superproducción con supermilagros en el presupuesto, ha señalado Livermore”.

Primera ópera de Fabio Biondi en la Sala Principal

Fabio Biondi debuta en la Sala Principal con su tercer Mozart en Les Arts. El director titular de la OCV dirigió por primera vez a la formación con “Davidde Penitente” en el Auditori, y recientemente, en la misma sala, con su “Sinfonía Júpiter”.

Para Biondi, “Idomeneo” es “la más deslumbrante de las partituras de Mozart a nivel de orquesta” y una “magnífica propuesta para la calidad de la OCV”. El maestro ha apuntado también que la inclusión de los ballets en el montaje, a cargo del Ballet de la Generalitat, permite, además “la confluencia de las fuerzas de Les Arts”.

“Era la primera ópera en su corazón”, ha proseguido Fabio Biondi, que asimismo ha explicado que habrá en el foso “un pianoforte y un clave, dos instrumentos de continuo, que galvanizan la operación en el sentido musicológico”.

Davide Livermore ha recordado que la dirección musical de la representación del 28 de abril recae en José Ramón Martín. Asistente a la dirección musical y clave de “Idomeneo”, el músico valenciano se estrena en el foso de la Sala Principal.

Ha sido maestro repertorista para Lorin Maazel, Zubin Mehta, Nicola Luisotti O Placido Domingo, labor que ha compatibilizado con incursiones en la asistencia a la dirección musical de maestros como Roberto Abbado, Fabio Biondi, Riccardo Chailly, Ottavio Dantone in en el centro de artes valenciano.

El centro de artes reúne a consolidadas estrellas, ascendentes intérpretes y jóvenes cantantes en “un reparto de máximo nivel y equilibrio”, en palabras de Davide Livermore.

Gregory customer protagoniza su segunda ópera en la X Temporada de Les Arts. American tenor, “uno de los pilares del proyecto artístico del teatro”, como ha apuntado el Intendente, encarna el rol de Idomeneo.

Su papel permite al tenor usar la experiencia que ha tenido en esta vida, “pues aborda cuestiones muy frecuentes a alguien de mi edad, la relación con tu dios y tus hijos”.

the mezzosoprano Monica Pods, una de las grandes damas del repertorio mozartiano canta por primera vez en Les Arts. Premio Abbiati de la crítica italiana ha trabajado para los principales teatros italianos e internacionales con un repertorio que comprende desde la ópera barroca, Mozart, hasta la lírica francesa de los siglos XIX y XX.

The role of Idamante, el hijo de Idomeneo, como ha matizado Bacelli, estaba escrito para los ‘castratti’, pero es muy frecuente que hoy en día recaiga en las mezzosopranos. Tras su paso por esta producción, la diva italiana, que ha cantado esta obra en numerosas ocasiones, “dice que ha trabajado en la profundidad del fraseo y de la expresión como nunca”.

Carmen Romeu, Premio Campoamor por su Musetta en “La Bohème” en 2012 in Valencia, regresa como Elettra. Artista con destacada trayectoria en los teatros españoles, es “una de las sopranos valencianas con mayor proyección internacional”, ha subrayado el Intendente de Les Arts.

Preguntada por su personaje, Romeu ha destacado que “en Elettra se pueden ver todas las miserias del ser humano, la música se torna tormentosa cada vez que aparece en escena. Es una mujer que vive en una fantasía, su único vínculo con la historia de “Idomeneo” es querer conseguir el poder a través del amor de Idamante. Is, definitely, la antagonista de la ópera”.

the soprano Lina Mendes encarna a Ilia. Artista de la anterior promoción del Centre Plácido Domingo, la cantante brasileña interpreta su segundo papel en la Sala Principal tras su Musetta en “La Bohème” que inauguró la primera Pretemporada de Les Arts en 2015.

El reparto se completa con los actuales artistas del Centre Plácido Domingo Emmanuel Faraldo (Arbace), Michael Borth (Sumo Sacerdote) and Alejandro López (La voz).

El estreno de “Idomeneo” es el próximo 21 of April. The remaining functions will take place on 24 Y 28 this month, and the 1 Y 4 of May.

Les Arts per a tots, entradas al 50%

Las localidades para “Idomeneo” oscilan entre los 15 and the 135 euros. En este sentido Les Arts recuerda que el próximo día 19 tendrá lugar una jornada de venta especial ‘Les Arts per a tots’, con descuentos del 50% para colectivos beneficiarios del programa ‘Un espacio para todos los públicos’: titulares del carnet Joven, ISIC, jubilados, personas en situación de desempleo, familias numerosas o ciudadanos con un grado de minusvalía superior al 33%.

