Teatro Real

Saturday 13, 11.00 hours: the cycleOpera in Cinema pwill project the multi-award-winning production of Billy Budd, Benjamin Britten, premiered at the Teatro Real in 2017 with enthusiastic reception from the public and the unanimous recognition of national and international critics .

With Billy Budd begins the cycle dedicated to Britten that includes the screening of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Friday 12 and saturday 13, to 19.00 hours: Two opera performances will be offered Rule, with musical direction by Marco Armiliato and scenic by Justin Way, in which the Spanish soprano Yolanda Auyanet and the Russian Hibla Gerzmava will alternate in the interpretation of the title role.

Sunday 14, to 12.00 hours and at 17.00 hours: two new family sessions of Everyone to the Gayarre! will discover The spells of a magician, whose spells revolve around Rule.

Sunday 14, to 17.30: Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle Der Ring des Nibelungen, It is presented in four successive seasons.

He Teatro Real prepares for the weekend with a program that is presented in different formats and for all audiences. Two great opera titles will alternate on stage, Rule Y Siegfried; the Sala Gayarre will be given to the family audience and the main room will start the cycle dedicated to Britten with the projection of Billy Budd, what includes the projection of Gloriana, he 5 of June, and the premiere of the new production of Peter Grimes, he 13 of April.

Released in January 2017, Billy Budd It has been the most awarded production of the Royal Theater and has among its awards the International Opera Award 2018 for Best New Production and the Olivier Prize for the best new operatic production 2020 in the United Kingdom, in addition to the recognitions obtained for his audiovisual recording, among which the awards from Diapason magazines stand out (Diapason d’or) y BBC Music Magazine.

Both version of Billy Budd, which will be screened next Saturday, as the new production of Peter Grimes what will we see this spring, have scene direction of Deborah Warner, scenery Michael Levine, and the musical part will be under the baton of the musical director of the Royal Theater, Ivor Bolton.

This choral opera, for which Deborah Warner creates a scenic space of great symbolism and enormous technical complexity - the tumultuous ship of Billy Budd it is transformed into an immense floating prison that reinforces the universality of the work- featured an exclusively male cast that featured the baritone Jacques Imbrailo, the tenor Toby Spence and low Brindley Sherratt, next to 60 male voices from Titular Choir of the Teatro Real and the children of the Little Singers of the Community of Madrid, who acted alongside the Head of the Royal Theatre Orchestra.

He 5 of June, also as part of the Opera in Cinema program, will be projected Gloriana, premiered and recorded at El Real in April 2018 (where it was performed for the first time in Madrid) under the careful musical direction of the teacher Ivor Bolton, present in all three productions confirming his deep knowledge of the British composer, and stage director David McVicar, who conceives a refined and conceptual scenography in which the rich Elizabethan costumes conceived by Brigitte Reiffenstuel assumes an almost theatrical character.

The cycle dedicated to Britten will be completed by the premiere of Peter Grimes, considered the most important English opera since the time of Henry Purcell. The composer builds in it a dark parable immersed in a marine environment, where the conflict between the mass and the individual, the harshness of the lives and passions of the inhabitants of this North Sea town and the complex and impenetrable character of the protagonist, make up a tragedy that ferments and explodes in the din of silences and gossip. The stage director Deborah Warner returns to the Royal to premiere this co-production made with the Royal Opera House in London, the Opéra national de Paris and the Teatro dell’Opera in Rome.

On Friday 12 And the saturday 13, will reign on stage Rule. Considered one of the top works of the belcanto, its extraordinary melodic beauty masks enormous vocal difficulty, especially in the title role, in whose interpretation the Spanish soprano will alternate Yolanda Auyanet and Russian fiber Gerzmava. His extraordinary dramaturgy exposes the characters on different levels and bravely shows feelings and attitudes that were almost hidden until then in women., in a production conceived by Justin Way and directed musically by Marco Armiliato.

