The Damnation of Faust

The Palace of Arts debuts next Wednesday, 20 of June, a new production 'Damnation of Faust', Hector Berlioz, with musical direction Roberto Abbado, in the main hall.

The singers Silvia Tro Santafe, Celso Albelo and Ruben Amoretti make the short list protagonist of this dramatic legend, based on 'Faust', Goethe, Damiano Michieletto as the architect of the staging.

'The Damnation of Faust' is a symphonic-stage hybrid is a step in the transformation of the model operístico. The work investigates a dramatic new model combinational between concertístico and theater, and proposes, on a symphonic model, ‘ballet’, arias, duets and choruses own stage music.

According to Roberto Abbado: "We are facing a difficult qualifying masterpiece. It is not an opera or cantata, but a score of special instrumentation where music can fly and let people fly with your imagination, where they live cultured forms, as leakage, double choir and vocal stereo with vulgar forms. Apparent madness where everything is logical ".

"Berlioz seeks end to get your project, Fausto portray path, where their sorrows are the composer himself in a very important work of psychological and biographical sense ", the teacher continues.

Damiano Michieletto signed his third new assembly for Les Arts, coproduced this time with the Rome Opera and Teatro Regio Torino, Italian critics and has already distinguished himself as the best show 2017 Franco Abbiati in Awards. This is the second Abbiati prize in the history of Les Arts, After the award in 2007 por 'Das Rheingold' y 'The Valkyrie'.

As indicated by Eleanora Gravagnola, responsible for replacement in Valencia, self 'regista' Italian was inspired by 'Hamlet', de Shakespeare, for staging, It has scenery of Paolo Fantin, Carla Teti wardrobe, lighting Alessandro Carletti, videocreation Rock Film, and mimic movements Chiara Vecchi.

"Although there are no references in the show to Shakespearean drama, Fausto's character is inspired by the: both experience discomfort, nostalgia, meditate suicide, do not find their place in the world ... and both have the possibility that a woman, that is to say, love, it can be a hope of salvation, but, but nevertheless, opt for self-destruction ".

Gravagnola goes on to say that "both Faust and Hamlet have visions, hallucinations, as the materialization of his own unconscious: Hamlet sees the ghost of the father and Faust sees the infernal spirit, Mephistopheles, as a symbol of evil: evil as impossible to find salvation with the plight living Fausto ".

From the point of view dramaturgical, the show is told from two levels: the plane of all that the audience can see on stage and a second plane, through video projections, recorded or live, that brings the viewer the subtle details from the stalls.

The action, meanwhile, takes place in a closed space scenic, laboratory serving Mephistopheles, which analyzes and examines Faust. The Image Stabilizer (Steadycam) on stage he represents the eye of the devil, which indicates, manipulates, capture, decide, projects ...

Three prominent Spanish interpreters, international career, form the triangle on the frame is constructed. Celso Albelo, one of the tenors most sought after by major theaters in the world, Fausto plays. The singer canary represents his second title at Les Arts, After singing with Placido Domingo in 'Luisa Fernanda' in the 2014-2015 season.
The burgalés under Ruben Amoretti, who participated this season in 'Don Carlo', in Verdi, canta of papel of Mephistopheles, the devil, role that has already embodied in the operatic adaptations of Gounod and Arrigo Boito's Faust myth.
Closes the protagonist 'mezzosoprano' Silvia Tro Santafe short list Valencian, He is making his second foray this season after singing 'Le cinesi', Gluck. Voice of reference in the Baroque and bel canto repertoire, and one of the most sought national artists in the opera circuit, Life Margarita.

The cast is completed by the baritone Jorge Eleazar Alvarez, which ends this year their training at the Center of Perfeccionament Placido Domingo, and sings the role of Brander.

Close to the Heart of Government, directing Francesc Perales, two children's choirs reference complete the great cast of voices demanding the score of Hector Berlioz: Voices Choir School Boards Quart de Poblet, Roser GABALDO and Míriam Puchades as directors, and the Choir of the Virgin of the Helpless, Luis Garrido as director.