El centro de artes recuerda también que mantiene el descuento “Last Minute” para este título, con una rebaja del 50% sobre el precio de todas las localidades en compras efectuadas 2 horas antes del inicio de la función el mismo día de representación, Monday to Friday, Y 1 hora antes los sábados, domingos y festivos.

Una mañana con ‘Idomeneo’

On Sunday, 17 of April, to 12.00 h, Les Arts propone su primera actividad orientada al público familiar e intergeneracional: “Una mañana con Idomeneo”, un taller práctico que explica a jóvenes y no tan jóvenes el proceso de construcción de un montaje operístico desde el corazón del teatro, the stage of the Main Hall. La duración prevista es de 1 hour and 45 minutes.

El precio de las entradas es de 15 euros para el público general, 12 para abonados y 7 euros para jóvenes hasta 20 years. Como principal novedad Les Arts introduce la tarifa Mentor (10 euros) para quienes acompañen a un joven de su entorno en esta actividad.

Los asistentes a “Una mañana con Idomeneo” se beneficiarán de un descuento del 50% en la compra de localidades para esta ópera que se estrena el próximo 21 of April.

Además los participantes en esta actividad, si realizan reserva previa, pueden disfrutar de un menú especial en el restaurante “Contrapunto” por 20 euros presentando su localidad de “Una mañana con Idomeneo”.

Sobre “Idomeneo”

Released on 28 of January of 1781 en el Residenztheater de Múnich, dos días después de que Mozart cumpliera 25 years, “Idomeneo” fue un encargo de Carlos Teodoro, duque de Baviera, para el carnaval de la capital bávara.

Giambattista Varesco, sacerdote de la corte de Salzburgo, se responsabilizó de la elaboración del texto –a partir de la tragedia lírica francesa “Idoménée”, Antoine Danchet, con música de André Campra, al que dotó de un final feliz para cumplir con la tradición imperante en aquella época.

La trama narra el retorno de Idomeneo, rey de Creta, de la Guerra de Troya. En la travesía, sus barcos se enfrentan a una terrible tormenta. Idomeneo pide el favor del dios Neptuno para que salve su flota, a cambio sacrificará al primer ser que se encuentre al llegar Creta, what, para su desgracia, será su hijo Idamante.

Palace of Arts

Roberto Abbado Y Fabio Biondi, directores musicales del Palau de les Arts Reina Sofia, They share the podium in concert Abbado-Biondi hosting the Auditori 7 de abril con obras de Mozart, Beethoven Y Vitali.

Según ha explicado el Intendente Davide Livermore news conference, This is an unprecedented proposal for both teachers, además de una muestra del funcionamiento de la doble titularidad de la Orchestra of Valencia que ostentan Roberto Abbado y Fabio Biondi desde su nombramiento en 2015.

“Sé que hubo dudas cuando presenté una dirección musical compartida, pero a falta de dos títulos –Idomeneo, Mozart, en el caso de Fabio Biondi, y A Midsummer Night’s Dream, from Britten, para Roberto Abbado- el éxito de los dos maestros con la formación titular de Les Arts es una realidad innegable”, ha señalado Livermore.

Antes de cederles la palabra, el Intendente les ha agradecido también su compromiso con Les Arts y sus propuestas, cuerpos estables y excelencias: el Cor de la Generalitat Valenciana, la OCV y el Centre Plácido Domingo.

Según ha indicado Roberto Abbado, el concierto se divide en tres partes. Comienza con Fabio Biondi en el podio con la Sinfonía número 41 in C major, ‘Júpiter’ de Mozart. After the break, Roberto Abbado ofrece la Quinta sinfonía de Beethoven. Cierra la velada la Ciaccona para violín, órgano y cuerda de Tomaso Antonio Vitali en la orquestación de Ottorino Respighi con Fabio Biondi como solista y Roberto Abbado como director.

Se trata de dos grandes obras del repertorio sinfónico -como ha recordado Abbado- que tienen como clausura una pieza de gran profundidad y espiritualidad “con sabor a principios del S. XX y la estética decadentista predominante”.

