Valkyrie Real

Between days 12 Y 28 February the Teatro Real offer 9 functions La valquiria, from Richard Wagner (1813-1883), the second of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons, with musical direction Pablo Heras-Casado and stage director Robert Carsen.

Structured like ancient Greek dramas, the monumental tetralogy Wagnerian opera begins with Rheingold, explanatory prologue to the saga, presented last season. Followed now La valquiria, narrating the genesis of the hero Siegfried, fruit of the incestuous love between Siegmund and Sieglinde's twin ─hijos Extramarital of Wotan, conceived in one of his many amorous adventures with deadly, disguised as Wälse─, God who expects to receive help in the future for the conquest of supreme power, materialized in possession of Ring nibelungo.

The incestuous relationship between two brothers, fruit turn of adultery of the twin Sieglinde, It is cursed and persecuted by the irascible woman Wotan, Fricka, and protected by La valquiria Brunhilde, Favorite Daughter of God, which along discovers love opera, compassion and vulnerability of mortals and undergoes an inner transformation that will determine the future of the entire epic.

In his conception of Ring nibelungo, Canadian director Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, move the Wagnerian mythological universe to also metaphorical world, but closer to our reality, in which power struggles, passions and relationships between the characters are easily recognizable by the current viewer.

tangentially following the philosophical pessimism Arthur Schopenhauer (1788-1860) and in the wake of the playwright and critic Bernard Shaw (1950-1956), who he saw Wagnerian tetralogy an allegory of society stratified into classes, Carsen makes clear in its staging the destructive power of the ferocious capitalism, When rampant ambition of power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

If Gold on the Rhine viewer was confronted with a planet shattered, in which the gods (rich and powerful), the Giants (insumisos proletarians) and the Nibelung (a kind of social scum), They fought for possession of the ring (money and power); in La valquiria, the context is already an explicit war. The gods, isolated in a luxurious bunker (Valhalla) ─con their struggles, accords, machinations, betrayals and conflicts conyugales─ move handedness and loftiness threads universe, until the emergence of the true and passionate love, Brunhilde with hesitation and insubordination to the dictates of the powerful all Wotan ...

Snow, with all its metaphorical power and plastic, link La valquiria with preceding opera, and emphasizes its intimate pictures, with a layer heladora, the fire of love, that is visible to the end of the first day of the series, derretirá ...

Wagnerian two deals give life to the score, under the direction of Pablo Heras-Casado, led by Stuart Skelton Y Christopher Ventris (Siegmund); René Pape Y Ain Anger (Hunding); Tomasz Konieczny Y James Rutherford (Wotan); Adrianne Pieczonka Y Elisabet Strid (Sieglinde); Ricarda Menzer Y Ingela Brimberg (Brünnhilde), seconded by Daniela Sindram (Fricka) and the eight Valkyries.

The great Wagnerian saga will continue in the next two seasons, with Siegfried Y Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, under the same production created by Carsen Y Kinmonth, with its relentless and disturbing vision of the real world, but with a ray of hope, because "only the awareness of the problems of humanity and ourselves, allows the solution. "

Functions La valquiria They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.

MUSIC IN BLACK AND WHITE

As a parallel activity to La valquiria They will be shown in the main hall of the Royal Theater's two films Fritz Lang (1890-1976) that make Nibelungen: Siegfried's death (21 March at 20.00 h.) Y Revenge of Krimilda (28 March at 20.00 h.). the films, hyphenated Thea von Harbou (1888-1954), wife of the director, They are inspired by the medieval epic poem The Song of Songs, one of the primary sources Richard Wagner in his tetralogy.

To accompany the movies, the Head of the Royal Theatre Orchestra, under the direction of Nacho de Paz, the original scores will perform the composer Gottfried Huppertz (1887-1937) Fritz Lang's collaborator in several proyectos─ created to accompany both films. The same team -lang, Harbou y Huppertz- leave their mark on the history of the cinema Metropolis, Expressionist pioneer science fiction film.

Although the music Huppertz accompanies a silent film, the score away from the audio description of the action and assumes a layer of the film subtext, articulating scenes, commenting actions and emphasizing the epic content of the frame.