'La Damnation de Faust' is the latest title in the main hall of the season 2017-2018. In addition the opening day 20, the opera house scheduled day more features 20, 23, 26 Y 29 of June, and the day 1 July 2018.

Norma in Bilbao

ABAO-OLBE (Bilbao Association of Friends of the Opera) Closing his 66th opera season Rule, ripeness of work of Bellini and emblematic title in the history of opera. The following days 19, 22, 25, 27 - Opera Berri - and 28 of May, sponsored by the BBVA Foundation, sponsor of ABAO-OLBE, up on stage this title, remarkable fusion of sublime melody, Vocal and dramatic power challenge.

this tragedy, compendium of ancestral rites, conflicts, allegiances and arcane customs, It tells the timeless story of a powerful woman who committed their ideals of love to finally be betrayed by her lover. To give life to the characters in this opera, ABAO-OLBE has assembled a cast led by the Neapolitan soprano Anna Pirozzi, who returns to Bilbao to debut the role of 'Norma', one of the most difficult characters to play in the bel canto repertoire that demands to dramatic voice combined with the agility and technique of coloratura singer. Beside the tenor Gregory customer like the Roman 'Pollione' and mezzosoprano Silvia Tro Santafe as 'Adalgisa' close on the trio. Joining them complete the lineup bass Roberto Tagliavini as 'Oroveso', mezzosoprano hope Mentxaka as 'Clotilde' and tenor Stephen Vincent as 'Flavio'. The musical part is by the young Italian master Pietro Rizzo, who returns to Bilbao for the front of the Bilbao Symphony Orchestra directing a score with huge emotional charge and melodic richness of one of the great legacies of bel canto. The choral part is once again task Bilbao Opera Choir, with Boris Dujin in front.

On stage a co-production with ABAO-OLBE Royal Theater and the Palau de Les Arts in Valencia conceived by Davide Livermore. The action takes place in a timeless universe, the central element of the set is conceived as a tree inspiration legends.

Bilbao's opera accessible to all - Bilboko guztion esku Nordic operates the "Yggdrasil", The Tree of Life. An epic aesthetics of druids and priestesses cinematographic rhythm moves around making the witness of the events that unfold in the plot. Just provided with scenic elements to accentuate the theatricality of the story, uses video projections to provide a deeper insight into the characters and their relationships. New Opera
Standard representation 27 of May, forms the twelfth edition of Opera Berri, ABAO-OLBE initiative developed to bring opera to new audiences with well-known titles and entries that are around 50% of their usual price. In this function return to Bilbao soprano Diana Axentii as 'Norma' and tenor Alejandro Roy as 'Pollione' and
debuta the mezzo Nazomi Kato como 'Adalgisa'. The rest of the poster (musical direction, orchestra, choir and stage direction) it keeps. Opera Berri function starts at 18:00 h.

Conference on "Norma"

In order to analyze, in advance the premiere, the most important aspects of this opera by Bellini, ABAO-OLBE has organized a conference, Free entrance until full capacity, For friday 18 May in the Auditorium of the Museum of Fine Arts (entrance door by Chillida) to 19.15 hours. This time will be Ruben Amon, one of the journalists more
media and recognized today, He is working in the newspaper El País and regularly participates in various radio and audiovisual media as Onda Cero, Antena3 and La Sexta. He has published several books on different subjects as an investigation into the secrets of the Prado (Today's topics 1997), the biography of Placido Domingo, A colossus on the world stage (Planet 2012) o The triumvirate: Careers, Domingo and Pavarotti, When the opera fills stadiums (Today's Posts 1996).

