Madama Butterfly

He Teatro Real It joins the celebration of the European Days of Opera, They are taking place across the continent between 4 and the 13 May and with whom you want to share the heritage and cultural richness of the opera, two audiovisual activities aimed at all audiences, and for Spain, which will take place tomorrow, Thursday 10 of May.

On the one hand, it will be issued, through technology stage Digital to schools, the production of Dido and Aeneas, Purcell, in the version directed by Rafael R. Villalobos and designed specifically for young, in coordination with the Ministries of Education of the autonomous communities with which the Teatro Real has signed cooperation agreement: Andalusia, Aragon, Cantabria, Castilla y León, Castilla la Mancha, Madrid and Murcia.

For another, cinemas across Spain Screened in their rooms acclaimed and beloved version Madama Butterfly, Giacomo Puccini, directed by Mario Gas and starring soprano Ermonela Jaho, who has managed to move thousands of spectators worldwide.

Both initiatives are carried out through the Teatro Real audiovisual program, linking new technologies with projects of national and international collaboration, to make their performances leave the Madrid stage and reach a public increasingly broad and diverse.

Dido and Aeneas

The proposal Rafael R. Villalobos, responsible for the dramaturgy and staging, moves the action of this beautiful opera Purcell (1659-1695) to today, XXI century, to analyze the difficult period of adolescence and seek answers to the problems and experiences that young people today: The development of personality, friendship, love, jealousy, bullying ... with dialogue and youthful vocabulary close to the public for which it is designed.

The action takes place during the birthday party Dido, It celebrated in a colorful and cozy garden. Maite designs Agorreta, also responsible for figurines, lighting and Miguel Ruz, playful and cheerful form a framework in which crop up insecurities and jealousies group, whose intrigues weave a painful situation in which all border on the edge of "bad" and "good" and help us reflect on the search for balance.

Madama Butterfly

List of cinemas

this opera, one of the most demanded by the public, recovers the original staging of Mario Gas, so praised by critics, whose action is set in a movie set in Hollywood in the forties and the public attending the dual effect of the action, the history of the characters and the film. The representation is led by the soprano Ermonela Jaho and the Spanish tenor Jorge de León. With an extraordinary cast and the Choir and Orchestra of the Teatro Real Headlines, The musical direction is by Marco Armiliato.

The story of Cio-Cio San, young teen geisha who faces his family and his love culture official B. F. Pinkerton, US Navy, who understands the relationship as mere entertainment during their stay in Japan, He has touched generations of fans and had a prominent place in the life of Puccini until the last of his days.

Joyce DiDonato

one patient Joyce DiDonato notes, sitting from the back of the stage, as the audience enters the room and takes a seat. It is becoming fashionable this entry brings gayola, it requires some courage to tear sing if you previously have warmed.

American mezzo presented in the Teatro Real Madrid his new show (and disco) "In war and peace: harmony through music ". A project full of good intentions in which DiDonato has put all his energies. Seek peace and harmony through music and make it a humanitarian project. This is the great challenge of his new show DiDonato.

The program is divided into two distinct parts, the first dedicated to war, in which works are interpreted G. F. Händel (1685-1759), Leonardo Leo (1694-1744), Emilio de Cavalieri (1550-1602), Henry Purcell (1659-1695) Y Carlo Gesualdo (1566-1631). The second part, more coherent, He was dedicated to peace, with works by Purcell, Handel y Arvo Pärt (1935), the shattering of work performed Da pacem, Dominated. Composition was commissioned by Jordi Savall in memory of the victims of the Madrid bombings 2004.

 

 

The performance of Il Pomo d'Oro was, simply, masterly. It is definitely one of the best formations that can be heard today. The great address Maxim Emelyanichev, also the key, They filled with energy and musicality a recital in which the musical accompaniment was above the interpretation of a DiDonato that has great magnetism on stage, but yesterday managed to convey not so dramatic charge. Perhaps the excessive visual elements prevented the gathering requiring works.

