Piotr Beczala

He Teatro Real will close its cycle of Las Voces del Real with the concert starring the tenor Piotr Beczala, undoubtedly one of the great stars of the world of current lyric, which will take place next Saturday, 1 of May, to 19.30 hours, and in which it will be accompanied by the Head of the Royal Theatre Orchestra under the direction of Łucasz Borowicz.

His care in choosing the repertoire, his vocal flexibility, his mastery of the technique and the color of his voice have made him the great desired by the most important theaters in the world, through which he passes with unusual simplicity and warm treatment.

For your appointment at Madrid, Beczala has had a significant presence of composers from Poland in the program, your country of origin. Authors less known to the general public such as Stanislaw Moniuszko, father of polish opera; Władysław Żeleński, the great representative of neo-romanticism in his country, or the laureate Feliks Nowowiejski, to name a few.

Will not be missing, but nevertheless, arias from operas like Turandot, from Puccini, O Cavalleria rusticana, from Pietro Mascagni, Y Andrea Chenier, from Umberto Giordano, authors with whom the tenor enters the verista territory on the path of natural evolution of his voice, without losing the domain and brilliance of its extensive registry, but now giving it more dramatic expressiveness, as shown in the album recorded last year in which he already makes the roles that are to come his own..

Born in Warsaw, Łucasz Borowicz He has been principal conductor of the Polish Radio Symphony Orchestra between 2007 Y 2015, ensemble with which he made his debut as an opera director with Don Giovanni and has been principal guest conductor of the Poznań Philharmonic 2006.

Pictures of © Javier del Real / Teatro Real

the tenor Piotr Beczała opens this Sunday 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

Faust

The Royal Theater opens its 22nd season next 19 September with Faust, from Charles Gounod (1818-1893), in a co-production with Teatro Real national Opera & Ballet Amsterdam, which premiered production, with an enthusiastic reception, in May 2014.

Estrenada en el Teatro Lirico de París, he 19 March 1859, with an icy response from the French public, Faust It has been imposed gradually in the operatic repertoire, despite the reluctance of critics, who have fallen into the trap of evaluating the score based on the immeasurable greatness of the work of Johann Wolfgang von Goethe (1749-1832).

While it is true that the librettists Jules Barbier Y Michel Carré They reduced the plot of the opera diabolical pact and the love affair between Faust and Marguerite away from the philosophical complexity of the text of Goethe, perhaps it is precisely the simplicity and spontaneity of the score the secret of his success.

The play, which departs from the grandiloquence of the grand opera French, He has seduced the public, who revels in the beauty of the melodies, refined orchestration, choral parts formidable, the contrast between the numbers, the sarcasm of some dialogues and delicacy of the most intimate nature scenes.

Alex Olle, for the fourth time addressing the myth of Faust throughout his career La Fura dels Baus --after F @ ust 3.0 (1997), The Damnation of Faust, Hector Berlioz (1999) and the movie Splendor 5.0 (2001)─ it moves away from the shallowest reading score, delving into the issue that crosses all the work of Goethe: the pursuit of unlived life. Instigates Mephistopheles Faust to satisfy the desires that has hidden, He has sublimated drives and perversions that has camouflaged. Mephistopheles and Faust alter ego: the devil wears hidden.

In the purest style 'I Fura', Alex Olle and the scenography Alfons Flores dramaturgical resort to artifices of great theatrical effectiveness, Fausto placing in a laboratory, where he works on a huge computer that simulates the human brain, with their traps and fantasies, which are emerging archetypes of modern society, very recognizable by the public.

Next to Valentina Carrasco (collaborator in stage direction), Luke Castles (costume designer) Y Urs Shönebaum (illuminator), They have created an inventive production, Sarcastic and spectacular, which it has the complicity of a double cast headed by tenors Piotr Beczala e Ismael Jordi, in the title role; las sopranos Marina Rebeka Y Irina Lungu in the role of Marguerite; baritones Luca Pisaroni, Erwin Schrott Y Adam Finger as Mephistopheles, Stéphane Diverting Y John Chest, as Valentin; y las sopranos Serena Malfi Y Annalisa Stroppa transvestite role in Siébel.