BBVA Foundation: a comprehensive program to bring the public the best music The BBVA Foundation, whose distinguishing feature is the impulse to scientific knowledge and cultural creation, Music articulates its program as a complete tour of the various ways in which society can benefit and enjoy this art, own space on the web www.contrapunto-fbbva.es . A) Yes, It promotes the creation of new work with composition commissions and enables preservation and dissemination through Opera sponsored by: Bilbao's opera accessible to all - Bilboko operates guztion esku recordings in collaboration with seals and interpreters frontline. Promotes live music through concert cycles, for free, put within reach of ensembles and soloists public reference in the contemporary repertoire. Organizes lectures and issues publications to better understand the work of certain authors or
immerse themselves in the study of certain compositional periods and implements research projects and highly innovative creation with Leonardo Grants in Music and Opera. Organizes specialized symposiums on management of orchestras, collaborates with musical ensembles and theaters across the country-from the Teatro Real and the Teatro de la Maestranza the Gran Teatro del Liceu, through the Bilbao Association of Friends of the Opera and the Symphony Orchestra of Madrid and recognizes excellence through Frontiers of Knowledge Award in Contemporary Music Composition Prize and the Spanish Association of Symphony Orchestras-BBVA Foundation.

Fabio Biondi

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

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

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

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

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

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

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

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

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

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

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

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

Lucio Silla

With only 14 years, and during a tour of the then kingdoms of Italy with his father, Mozart the first serious opera premieres of his career, Mitridate, kings of Pontus. Such was the success that the young Mozart received another custom Teatro Regio Ducal in Milan, an opera to celebrate, Two years later, Winter carnivals the Lombard capital.

Lucio Silla It is a crucial work in the evolution of the musical language of Mozart. While it is retaining many of the conventions of the operas of the eighteenth century, as the role of a character followed historical and endless endless recitative arias. But nevertheless, and we find some new elements, as the orchestral accompaniment of recitatives. This new musical structure anticipates changes that will be consolidated with Idomeneo and be part of the unmistakable style of his operas more mature, as Don Giiovanni O Così fan tutte.

Mozart worked with great discipline and with little time. He had summoned the most talented singers of the moment 6 weeks of the release to begin rehearsals. As was customary at the time, the particelas They were composed thinking about the vocal characteristics of each performer, taking them to the limit of its capacity. This made it almost unfeasible than any other singer could address the role. Main reason why Lucio Silla, once released, tardase 200 years back to be displayed.

The main roles was in charge of the great tenor Archangel Cortoni, as Lucio Silla, and castrated Venancio Rauzzini, in the role of Cecilio and soprano Anne de Amicis, as Giunia. But the best proof of the genius of Mozart teen came when there were only 6 days for the premiere. The Cortoni protagonist fell ill and had to be hastily replaced by another tenor. No one dared to take on the difficulties of that paper was a mediocre singer who oratorios, scared by the difficulty of the character, He dared with. For that, Mozart had to seriously maul the score of the dictator adapting to the vocal possibilities of the singer. Although only reduce their intervention 2 arias, Mozart manages to convey the psychology of the character, complicatedly hesitant and unable to express what he feels, leaving the responsibility to express the feelings of the orchestra chair.

A theatrical scenery high voltage

For a stage director, Lucio Silla is a poisoned gift. Throughout history it has been considered an impossible work for its statism. Baroque works arouse suspicion among not a few stage directors for their arias

dacappo and the difficulty of this musical structure when providing the desired fluidity scenery. Lucio Silla is scenically as later works of Mozart, plays in themselves. The spirit of the characters have more weight than his vocalism, although this is endiablada for singers.

this opera, almost contemplative, also it has a great dramatic burden Claus Guth He has captured perfectly. It has created a stage where the pictures flow before the public with pace, beating statism with an almost cinematic continuous motion effect.

As is customary in Guth's stage development, a psychological X-ray of the characters and their feelings is presented. This journey to the introspection of the protagonists is achieved through the atmospheres, always oppressive, that describe with great accuracy the intention of the protagonists. A good direction of actors and a revolving architectural structure with underground tunnels stand out. An underworld in which dreams and nightmares unfold. It is here where the plays of light and shadow of Manfred Voss, that have been updated for the occasion by Younger Hoffmann, acquire great beauty and prominence.