This is a visual spectacle, with light effects and video projections and choreography performed by dancer Manuel Palace, accompanying the interpretation of DiDonato. When the elements that accompany this kind of shows do nothing at the same, simply, They are unnecessary. That's what happened last night in this war and peace. the simple, yet elegant, choreography Palazzo, He added nothing to the show. Nor video projections Alexander Yousef, although they not therefore ceased to be beautiful. Baroque music needs no adornment or additives beyond their own interpretation. And if this, Besides, is done by Tomato, nothing can take missing.

The concert ended with a grateful speech Joyce DiDonato and two excellent tips, the aria It seems that the guibilo, from Regulus, from Jommelli (1714-1774) and intimate morning!, from Richard Strauss (1864-1949), to end a night in which he received the warmth of the audience of Madrid.

Joyce DiDonato

The next 2 of June, Friday, to 20.00 hours, Joyce DiDonato will return to the Teatro Real with a concert integrated into the cycle Voces del Real, in which he will present his new artistic project entitled In war and peace, harmony through music, whose idea arose after the attacks in Paris in November 2015 and which, through Baroque music, reflects on despair and hope.

Conceived as an artistic proposal that transcends the conventional classical concert, DiDonato has surrounded himself with a group of artists of great prestige and intellectual concerns who have collaborated in the design of the show. The instrumental part will be interpreted by the baroque group Tomato, with musical direction Maxim Emelyanichev. On the scene the projections of the visual artist Alexander Yousef and choreography Manuel Palace develop the narrative discourse articulated by a selection of arias by Händel and Purcell, among others.

The program is structured by two antagonistic concepts: the war and the peace. The first part, focused entirely on war, will open with the aria Scenes of Horror, Scenes of Woe, of the oratory Jeptha, from Händel. From that moment, Joyce's expressive and ductile voice will immerse the viewer in feelings of rage, fear, pain and revenge arising from human conflicts. The German composer will also hear arias from Rinaldo Y Agripina, along with others of Andromaca, by Leonardo Leo and Dido and Aeneas, Henry Purcell.

This part will be completed by baroque instrumental pieces from Emilio de 'Cavalieri (the Symphony from Representation of soul and body), Henry Purcell (Chaconne in G minor for three violins and continuous) Y Carlo Gesualdo (my mind is sad. No darkness Responds. 2).

After the rest will come the moment of peace, the song to life, love and hope. From chaos and darkness, of the devastating spirit, decidedly optimistic attitude and word will emerge. The Indian Queen, from Purcell, Y Susanna Y Rinaldo from Händel will demand of the American singer her maximum virtuosity. The instrumental work Da pacem, Dominated of the Estonian composer Arvo Pärt will prepare the spirit for the words of Cleopatra: “… so my heart, after sorrows and tears, now that he finds his consolation, is filled with happiness ... " (Julius Caesar, Händel).

Joyce DiDonato maintains a close relationship with the Teatro Real, on whose stage he took the first steps of his career in Europe, playing Angelina in Cinderella (2001). Since then he has starred in three operas ─Ariadne auf Naxos (2006), Idomeneo king of Crete (2008) Y Der Rosenkavalier (2010)─ and two concerts ─one with Lyrical talents (2008) and another with The complex Baroque (2013)─, always with an enthusiastic reception from the public.

Joyce DiDonato's concert at the Teatro Real will be the first of her tour of Spain, which includes performances in Barcelona and Oviedo together with Tomato.

RECORD COMPANY

At the end of the concert Joyce DiDonato will be available to the public for the signing of her latest album, In War & Peace.

Les Talens Lyriques

As part of the commemorations of the fourth centenary of the death of William Shakespeare (1564-1616), he Teatro Real will offer a concert with soprano Maria Grazia Schiavo and the prestigious orchestra Les Talens Lyriques, under the direction of French director and harpsichordist Christophe Rousset.

For this musical tribute they have chosen works inspired by comedies and dramas of the great English writer throughout the centuries XVII and XVIII, sieved and recreated by the librettists of each period, and within the musical and aesthetic opinions of different eras.

A) Yes, along this attractive concert entitled Music for a While – A Tribute to Shakespeare, you can enjoy the evolution of European musical taste from the English Baroque singular Henry Purcell (1659-1695) to the dawn of the German Classicism Carl Heinrich Graun (1704-1759) With the growing influence of Italian opera, who seduced audiences across Europe.