The musical direction will be Israeli master Dan Ettinger, debuting in Madrid in front of Headlines Choir and Orchestra of the Teatro Real and preparing the chorus, with great prominence in the score of Gounod, is in charge, as usual, its director Andrés Máspero.

Premiered at the Royal Theater 1865, six years after his cold first in Paris, Faust He seduced since the public of Madrid, It is one of the most represented operas until closing theater 1925. Since its reopening have been offered 10 functions, on February 2003, with a production of Gotz Friedrich tribute to. Faust returns to the Royal Theatre 15 years later, a drama that will bring a new reading of the inexhaustible richness of this universal myth.

AGENDA | PARALLEL ACTIVITIES

13 September at 20.15 hours | Teatro Real, Sala Gayarre

approaches: meeting with artists participating in Faust and Joan Matabosch, artistic director of the Teatro Real

19 September to 7 October| National Museum of Romanticism

a work, an opera: Mephistopheles, Joaquin Espalter (1872), box representing Goethe's Faust at the time kidnaps Marguerite

30 of September, to 11.00 hours | Teatro Real, Great room

Opera theater

projecting The Tales of Hoffmann, Jacques Offenbach, with musical direction by Sylvain Cambreling and stage director Christoph Marthaler.

2 October to 22 February | Complutense Institute of Musical Sciences

The excitement of opera (exposition): a tour of the nineteenth century opera through scores, images and unpublished documents. Tailoring includes pieces and props Royal Theater.

Historical Library Marqués de Valdecilla

4 October at 20.00 hours | TV Half | Classical Radio and EBU European Broadcasting Union

Streaming and Faust in the television MEZZO, in Classical Radio, the RNE, and stations that make up the EBU, European Broadcasting Union.

7 October, to 12.00 hours | Teatro Real, Great room

Chamber Sundays

Soloists of the Titular Orchestra of the Teatro Real

7 October at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre!: music workshops for the whole family, direction and presentation of Fernando Palacios.

First session of the season: The devil lurks

ballerinas: Aurora Constanza, Elena Di Mare Ruiz and Inés Calderón.

Piotr Beczala

It was the first time that the Polish tenor Piotr Beczala He participated in the Cycle Lied the Teatro de la Zarzuela, in collaboration with the National Center for Dissemination of Music and Polish Institute of Culture. Definitely, the participation of one of the most popular tenors of the moment raises the already high level of this cycle Lied.

Beczala is an unusual tenor. His vocation for music was late, He came while studying engineering and sang in a choir to rest books. To the 19 years and unhurried, He opted for a musical career that is providing great moments.

The repertoire selected for Zarzuela Theater can be divided into two distinct parts, three, if you count tips. The first part began with three works, Large melodic vocation, from Stefano Donaudy. From Ermanno Wolf-Ferrari He performed four respects, belonging to popular anonymous poem in Tuscan language Respect. From Anttonino Respighi He offered three short pieces that must be highlighted the overwhelming interpretation of Mists. To conclude this first part, three works of Francesco Paolo Tosti and thereby put the romantic accent to this exhibition of Italian popular song.

The second part consisted of works by Polish composers. A new feature also is an enrichment for some recitals lied which they tend to uniformity programmatic. Six Songs from Karol Szymanowski, whose compositions are inspired by the Central European tradition. Songs Mieczyslaw Karlowicz, We approached a composer who cut short his brilliant career because of his sudden death. To end, four Songs from Stanislaw Moniuszko. A compendium of beautiful, simple melodies that show the traditions and customs of Polish society of the nineteenth century.

Piotr Beczała interpretation is of extraordinary neatness. Elegant singing line and a registry change that seemed easy. gloss loss was noted in pianos, Those who lacked the tension that holds. But they are indisputable her beautiful timbre, perfect pitch and impeccable diction.