Según ha abundado Fabio Biondi, supone también un punto de encuentro entre los repertorios de ambos maestros, pues “se trata una mirada a cómo se ha desarrollado el interés por el Barroco a finales del S. XIX”.

La Cicaccona, ha apuntado Biondi, es una obra que se conoce en 1860 con la publicación de las sonatas de Vitali y de la que el Respighi violinista se enamora y finalmente orquesta en 1908. El compositor italiano, miembro de la ‘generazione dell’Ottanta’”, fue uno de los motores primarios en la recuperación de la música barroca.

Barber of Seville

This Valencian Barber of Seville, with a very original and modern scenery of Paolo Fantin: and rotating building a popular neighborhood, where the eyes of viewers can scan, as in the case of casting James Stewart (Jeff. B. Jeffries), that was dedicated to look, from Rear Window, the activities and developments of all its neighbors in the great Alfred Hitchcock Read Window.

The overflowing grace of The Barber of Seville, He born of the perfect combination of a magnificent libretto by Cesari Sterbini, basado en la comedia The Barber of Seville, or The useless precaution of Pierre Beaumarchais, and the brilliant musical score Rossini, to be surpassing ingenuity and resourcefulness, with each of your numbers, truly amazing progression. From the "Piano pianissimo"To stretta that ends Act I. Y, from the duo "Peace and Joy I"Until the end sextet dazzling, the whole opera is a real growing wealth of melodic, perfectly adjusted to the action posed lighthearted.
In addition to a series of numbers, indeed "milestones", all the repertoire as "Ecco, laughing in heaven"Or aria-cabaletta"Cease to resist any longer ... Ah, more pleased”, loaded very difficult agility, magnificently resolved, we remember- by tenors as Alfredo Kraus, Cesare Valetti, Nicolaï Gedda, Fritz Wunderlich or Argentine Raul Gimenez (great stylist of the belcantismo); Y, nowadays, by Juan Diego Florez, we remember his magnificent Count Almaviva, at the Teatro Real in Madrid, also released on DVD- O, the "Largo to the factotum" of Figaro, and "Slander" Don Basilio. Not to point out that "A voice just now”, where so many singers have failed, in the attempt to give a truly expressive content to the phrase ma my toccano.
The Barber is another irrefutable proof of the orchestral mastery of Rossini. "The overture" or accompaniment "slander”, can testify.

something also, Highly noteworthy is the portrayal of different characters through music: the full character of great nobility Song Count, the various aspects of the personality of Rosina exposed in their "a voice just now" O, the bad idea of ​​Bartolo in "To a doctor”, and the graceful rococo imitation of the language in its Arietta of Act II, reminiscent of his youth. All these aspects contribute to this Rossini opera has been compared without any resort to Mozart masterpieces as The Abduction from the Seraglio and The Marriage of Figaro. Report finally, Act I that is greater than the second, and this is not a defect, since the sum rapidity of the outcome of this opera, serves as a balance to the prolonged presentation constitutes the entire Act I.
In this Rossini opera, we can find clear reminiscences of the famous trilogy of Mozart-Da Ponte: The Marriage of Figaro, Y Don Giovanni and Così fan tutte.
After this long introduction I am thinking didactics- to put the reader on, back to focus on this Barbero has been seen during last March in Valencia.

This production from the Grand Théâtre de Geneve, , as it has already been pointed out- with excellent and modern scenery, consisting of the faithful reconstruction of a popular multi-storey building, where even, we see parked the Ford 'All right! propaganda of the Valencian factory- of Count Almaviva, madly in love with the pert and graceful Rosina, who lives in this protected building, rather subdued, the dodo and jealous Don Bartolo.
This set can rotate completely, to allow see the internals of the different floors, and that viewers can scan and target different actions sung, simultanean that other merely theatrical; Y, all, complemented by a successful lighting design that marks the temporal transitions of action arises. So, a remarkable, remarkable scenery.