AGENDA | PARALLEL ACTIVITIES

21 March at 20.00 hours | Teatro Real, living room

Black and white musicI – Screening of the silent film Siegfried's death, first part of Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

28 March at 20.00 hours | Teatro Real, living room

Black and white music II – Screening of the silent film Revenge of Krimilda second part Nibelungen, from Fritz Lang, in which Head of the Royal Theatre Orchestra will perform the original score Gottfried Huppertz written to accompany the film, under the direction of Nacho de Paz.

16 February at 12.00 and to the 17.00 hours | Teatro Real, Sala Gayarre

Everyone to the Gayarre! – Workshops for the whole family, direction and presentation of Fernando Palacios.

Riding through the air: gods, semidioses, human and superhuman in a magical world.

20 Y 27 February, to 18.00 hours | Lazaro Galdiano Museum

Guided tourA collector Wagnerian art. Poel travel unique r Florido Palace Park.

Visit in which the musical tastes of José Lázaro Galdiano Crawl, its links with the Wagnerian Society and the surprising relationship between Lazarus Collection and the world of opera.

15 February at 16.30 and to the 17.30 hours | Naval museum

dramatized visit – Siegfried, As to the Elcano, were two adventurers whose adventures at sea are worthy of an opera.

Photograph: © Klaus Lefebvre

Elektra arts

He Palau de les Arts gathers Marc Albrecht and Robert Carsen in 'Elektra', from Richard Strauss, the first operatic title 2020, which opens next 18 from January.

The German conductor and creator reputed Canadian debut at Les Arts with this work, key element in the programming of the great opera houses, for the arts center meets, Besides, three of the leading interpreters of this title: Irene Theorin (Elektra), Doris Soffel (Klytämnestra) y Sara Jakubiak (Chrysothemis).

‘Elektra’, as he has explained Jesus Iglesias Noriega news conference, It is a full artistic statement of this new stage of Les Arts.

"On the one hand, It is the return to the programming of the German repertoire, with the operatic center and the Orquestra de la Comunitat Valenciana (OCV) They have reaped their greatest hits, and also the presentation for the first time to our audience of eminent directors, singers and artists usual in the great opera circuit ", It noted.

artistically, 'Elektra' is a challenge for any theater for his musical and dramaturgical demands, both the OCV which will be made on this occasion by 103 musicians, as well as for technical equipment and production, and the choice of the cast.

Winner of the Opera Award for best musical direction 2019, Albrecht stands as one of the conductors enshrined in the work of Wagner and Strauss. Teacher born in Hannover Strauss piece can be considered as "the gateway of modern music".

"It's a very interesting piece of the early S. XX. It is a singular score in the world of opera for many issues, for violence not only on stage but also musical. The whole opera is like a shout, a panic attack, where there are musical moments of great intimacy ", Explain.

Albrecht highlighted, Likewise, duration as an aspect of modern of Elektra. "It's all in 100 minutes of music, there is a concentration of harmonies, action, speed, still it sounds like a totally current work if interpreted correctly ".

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 scenery Michael Levine, wardrobe sight Matusz, own lighting Peter van Praet and choreography Philippe Giraudeau.

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

Robert Carsen considers Elektra Strauss's masterpiece. "Its premiere was a shock and still remains whenever depicted. It is a milestone in musical theater ".

Specifically, Canadian director pointed to linking the opera by Richard Strauss with his time and the validity of the psychoanalysis of Sigmund Freud with issues such as family, Dreams, paranoia ....

"The work focuses on the living nightmare Elektra in her head completely innovative way. His character never leaves the stage, We are within his soul. In the music he writes Strauss is all she feels and thinks ".

In this sense, Robert Carsen production explained that introduces a set of 20 dancers around Elektra as a theatrical element that amplifies feelings, fears and emotions of the protagonist.

Irene Theorin, critically acclaimed in the leading role, He plays the vengeful daughter of King Agamemnon, the most complex paper written by Strauss for soprano, not only for his wide vocal range but for its requirements on stage.

Likewise, Swedish interpreter has stressed the importance of female characters on male, both in number and in stage presence, in a work that contravenes the trend of previous operas.

La mezzosoprano Doris Soffel encarna and Clytemnestra, widow, conspirator and assassin of Agamemnon. German diva is one of the most prestigious Wagner and Strauss interpreters of our time and treasures his long career and extensive discography, more than 60 edited albums.

Soffel, which had its first contact with score 1975, with the legendary soprano Astrid Varnay as Klytämnestra, claims an interpretation of Elektra's mother away from the female monster of Viennese tradition. Instead, He proposes a real woman in three dimensions, with feelings, thoughts and passions.