Opens the music program Purcell: three pieces of semiopera fab The Fairy Queen (The Fairy-Queen), based on an adaptation of the comedy The dream of a summer night, and recitative and aria The Tempest (The Tempest), in which the composer gives voice to the inhabitants of the island Prospero's enchanted, "Full of rumors, sounds and melodies that delight and hurt not ", as Shakespeare wrote.

Without leaving England, but already with the breath of Italian opera, They follow the overture and two arias Giulio Cesare in Egitto (Julius Caesar in Egypt), the most famous heroic opera georg Friedrich Handel (1685-1759), moving away from historical tragedies of Shakespeare Julius Caesar and Antony and Cleopatra to focus on the relationship of love and lust between the Roman dictator and Cleopatra.

Concludes the first part between England and Italy, with Italian violinist and composer Mary Lou (1690-1768), whose career no deviation in the two countries. With his latest melodrama, Beautiful rose, He bids farewell to the English capital, rescuing wild and spunky heroine Shakespearean comedy As You Like It.

Con Carl Heinrich Graun (1704-1759) We crossed the North Sea and forward in time, but follows the growing influence of Italian music. This prolific composer famous tenor and was one of the most important figures in the transition between Baroque and Classicism as denoted opera Coriolanus, from which the overture and recitative and aria be construed.

The evening will conclude with excerpts from Romeo und Julie, of the Czech composer Georg Anton Benda (1722-1795) mixing the precepts of the Italian melodrama with the most dramatic and dark part of the Shakespeare play, a curious flourish Singspiel, devoid of all humor of the original work.

BIOGRAPHIES

Maria Grazia Schiavo | SOPRANO

He studied with Raffaele Passaro at the Conservatory of Naples, your natal city, where he graduated with honors. After winning several international competitions, scenically he debuts with the title role of The cat Cinderella, and he specialized in Baroque repertoire and chamber music. His recent performances Rinaldo (Champs-Elysées Theater), The abduction from the Seraglio (Roma) Y Demofoonte de Jommelli (Salzburg, Paris) Riccardo Muti with the have reaffirmed as one of the most important sopranos of her generation. his repertoire, which highlights works of the eighteenth century Neapolitan as The Pulcinella avenged, Motezuma and Partenope, also it includes L'Orfeo, La Didone, statira, Lucia of Lammermoor, The Magic Flute, Don Giovanni, La traviata and numerous vocal works by Wolfgang Amadeus Mozart, Giovanni Battista Pergolesi y Georg Friedrich Händel. He has performed at theaters like the Comunale of Bologna, Regio Torino, La Fenice in Venice, the San Carlo in Naples, Rome Opera, the Royal Opera Liege, el Theater an der Wien y el Mozarteum de Salzburgo.

 

CHRISTOPHE ROUSSET | MUSICAL DIRECTOR

Internationally renowned harpsichordist, musician and bandleader inspired by the passion for opera and European musical heritage. He studied at the Schola Cantorum de Paris and the Royal Conservatoire in The Hague, and in 1991 Fundo Les Talens Lyriques. He is an accomplished performer of the keyboard works of François Couperin, Jean-Philippe Rameau, Jean-Henri D’Anglebert, Antoine Fourqueray y Johann Sebastian Bach, and his recordings have received numerous international awards. Como director de Les Talens Lyriques, He has performed in the most prestigious concert halls, como el Theater des Champs-Elysees, the Salle Pleyel, the Lausanne Opera, Royal Theatre, el Theater an der Wien, el Barbican Centre, Carnegie Hall, the Concertgebouw in Amsterdam and festivals of Aix-en-Provence and Beaune. He has also visited, as a guest conductor, the Liceu, the San Carlo in Naples and the Teatro alla Scala in Milan. Organizes and conducts numerous master classes and academies for young. Ha sido nombrado Knight of the National Order of the Legion of Honor, Commander in the Order of Arts and Letters is Knight in the National Order of Merit.