Two new family sessions of Everyone to the Gayarre!, Sunday 14, to 12.00 hours and at 17.00 hours will discover The spells of a magician, whose spells revolve around Rule. Fernando Palacios, responsible for the script and presentation, will have the complicity of the soprano Cristina Toledo and the pianist Aurelio Viribay. Together they will try to find out what the druid wants to do with "the secret herbs and aromas" that she treasures.

And that same Sunday, in the afternoon, Pablo Heras-Casado will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater, to represent the colossal score of Siegfried, third of the four operas that make up the cycle The Ring of the Nibelung, It is presented in four successive seasons.

Siegfried-1
Siegfried-2
Siegfried-3
Siegfried-4
Siegfried-5
Siegfried-6
Siegfried, the heroic Siegfried
Richard Wagner (1813-1883)
Second day in three acts of the Der Ring des Nibelungen stage festival
Premiered at the Bayreuth Festtspielhaus in 1876
D. musical: Pablo Heras-Casado
D. scene: Robert Carsen
Escenógrafo y costume: Patrick Kinmonth
illuminator: Manfred Voss
Head of the Royal Theatre Orchestra
Distribution: Andreas Schager, Andreas Conrad, Tomasz Konieczny, Martin Winkler. Jongmin Park, Okka from the Damerau, Ricarda Menzer, Leonor BonillaIn extraordinary moments, doing everyday work can also become extraordinary. That is happening at the Teatro Real, which continues with its programming and these days represents the third installment of the Wagnerian Ring, nothing less than ‘Siegfried.. That the orchestra does not fit in the pit, because of the safety distance?, because it is distributed by the stalls. Harps to one side, metals to another. That the play lasts almost five hours and at 22:00 you have to be at home?, well it starts at 16:30. What is a long time in a closed room for so many public?, because the air renewal system is improved and instead of renewing it 4 times an hour, is renewed 8. What matches the representations of Norma?, Well as on other occasions!, where is the problem?. It is clear that others have the problem: we arrived with Siegfried on the second day of the Der Ring des Nibelungen stage festival. Although it is actually the third of the tetralogy, since Wagner composed this hulking work starting at the end, demonstrating his control over the dramatic unit long before he started writing it all started two seasons ago with Das Rheingold, where Wagner contextualizes the story. He continued last season with Die Walküre, that shows us the origins of the protagonist. Now comes Siegfried, that expresses its maximum splendor. And next season we will see Götterdämmerung, that narrates the decline and defeat of the character.In this apparent chaos in the compositional order, Wagner made several interruptions and various modifications, both in the libretto and in the score, during the composition of Siegfried. In May 1857, leaves the composition of this work in the middle of the second act to focus on Tristan und Isolde and Die Meistersinger von Nürnberg. It wouldn't be until twelve years later, in 1869, when he resumed his composition that he completely finished in 1871.

Fascinated by mythology and nature lover, Wagner creates a dark universe dominated by destruction. And the gods, which are often a metaphor of the human being, personify this destruction.

Within this universe of devastation, Wagner sees Siegfried as the new man model, that is free from morals and social conventions, who is not subject to the laws that govern the world and who is capable of facing the gods without fear. But this almost heroic behavior is also very innocent, for Siegfried is unaware that his exploits benefit those he fights, the bleak universe in which Wotan reigns.

As this is the chronicle of the dress rehearsal, we will not talk about the voices. But if I want to warn of its excellent level, especially the Siegfried of the Austrian tenor Andreas Schager, who thinks that "to make Siegfried you don't have to be afraid of anything", and Schager proves not to have it.

The rest of the voices are at a great height. A lot of quality in this cast with Ricarda Merbeth, as Brünnhilde. The Mime of the Italian Andreas Conrad. Tomasz Konieczny, like the walker. The Nibelung Alberich played by Martin Winkler. The Korean Jongmin Park as Fafner. here, the goddess of the earth, magnificent in the voice and the interpretation of Okka von der Damerau and the Sevillian Leonor Bonilla, who was in charge of giving voice to the forest bird.