The cold desolation that accompanies Lucio Silla is also successful. A room that deciphers the complex psychology of a fickle character dictator, hesitant and unpredictable. Chair appears in a room of decaying white tiles that are staining with the blood that spills. It seems to stay a butcher.

The direction of Ivor Bolton

Lucio Silla is an improper score of a teenager 16 years because of its complexity, for their maturity and being so meticulous in details. They have maintained the original arias with minor adaptations to improve tempis, which has facilitated the flow in the direction of a Ivor Bolton that continues the path marked extraordinary last season Billy Budd Y Rodelinda.

This time, and since the long overture, strikes a perfect balance between brass and strings. His reading of the work and the work done with the orchestra, taking the letter and not the music as a starting point, He gave sound vibration and precise pulse score. Especially in times when the orchestra broke in pieces the ins and outs of the main character. Recitatives are accompanied by the proper key Bolton, allowing a greater connection with the orchestra. Always attentive to detail and outstanding singers, which greatly facilitates the work, along with a set that facilitates voice projection and singing in proscenium.

A very balanced distribution

Lucio Silla requires equally vocal and dramatic qualities. And in that line are the protagonists of this production, Kurt Streit y Patricia Pertibon.

American tenor Kurt Streit, responsible for giving life to the protagonist, It is a great connoisseur of the Mozartian style and excellent Actor, something very important in this production. Lucio Silla presents a little hesitant and entity, insecure and characterless. At the end of the work, when it transformed into magnanimous and leaves the throne, a successful histrionic appears intent. Its excellent performance and compensates a voice in decline.

Patricia Petibon is pure theater. Expressiveness and personality on stage had deserved response from the public. He had a difficult time in the aria ¡Ah, when the cruel peril! where coloratura becomes impossible, but more than it offsets a large repertoire of gestures that describe the anguish of the character. The dramatic intensity of Petibon, above the vocalism, not detract neither the character nor the score, especially after improvising a wrenching passage to the end of the first part.

A Silvia Tro Santafe he had to give life to the role complex Cecilio. An almost impossible score that Valencia resolved with impeccable professionalism. His initial aria "The moment tereno", an extreme difficulties registry changes, It was resolved with a single solvency surpassed by the virtuosity. High volume voice and expressiveness, a phrase in Italian and a line of impeccable singing. The duet with Giunia was a moment of great beauty and delicacy. Mezzosopranos being one of the most prominent and valuable right now, surprising that no more presence in national settings.

María José Moreno It was another of the joys of the night. His character does not reach the vocal demands of the protagonists, but it has a treble that Granada soprano issued no muss. Cecilia's role is somewhat finicky, but his three interventions (It has been removed of its Aryan) They are bright. He brought freshness with its beautiful Mediterranean timbre and perfect diction.

The mezzo Letona Inga Kalna in his role as Lucio Cinna, a bit exaggerated masculinity of the character and was somewhat rough. Sound good volume but unsophisticated. But he knew keep up with the cast.

No doubt this has been a good start to the season in an important year for which celebrates its Teatro Real 200 anniversary. The season looks very attractive and opera is one of those places where dreams find refuge. Surrender to art.

LUCIO SILLA
dramma per musica in three acts
Wolfgang Amadeus Mozart (1756-1791)
Libretto by Giovanni de Gamerra
First performed at the Teatro Regio Ducal in Milan 26 December 1772
New production of Teatro Real
Headlines Choir and Orchestra of the Teatro Real
D. musical: Ivor Bolton
D. scene: Claus Guth
Replacement: you Buyse
Scenography and costumes: Christian Schmidt
Lighting: Manfred Voss
Dramaturgy: Ronny Dietrich
D. from the choir: Andrés Máspero
Distribution: Kurt Streit, Patricia Petibon, Silvia Tro Santafe,
Inga Kalna, María José Moreno, Kenneth Tarver