THE LYRIC TALENS

Takes its name from the subtitle The Feasts of Hebe Rameau. His lyrical and instrumental covers of the first Baroque repertoire to Romanticism, playing with the same assiduity the masterpieces of music history and little known or unpublished sheet music of Monteverdi, Cavalli, Händel, Lully, Mondonville, Martin y Soler, Mozart, Salieri, Rameau, Gluck, Beethoven, Cherubini, Berlioz, Massenet is Saint-Saëns. With its director, Christophe Rousset, He has collaborated with renowned directors such as Pierre Audi Scene, David McVicar, Claus Guth, ish Vigner, Ludovic Lagarde a Robert Carsen. In addition to the operatic repertoire, frequents other musical genres, as the madrigal, the cantata, he air courtyard, Symphony and much of the repertoire of sacred music. Since 2007 He works musically with young Parisian students, organizing numerous workshops and residencies music teaching. Supported by the French Ministry of Culture and Communication and the City of Paris, as well as the Patrons Circle and Annenberg Foundation / GRoW–Gregory and Regina Annenberg Weingarten.

PROGRAM

PARTE I

HENRY PURCELL (1659-1695)

The Fairy Queen:

First music: Prelude – Hornpipe

Song: “See, even Night”

Dance for Chinese man and woman

The Tempest:

Recitative and aria of Aeolus:

“Your awful voice – Come down my blusterers”

GEORG FRIEDRICH HANDEL (1685-1759)

Giulio Cesare in Egitto:

Opening

Cleopatra arias: "If you do not feel pity on me"

"Since the storms shattered wooden"

Mary Lou (1690-1768)

Beautiful rose

Air de Martano: "Allevar the snake within"

APPROXIMATE DURATION: 45 MIN.

PART II

CARL HEINRICH GRAUN (1704-1759)

Coriolanus

Opening

Recitative and aria Volunnia:

“Ah! no my Coriolanus - Without you my love "

Area Volunnia: "My sweet husband"

GEORG ANTON OBJECTS (1722-1795)

Romeo and Juliet

Accompanied recitative and aria Julie:

"They also silent - you, by the gray car "

Maria Grazia Schiavo, SOPRANO

THE LYRIC TALENS

CHRISTOPHE ROUSSET, MUSICAL DIRECTOR

Dido and Aeneas

Next weekend, 19 Y 20 from December, llega al Teatro Real uno de los grandes espectáculos juveniles programados para la presente temporada: Dido and Aeneas, a hipster Tale. Adaptation of the opera Henry Purcell Dido and Aeneas, composed 1688, which tells the love story of Dido, Queen of Carthage, and Eneas, Trojan hero, and it is considered one of the most dramatic and interesting works of Baroque.

The proposal that we will see on stage at the Royal, Rafael R. Villalobos, responsible for the dramaturgy and staging, moves the action to today, XXI century, to analyze the difficult period of adolescence and seek answers to the problems and experiences that young people today: The development of personality, friendship, love, jealousy, he bullying.. con diálogos y vocabulario juvenil cercanos al público para el que ha sido concebido.

The action takes place during the birthday party Dido, It celebrated in a colorful and cozy garden. Beautiful designs Maite Agorreta, also responsible for figurines, and lighting Miguel Ruz, playful and cheerful form a framework in which crop up insecurities and jealousies group, whose intrigues weave a painful situation in which all border on the edge of "bad" and "good" and help us reflect on the search for balance.

Youth Dido and Aeneas, a hipster Tale, It also moves to the musical interpretation, led by the group of baroque music Antiqva form, the head of which is Aarón Zapico, musical director of production, five musicians To the JORCAM. A selection of new and brilliant performers led by Adriana Mayer (Dido), Diego Blázquez (Eneas), Sandra Redondo (Belinda), Aurora Peña (Second Woman), Konstantin Derri (Sorcerer), Urszula Bardlowska (Second Witch) Y Thiago Vaz Y Javier words (friends).