Close the protagonist trio, American soprano Sara Jakubiak emerging in the role of Chrysothemis, sister Elektra. With an important race in Germany, Sara Jakubiak debut in Valencia this papel, that within a few months will involve presentation at the Covent Garden in London.

Rounding out the cast of soloists, Štefan Margita Slovak tenor (Aegisth), bass-baritone Derek Welton Australian (Orest),Emilie Pictet, Michael Pflumm, Miranda Keys, Eva Kroon, singers of the Center Perfeccionament Max Hochmuth, Aida Gimeno, Larisa Stefan and Evgeniya Khomutova Bonifacio Carrillo along with the Heart of Government.

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.

'Arts for everyone'

Today, Friday, 10 from January, Ramon Gener explain the intricacies of Elektra from the 19.30 h in the Auditorium, in a paper-I show free access. Meanwhile, the next day 14, Aula Magistral host a new edition of 'Perspectives', in which the public will have the chance to ask and hear the impressions of the stars of this production, moderated by Javier Monforte, Friends of the Opera and the Arts in Valencia.

He 28 from January, in collaboration with Les Arts Berklee College of Music, you can enjoy, also free, of 'Greek mythology and its validity through music' in the Aula Magistral.

Photograph: Miguel Lorenzo

Idomeneo 1

Idomeneo 3

Idomeneo 4

Idomeneo 5

Idomeneo 6

 

Idomeneo, King of Crete
Idomeneo, King of Crete
Wolfgang Amadeus Mozart
serious opera in three acts, K. 36
Teatro Real, 20 February 2019
Libreto de Giovanni Battista Varesco, based on the work Idoménée (1712) Antoine Danchet, inspired by the eponymous play (1705) Prosper Crébillon
reviewed by Mozart for the premiere at the Palace version
Auersperg in Vienna 10 March 1786
New production of Teatro Real, in coproduction with
the Canadian Opera Company in Toronto and Teatro dell'Opera di Roma
D. musical: Ivor Bolton
D. scene: Robert Carsen
scenographers: Robert Carsen and Luis F. Carvalho
Costume designer: Luis F. Carvalho
illuminators: Robert Carsen y Peter Praet
Director motion: Marco Berriel
Video Designer: Will Duke
D. from the choir: Ándres Máspero
Distribution: Jeremy Ovenden, Anicio Zorzi Giustiniani, Sabina Puertolas,
Pleiades Sabirova, Krystian Adam, Oliver Johnston, Alexander Tsymbalyuk
Choir and Orchestra of the Teatro RealLas Headlines wars between Greeks and Trojans, Jolyoy described by Prosper in the Crébillon 1705, Antoine inspired Idoménée Danchet in which the libretto by Giovanni Battista is based Varesco. In the works of Mozart are the descendants of the protagonists of the Iliad they face, but this time does not end with the destruction of Troy, This mozartiano Idomeneo is solved with the reconciliation of peoples through marriage of the Trojan Ilia and Idomeneo Idamante.La Greek composition, Re di Creta is a huge creative leap. Mozart was fully involved in developing the script, which earned him not a few disputes with Varesco. I wanted the drama had a major role and was most convincing posible.Su influence on the script led him to develop several versions. Among the first, premiered at the Munich Resodenztheater 29 of January of 1781, and the second, premiered in Vienna five years later, Mozart made numerous changes until just before estreno.Aunque choruses and marches follow the French style Tragédie lyrique, Mozart, with its commitment to constantly update the work and aware of the decline of Italian Baroque Theater court, decide to shorten the long dry recitatives, that lightened with musical accompaniments, He developed a wider vocal line, Italian singers used a much richer and orchestra instruments and timbres. All these elements gave the score a lot more depth and frescura.Mozart had in Munich with the famous tenor virtuoso Anton Raaff, known for his coloratura, for which he composed two arias charged vocal pyrotechnics. These arias disappeared in the Vienna version, We do not know if because the singer this time was not so bright. Another important change was the replacement, the role of Idamante, initially she is written for countertenor and tenor became.

Mozart would have liked to release his Idomeneo in Vienna rather than in Munich, but the weight of Gluck at that time was too important. Vienna was represented Iphigenia in Tauris first and then Alceste, preventing be scheduled at the same time the works of Gluck and a devoted young 25 still unknown years, as Mozart.