Excellent music created by Gioachino Rossini is outstandingly performed by the orchestra of the Valencia Grand, well directed by its owner Omer Meir Wellber, wearing of excessively on the "overture" (true prodigy of colorful and concise music), and if the provision is important throughout the opera, reaches heights of high in the long -very end to the Mozartian style- of Act I. The Omer own Wellber, deals with the key, accompanied recitatives.
And in the vocal level include the most serious voices: the remarkable Figaro Mario Cassi, who exhibits a broad and emphatic voice, showing that dynamism on stage that requires this role, whose personality shows clearly, in his famous aria "largo al factotum”. Grand Basilio of the young under Bulgarian orlin Anastassov, voice of a great package that looks exceedingly in the famous aria "Slander is a breeze”, and in all other interventions within a great vocal and stage performance.
Orlin Anastassov only sang in the functions of day 12, and the day of my attendance 15 of March. Anyway I know the magnificent performance of the great under Georgian Paata Burchuladze, in other representations. Funny and very theatrical Bartolo of Marco Camastra always following the slipstream of Rosina, and solving its expertly Act I aria "To a doctor of my fate”. Special mention of the Valencian mezzo Berta Marina Rodriguez Cusi, brilliant career in the last twenty years.
Rodriguez-way, It gives a lesson theater, because without singing, acting alone, comes to focus fully, with their stage movements the attention of viewers, and already wearing his vocalism attractive during Act II, in her little duet with Bartolo "Ah, wretched me!"Followed by her aria"The antiquated Coming”.
As for Rosina from Valencia de Sagunto Silvia Vázquez, It is pretty well in theatrical background, and a remarkable vocalism shooting, especially in the resolution of the bel canto agility shining in his famous aria "A voice just now”.
Uruguayan tenor Edgardo Rocha (bright pupil other Almaviva: American tenor Rockwell Blake), It has a good vocal technique, associated with a voice inhomogeneous, total absence of serious, and a central register no light but ultra-light tenor; what, only takes up a width body and to move well in acute. These features will remain lucimiento in their important interventions of both acts. El Figaro de Mario Cassi, tells true brilliance in the duo both in their duet of Act I "The idea of ​​that metal”. The large number of magnificent set that closes Act I, with that excellent Coro de la Generalitat Valenciana. Anyway, a very remarkable Barbero, especially for its theatrical approach and the most serious voices.

The Barber of Seville
Gioachino Rossini
Palau de les Arts in Valencia
D. musical: Omer Meir Wellber
D. scene: Damiano Micheletto
Mario Cassi, Silvia Vázquez,
Edgardo Rocha, Marco Camastra,
Orlin Anastassov, Marina Rodriguez-Cusi,
Oliveri Mattia

I Due Foscari

It has started the year VERDI, at 200 anniversary of his birth, and the Palau de Les Arts celebrates the anniversary with a title young Verdi I due Foscari, along six performances that began -exitosamente- last 24 from January, and will run until 8 February. Y, to be followed by the roles of Otello, one of the peaks of art verdiano- which will take place the next months of May and June, directed by Zubin Mehta, Festival of the Mediterranean.

In the famous film of Luchino Visconti in 1971 Y, as well, the last opera by Benjamin Britten 1973, Death occurred in Venice, of the tormented musician Gustav von Achenbach: -A Francesco Maria Piave from the drama of Lord Byron, The two Foscari- He wrote the libretto of the opera by Verdi composed sixth, the title italianized I due Foscari. En ella se plantea una trama opresiva y de gran dramatismo, que concluye con las muertes, en la Venecia del Quatrocento, del Dux de la Serenísima República, Francesco Foscari y de su hijo Giacopo.
Esta ópera inaugura un período de frenética actividad creadora del compositor de Busseto, quien desde 1844 (año del estreno de I due Foscari) until 1850, compondrá once óperas. A estos intensos siete años se les conoce con el nombre de “años de galera”. Esta denominación está basada en una carta del propio Verdi a su amiga la condesa Maffei, en la que se quejaba del modo
siguiente: “Desde Nabucco puede decirse que no he tenido una sola hora de tranquilidad. ¡Fueron siete años de galera!” Más tarde la expresión alcanzó fortuna, pero aplicándola al período de seis años acotado entre I due Foscari y Stiffelio estrenada en 1850.
Dos pueden ser las razones de este gran esfuerzo creativo: las peticiones de los teatros para representar nuevas óperas y el afianzamiento de la posición económica del compositor, cuyos triunfos en los escenarios le iban proporcionando una saneada situación financiera. Ambas razones son plausibles, aunque suele esgrimirse la primera en detrimento de la segunda, menos romántica. Certainly, por aquel entonces había una verdadera ansia del público por, materialmente, devorar nuevas óperas; esta circunstancia obligaba al compositor a crear sin cesar una ópera tras otra, y viajar continuamente para asistir a estrenos o supervisar ensayos y reposiciones. Pero no es menos cierto, que por sus orígenes humildes, Verdi sentía una gran atracción por el dinero.
So, ese frenético trabajo de “los años de galera”, al que puede añadirse el período entre 1851 Y 1853 donde compuso su trilogía popular, que forman Rigoletto, Il Trovatore y La Traviata, le convierten en un compositor millonario que, a partir de entonces, va paulatinamente ralentizando su producción, as, en los siguientes cuarenta años, y hasta sus postreros Otello estrenada en 1887, y Falstaff de 1893, solo compondrá ocho óperas.