As in the rest of the tetralogy, Siegfried requires an orchestra of maximum dimensions and unknown until then. It is here where the Royal Theater works the first miracle, and making virtue of necessity, he maintains the six harps required by the composer located in one of the stands, those closest to the pit. In the opposite box, the group of most serious metals is located. Thus, the bulk of the orchestra has barely been reduced. Only a few rope elements have been dispensed with, a pair of violins, a couple of cellos… The sound result is enveloping, but it shows some difficulties when it comes to filling or maintaining certain sound balances.

To tackle the scenery, Robert Carsen y Patrick Kinmonth, They use the destruction of nature as a metaphor, giving continuity to the line started two seasons ago. The scenic result is, basically, ugly and bleak.

Carsen completely decontextualizes Wagner's music and gives everything to a show, which is not such. Nature appears devastated, the bird is dead, the trees have been cut down and only the innocence of the two protagonists awakens a little light and hope.

It limits itself to criticizing climate change in a simple and commonplace way, with increasingly austere and minimalist scenographies. Beauty remains absent from his current productions. How we remember that Katia Kavanovà (2008) o Carmelite dialogues (2006).

Another success that the Royal Theater points to before the disbelief and astonishment of the rest of the theaters in the world. As the director says, Joan Mataboch (that like Siegfried, He is not afraid of anything), the secret is to anticipate events to solve possible problems. What is clear is that if you want to breathe clean air you have to go to the Royal Theater.

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

Siegfried at the Royal

They offer 8 functions of the opera, between 13 February and 14 of March, that will alternate with the new production of Rule, de Vincenzo Bellini.
In the production of the Wagnerian tetralogy conceived by Robert Carsen and Patrick Kinmonth, the young man Siegfried, called to be a great man, is discovering a decadent world, polluted and inhospitable, result of irresponsible overexploitation of nature.
The first guest musical director of the Teatro Real, Pablo Heras-Casado, will once again lead a cast of great Wagnerian voices and the Titular Orchestra of the Royal Theater.
Starring in the opera Andreas Schager (Siegfried), Andreas Conrad (Mime), Tomasz Konieczny (The Wayfarer / Wotan), Martin Winkler (Alberich), Jongmin Park (Fafner), Okka from the Damerau (here), Ricarda Menzer (Brünnhilde) and Leonor Bonilla (Voice of the forest bird).
To interpret the score of Siegfried keeping health safety distance, the musicians of the Titular Orchestra of the Royal Theater will occupy, besides the moat, 8 boxes on both sides of the stage.
Due to the long duration of the opera (about 5 hours) and the curfew currently in force in the Community of Madrid (22.00 hours), all functions will start at 16.30 hours.
Around Siegfried Parallel activities have been organized at the Royal Theater -approaches, College scene Y Everyone to the Gayarre!–, at the Museum of Romanticism and at Nebrija University.
The Royal Theater will continue the audiovisual recording of Tetralogy for international distribution and broadcast on My Opera Player.
Classical Radio, of National Radio of Spain, will broadcast the opera on a delayed basis, as it has done with the two previous titles in the saga.
The Royal Theater thanks the Board of Friends for sponsoring Siegfried.

Between 13 February and 14 March Teatro Real offer 8 functions Siegfried, from Richard Wagner (1813-1883), third 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 the iconic staging of Robert Carsen Y Patrick Kinmonth conceived for the Cologne Opera, where production has been replenished several times, always with great support from the public and critics.

In La valquiria, Wotan, the god who articulates the four operas of Tetralogy, ends up failing miserably in his ironclad attempt to dominate the world. The release of that great task gives you a kind of relaxation that fits the category of joke many times attributed to opera Siegfried. The God, disguised as a Wayfarer when it suits him, investigate, reflect and plot on the direction of ‘humanity’, now watching over the messianic destiny of his grandson Siegfried.

In the first two acts of the opera, Wagner recreates himself by recapitulating, philosophically, speculative, dialectics, and many times ironic, everything that happened in Rheingold Y La valquiria, while young Siegfried, called to be the ‘Modern Man’, he is discovering the world like a wild child, without fear, no past and free from atavistic ties, moral and affective.