The version offered by the Teatro Real is inspired by the review Vienna. Apart from the two long arias Arbace, as it did Mozart. It does in coproduction with Toronto theaters, Rome and Copenhagen. The set design is done by Robert Carsen and, as usual in it, the stage is clear. A beach and sea are the only items where some Greeks and Trojans updated, winners and losers, military and refugees appear as showing that the tragedy remains current.

A sea of ​​orange vests and projection of a city destroyed, complete the scene. A pacifist plea somewhat forced and, of hackneyed, it is tiresome and lacking in originality.

What it does very well Carsen is to manage the crowds standing on stage. More of 60 choir members and a 100 figurantes filled the stage perfectly synchronized. Reserving scenic absolute privacy for the stars, especially Idomeneo duets with Idamante, or arias of Elettra.

A dark scenery, which highlights the subtle lighting Carsen and Peter van Praet, They are projecting the shadow of a huge Idomeneo afflicted. Lighting full of details and information that amplifies the open spaces and helps create more atmospheres reserved.

Extraordinary is the work in front of the Titular Orchestra of the Royal Theater performs its director Ivor Bolton. The inclusion of some vintage instruments, as muted horns, devised by Leopold Mozart, or wooden flutes, get a truly sound mozartiano. Bolton takes a reading full of details and refinement, with his peculiar and enthusiastically directing, while accompanying the key, It makes the music is above the other elements of production, as it could not be otherwise.

Another protagonists of these representations highlight, It is the chorus. Increasingly inspired, both vocals, and interpretive. this choir, hand of its director Andrés Máspero, It seems limitless. No score or scenery can resist them. Sparkly!

Idomeneo, character requires some agility and refinement, She was played by Jeremy Ovenden. His voice is too light for a king. Its small size showed in the set arias, in which he was barely listening.

Elettra ha sido Interpreter por Pleiades Sabirova. precise character of a dramatic soprano of agility. vigorous, for those moments di forza, in fighting for the love of Idamante. The soprano Uzbek, which was the most applauded by the public, he managed to give his character strength and lyricism, with a high volume of voice and dramatic intensity.
Ilia's character was played by the Spanish soprano Sabina Puértolas. The greatest difficulty in this role, for soprano as Puértolas, It is in its coloratura. He knew the character address with courage and with that fresh and elegant vocal line of which always makes gala. His voice is widening, gaining body and sound. Just lacked a bit of volume.

The role of Idamante, Mozart originally composed for castrate, Vienna version and modified it became tenor. El Real has been interpreted by the Italian Zorzi Giustiniani Anicio quite discreetly. It has a beautiful tone but full of strange sounds and, like the rest of the cast, that if this is balanced, the volume is very low.

A good reading of Mozartian Indomeno, musiclamente talking, what is the important.

Text: Paloma Sanz
pictures: Javier del Real

Eleonora Buratto

The soprano Eleonora Buratto, a favorite maestro Riccardo Muti singers, who for a decade usually works in the most famous international stages, Elettra will in the next release of the Royal Theater: Idomeneo, King of Crete Mozart, con musical direction of Ivor Bolton and stage firm Robert Carsen. After its extraordinary success in its debut at the Royal Opera House Micaela (Carmen), and before his performance in Simon Boccanegra Verdi alongside Placido Domingo in the Wiener Staatsoper, Eleonora Buratto returns to the scene of the Madrid coliseum to play, for the first time, the princess of Argos, in love with Idamante; mozartiano role to play again in April at the Teatro Massimo of Palermo. Three years after his acclaimed Mimì (La boheme) the Gran Teatre del Liceu, next July, Mantua soprano returns to Barcelona coliseum, to debut the role of Luisa Miller in Verdi.