The best features of voice Beczcala were multiplied when it passed the lied opera in three arias which offered a tip. The first, the Morning, from Leoncavallo. He followed with an emotional Why wake me? of the Werther from Massenet. A role that is providing many successes and an aria that the public moved to other moments lived in this Theater. He finished with Tosca, Puccini and And the stars were shining that put the audience on its feet.

It was well accompanied on the piano by Helmut German who, despite some small oversight, makes a perfect reading of the score and singer.

Piotr Beczala

Next Monday 8 from January, he Teatro de la Zarzuela in co-production with National Dissemination Center Musical (CNDM) y la colaboración del Polish Institute of Culture, presenta al tenor Piotr Beczala en lo que será su primera visita al Ciclo de Lied. Beczala llega acompañado por Helmut Deusch al piano para ofrecer un programa compuesto por obras de autores italianos (Donaudy, Wolf-Ferrari, Respighi y Tosti) and Polish (Szymanowski, Karlowicz s Moniuszko). tickets, with a general price 8 a 35 euros, ya están a la venta en las taquillas del Teatro, INAEM theaters, www.entradasinaem.es Y 902 22 49 49.

Con una bien estudiada combinación de canciones italianas y polacas de amplio abanico temporal, que contiene páginas que van del romanticismo más lírico al postimpresionismo, and with the poderosa novedad de Karlowicz, profundamente influido por la música germana, hace su aparición en estos ciclos este tenor, mozartiano de pro en sus comienzos, what ha crecido en técnica, volumen y densidad vocal hasta llegar a la cima de sus medios, que son hoy los de un lírico en plenitud. Likewise, s una garantía que figure junto a él Helmut Deutsch, pianista sobrio, seguro y musical.

Un tenor en la cima de sus medios

Piotr Beczala (Czechowice-Dziedzice, Poland, 1966) es uno de los tenores líricos más solicitados de nuestro tiempo y un invitado asiduo de las salas de ópera más importantes del mundo. The artist, mozartiano de pro en sus comienzos, que ha crecido en técnica, volumen y densidad vocal y que ha llegado a la cima de sus medios, que son hoy los de un lírico de rara plenitud con soltura, estilo y línea, es aclamado no solo por la belleza de su voz, sino también por una ardiente vehemencia que manifiesta en cada uno de los personajes que representa. Además de su trabajo operístico, ha cantado en muchas obras corales con las más distinguidas orquestas y maestros. During the season 2016-2017 ha actuado de nuevo en Chicago, NY, Berlin, Barcelona, Viena y Zúrich entre otras muchas ciudades. Después de un recital con la Ópera de San Diego, Piotr representó el papel de Edgardo en una nueva producción de Lucia of Lammermoor en la Lyric Opera de Chicago. En Nueva York cantó el papel de Rodolfo en Bohemian en la Metropolitan Opera, donde celebró el 50º Aniversario del MET, interpretación que lo catapultó para su vuelta a la Deutsche Oper Berlin. Su brillante pasada temporada continuó con el Werther de Massenet en el Gran Teatro del Liceo y con un recital en el Palau de la Música, ambos en Barcelona; Frankfurt, Graz, Berlín y Hamburgo acogerán nuevos recitales para volver a la Wiener Staatsoper, donde Beczala encabeza una reposición de A masked ball antes de participar en una nueva producción de Das Land des Lächelns de Léhar en la Opernhaus Zúrich en el papel del Prince Soy Chong. Beczala ha grabado numerosos discos y, since 2012, trabaja en exclusiva con Deutsche Grammophon: su primer álbum My Heart’s Delight salió al mercado en la primavera de 2013. In 2012 cantó por segundo año consecutivo en el Concierto de Fin de Año en la Semperoper de Dresde. The concerts, dirigidos por Christian Thielemann, fueron emitidos por televisión y grabados en discos y dvds por Deutsche Grammophon. Su última grabación para este sello The French Collection, se publicó en 2015. Este año ha lanzado un dvd de su presentación en el papel de Lohengrin junto a Anna Netrebko como Elsa. In 2014 fue elegido por la ECHO Klassik Award como “Cantante del Año”.