But, volvamos a este valenciano y muy notable I due Foscari: where, again, como en los anteriores casos de Rigoletto y La Bohème, durante la presente temporada, se nos muestra una original escenografía. Ya, en el mismo arranque de la representación, podemos ver un mar dinámico proyectado sobre un transparente telón, que simboliza ese bello horizonte azul veneciano, a través del cual puede entreverse el universo feo y siniestro carcelario que, una vez izado ese telón marítimo, puede contemplarse con toda su sórdida nitidez, y donde en una jaula está preso Jacopo Foscari,a el hijo del Dux Francesco Foscari, rodeado de torturadores, y algún clérigo inquisidor que bendice los castigos a los cautivos. Again, in Act III, ese opresivo universo subterráneo interacciona con un colorista jolgorio, donde los personajes cantan y bailan en la celebración de ese histórico evento festivo denominado “Regata veneciana”. Muy conseguido el diseño de vestuario realizado por Mattie Ullrich, con proliferación de los colores rojo y blanco, junto con los bonitos atuendos que exhibe la soprano china Guanqun Yu, en el rol de Lucrecia Contarini. Excelente dirección escénica de Thaddeus Strassberger, consiguiendo que los personajes muestren la tensión y dramatismo que les aflige.

musically, en esta ópera pueden comprobarse los avances en materia de orquestación conseguidos por Verdi en relación a sus anteriores trabajos. Aquí el compositor experimentó por primera vez con los llamados “temas recurrentes” o “leit motiv”, que anuncian la presencia escénica de los diferentes personajes, e incluso del coro. So, el maestro de Busseto muestra en I due Foscari, nuevas formas de expresión musical, principalmente con esos temas recurrentes, mediante los cuales cada personaje queda definido por un motivo musical que lo identifica en escena. Para el octogenario Francesco Foscari, son las cuerdas graves: violonchelos y contrabajos, que desarrollan una bella figura melódica descendente, que refleja fragilidad y vejez. La aparición en escena de Lucrecia Contarini está marcada por un “allegro agitato” interpretado por la cuerda, con una inquieta y enardecida melodía que muestra el alto grado de constante agitación del personaje. Hasta el coro, en las intervenciones del “Consejo de los Diez”, tiene su motivo musical: un “andante con moto”, que refleja, somehow, crueldad e intransigencia.

Omer Wellber dirigió con buen pulso a la Orquesta de la Comunidad Valenciana, ya desde el mismo arranque de la ópera, con esos fuertes y vigorosos acordes que inician la obertura, y la ejecución de ese fúnebre y melancólico tema en modo menor, ejecutado en primer lugar por el clarinete y posteriormente por la flauta, con evidente lucimiento de ambos instrumentos, y que va a marcar musicalmente la presencia de Jacopo Foscari.

La orquesta luce sus bondades en el arranque del Acto II, con esa música bellísima de corte camerístico, con lucimiento de violín y violonchelo alternándose y dialogando, a los que se une la voz de Jacopo Foscari, bien interpretado por el tenor Ivan Magri –cubriendo el pasaje, verdiano good style of singing- en el inicio de su gran escena “Notte! Perpetua notte che qui regni…”. También el tenor afronta lucidamente su intervención en el Acto III, “L’inesorabil suo core di scoglio”. Aunque Ivan Magri queda lejos de las extraordinarias interpretaciones del joven Carlo Bergonzi, en la toma en directo de esta ópera realizada en 1951, con dirección musical de Carlo María Giulini o del joven Josep Carreras, en la magnífica grabación Philips de 1976, dirigida por Lamberto Gardelli, y donde el tenor catalán nos ofrece su bellísimo timbre de entonces, junto a un temperamento verdiano –sobre todo en las cabalettas- de primera magnitud.