Considered by audiences and critics as a singer of extraordinary talent, the young Italian soprano has an extensive resume of performances in the most famous festivals and opera houses internationally renowned as the Salzburg Festival, Festival Aix-en-Provence, Ravenna Festival, the Arena di Verona, the Teatro alla Scala in Milan, the Metropolitan Opera in New York, la Lyric Opera de Chicago, la Vienna State Opera, the Royal Opera House in London, la Opera de Zurich, the Teatro San Carlo in Naples, el Teatro Opera in Rome, the Teatro Real in Madrid, Gran Teatre del Liceu in Barcelona, the Semperoper Dresden or Dutsch National Opera in Amsterdam, among others. Also active in the field concertístico, He has sung Stabat Mater Rossini with the Orchestra and Chorus of the Royal Theater in the Cathedral of Toledo, en Roma junto a la National Academy of Santa Cecilia, and the Teatro Comunale in Modena, in a tribute to his teacher Luciano Pavarotti; the Petite Messe Solennelle Rossini at the Wiener Konzerthaus and the Philharmonie Luxembourg; the symphony No. 4 Mahler, the Four last Songs and the Requiem Verdi at the Teatro San Carlo in Naples; the symphony No. 2 Mahler in the Opera Florence, and the Mass in B minor de Bach en Chicago, accompanied by the Chicago Symphony Orchestra.

Eleonora Buratto has collaborated with leading conductors such as Zubin Mehta, Riccardo Muti, Daniele Gatti, Gianandrea Noseda, Ivor Bolton, Daniel Harding, Fabio Luisi, Ottavio Dantone, Michele Mariotti or Juraj Valcuha, among others.

His upcoming engagements include his return to the Metropolitan Opera in New York and debut at the Staatsoper Berlin, in addition to performances in London, Tokyo and Amsterdam.

http://www.eleonoraburatto.com/

Rheingold 2

Rheingold 3

Rheingold 4

Rheingold 5

Rheingold 6

Rheingold 7

the Rheingold, Richard Wagner, tetralogy arrives at Rheingold Theater RealEl (the Rheingold)
Prologue in four scenes scenic Der Ring des Nibelungen festival
Music and libretto by Richard Wagner (1813-1883)
Released in the Königlichen Hof- and National Theater de Múnich, he 22 September 1869
Premiered at the Teatro Real 2 March 1910
Oper Köln production
D. musical: Pablo Heras-Casado
Conception: Robert Carsen, Patrick Kinmonth
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Distribution: Greer Grimsley, Raimund Nolte, David Butt Philip, Joseph Kaiser,
Ain Anger, Alexander Tsymbalyuk, Samuel One, Mikeldi Atxalandabaso, Sarah Connolly, Sophie Bevan, Ronnita Miller, Isabella Gaudi, María Miró, Claudia Huckle
Titular Orchestra of the Teatro RealWagner had failed as a political revolutionary, but he was willing to be more successful revolutionizing the arts ". Chris Walton describes in the playbill seeking a Wagner already in the epic Norse myths which were not found in the supposed revolutionary epic Uprising May Dresde.Se then proposed to end much of the conventions of opera building a new form of musical drama. He eliminated all the trimmings vocal lucimiento, the division between arias and recitatives, how to write scripts, definitely, He dispensed with all the elements, in your opinion, not served to deepen the drama.

He began construction of a form of musical language much more complex. With an orchestra of dimensions hitherto unknown. But it was not only to increase the volume of sound, Wagner was looking for new colors and musical textures in which support his dramatic speech. He created new instruments, as snorkels Wagnerist, whose new timbre became a hallmark of his operas. All for the sake of building their project "total art" and the orchestra lead to more developments that have taken.

The Wagner of the time was not only interested in some of the social and revolutionary movements of the time. Nature and deterioration were already a concern for the German composer and water, its most inspiring element. It was known to frequent his visits to spas to soothe their numerous ailments. And it was under this influence of water when developing his greatest creative power.

The Royal Theater begins with Das Rheingold tetralogy the ring staged for four consecutive seasons. Wagner conducted this work, casi herculean, during 25 years. The results were 16 hours of music that start with this overture presents a destroyed by the lust for power nature.

Robert Carsen production and emphasizes Patrick Kinmonth, precisely, this nature degradation. I can not say that the scenery of Carsen liked me, quite the contrary, but the bar was very high after his Dialogues of Carmelites (2006), Katia Kabanova his unforgettable (2008), even Salome (2010). Only the beginning of the work, in which they appear characters who throw plastic bottles to Rin under the effects of the haze and then discover that as a dumping ground, They make the speech posed by Carsen credible. We are used to seeing Wagner's operas with gigantic scenography, large aparatajes and effects that try to catch up loudness. This time, Carsen and Kinmonth did not want the sets were the protagonists of production and have put the weight of the drama in the characters and the River. The scenery is embroiled in an absolute pessimism about the destruction of nature. A river polluted and devastated by human action is the main element of this work stress.