Between the score of these two almost complete acts - a brilliant and devilish musical prosody full of evocations, predictions and warnings intertwined in a myriad of leitmotiv- and the writing of the end of the second act and the entire third, there was a twelve-year interregnum with major changes in Wagner's biography and the creation of other great works: Tristán e Isolda Y The master singers of Nuremberg.

When you resume the composition of Siegfried, his musical language had undergone a great evolution and also his vision of the future of the saga, enriched by eager philosophical readings - from Bakunin to Schopenhauer, political experiences - in a Europe in the midst of the industrial revolution and nationalist struggles - and also radical changes in his turbulent love life.

In the third act, paroxysm of The ring, music reaches high orchestral and harmonic voltage, when the reckless, indomitable and childish Siegfried discovers fear and finally trembles with the ecstasy of love as he gazes at Brünhilde, releasing her from her punishment with a redemptive kiss. With this happy and luminous ending the rise of the hero culminates before his fatal outcome in Götterdämmerung.

In his conception of Ring nibelungo, Robert Carsen, together with the set designer and costume designer Patrick Kinmonth and illuminator Manfred Voss, they transfer the visionary Wagnerian mythological universe to a metaphorical world, but closer to our reality, confronting the viewer with the destructive power of voracious capitalism, when inordinate ambition for power and wealth inevitably leads to the destruction of humanity, interpersonal relationships and family ties.

Siegfried, orphan, naive, ignorant and endowed with powers that can change the course of the universe, wanders, Play and have dangerous fun in a wild and polluted world, oblivious to all the manipulations and machinations that will make him a participant in the destruction of humanity.

Eight singers with outstanding Wagnerian voices will star in the opera: tenors Andreas Schager (Siegfried) Y Andreas Conrad (Mime), the bass-baritones Tomasz Konieczny (The passerby / Wotan) Y Martin Winkler (Alberich), las sopranos Ricarda Menzer (Brünnhilde) Y Leonor Bonilla (Voice of the forest bird), mezzosoprano Okka from the Damerau (here) and low Jongmin Park (Fafner).

Tomasz Konieczny will return to incarnate Wotan (here disguised as a pedestrian), after his performance of the role in La valquiria, Y Ricarda Menzer will repeat as Brünnhilde, returning to finish the opera as an embodiment of Love.

To maintain the health safety distance between its members, the Head of the Royal Theatre Orchestra will perform the colossal score of Siegfried, under the direction of Pablo Heras-Casado, with the additional effort of taking care of the sound balance and the agreement with the musicians located in the pit (with side extensions) and in 8 boxes on both sides of the stage: on the left will be the percussion and six harps - which play together only in the third act of the opera -, and in law, The bass horn, trumpets and trombones, what in Siegfried have a much more discreet presence than in the other operas of The ring.

The great Wagnerian deed will culminate in the next season with Götterdämmerung, in which we follow in the footsteps of the hero of tetralogy, since its glorification until the final cataclysm, in the haunting vision, but also hopeful of Carsen Y Kinmonth: a plea in defense of nature as a common good that we must all preserve because “only awareness of the problems of humanity and ourselves, allows the solution. "

Photography © Javier del Real | Teatro Real

Accidente

Ayer lunes finalizaban en el Gran Teatre del Liceu las representaciones de Siegfried, la ópera de Wagner que interpretaban dos de los fallecidos en el accidente sufrido hoy por el avión que cubría la ruta Barcelona-Düsseldorf. los cantantes Oleg Bryjak y Maria Radner, además del marido y el bebé de esta última. Ambos habían actuado por última vez el pasado sábado y regresaban hoy a sus localidades de residencia.

El barítono Oleg Bryjak, intérprete de Alberich, regresaba a la ciudad alemana, donde residía y formaba parte del ensemble de la Ópera de Düsseldorf/Duisburg. La contralto Maria Radner, Erda en la citada producción y debutante en el Liceu, regresaba a su hogar acompañada de su marido y bebé.

En señal de duelo, el Liceu ha colocado a media asta las banderas de la fachada de La Rambla. Likewise, la Dirección del Teatre ha convocado para mañana a las 12 horas frente a la puerta principal a su personal para realizar dos minutos de silencio.