Last season, Plácido Domingo afrontó un rol de barítono lírico, como el Athanael de Thais de Jules Massenet. De nuevo le escuchamos en esta tesitura, encarnando al viejo Francesco Foscari que, actually, requiere de un barítono más dramático como en los casos de Renato Bruson y Leo Nucci, quienes han interpretado este rol reiteradamente en teatro, y nos han legado grabaciones en DVD de indudable calidad. Anyway, Domingo sale airoso de la prueba, mostrándonos aún ese juvenil y bonito timbre, increíble en un cantante que ya ha cumplido setenta y dos años.
Y, se muestra notable en su primera aparición escénica “Eccomi solo alfine…”, que nos presenta al gobernante en la soledad del poder. As well, en sus intervenciones solistas del Acto III “Egli ora parte!… Ed inocente parte!”, para terminar su importante actuación en todo el final de la ópera “Questa dunque è l’iniqua mercede… Principe”, where, a continuación muere ante tanto infortunio. But, maybe, donde Domingo brilla con más fuerza en los dúos con su nuera Lucrecia Contarini, magníficamente interpretada por la joven Guanqun Yu, -gran triunfadora de la noche- ganadora de la edición 2012, del concurso Operalia-Plácido Domingo, y discípula de Carlo Bergonzi, Reneé Fleming y Eva Marton. La soprano china cuenta con un bonito timbre, y una voz muy bien proyectada, con agudos y sobreagudos redondos y squillantes. But nevertheless, su gama de graves, resulta limitada. Su actuación resultó muy lucida, desde que aparece por primera vez en escena, durante el Acto I, con el recitativo-aria-cabaletta “No mi lasciate….tu al mi sguardi omnipossente…O patrici tremate…l’eterno”, de corte belcantista donizettiano y gran dificultad. Likewise, También tuvo una brillante intervención en la cabaletta del Acto III “Piu non vive! L’innocente..”. Mención especial merece la interpretación del vibrante cuarteto del Acto II, con Lucrecia, Francesco, Giacopo y el malvado Loredano, muy bien interpretado por ese bajo de grandes medios vocales que es Gianluca Buratto. As usual, magnífica actuación del Coro de la Generalitat Valenciana, directed by Francesc Perales. Anyway, una ópera del joven Verdi bien resuelta vocal y escénicamente.


Last Saturday 10 October season opened 2012-2013, Valencian Palau de Les Arts, with a remarkable representation of the verdiano Rigoletto. Upon arrival the directorial podium, Omer Meir Wellber carefully read the document vindictive workers in the Palau de Les Arts, distributed to attendees at the entrance of the enclosure. Israeli director for this gesture received a strong applause from the audience.

Last Saturday 10 October season opened 2012-2013, Valencian Palau de Les Arts, with a remarkable representation of Verdi Rigoletto. Upon arrival the directorial podium, Omer Meir Wellber perused the document vindictive workers Palau de Les Arts, distributed to attendees at the entrance of the enclosure. Israeli director for this gesture received a strong applause from the audience.
After first dark chords, advancing the tragedy raised in this popular score, The curtain rose to show us the splendid scenery of the Ducal Palace in Mantua, performed by Ezio Frigerio, in the mid-eighties of the last century, and it was used in very bright scalígeras representations, since Riccardo Muti, in 1987, take charge of the artistic and musical director of the Teatro Milanés.
Functions with great players like Renato Bruson, Leo Nucci, Andrea Rost Ramon Vargas, who participated in this production by Frigerio, with costumes designed by his wife, Oscar winner Franca Squarciapino. Y, with bright musical direction, in the purest style verdiano, of the great Neapolitan director. This production was taken over by the Wilelki Theater (Polish National Opera).