The other scenes are composed of blocks of buildings under construction and cranes that do not add too much plot information and some little comprehensible elements, Snow that falls at the end or the golf club replaces the hammer Donner. A very good lighting Manfred Voss complete this austere and cold scenography, but nevertheless, It has an extraordinary quality, It allows the main focus falls on the protagonists, the orchestra and the score.

It is the first time that Pablo Heras-Casado faces of the Ring tetralogy and has proven to be an extraordinary surprise. It takes a few seconds of introspection from the bench, with eyes closed, before launching into the first chords, in just over four minutes initial advance what will be one of the greatest revolutions of music, a new conception of the orchestra and composition.

A huge pit, to which it has been added space of the first two rows and that's where the show is really. Formed by 110 teachers, a group of strings 21 I violins, 20 II, 17 violas, 15 cellos and 8 contrabasses dividing, at the same time, into subgroups to achieve these effects of distance and depth and polyphonic sound that create a sound full of sophistication. 5 of the 6 harps required by Wagner and a set of metals almost construct, by themselves, the dramatic speech.

The address Heras-Casado is very efficient. Good connection with the orchestra note, product of a deep work. Always attentive to every element of the pit and the stage. Perhaps lacked power and showmanship at times, as the crescendo of the overture or the entry of the gods in Walhalla, but their enthusiasm in the direction offered results in a homogeneous solid sound, which it is no small thing to the challenge of this work. With this beginning of tetralogy, the next cycle venturing titles more than interesting.

As for the voice cast the result has been uneven. The best of the night has been, definitely, the Alberich of Samuel Youn. A very good volume and beautiful tone for a superb interpretation of the miserable and petty dwarf Nibelung. Hopefully still heading in the next installment of the ring.

Greer Grimsley has played one Wotan somewhat disappointing. It seemed a small and inconsistent character amidst scenery that naked. her wardrobe, second officer, It did not help much. The character was lacking in presence and voice, with evident vibrato, He was not the entity that the character requires, especially in the higher notes.

Sarah Connolly great stage presence gave her Fricka, but I must confess I expected much more of it vocally, It not in vain was one of the most important names of the cast. Wagner may not be the most suitable repertoire qualities.

Very good also giants Ain Anger and Alexander Tsymbalyuk, They filled the stage with her voice and presence.

Sophie Bevan solvency office with his character Freia, one of the most restless on stage. very well, and so he awarded the public, the Erda of Ronnita Miller.

Also excellent three daughters Isabella Rhine Gaudí, María Miró, beautiful soprano voice, and Claudia Huckle, for the occasion were dressed as beggars.

Joseph Kaiser has a rather small voice, but enough for fire god Loge. A Wagnerian tenor bell, although not volume.

One of the best performances of the night was the Mime of Mikeldi Atxalandabaso. He debuted on the character and excelled, both vocally, and the interpretation.

Four years seems too long to see complete this tetralogy Ring. Hopefully worth and next time we can see in one season.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

Iphigenie

Iphigénie in Tauride: I WILL return to the heart calm!”

The history of opera, like all history in general, It is peppered with moments in which there have been major changes. Changes that have influenced decisively after. One of those turning points are the premieres of Orpheus and Eurydice and Iphigénie en Tauride, both works Gluck. He settled on them so-called "reform" that was cemented with Iphigénie.
This operatic movement raised the need to give more importance to the plot drama that other elements that until then had more weight, as they were the more or less scenic exuberance or excessive egocentric and prominence of voices. It is therefore advocated, for an opera in which all elements, music, dance and scenography service were to inspire the deepest feelings and thoughts of the public.

Iphigénie is a masterpiece. It is the compendium of traditions marked by Handel or Rameau and an inheritance, mode influences, a Mozart o Wagner. It is the revolution of passions, of the deepest feelings of pain, reunions and fraternal loyalties. Is, definitely, the highest expression of Greek tragedy.
Iphigénie is a remote work of the conventions of the time. In it the traditional romantic entanglements and do not develop, It is not a work of action if it contains minor feature mood. It is taken over by a highly dramatic arias and austerity, a beauty and dignity do not suggest the absence of any other element I, plot or character. Every moment of the development of the artwork traps for itself with a force that only such a decidedly beautiful music can get.