The website of the Royal Theatre, en su apartado de espectáculos infantiles y juveniles, dispone de información ampliada del espectáculo en una interesante guía pedagógica que los espectadores pueden descargarse de forma gratuita, para profundizar en los aspectos dramatúrgicos, musicales y filosóficos de la representación: http://www.teatro-real.com/es/ninos-y-jovenes/programa-pedagogico/espectaculos-infantiles/dido-amp-eneas

Las mañanas de los días 19 Y 20 from December, in double sessions, to 11.00 and to the 13.00 hours, el barroco se hace moderno en un espectáculo de ópera que es mucho más que música y del que nadie saldrá indiferente.

image of the opera The Indian Queen

And finally it comes Purcell to the Royal Theater. It does so with one of his lesser-known works and represented, The Indian Queen. Y, as, surrounded by previous controversial. Especially by those who boast in the second or third production intentions. History decontextualise, ago the 500 years, like ago 70, It is a pending task for many.

It should be said that the audience of the premiere function has its own peculiarities. There are many occasions in which the final verdict is very different from the rest of the representations. And so it has also been on this occasion. The boos at the end of the first part of this show, applause turned into later performances. Is this a mystery that could be the object of study. From here I launch this hypothesis in case some curious are interested in the subject.

The Indian Queen is the last work of the English composer Henry Purcell in 1695. It is an unfinished work. The composer died frozen in the street one drunken night after his wife did not let him enter the house. It was his brother who was in charge of finishing it with an unfortunate Mozartian style.. Since then, there have been several occasions in which it has been tried to endow this work with another ending that has not always been the most successful.

But let's place ourselves before assessing the true proportionality of the new version of Peter Sellars. Purcell began his compositions at a very early age, with scarcely 15 years his first works were published and soon he began a brilliant professional career. The England of Purcell's early years was that of the time of the Puritans. Almost all artistic expressions were prohibited and theaters were closed. The young Purcell was then limited to compositions of a liturgical nature since the opera, as such, it was not yet known in England. It would be Handel who introduced the first Italian-style operas. With the monarchical restoration and the arrival to the throne of Carlos II, Theaters were reopened and cultural and social life returned to English cities. In this unprecedented situation, the demand for new cultural "products" was extraordinary. And Purcell's concerns for music, theater or dance, led him to make the first compositions. Thus are born the so-called semi-operas, musical dramas performed by supporting characters, often allegorical, while the main action is reported orally.

The Indian Queen, whose original score barely lasts 50 minutes, It is a semi-opera formed by the so-called masques or divertimentos that brings together poetry, music and complicated sets where dance and other artistic expressions have a place. The version that Peter Sellars has created after more than 25 of admiration and deepening in this work, has had a necessary collaborator, Teodor Currentzis. He coincided with him when they both rehearsed Iolanta and discovered their common passion for the English composer and for this particular work. The result responds almost millimetrically to the classic concept of semi-opera. With a duration of almost four hours after the incorporation of hymns and psalms by the composer himself, mostly liturgical, but perfectly embedded in the new literature of the work, providing dramatic balance and coherence. That dark and heartbreaking drama with which Purcell says goodbye to the world. Sellars has also transformed the original libretto with a rewriting commissioned for the occasion from Rosario Aguilar. Nicaraguan writer, author of "The white girl and the birds without skin". That white girl is Leonor, daughter of Teculihuatzin (Mrs. Luisa) and the conqueror Don Pedro de Alvarado. Both protagonists of the story.

The work begins with the dynamism of the dancers painting evolving in silence until the music begins. Dynamism that will be a constant in the work. As will the silences too, those evaluative silences that Sellars resorts to as a reflective element between interludes. The stage is simple and clean. Only the expressionist works of Gronk They dress the stage from side to side, filling each of the masks with strength and symbolism. The discreet and delicate lighting of James F. Ingalls gives life and movement to these immense canvases that in turn embellish with the effects of shadow games.

The group of dancers formed by Burr Johnson, Takemi Kitamura, Caitlin Scranton Y Paul Singh it is one of the different artistic planes that take place at the same time on stage. They have an extraordinary weight and prominence. American Christopher Williams, has created a current choreography, elegant and precise, based on baroque court dances and is performed with masterful brilliance by these four artists. Highlight Caitlin Scranton's exquisite movements.