Returning to this Valencian function: after a mere twenty minutes from representation, and at the end of the first frame of Act I, There was a long break, to show for the rest of that act decorated a dark and gloomy, in contrast to the initial, very much in line with the meeting between Rigoletto and Sparafucile sinister hitman, in the vicinity of the house where the jester, jealous and very secretly keeps his beloved daughter Gilda.
Ya, in Act II, again appear bright decorated Classic-cut as it should be- which reproduces a stay of the Ducal Palace, with large windows to the bottom, that give even greater splendor.
In Act III, we are resubmitted a gloomy and sinister decorated, representing the house of Sparafucile, where it is consumed tragedy, built by Verdi and his librettist own usual in those years Francesco Maria Piave, based on the romantic melodrama Le roi s'amuse Victor Hugo.
Initially, when this production was circulated, stage direction was carried out by the prestigious Gilbert Defló. In this Valencian representation, The director was Beata Redo-Dobber, who gets a good theatrical performance of interpreters, and for his stage work, It was rewarded with applause from the audience, when he appeared to greet the end of the performance.
Tell, at this stage, the Orquesta de Valencia, It is one of the best trench across Europe, It is nothing new. Here, well directed by Omer Wellber, heavily involved in the score, supported by visible movements and gestures; Y, extracting the maximum orchestral performance. The different sections show a balance nuanced sound, to capture the cheerful and humorous moments, as opposed to the much more somber, dramatic and even gloomy, of this score Verde, where the great master of Busetto, try again, and his Macbeth, an interaction between music and dramatic development.
Within an outstanding performance of the orchestra throughout the development of the work, it is worth noting his performance during the first meeting between Rigoletto and Sparafucile; Y, especially, during the entire Act III.
Highlight, como Rigoletto ,the great vocal and stage work of the baritone onubense, Juan Jesus Rodriguez, who spends a frivolous and biting action at the beginning of the opera, a bleak initial encounter with Sparafucile.
Also, in his emotional duets with Gilda or that awesome "vendetta", where he sings with authentic Verdian style, exhibiting
magnificent high register. Outstanding, his performance throughout the Act III, full of drama and good vocalism. Definitely, Juan Jesus Rodriguez was the big winner of the night, It is compensated for and the end of the performance, with great applause.
Italian tenor Ivan Magri, as Duke of Mantua, He had, together a remarkable performance. It was good in the duet with Gilda that closes Act I, where in the "hold"Which tops the duo, He raised his voice to a C4.

One of the key moments for the tenor, in this opera, It is the start of Act II, with recitative-aria "She was kidnapped me ...... I seem to see the tears ...”, They are requiring great vocal technique and singing stylish, to link long sentences and regulate sound: Suffice it to recall the magisterial lessons to this page, Alfredo Kraus made a Carlo Bergonzi and the, even singers like Pavarotti, Jussi Bjorling, Josep Carreras and Richard Tucker. This function Valencia, ese recitativo-air, He choked Ivan Magri, llegándosele, at times, a jarring voice.
In compensation, If he sang quite well the subsequent cabaletta "Mighty love calls me.."rematándola, bravely, with the relevant re bemol, tenors few have dared to give, since the cabaletta -usually omitted- It was put back into circulation in the early fifties of the last century, and that can be seen in a recording of the Metropolitan neoyorkino, from 1951, recently released by the label MYTO, con Leonard Warren, Hilde Gueden y Richard Tucker, who, as in the case of other singers omit the re bemol, y en un salto de octava baja la nota al grave.

Después de este apunte, y volviendo a la prestación vocal Ivan Magri, señalar que su actuación fue bastante buena en el Acto III, con una “Donna e movile..” junto al cuarteto “Bella figlia de l’amore..”, well sung.
La soprano norteamericana Erin Morley como Gilda, Went from less to more, discreta en los dúos con Rigoletto y El Duque en el Acto I, cantó con buena coloratura la pirotécnica aria “Caro nome..”, aunque omitiendo el mi sobreagudo final.
Ya en el transcurso del Acto II, la voz resultó más ancha y contundente en sus dúos con Rigoletto. Y, in Act III, sobre todo en el cuarteto, su actuación fue bastante buena, tanto en el plano vocal como dramático.

El gran bajo georgiano Paata Burchuladze realiza un sobresaliente trabajo como Sparafucile. Bien la Maddalena de Adriana de Paola, así como del Monterone de Amartuvshin Enkhbat, y el resto de comprimarios.
Muy buena la prestación del Coro de la Generalitat valenciana dirigido por Francesc Perales. También resaltar la actuación del Ballet de Generalitat, ejecutando la coreografía de Zofia Rudnicka. Anyway, un Rigoletto de bastantes quilates.

Giuseppe Verdi
Opera in three acts
Libreto de Francesco Maria Piave, Le roi s'amuse based on Victor Hugo
10 November, Palau de les Arts
D. musical: Omer Meir Wellber
D. scene: Gilbert Deflo
Scenography: Ezio Frigerio
Locker room: Franca Squarciapino
D. choir: Francesc Perales
Distribution: Rodríguez, Morley, Magrí,
Burchuladze, Di Paola, Enkhbat, Pinchuk