A work that arises about a family tragedy overflowing, where a father kills his daughter, The mother then kills father, the son avenges his father by killing his mother and where her daughter was obliged to kill that brother, How much inner dispute may eventually lead?
So begins this work. With music that reflects violent and masterful way the inner restlessness of Iphigénie.

The opera revolves around two main ideas. One emotional abyss of Iphigénie caused by the traumatic disappearance of his family and almost obliged to kill his little brother. On the other hand, the loyal friendship of Pylades and Orestes that leads them to be willing to sacrifice for each other.
On these two premises so dramatic is emotionally on the Canadian set designer Robert Carsen He has created a scenography, with some evocative elements of its recently held Katia Kabanova. This time he has created a scenario eloquent soberness. Everything is black on stage. Only flashes of the sword with which Iphigénie must kill his brother, light up the stage.
A scenic nudity achieved so elegantly than any other element that had arisen would have left over or, how much less, distracted. The scenic simplicity reflects well, through small details, all that is found only in the minds of Iphigénie atromentada. One of the most dramatic moments and brilliantly solved Carsen load, It is knowledge Iphigénie by the death of his parents. At that moment, the names of these, Agamemnon y Clitemestra, that they appeared written on the wall, Iphigénie are deleted while also clears his in a tragic and painful symbolism accompanied by a delicate, shuddering regret.
Rober Carsen has led with its scenery to achieving the sharpest reflections using for this modest elements and small number. This capability is only to the extent of the best, Masters.

The musical director, Thomas Hengelbrock, manages to extract the Titular Orchestra of the Teatro Real, less accustomed to the classics, crystal clear sound, eloquent and bright. At the same height of the Orchestra it has been at this time the Coro. Not only because of its location in the pit, but so delicately reinforce the content and sober drama floating in the room.
Before beginning the representation, Mortier informs the public of the havoc that the flu has those days among singers. But fortunately the flu has failed, this time, with the professionalism of the protafonista Trio.
Susan Graham It is the perfect Iphigénie. After overcoming a problem at the beginning of representation, He gave us a voice powerful and delicate, with a piano that perfectly conveyed the pain of a Iphigénie suffering losses in the deep. His dramatic ability is moving. It provided sublime moments and was one of the winners of the night.
Placido Domingo triumphed again to his audience. You could tell in his voice the aftermath of the flu and I'm afraid also of time. But his timbre remains one of the most beautiful. Deploys energy on the difficult scenario to match demand and no scenic fazed him (not as other ...).
Paul Groves he played brilliantly one Pylades who had great moments in duets with Oreste and solo. With a very good phrasing and a powerful voice full of nuances and sensitivity.
Frank Ferrari He was the only one who out of tune with the rest of the cast. A voice muffled and dull. Very nice young national voices. Susana Cordón, Anna ALAS i Jové Y Maite Alberola. Faced with such protagonists of vocal presence, his performance, though brief, was a high altitude completing the cast.

By last, well also directing actors. Given the apparent chaos that occurred sometimes on stage, everything was in place, at the time the actors performed perfectly studied and coordinated movements that effect were getting results and Beauty. all, emphasized by subtle lighting by Carsen and Peter van Praet, which it serves to further magnify any of the characters and to emphasize this great drama.

Christoph Willibald Gluck (1714-1787)
Lyrical tragedy in four acts in French.
Libretto by Nicolas-François Guillard, based on the homonymous tragedy of Claude Guymond de la Touche (1757) and Euripides (412 a.c.).
Premiered at the Academy Royale de Musique in Paris on 18 May 1779.
New production of the Teatro Real from the Lyric Opera of Chicago, la Royal Opera House, Covent Garden in London and the San Francisco Opera.
D. musical: Thomas Hengelbrock
D. scene: Robert Carsen
Scenography and costumes: Tobias Hoheisel
Lighting: Robert Carsen, Peter van Praet
Choreography: Philippe Giraudeau
D. Choir: Andrés Máspero
Susan Graham, Placido Domingo
Paul Groves, Frank Ferrari, Maite Alberola
Teatro Real in Madrid

Salome

“If you had looked at me you would have loved”
This is one of the phrases that the last act ends Salome. With it he addresses the severed head Jochanaan and try and find an excuse for his macabre decision. This same sentence could be applied to that part of the audience who did not know or did not want to watch Carsen production presented at the Real Tetro. If they had done, you fall in love with this Salome Robert Carsen is almost inevitable.