The play is narrated by Leonor, the white girl, played by the Puerto Rican actress Maritxel Carrero. His presence is scene, discreet but emphatic, is presenting the interludes where women, conquerors and indigenous, they are the protagonists. Bringing the importance of women to the fore, always omitted by history, is one of the purposes of this work, granting them a mediating role between the conflicts that the male protagonists engage in. But so much narration is excessive and, despite perfectly understandable English, and a very good voice projection without any amplification. Much public ended up deserting the subtitles. The story tells of the tragedy that took place during the Spanish conquests in the New World, Sellars has focused on the drama of spiritual conquest. Stripping a people of their gods to force them to worship others. Argument in tune with the deeper questions that Purcell posed through his music, and that they make their way through the hymns and psalms chosen by Sellars to complete the work.

The cadre of young singers is headed by Jilia Bullock, who plays Queen Teculihuatzin or Doña Luisa, once christianized. With a physique and a presence very appropriate to the character, his long and consistent voice, accompanied at all times a very good dramatization. Very good in the final scenes of his illness and death, despite the slowness, on the brink of boredom, which at that time reached the work.

The Belarusian soprano Nadine Koutcher gave life to an extraordinary and serene Doña Isabel with a round and polished voice. Its "O solitude”, breathtaking drama and wonderful pianissimi in "See, even night herself is here”Which was moving.

The Korean countertenor Vince Yi, owner of an exotic and beautiful voice, impressed by its lightness in colorature and extraordinary highs. Did not accompany him, like most of the protagonists, costumes.

The other countertenor of the night, the French Christophe Dumaux as Ixbalanqué, performed some of the most moving pieces, performed with exquisite taste and dramatic timbre as in "Music for a while”.

The male leads, Markus Brutscher, as Don Pedrarias Dávila and Noah Stewart, Don Pedro de Alvarado, who only sings in the second part, are the least brilliant vocal elements of the production. Stewart did not go beyond the discretion and had difficulties in the emission if his position was not totally vertical. The military uniforms they wore and some beer scene, they faded a bit in the midst of so much scenic beauty.

Definitely, the most important voice of the night was that of the choir, MusicAeterna. Impeccable unity that can only be the product of constant and tireless work under the direction of its owner, Teodor Currentzis. There was no coldness, quite the opposite. The discipline at the service of the highest artistic expression. Always attentive to the entrances, to the silences, to a perfect rhythmic breathing. Powerful volume or growing inputs, and all this wrapped in the mystique of emotions.

Currentzis es, definitely, one of the fastest growing directors on the international scene and one of the most powerful batons. The dramatic tempo with which he led the orchestra and choir. The communication and knowledge that exists between him and the stable bodies of the Perm Opera, it is appreciated in every moment of the work. A neat and refined sound, full of emotional effects. The sound of the continuum, directed by Andrew Lawrence-King, and that of the archludes and the psalter. But the sound drawn from the lute and theorbo, creating a dark atmosphere, dramatic accompaniment to the psalms, centering the baroque character of the entire work and the feeling that Purcell put into it. A polished sound in its thick, that invited permanent recollection, to contained exaltation or, simply, to inner enthusiasm, the one with which it is transmitted.

Sensitivity, dramaturgy, strength, Balance, delicacy, beauty ... Literature, music, theater, dance, painting, singing… The World on Stage.

The Indian Queen Henry Purcell (1659-1695)
Semi-opera in five acts and a prologue with music by Henry Purcell and libretto by John Dryden
New version of Peter Sellars with texts by Katherine Philips, George Herbert and others
Spoken testimony taken from the novel "The white girl and the birds without feet", by Rosario Aguilar
New production of Teatro Real, in co-production with the Perm Opera House and the English National Opera, London
D. musical: Teodor Currentzis
D. scene: Peter Sellars
Scenographer: Gronk
Costume designer: Dunya ramicova
illuminator: James F. Ingalls
Choreographer: Christopher Williams
D. choir: Vitaly Polonsky
Distribution: Vince Yi, Julia Bullock, Nadine Koutcher, Markus Brutscher, Noah Stewart, Christophe Dumaux, Luthando Qave, Maritxell Carrero
dancers: Burr Johson, Takemi Kitamura, Caitlin Scranton y Paul Singh
Perm Opera Choir and Orchestra (MusicAeterna)